GIFT OF University of California Berkeley THE GROVE PLAYS OF THE BOHEMIAN CLUB Of Volume s /, //, and III of Ms Collected Edition of The gROFE TLATS of the BOHEMIA W^CLUB thirty-one sets ha\>e been printed on hand-made paper , of which this set is ST. PATRICK AT TARA THE APPARITION OF CUCHULAINN The GROVE PLAYS of THE BOHEMIAN CLUB EDITED WITH AN INTRODUCTION BY PORTER GARNETT VOLUME II AUTHORS H. MORSE STEPHENS CHARLES K. FIELD PORTER GARNETT JOSEPH D. REDDING COMPOSERS WALLACE A. SABIN W. H. McCOY EDWARD G. STRICKLEN HENRY HADLEY ILLUSTRATIONS BY MAYNARD DIXON AND FROM PHOTOGRAPHS SAN FRANCISCO: PRINTED FOR THE BOHEMIAN CLUB AT THE PRESS OF THE H. S. CROCKER COMPANY, I p I 8 COPYRIGHT, 1918 BY THE BOHEMIAN CLUB CONTENTS ST. PATRICK AT TARA (1909) ...... 3 THE CAVE MAN (1910) ....... 83 THE GREEN KNIGHT (1911) ...... 153 THE ATONEMENT OF PAN (1912) ...... 219 [v] O LIST OF ILLUSTRATIONS ILLUSTRATIONS IW^COLOT^ ST. PATRICK AT TARA The Apparition of Cuchulainn THE CAVE MAN The New Weapon ..... THE GREEN KNIGHT The Green Knight, Archolon, and the Prince . THE ATONEMENT OF PAN Pan and Orion ...... FROM King of Meath, presided and prepared the meeting place and the necessary banquets. The ruins of the old banqueting hall, the only permanent building at Tara, are still to be seen. The kings of the five provinces of Ireland exercised as little power over the tribes within their limits, as the high king exercised over them. Each tribe or" sept" was apolitical unit, and had its own laws and customs, and the different tribes were always fighting against each other and against the king of the province. The power of each king and tribal chieftain depended on his personal qualities, and the custom of "Tanistry," by which a successor to each king and tribal chieftain was chosen at the same time as the actual ruler, provided an endless opportunity for rebellion and civil war. While the kings and chieftains were the rulers in peace and the leaders in war, the most important persons next to them in the kingdoms and tribes were the "brehons" or judges. These officials preserved the laws of the tribes; whence the old Irish laws are known as the "Brehon Laws." The druids were rather soothsayers and diviners than priests, and they expounded the official re- ligion of the Irish people. The old Irish literature fre- quently describes their religious controversies with St. Patrick, and therefore much of the dispute with Patrick in this grove play has been put into the mouths of the brehons and druids, rather than into the mouths of the kings, who were rather rulers and warriors. Ireland had never been conquered by the Romans and had never been part of the Roman Empire, and therefore had neither roads nor cities nor commerce nor Christianity in the fifth century after Christ. Its organization was purely tribal; its civilization was purely pastoral; its re- ligion was purely nature-worship. It represented the untouched development of Celtic life, Celtic literature and [10] ST. PATRICK AT TARA Celtic religion. Elsewhere, in Spain, Gaul, and Britain, Celtic life had been destroyed or modified by the Roman conquest, and what was left of Celtic ideals and Celtic customs in Cornwall, Wales, Galway, and the High- lands of Scotland, was more or less affected by the neigh- borhood of the Roman Empire. So from Irish literature alone can be obtained an idea of the unaffected Celtic life and religion. But the remains of Irish literature that have come down to us, such as the Book of Kells, the Book of Armagh, the Book of Lismore and the Book of the Dun Cow, were all put together after the acceptance of Christi- anity by the Irish people, and it is therefore difficult to pick out the unadulterated truth about the life and religion of the Irish people in pre-Christian days. Our best source for their religion is in the legends of St. Patrick and of the way in which he converted the Irish to Christianity. Of these legends free use has been made in the grove play, especially in the story of the paschal fire and of the appear- ance of the ghost of Cuchulainn. Our best scource for a knowledge of the early Irish life is in the Brehon Laws, and these have been drawn upon for the general setting. The early Irish religion seems to have been pure nature- worship. Like other races in the pastoral stage of civili- zation, the Irish were terrified by the forces of nature, by the sun and the thunder, by the succession of the seasons and of night to day, and they worshiped the sun, the fruitful earth, which gave pasture to their cattle, their sole source of wealth, and the trees and bushes and green grass. They had hardly got to the stage of conceiving a god of nature behind the powers of nature, nor had they gone far on the road to worshiping moral and physical qualities. Though they did not actually worship ancestors, they yet revered the memory of heroes, and gave them superhuman powers, as in the stories of Fingal and Cuchulainn. Of a different type was their reverence for the memory of historic heroes, such as Cormac Mac Art, the mythical THE GROVE PLAYS OF THE BOHEMIAN CLUB lawgiver of Minister, round whose name had gathered tales of legislative wisdom, and Niall of the Nine Hostages, the warrior leader who had harried Roman Britain. The treatment of the five kings, the five druids and the five brehons is purely imaginative, but it is based upon certain historical characteristics of the pre-Christian people of Ireland. The most beautiful poetry of early Ire- land is of Ulster origin. The stories of the Red Branch, the songs of nature poetry, the poetical tales of warfare, the mysterious legends of tribal sleep, all bear witness to the effect of the wild scenery of northern Ireland upon a poor and poetical race of mountaineers and seafarers. For this reason, the Brehon and Druid from Oriel, one of the three kingdoms of Ulster, are represented as enthusiasts with a poetical love of nature, with a fervid adoration of the old religion, the old gods and the old heroes, and with a shuddering horror at the idea of worshiping "a dead man." Both of them and the King of Oriel are represented as belonging to the straight-haired, black-haired type of Celtic Irishman, full of mysticism and poetry, and to one of them is assigned a religious Irish song. Munster, the southern province of Ireland, is contrasted with Ulster. Munster abounds in good pasturage and is rich in fat cattle ; the price of butter is still fixed in Cork market ; and the man from Munster with his rich Cork brogue is the typical Irish humorist. Therefore the King and the Brehon and Druid of Munster are represented as jolly, red- haired, corpulent Irish Celts; the Brehon has a drinking song; the King tries good-naturedly to stop all trouble; they are good-natured, irresponsible and full of fun. They are horrified at the ascetic side of Patrick's teaching no more fun, drink and jollity. While Ulster shivers at replacing the worship of beautiful living things of nature by the worship of a dead man, Munster shrinks from giv- ing up the joys of life for self-denial and fasting and prayer. Leinster, the eastern province, represents political, Celtic ST. PATRICK AT TARA Ireland. Its closer touch with Wales and Britain caused the Leinster king to fear in Christianity not the religion nor the asceticism, but the overthrow of the old tribal life and government. Christianity in continental Europe had associated itself with the Roman government; the Pope at Rome supported settled civilization; obedience and dis- cipline were the key-notes of the Roman Church ; Patrick brought his mission from Rome; and Christianity would mean settled law instead of ancient custom, and it would also mean a hierarchy of ecclesiastical and civil offici als in the place of the old individual freedon under patriarchal leadership. This is made the basis of the opposition of the King of Leinster to Patrick's preaching. But the Celtic civilization in Ireland overlaid a still older civilization. The legends of the wars between the Mi- lesians and the Tuatha de Danann bring this out clearly. In the wild and barren western province of Ireland, Con- naught, are still to be seen men of the pre-Celtic race especially in the Joyce country in Galway short, stocky, men with hard round skulls, covered with short, bristly, black hair. The King of Connaught in the grove play re- presents this pre-Celtic race a bestial, ferocious crea- ture, a slave to his passions, and ever ready to fight. To him the loathsome part of Patrick's teaching is the call for restraining his passions, and especially the gospel of peace. His brehon is of the same type, but with some finer in- stincts. He is affected by dwelling on the shores of the Atlantic Ocean; he recalls the vague stories of sailors drifting away over the ocean to a mythical western conti- nent; he, like his king, shrinks from Patrick' doctrine, but not so crudely. To him the ocean and the setting sun are religion; and human passions are sacred. He is loyal to his king with the loyalty of a dog, and he is ready with his own life to defend the crimes and vices of his chief. His druid knows that the old religion must pass away and in "The Song of Connaught" states the belief that a new [13] THE GROVE PLAYS OF THE BOHEMIAN CLUB religion would come from the west, from across the Atlantic Ocean. Meath, the middle kingdom, which touched all the others, always stood in historic times for the unity of Ireland. It was the smallest of the five kingdoms and had no sea coast; it contained the holy Hill of Tara, where the Irish chieftains occasionally met; and its king was during this period habitually chosen ardrigh or presiding king of all Ireland, partly because of the central position of his king- dom. The King of Meath in the grove play represents the love of Ireland, a nation ; he appears as an old man with white hair and beard ; his druid chants the praises of Ire- land in "The Song of Erin," and he himself shows a passion- ate love for her and her past and her heroes of old time. His opposition to Patrick's preaching lies in its rejection of her ancestral faith, in its renunciation of her ancestral heroes and it is to convince him that Patrick raises the ghost of Cuchulainn. The historic Laogaire, son of Niall of the Nine Hostages, and contemporary of St. Patrick, was King of Meath and High King or ardrigh of all Ireland from 425 A. D. to 463 A. D. During his reign the Sencbus Mor, or code of Irish laws, was drawn up, and many coun- cils are recorded to have taken place at Tara. He showed himself tolerant to Christianity, which was embraced by many of his relatives, but he himself refused to be con- verted and remained faithful to his ancestral religion. Many legends are told of his interviews with St. Patrick and of his obstinate paganism. He fought many wars with Leinster, not always with success, and was killed during one of them in 463, just two years after the death of St. Patrick. St. Patrick, whose arrival at the Hill of Tara is the spring of the action of the grove play, and the chief points of whose arguments over the thirty years of his mission up and down Ireland, are concentrated into a single day, was born in 389 A. D., and was therefore a man of forty- three at ST. PATRICK AT TARA the time of his coming to Ireland in 432 A. D. He was born of a Romanized Celtic stock in South Wales the old identification of Bannaventa with Dumbarton in Scotland has been disproved by Professor Bury and in his "Con- fession" he describes how he was stolen by Irish pirates in his boyhood and made to work as a slave herd-boy for many years. He came of a family which had taken part in the government of his native place, and was bred a Christian. During his slave days, he fell in love with the beauty of the Irish scenery and the character of the Irish people, their many virtues and general charm, and legend says that he vowed that if ever he escaped from slavery, he would seek the support of the Holy Father, the Pope, at Rome and would return to convert the Irish people to Christianity. In his "Confession" he describes how he did escape and went to Gaul, and his own account is closely followed in the first scene of the grove play. He made his way to Lerins, a little island religious community in the Mediterranean, off the southern coast of France, and there received the rudiments of a religious education. But he never became very well educated and he complains in his "Confession" of his lack of literary facility and his "rusti- citas" In 418 he visited his relatives in Britain, and it was there that in a dream he felt himself summoned to the work of converting the Irish to Christianity. He went to Auxerre, in Gaul, where he was ordained deacon by Bishop Amator, and he was on his way to Ireland, thirteen years later, when he was suddenly called back to Auxerre, con- secrated a bishop by Saint Germanus, and appointed to the Irish mission in the place of Palladius in 43 1 . The chief events of St. Patrick's later life, apart from the incidents of his missionary journeys in Ireland, were his visit to Rome during the papacy of Leo the Great in 441, and his selec- tion and foundation of Armagh, in Ulster, as the primatial or metropolitan church of Ireland in 444. It is quite cer- tain that Christianity was already established in the south THE GROVE PLAYS OF THE BOHEMIAN CLUB of Ireland before Patrick arrived, but it had no organi- zation or regular standing as part of the religious scheme of Christendom. Patrick is said to have converted all Ireland by the time of his death in 461 A. D. The legends of his teaching and preaching show him to have possessed ready wit, much controversial power and a fund of human sympathy. "The bitter hostility of the druids," writes Professor Bury, "and the relations of Laogaire to Patrick were worked up by Irish imagination into a legend which ushers in the saint upon the scene of his work with great spectacular effect. The story represents him as resolving to celebrate the first Easter after his landing in Ireland on the Hill of Slaney, which rises high above the left bank of the Boyne at about twelve miles from its mouth. On the night of Easter eve he and his companions lit the paschal fire, and on that self-same night it so chanced that the King of Ire- land held a high and solemn festival in his palace at Tara, where the kings and nobles of the land gathered together. It was the custom that on that night of the year no fire should be lit until a fire had been kindled with solemn ritual in the royal house." (Bury, p. 104.) With this incident begins the grove play. [16] THE PLOT OF THE PLAY IT is the morning of Easter Sunday, in the spring of 432 A. D. The steward of the ardrigh^ or presiding king of all Ireland, at that time the King of Meath, is directing the preparations of the servants for the council of the kings of the provinces of Ireland, who have been summoned to Tara to decide upon the policy to be adopted toward Patrick, the news of whose arrival in Ireland, and of whose mission, has stirred all Irish hearts. The hour is just be- fore sunrise, when suddenly there flares upon the horizon the red light of a fire. The steward and servants are horrified, for it is the feast of Beltane, and an old law strictly forbade, under pain of death, the lighting of any fire, except by the druids upon that day. It is the paschal fire, lit by Patrick for the celebration of the Easter sacrifice. The sun rises and the music of an Irish march is heard. Then five processions enter by different entrances; first, the King and Brehon of Leinster in their saffron colored robes, with a druid in white and their retainers in light blue ; they take their seats to the right of the stage ; another blare of the march, and the King and Brehon of Munster, with another druid, enter with their retainers in dark blue; they take their place to the left of the stage; another blare of the march and the Connaught procession enters, clad in dark red, and they take their place to the right of the High King's throne ; another blare of the march and the Ulster procession enters, clad in bright red, and take their place to the left of the High King's throne; the march rises in intensity and the old High King enters with his brehon and his druid and his retainers in green, and takes his seat THE GROVE PLAYS OF THE BOHEMIAN CLUB in the center of the stage. The music ceases, and the High King signs to his brehon to open the matter, which all have assembled to discuss, when the steward rushes forward and interrupts him with the news that the edict against fire has been infringed and that a red blaze has been seen on the horizon. The Kings of Oriel and Connaught demand the immediate punishment of the offender, though from differ- ent standpoints ; the Kings of Munster andLeinster counsel mildness and delay, though from different standpoints ; the High King accepts this counsel and sends his steward with twelve men, namely, the four servants and two chosen from the retainers of each of the other four kings, to bring the offender before the council. As they go up the hillside, the fire flares up for a last moment. The council opens with a speech from the Brehon of Meath, describing the reason for the summons, and the treatment of Patrick is being discussed, when there enters an Irish chieftain, a sad and melancholy man, whose saffron robe is tattered and whose misery is written on his face. He tells his tale. He bears the burden of Care. He tells how his home has been burned, how his chaste wife has been ravished and his children slain. Attempts are made to comfort him, when suddenly the King of Leinster shows him the grinning face of the King of Connaught. It flashes across the chieftain that it is the King of Con- naught, his neighbor and lord, who has done him this wrong. Hope of revenge flashes up and he dashes at the King of Connaught with his dagger drawn. The Brehon of Connaught leaps forward to meet the blow and save his master, while the King continues to grin sardonically, but shows no fear. The chieftain is at last subdued, and re- moved to be brought before the council at a later session. At this moment the "Pange Lingua 1 is heard from the hill- top, and at the top of the hillside is seen a procession approaching. It is led by a crucifer bearing a cross; he is followed by Patrick in his episcopal robes, and by eight [18] ST. PATRICK AT TARA missionaries chanting the processional; and after them come the steward of the High King with the twelve men, who had been sent to bring the offender who had lighted the forbidden fire. Those on the stage watch the procession. When Patrick and his followers reach the stage, the steward declares that he has brought the offender who had lit the forbidden fire. Patrick explains the circumstances, describes his early slave life in Ireland, expounds his mis- sion, and expresses his longing to see Ireland Christian. He is interrupted on all sides, when the High King rises, declares the council adjourned, and announces that the whole matter will be discussed after the usual feast and revels. The kings and their retainers retire to the music of the Irish march in the reverse order from that in which they entered; Patrick looks sadly after them. The mis- sionaries again chant the "Pange Lingua" and leave the stage, escorted by the steward. The stage darkens and an intermezzo is played by the orchestra. The second episode begins with the entrance of the re- tainers of the kings, noisy, exhilarated, and partially in- toxicated. The Brehon of Muster leads in a drinking song which is followed by the dancing of an Irish jig. Enter the kings themselves from the banquet. The King of Connaught is quarrelsomely drunk; the King of Munster mellow with liquor; the King of Leinster has drunk enough to loosen his tongue ; the King of Ulster is sober and looks cynically on the the noisy scene, while his druid is sober and indignant; the old High King takes his seat, looking sadly at the spectacle of such riotous behavior, but yet sympathetically at the joyous nature of the scene. The tumult is hushed; the drunken King of Munster falls into a drunken sleep ; and, by the High King's orders, Patrick and his missionaries are introduced by one entrance, under escort of the steward, and the chieftain, the victim of Care, under the escort of the Brehon of Leinster, by another. Patrick looks sternly round, perceives the continued [19] THE GROVE PLAYS OF THE BOHEMIAN CLUB excitement in the air and sees that his opportunity has come. The victim of Care has resumed the sadness of his original entrance, but glances from time to time in fierce anger at his enemy, the King of Connaught, who grins back at him in drunken malevolence. The Brehon of Connaught watches the chieftain needfully, ready at any moment to protect his king. The King and Brehon of Leinster show by their actions their sympathy with the chieftain. On the other side of the stage, the King and the Brehon of Ulster watch every movement and listen to every word of Patrick, while the King of Munster is in a drunken sleep and the Brehon of Munster fuddled but awake. The High King presides with dignity. The chieftain is at his en- trance utterly indifferent to Patrick, but he gradually be- comes absorbed in his words and approaches closer to him. The High King calls on Patrick to speak. Patrick speaks. As he speaks of the universal character of Christen- dom and the greatness of Rome, the King of Leinster interrupts and praises the individualism and the political and social freedom of the Irish Celts. Then as Patrick speaks of the sobriety of Christianity, the Brehon of Munster interrupts with the praise of liquor, as "gods' good creature;" Patrick catches his tone and playfully promises to drive all the snakes out of Ireland, since these snakes are largely the result of the drunkard's fuddled brain. Then Patrick speaks of the virtues of Christianity and of his God as the God of Peace. The King of Con- naught brutally interrupts and shouts his praise of fighting and vice. Then Patrick attacks druidism and the Druid of Oriel opposes Patrick's teaching as unpatriotic and sacri- legious. The chieftain, victim of Care, is attracted by an allusion to immortality and comes up close to Patrick. Then the High King, in solemn words, speaks of the ancestral heroes of Ireland, and asks if they, even the great Cuchulainn, are damned because they were not Christians. To this argument Patrick replies with dignity ; he calls on [.*>] ST. PATRICK AT TARA God to aid him; his missionaries chant; Patrick prays aloud; he waves his arm; and the spirit of Cuchulainn appears. A brief dialogue ensues, taken as nearly as possible in the very words of the old Irish legend ; and the spirit or ghost of Cuchulainn disappears, leaving the whole council profoundly impressed. By this time the effect of the riotous drinking is passing away. But Patrick has not yet convinced them. Surely the old beautiful nature gods, their old tribal freedom, their old jolly pleasures, their old indulgence in war and vice, are preferable to this cold new faith in a "gibbeted man." The human touch is lacking. It comes. The chieftain, victim of care and sorrow, tells his tale briefly to Patrick; and Patrick sympathetically hears him, tells him of an after-life, of a heaven, where all care and sorrow are forgotten, of a place where he may meet his loved ones again. The crowd is touched; the victim of Care declares his belief in the new religion, and kneels before Patrick begging to be received into the church that promises such solace for care and sorrow. Suddenly, angered at the attitude of the council and its rallying to Patrick's side, the Druid of Oriel dashes at Patrick with his dagger drawn and strikes at him; but the chieftain, victim of Care, springs to save Patrick and receives the blow. As he sinks to the ground, he asks for a further proof of the truth of the religion he has just embraced; the Kings of Leinster and Oriel hold him up, and Patrick waves his arm thrice toward the hillside, where a great white cross appears. The missionaries chant the "Veni Creator'; the crowd all fall upon their knees, except the High King and the druids; even the King of Munster is awakened and flops on his knees ; even the King of Con- naught is awed; the forest is illuminated behind the cross; the music indicates the victory of the Christian chant over the music of the opening Irish march; Patrick raises his hand in blessing over the dying victim of Care, who slowly sinks back dead. Thou hast conquered, pale Galilean; The world has grown grey from thy breath. Swinburne. When the half -gods go, 'The gods arrive. Emerson. [22] CAST OF CHARACTERS THE HIGH KING (King of Meath) THE BREHON OF MEATH A DRUID OF MEATH THE KING OF ORIEL IN ULSTER THE BREHON OF ORIEL A DRUID FROM ORIEL THE KING OF LEINSTER THE BREHON OF LEINSTER A DRUID FROM LEINSTER THE KING OF MUNSTER THE BREHON OF MUNSTER A DRUID FROM MUNSTER THE KING OF CONNAUGHT THE BREHON OF CONNAUGHT MR. FRANK P. DEERING MR. EDGAR D. PEIXOTTO MR. T. V. BAKEWELL MR. CHARLES K. FIELD MR. OSCAR FRANK MR. W. H. SMITH, JR MR. ALLAN DUNN MR. I. O. UPHAM MR. WYATT H. ALLEN MR. WALDEMAR YOUNG MR. W, B. HOPKINS MR. RUFUS STEELE MR. R. C. NEWELL MR. FRANK A. CORBUSIER MR. LOWELL REDFIELD A DRUID FROM CONNAUGHT THE STEWARD OF THE HIGH KING MR. W. H. ROBINSON THE APPARITION OF CUCHULAINN MR. H. McD. SPENCER A CHIEFTAIN DR. J. WILSON SHIELS PATRICK MR. R. M. HOTALING THE CRUCIFER MR. J. D. FLETCHER THE GROVE PLAYS OF THE BOHEMIAN CLUB FIRST SERVANT MR. JOHN C. DORNIN SECOND SERVANT MR. W. J. WAYTE THIRD SERVANT MR. GEORGE W. TURNER FOURTH SERVANT MR. RALPH P. MERRITT Retainers of the Kings , Missionaries PLACE: The Hill of Tara, in the Meath, Ireland. TIME: Scene I Dawn of Easter Sunday, A.D. 432. Scene II Evening of the same day. Production directed by MR. FRANK L. MATHIEU. Setting and properties designed and executed by Mr. GEORGE LYON. Costumes designed by MR. PORTER GARNETT. Lighting by MR. EDWARD J. DUFFEY. Musical Director, MR. WALLACE A. SABIN. Chorus Master, MR. E. D. CRANDALL. [34] ST. PATRICK AT TARA *A Forest Tlay To the Memory of Denis 0' Sullivan, good Bohemian, good Irishman, this forest play is lovingly and reverently dedicated. SCENE I At the foot of the Hill of Tara, in the Meath, Ireland. Preparation has been made for the Council of the Kings, which has been called upon the news of the landing of Bishop Patrick. There are five thrones for the KINGS OF ORIEL in Ulster, MUNSTER, LEINSTER, CONNAUGHT, and MEATH. The throne of the KING OF MEATH, who is Ardrigh or HIGH KING of all Ireland, is in the center; to the right, the thrones of the KINGS OF ORIEL and MUNSTER; to the left, the thrones of the KINGS OF CONNAUGHT and LEINSTER. The gray of dawn. [The STEWARD OF THE HIGH KING enters and with him four Servants, carrying fresh brush. THE STEWARD This is the place, Where meet the chiefs of Ireland to discuss Affairs of import to the island realm, The holy Hill of Tara ; from time to time Forgetting ancient strife and bitter war, THE GROVE PLAYS OF THE BOHEMIAN CLUB They here assembled to decide the fate Of Ireland's future and the Irish state. FIRST SERVANT Why meets the council at this present time ? THE STEWARD The news arrived not many months ago Of foreign wizards landing on this shore, Attacking the beliefs of former days, Disturbing with strange words the minds of men Who worship as their fathers did of old, And working wonders, which surpass in skill, In miracle and in prophetic truth, All that our druids do. This the High King, Learning from many sources, felt to be So great a menace to our Irish faith, That he sent forth his summons through the land To all the kings of Ireland to come here, During the sacred season of Beltane, To the old accustomed council place of kings, The holy Hill of Tara, to decide, What steps to take against the wizards, who Have dared deny old Ireland's cherished gods. SECOND SERVANT By what name, sir, are these foul wizards called ? THE STEWARD I know not ; but the leader of the band, A British slave, who broke his bonds and fled, Once kept the flocks of sheep of old Miliucc. He on returning caused the flames to fall From heaven by magic to consume the hall Of his old master and destroy it all. But cease this idle talking; get to work [*6] ST. PATRICK AT TARA Give the last touches to the council place- Remove the branches and the leaves that fell During the night; make fair the thrones of kings. For days I've labored with unceasing toil That all things shall be fit and proper for This morning's council. The first streaks of dawn Show in the east. As I came through the camps, I heard the din among the followers Of Ireland's kings, for each is trying hard To outshine the others, and I deem it wise In the High King to limit close the force That each might bring to council; else, no doubt, Unequal strength might tempt from words to blows. All night I watched in darkness, for the law Of Beltane's feast is strict, that none shall light On pain of death a fire upon this night. \_While the STEWARD is speaking, the Servants are busied in removing the litter of branches and leaves. THIRD SERVANT How sit the kings in council ? Why five thrones ? THE STEWARD Here to the right sits Munster a stout king, Fond of strong drink and hearty jollity; O'er Ireland's richest kingdom holds he rule, Lord of fat cattle and of pastures green ; With him his brehon and chief druid come, Both lusty men and worthy such a king, With ten men more in dark blue garments clad. And next from Ulster's northern land there comes The King of Oriel, a black-haired chief, Full of strange fancies and fantastic thoughts, Adoring ancient gods and ancient rites. THE GROVE PLAYS OF THE BOHEMIAN CLUB By him his sweet-voiced brehon always sits, Charming his gloom with Red Branch legends old And tales of Nature's beauty, till the fame Of that sweet music spreads throughout the land. With him there comes a druid from the north, A ruthless worshiper of altars old And fierce adorer of the ancient gods. FOURTH SERVANT And who sit, master, on the other thrones ? THE STEWARD Over there, the savage King of Connaught Black-browed and bullet-headed, fierce in fight Belonging to an older race than the Milesians of Erin, and he dwells Close to the ocean with a savage horde Of noisy ruffians, faithful to the death. FOURTH SERVANT My mother told me tales of these wild men, Their love of vengeance and their cruel deeds, Which frighted from me many an hour of sleep. THE STEWARD Last of our visitors there has his seat The King of Leinster, our defeated foe, Who has forgot his quarrel with our king, To sit in council at this present time, And give advice upon the issue raised. A politic king is he, and well endowed With Irish wit and Irish shrewdness, too, Knowing the world well, and not terrified By old-time gods and new-time prophecies. He brings his brehon and a druid, too; But asks not counsel of them like the rest, [28] ST. PATRICK AT TARA Being his own best counsellor, he thinks. His band is with him, clad in brilliant blue. FIRST SERVANT (climbing to the HIGH KING'S seaf, and clearing it of leaves) This, then, must be the seat of Laogaire, High King of Ireland, our most gracious lord, Since it overlooks the rest, and he presides In Ireland's councils. SECOND SERVANT (aiding him) But he is also King of the Meath, our middle kingdom famed, Which touches all the others, and itself Is heart of Ireland, for its bounds include This holy Hill of Tara where we pray. THE STEWARD Yes, make all fit for good King Laogaire, High King of Ireland, valiant, wise, and just, Who ne'er forgives an injury, yet holds Rein on his passions ; whose reverend age Makes the more youthful listen, and whose fame Makes them obey ; who loving well the old Yet lends his ear when novel tales are told. [Red flame flashes up on the hillside. THIRD SERVANT Master! the flame! FOURTH SERVANT Look how it flashes bright ! FIRST SERVANT The heaven's afire! [29] THE GROVE PLAYS OF THE BOHEMIAN CLUB SECOND SERVANT It reddens all in sight! THE STEWARD What means this fire on Beltane's sacred night ? The law is known. The punishment is death. All night I watched in darkness for the dawn, Despite official duties pressing me. \he flame flares up again. It seems to come from Slaney, just across The valley, and some stranger must have lit A blazing bonfire, for no son of Meath Could have ignored the law. \he flame dies down. Now it dies down I must at once to the High King repair And tell him of this sacrilegious fire. For from the other scarpment of the hill The light could not be seen. (moving as though to leave) But 'tis too late; I hear the tramp of footsteps coming near. (returning) So I must wait until the chiefs are set And in full council tell this fearful crime And breach of Beltane's laws. Stand ye right here, While I prepare to marshal forth the kings. \fThe Leinster procession enters, led by the KING OF LEINSTER, walking ahead of his BREHON and DRUID, and followed by ten Retainers in light blue. MEN OF LEINSTER (singing) We are sons of glorious Leinster, From the east we come; [30] ST. PATRICK AT TARA We are sons of glorious Leinster, Fair is our eastern home. Our land is rich in harbors fair, We sail the Irish Sea, Others with us can not compare, Strong and brave and free. \fThe Munster procession enters, led by the KING OF MUNSTER, singing merrily, with one arm around bis BREHON, who carries a jar of liquor and two cups, and with his DRUID by his side, followed by ten Retainers in dark blue. MEN OF MUNSTER (singing) Munster men are we, lusty fellows we, From the south we come; We, the sons of happy Munster, Love our southern home. Where the land is rich with verdure Hearts from care are free; Where the sky is bright, and the work is light, Men of the south are we. \fThe Connaught procession enters, led by the KING OF CONNAUGHT, stalking ahead and scowling, followed at some distance by his BREHON and DRUID and by ten Retainers in dark red. MEN OF CONNAUGHT (singing) We, the men of rock-bound Connaught, From the west have come; We, the war-like sons of Connaught, Sing of our western home, Where the ocean breeze is surging Through the fog and mist. To the fight we need no urging, Hard of heart and fist. [31] THE GROVE PLAYS OF THE BOHEMIAN CLUB [The Ulster procession enters, led by the KING OF ORIEL in friendly guise with his BREHON and DRUID followed by ten Retainers in bright red. MEN OF ULSTER (singing) We, the valiant sons of Ulster, From our hills have come; From the cold, bleak winds of Ulster, From our northern home. Where the ancient gods are loved now, As they were of old, And the Red Branch legends tell how Men were brave and bold. \ffhe HIGH KING'S procession enters. 'Twelve Re- tainers in green march first, in the same quick step as the others, singing, and are followed by the HIGH KING, walking very slowly and bowing to the other kings, closely supported by his BRE- HON and DRUID. MEN OF MEATH (singing) We are men of central Ireland, Middle Meath our home ; Dwelling in the heart of Ireland All the land's our home. Here old Ireland's life we cherish 'Neath our holy hill; Here all wrath and discords perish ; Ireland a nation still! [All take their seats, grouped round the five thrones. THE HIGH KING Welcome to Tara! Now the hour has come When we in solemn council must resolve What steps to take to save old Ireland's faith. ST. PATRICK AT TARA Welcome, ye chiefs of Ireland welcome all; Welcome, ye brehons, who expound the law; Welcome, ye druids, who preserve the faith! (to his DRUID) Open the meeting in accustomed form. THE DRUID OF MEATH Arise, ye druids, from north, east, west, south. [The other Druids rise from their seats, and, led by the DRUID OF MEATH, turn to the north, east, west, and south, raising their hands and looking at the sky. THE DRUIDS The day is propitious, the auguries are fair. THE BREHON OF MEATH The Council is opened [The STEWARD comes forward, raises his hand, checks the BREHON OF MEATH in the very act of speaking, attracts all eyes, creates silence by his gestures, and addresses the HIGH KING. THE STEWARD Hear me, my lords, Ye chiefs and priests of Ireland. As the dawn Showed in the east this day, and as we set The place for this great meeting, forth there flashed Bright flames from Slaney right across the sky, Reddening the heavens and startling all who saw. Whether by mortal or immortal hands The fire was lit, I know not, but the law Of Beltane's sacred feast by act of man Or act of god was broken, and I deemed It was my duty to acquaint ye all With this strange portent 'ere the council met. [33] THE GROVE PLAYS OF THE BOHEMIAN CLUB THE DRUID OF ORIEL What says the prophecy, that from of old Forbids the lighting of the wonted fires On Beltane's feast, until the sacred flame Is started with due rites by holy priest ? Whenever starts a fire on spring's first morn, Not lit by druid's hand, Not fed by druid's breath, Not blessed by druid's prayer, The ancient faith of Ireland will give way, The druid faith, before the doctrines new Of the new god, who lit the fated flame. Therefore, the druids made the sacred law To save their faith from peril, that the man Who lights such fire shall surely die the death. My mind misgives me that the fatal day For Ireland's druid faith has dawned at last, And that the British preacher, whose onset Upon our faith has caused this council here, Makes thus his challenge to our trembling fear. But we invoke the law. [He turns to tbe KING OF ORIEL and then to THE HIGH KING. My chief and I, Druid and King of Oriel, demand The instant punishment of death upon The sacrilegious lighter of the fire Of which the Steward tells us. THE BREHON OF CONNAUGHT (catching the idea from his king, who smiles grimly) My chief, too, Demands the punishment of death, for he Holds that no council rightly is begun Without the human victim whom our sires [34] ST. PATRICK AT TARA Slew to win favor from the gods above In the brave days of Ireland's ancient faith. 1 THE KING OF LEINSTER (interrupting) Peace to such cruel counsel. I demand That due inquiry shall be made, and that No man, however guilty, be condemned, Without a hearing; for too long have we Been swayed by druid priests, and bowed too long To barbarous customs of the savage west. THE KING OF MUNSTER For my part, this long council makes me dry. Give me to drink [He turns to his BREHON, who gives him a cup, which he drains. And let us not discuss Shedding men's blood and such like horrid deeds. THE HIGH KING I grant the justice of the druids' plaint; The law has been infringed; I, like Connaught, Hold close by ancient usage; but I yield To Leinster's plea for judgment, slow and sure. Give order, brehon, for the bringing here At once, without delay, of all who shared In breaking Beltane's law on this spring morn. THE BREHON OF MEATH (to the STEWARD) Go toward Slaney, where the fire was seen, Taking twelve men, of whom four of thine own And two selected from each chieftain's train. Find and bring straight before the council here, [35] THE GROVE PLAYS OF THE BOHEMIAN CLUB Without permitting e'en the least delay, All who have broken the most sacred law By lighting fires upon the Beltane feast. \he STEWARD selects bis men, four of his own, the four Servants who were with him in the opening scene, takes two from the Retainers of each of the four kings, and, marshaling them, bows to the HIGH KING and goes up the hillside; the rest watch them; the light flares up for the last time. While the STEWARD is selecting the Retainers and marching up the hillside with them, the BREHON OF CONNAUGHT is still showing his indignation at the slurs cast upon the "savage west." He rises from his seat to protest. THE BREHON OF CONNAUGHT We are no savages. We know full well That some day from the west new gods shall come. The oldest folk in Ireland, we recall Old legends echoed back by sailors bold Whose ships have drifted to the setting sun. These echoes, carried by the winds and waves, Have told us that some day new gods will rise, That in the furthest west the future lies. e DRUID OF CONNAUGHT steps forward and sings the Song of Connaught. THE DRUID OF CONNAUGHT (singing) Western the winds are, And western the waters, Where Connaught lies: There keen are the winds, And storm-tossed the waters, Darkling the skies. [36] ST. PATRICK AT TARA A voice on the winds, A voice by the waters, A new spirit cries: "Oh, who rules these winds ? And who stirs these waters ? The old gods denies ?" Across the wild waves, Across western waters, The answer flies: "Beyond these fierce winds, Beyond these rough waters, The future lies." Yes, down the loud winds, And o'er the blue waters, Old Ocean replies: Above the high winds, Above the cold waters, Though wild be the winds, And rough be the waters, The new gods arise. THE HIGH KING Brehon, the time has come now to discuss The matter which has led me here to call The chiefs of Ireland. Open thou the cause. THE BREHON OF MEATH Kings, brehons, druids, all, give ear, And hearken to the words that I shall say: Upon the coast of Ireland late there came A former slave, of British birth, who fled From bondage more than twenty years ago. He now returns, and, working magic spells [37] THE GROVE PLAYS OF THE BOHEMIAN CLUB And showing wonders, has bewitched men's minds So that they doubt the gods of olden time. Hearing these tidings, wise King Laogaire, Remembering prophecies of ancient days, And fearing for the life of druid faith, Resolved to summon here a council great, Such as is wont to meet at solemn feasts To settle matters of the common weal. The High King deems it well all should agree To face this peril with united strength. Full well he knows that Irishmen hold fast Their fathers' faith, but also well he knows Concerted action only can be had After due consultation and debate. So now he asks your counsel, one and all, To lure this British wizard to his fall. THE KING OF LEINSTER The High King knows that Irish chiefs are free, And able to take care of their own lands; His petty realm of Meath, as all men know, Exists by my forbearance, and my septs, The valiant men of Leinster, oft have shown That Laogaire is king in name alone Over all Ireland \ffhe men of Meath spring from their seats with in- dignation, but are quieted by the HIGH KING. And my counsel is That wizard against wizard should be set. This Briton brings his spells from far away; The druids fear him ; therefore, let them show That they are stronger; let the contest be Free, without favor. When this stranger came, [38] ST. PATRICK AT TARA And one before him, singing the same song, I let them stay in Leinster, for I know That many men have many faiths abroad, And that the world is not by druids ruled. My people know of Britain and of Gaul ; They know of Rome; they are not savage folk Of inner Ireland, who all new thoughts shun Because they're new; and I a kingdom rule, Fairest and best in Ireland, where no priest Opens his mouth without my leave, and where Druids and bards are silent and obey. THE KING OF MUNSTER "Fairest and best in Ireland" ! but I say That Munster fields are richer; Munster men Braver and happier ; a land of peace, Where druids share their lord's repast And make no trouble; where the Christians, For so these British slaves do call themselves, Have long been with us, and have caused no strife. If this new wizard comes to spread the faith Of Christians, have no fear, for he will do No harm to Ireland's ancient joy and peace. If this be all the question, let us now Adjourn to revel, for the feast is all That draws us here from Munster, and, meanwhile, Give me to drink, for talking fosters thirst. \He turns to his BREHON, who gives him the cup; he drinks, then passes it back to the BREHON, who drains it. THE KING, BREHON, AND DRUID OF CONNAUGHT and"! 1 with [39] "Savage folk of inner Ireland" ! down, we say, With eastern manners and with eastern scorn. THE GROVE PLAYS OF THE BOHEMIAN CLUB THE KING OF ORIEL (slowly and with emphasis) It seems, High King, we have forgot the cause That brought us all to Tara. And, alas! The usual brawling threatens Ireland's peace, And Ireland's factions ruin Ireland's hopes. We never work together, yet the times Are evil, and the danger now is great That the one thing that knits all Irish hearts, Our fathers' faith, may now be torn and lost. I reverence the gods, and I believe The druids are the mouthpieces of heaven, Who know the past and future, and whose prayers Turn the wrath from us, that would surely fall But for the old accustomed sacrifice. So I would bid you hear the sacred words Of the most learned druid of them all, Whose pious life and reverend countenance Have won the allegiance of all Ulster men. THE DRUID OF ORIEL Friends chiefs, priests, bards, our Ireland's noblest sons, 'T is no slight danger that confronts us now. I fear no preaching of the British slave ; Our faith is firmly fixed in heaven above. We druids know the truth, and I demand A meeting with this wizard face to face. But most grieves me the readiness to hear Strange doctrines, and the license to protect Strange wizards, in the east and in the south. Oh, let us keep our Irish faith intact! What matter if we fight and burn and slay In civil conflict if we keep alive Our tribal feuds that nourish Irish wit And Irish courage just so long as we [40] ST. PATRICK AT TARA Worship the same gods, utter the same prayers, And cling together to our fathers' faith! So keep our Ireland without stain or taint The land of druid faith and druid saint. [The BREHON OF ORIEL steps forward and sings the Song of Ulster. THE BREHON OF ORIEL (singing) What is my faith ? 'T is the faith of my fathers. Who are my gods, then ? The gods ever true. What do I worship ? The sweet face of nature, Changing each day, ever old, ever new. Who are my priests ? The most holy of druids. What do they ask for ? Obedience and prayer. What do they give me ? Pure rest and contentment, Comfort in trouble and solace from care. Where do I dwell ? In the bleak land of Ulster. Why do I love her ? She's barren and cold. What is her charm ? She inspires my devotion, Home of religion that's richer than gold. \While the BREHON OF ORIEL is still singing, the CHIEFTAIN enters, and advances, looking around him, while the others are intent upon listening. Attention is drawn to him; the KING OF LEIN- STER, who does not take much interest in the song, is the first to notice him. THE CHIEFTAIN (looking round, dazed) Whence comes this multitude of ghosts of men ? Why sings one man ? Why listen all the rest ? (to himself) Do they not know that all things are a dream ? [41] THE GROVE PLAYS OF THE BOHEMIAN CLUB That gladness vanishes and that dire fate May in a moment drown their joy in death? THE KING OF LEINSTER Who 's this intruder ? By his garb a chief, With mind distraught, a victim of great grief. THE BREHON OF MEATH (after whispering to the HIGH KING) Who art thou, man of sorrow ? Who art thou, Victim of Care ? The High King fain would know Thy purpose and thy aim in coming here, Where Ireland's chiefs are met on Tara's hill ? THE CHIEFTAIN (rousing himself and looking round) The High King! Ireland's chiefs and Tara's hill! What! These are men with eyes to see and hearts To suffer! They shall hear my winged words, And, while I rend their breasts with my sad tale, Perchance I shall find solace in my own. THE BREHON OF CONNAUGHT (at a glance from his king) What have these ravings got to do with us ? Why stops the council from the stated work ? My lord demands that business be resumed. THE CHIEFTAIN (pulling himself together) Ravings, indeed, and business forsooth! What stated work should Ireland's chiefs engage More than consideration of foul crime And horrid murder of defenseless babes ? [THE BREHON OF CONNAUGHT tries to cover his king; the KING OF ULSTER, his BREHON and DRUID look fixedly at the CHIEFTAIN; the KING ST. PATRICK AT TARA OF MUNSTER shakes his head and takes a drink; the KING OF LEINSTER farts his men and pre- pares to step down. THE HIGH KING Speak, chieftain ; Ireland's council is prepared To listen to the tale thou hast to tell. THE KING OF LEINSTER (coming down and placing a hand on the CHIEFTAIN'S shoulder) High King, I recognize this man at last, A happier, braver chief there never lived Till care and sorrow came across his path. THE CHIEFTAIN Sorrow and care, aye, care and sorrow deep Change all the aspect of the outer man, And blight his face without, his heart within. [He steps forward quickly and throws off the KING OF LEINSTER'S arm. Listen, ye men of Ireland ! I was once The happiest of men: I had a home Where sorrow never entered; and a wife, Fairest and sweetest of our western maids. Cattle I had; enough of simple wealth; Followers who loved me and who loved my jests; And, best of all, two lovely, smiling babes A boy, who had his mother's eyes and hair, And just began to prattle sweet, fond words; A girl, a little blossom, six months old, Who still was wondering at the strange new world. My days were spent in hunting and in war; My lord, the King of Connaught, loved me well; [ 'There is a movement among the men of Connaught. [43] THE GROVE PLAYS OF THE BOHEMIAN CLUB Td played with him in childhood, and he knew My loyalty and courage, and full oft Too oft, so well I loved my own dear home He bade me to his palace, where my wife And I were honored over other guests. [He looks around to see the impression he has made. THE KING OF ORIEL On with your tale. THE KING OF MUNSTER It makes me very dry To hear so long a story. [He drinks. THE KING OF LEINSTER But how ends This life of bliss and happiness below ? THE CHIEFTAIN (striking an attitude) One morn I started on a hunting trip With all my men, and as we ran along We sang and shouted loud for very joy. When we returned at eve, we found my home Burned, and my cattle gone; and my two babes Lying amidst the women's corpses, where The signs of strife were thickest, and their blood Sprinkled the ruins; and my baby girl Lay with her brains dashed out against the wall. Hearing his moans, we traced my baby boy, Wounded but breathing, and he from my arms Looked up for aid I could not give to him, Until he died. My wife, I knew, would not have left her babes Had life been in her, so we searched and searched Among the corpses, but 't was all in vain, [44] ST. PATRICK AT TARA For horror worse than death was kept for her. Next morn there struggled to my ruined home, Sore wounded by the effort she had made, A little slave girl, who the dread tale told Of how strange men had dragged my wife away; Of how their leader but I cannot tell The shameful story her strength failed at last Maddened at the resistance she had made, He slew her, after he had had his will, And threw her body in a mountain lake, That I might never see her face again. Since then I have wandered ever far and near Imagining the horror of that scene, And conjuring up the faces of my dead. THE HIGH KING And this was done in Ireland. Such a crime Pollutes the very ears of those that hear. THE KING OF MUNSTER Give him to drink; let him forget his woes. [The BREHON OF MUNSTER goes to the CHIEFTAIN with tbe cup; the CHIEFTAIN gently repulses him. THE CHIEFTAIN Forgetfulness cannot be thus attained. THE KING OF ORIEL Pray to the gods, man, who alone can give Peace and repose ; perchance, for thou art young, Another white-armed wife may give thee joy. THE CHIEFTAIN I want no other wife. I want mine own My very own, the wife of my young days ; [45] ST. PATRICK AT TARA I want to see my children once again Can your gods ever give them back to me ? \fThe KING OF LEINSTER during the CHIEFTAIN'S recital has been watching the faces around; he has observed the conscious looks of the men of Connaught; he has observed the sullen grin on the KING OF CONNAUGHT'S face; and he has guessed the truth. He now places his hand again on the CHIEFTAIN'S shoulder. THE KING OF LEINSTER Hast thought of vengeance, man ? Who did this crime ? THE CHIEFTAIN Vengeance? But who should wish to injure me? No man could ever wish to injure her? She was so good. And who had heart to hurt My little children, innocent and sweet ? It must have been the gods or fiends from hell. Trouble not me with vain imaginings! [The KING OF LEINSTER gently turns the CHIEFTAIN round and points to the KING OF CONNAUGHT, who is grinning at the scene. THE KING OF LEINSTER Look there! [The CHIEFTAIN catches his meaning and grasps the truth. THE CHIEFTAIN What! Can my king have done this thing? My old, my trusted friend, with whom I played In childhood's days who honored me and her! I'll tear his life from out his grinning soul! Let me have vengeance. [46] ST. PATRICK AT TARA [The CHIEFTAIN rushes at the KING OF CONN AUGHT with his knife drawn; the latter continues to grin sardonically; the CHIEFTAIN rushes up the steps of his throne; the BREHON OF CONNAUGHT re- ceives the blow and is wounded, but he throws himself on the CHIEFTAIN and saves his king. The CHIEFTAIN is secured; at a sign from the HIGH KING, the KING OF LEINSTER takes charge of the CHIEFTAIN, and some of the men of Leinster headed by the BREHON OF LEINSTER, bustle him off the stage. As the excitement sub- sides the first notes are heard from the top of the hill, and PATRICK appears with his procession, consisting of the escort under the STEWARD, the CRUCIFER and eight Missionaries. The crowd below turns and looks at the descending proces- sion; the followers of PATRICK chant the first three verses of the Raster hymn, the "Pange Lingua" When the procession reaches the foot of the hill, PATRICK, his CRUCIFER and the eight Mission- aries, come forward into the open space before the thrones while the rest of the escort falls back. THE STEWARD This is the man, High King, who lit the fire. We found him making a strange sacrifice, Clad in strange raiment, with these followers, Chanting strange incantations, and we brought Him hither straightway, as the order ran. THE BREHON OF MEATH (to PATRICK) Who art thou ? What thy name ? And thy degree ? PATRICK Hither I come to preach the cross of Christ. [47] THE GROVE PLAYS OF THE BOHEMIAN CLUB Sucat my British, Patrick my Roman name. Britain my birth place, where my father was A Roman citizen of high degree; A Roman magistrate in place of trust; A Christian deacon active in the church. Myself in boyhood Irish pirates seized And sold to slavery in far Connaught. Six years I served my master, tending flocks And eating bitter bread of bondage, THE KING OF CONNAUGHT (interrupting) What! A slave from Connaught! Then I claim this man. Give him to me. He '11 trouble us no more. THE KING OF ORIEL A slave from Connaught! As I heard the tale, This Patrick was the slave of old Miliucc In Ulster, and upon returning there, After long absence, brought down fire from heaven To burn his ancient home of servitude; Or, as some say, Miliucc destroyed himself After the landing of his former slave. PATRICK It matters not. For six long years I toiled, Exile from Britain, lost to kith and kin, Far from the empire of immortal Rome, Hearing no church bell in a heathen land, Where my soul starved for lack of sacred food. And then I fled THE KING OF CONNAUGHT (interrupting) A slave escaped from me! [48] -*;| 2 9 **^ ; W :? o & < o nS ST. PATRICK AT TARA Give him to me. High King, I '11 deal with him. PATRICK (ignoring the interruption) I found a ship upon the Leinster coast. Laden with Irish wolf-hounds ; thanks to God, The sailors rough received the fugitive. Led by His hand, I traversed stormy seas And desert lands until in Southern Gaul My soul found rest in Lerins' holy isle. Rude and uncultured was I ; all the years Most fit for study and for learning's joys In servile labors had been spent; and I With toilsome effort learned to read and write. But, as I grew to manhood, more and more God called to me in a peculiar way, And in my dreams He oft reminded me Of Ireland and of her light-hearted sons, Whose merry jests and kindly spoken words Had eased my many years of servitude. A kindly people, but without the faith And without knowledge of the Most High God, And of His Son, who died upon the cross. But, most of all, in dreams there called to me The little unborn children of Fochlad, Doomed not to know the gospel of the Christ, Nor hope for their salvation. I resolved, Poor and unlettered though I was, to preach The gospel to them, for their little hands Tugged at my heart strings. THE KING OF ORIEL Truly this man's tale Affects me as a tale of simple truth. THE DRUID OF ORIEL But see you not, my lord, that he attacks [49] THE GROVE PLAYS OF THE BOHEMIAN CLUB Ireland's religion, while he moves your heart. THE KING OF CONNAUGHT He is my slave; give him to me, I say. PATRICK (unmoved) So I resolved to preach the gospel here ; And hence from Ireland drive the demons forth That druids call to batten on mankind. It happened that the Christians in this land, The few that live as slaves in the far south . . . THE KING OF MUNSTER These are the Christians that I spoke about. \He smiles and drinks. PATRICK Were sheep without a shepherd, and they fell Into Pelagian heresy, so that Peter's successor, bishop of great Rome, . . . THE KING OF LEINSTER I thought the hand of Rome would soon be seen. Although her empire vanishes on land, Through this new faith she now rules o'er men's souls. We Leinster men know much of Roman might. PATRICK (patiently and courteously) Peter's successor sent a bishop forth To visit the neglected Munster flock; Palladius was his name ; last year he came, But died before his mission was fulfilled. THE KING OF LEINSTER We heard of him in Leinster, where he died ; A harmless preacher of a harmless faith. [50] ST. PATRICK AT TARA PATRICK And then the Lord chose me, the former slave, To do His bidding and to travel here To found His church in Ireland, and to preach Christ crucified upon the cross to you. THE BREHON OF MEATH Why did you light the fire on Beltane's feast ? Do you not know the law which makes it crime. PATRICK The law I knew ; the prophecy likewise. And, since I come to drive the demons forth And break the druid power, I challenged thus Their ancient custom, and defied their wrath. It happened further that this morning was The Easter morn, and on this holy day We Christians celebrate the paschal feast Which Christ, our Lord, founded before His death, In the full robes a Christian bishop wears I did mine office; as the fire I lit, A little flame, it shot up to the skies And reddened all the heavens, thus showing well The challenge I intend to issue forth. And now, High King, most mighty Laogaire, Son of great Niall, I am eager to contend With all the druids, and to show that Christ, My Master dear, who died upon the cross, Has sent me here to save your souls from hell. Give me the chance to prove my God is truth. THE KING OF CONNAUGHT Give me the slave; I'll slay him and his band, And we can feast and revel till the dawn, Without the need of further listening. THE GROVE PLAYS OF THE BOHEMIAN CLUB THE KING OF ORIEL Nay; I would hear the words he hath to say: Though how a god, who died upon a cross, Can be a god of truth is hard to see. THE DRUID OF ORIEL Disgrace it would be, after this fierce speech, Not to take up his challenge and to show How weak his power against the druid faith. PATRICK Ready I stand for challenge or for death A martyr's death would be for me a crown. THE KING OF LEINSTER For my part I would see this Roman priest Fight 'gainst the druids with his magic spells. [PATRICK moves forward to speak. THE BREHON OF MUNSTER My master bids me say that he demands The council do adjurn until such time, As, having feasted well, we may decide What steps to take; a dry and thirsty man Cannot do justice or even keep awake. THE KING OF ORIEL It is, besides, our Irish fashion old To give due thought upon such questions twice In morning light and after midday feast. THE BREHON OF MEATH My lord, the King, decrees that we adjourn. He has prepared a mighty feast for all, And bids all be his guests. After the feast We will our wonted revels hold, and spend ST. PATRICK AT TARA The hours in pleasure ; then, when evening comes, We shall return and settle this dispute For wisdom's part is to do naught in haste, But settle all things after due debate. THE HIGH KING Welcome are guests to Tara's banquet hall. Steward, take charge of Patrick and his band. Music, strike up ! we'll march to our repast. [The Retainers sing the Chorus of Retreat. CHORUS Let us march with joy and singing, Revel high to hold ; Let us keep the hillside ringing, As was done of old ; For all Ireland's life we cherish, 'Neath our holy hill ; Now may wrath and discord perish ! Ireland a nation still! \_The five processions march off in the same direction , singing; the HIGH KING closing the march. As the Kings pass PATRICK they regard him with anger, contempt, interest, sympathy or dignity, according to their respective characters. As the music dies away, PATRICK turns to his followers, the Cross is raised, the first verse of the "Pange Lingua" is chanted, and the Missionaries are led away by the STEWARD. INTERMEZZO [53] SCENE II same as Scene I. 'The evening of the same day. [The STEWARD OF THE HIGH KING, the four Servants and the Retainers of the HIGH KING enter bear- ing torches. THE STEWARD Now that the feast is o'er, the revels closed, The chiefs will soon return, and I must go To bring forth Patrick and his followers To plead their cause before the Irish kings. (to the Servants) Arrange the torches so that all may see, And make the evening seem as bright as day. \fthe Retainers arrange torches and light braziers. 'The STEWARD goes out. Noise heard without. FIRST SERVANT Here come the revellers ! Right in their midst The jolly King of Munster and his friends. SECOND SERVANT The good cheer that a feast at Tara gives Has made all merry and not least the King. \To the sound of music the Retainers of the various kings enter tumultuously ', led by the DRUID OF LEINSTER. After them^ comes the KING OF MUNSTER, supported by his BREHON and DRUID. He is heavily intoxicated and is led to [54] ST. PATRICK AT TARA his seat. In the midst of the crowd is seen the KING OF CONNAUGHT, fighting drunk and guarded by his BREHON and DRUID until he too reaches his seat. When the music closes all is in picturesque confusion. FIRST SERVANT A song! A song! Let 's have a song from Munster. SECOND SERVANT The Munster men have always drunk the most And sung the best of all true Irishmen. A drinking song from Munster, I demand. \fThe Retainers cry, "A song!" "A song!" "A song from MUNSTER!" The DRUID OF MUNSTER looks at his King, and receiving a nod of assent, helps the BREHON OF MUNSTER down from his seat and pushes him to the center of the space before the thrones; the Druid then climbs stagger- ing to his seat by the King. ^The Retainers gather round the BREHON OF MUNSTER, who sings a Drinking Song. THE BREHON OF MUNSTER (singing) Old Ireland 's the land of song and dance, The land where the stranger may see at a glance That good liquor mellows our hearts and our brains, In a way that no foreigners' liquor attains ; For it ripens and lightens and frees us from care, It banishes sorrow and drives out despair; Then let us step quicker, There's no other liquor, With ours can at all compare! CHORUS The chiefs return will call us away from our jollity, [55] THE GROVE PLAYS OF THE BOHEMIAN CLUB So fill your cups and give yourselves up to frivolity, We '11 drink till we wink and blink and sink. Like Irishmen unafraid. THE BREHON OF MUNSTER Old Ireland 's the home of wit and fun, Where welcome is given to every one, Who takes in good part both the laugh and the jest, And never bears malice or wrath in his breast. It 's the land where good fellowship breathes in the air, And all men are ready their fortunes to share ; Though friends may be many, There cannot be any, With ours caji at all compare! CHORUS The chiefs return, etc. THE BREHON OF MUNSTER Old Ireland has many a chief and sage, Whom our taste for good liquor does often enrage ; They blame the good "Creature," and lecture, and scold, Forgetting it makes us all reckless and bold ; It excites our wild natures with courage so rare, That an Irishman 's ready all perils to dare ; There may be feet lighter, But there 's not a fighter With us can at all compare! CHORUS The chiefs' return, etc. \As the song ends and the BREHON OF MUNSTER goes back to his seat, some of the Retainers go to their places, ^he KING OF LEINSTER enters , smiles indulgently on the scene and goes to his throne. 'The KING OF ORIEL enters with his [56] ST. PATRICK AT TARA BREHON and DRUID; be sadly shakes bis bead at tbe scene of tumult and goes to bis seat. The four Servants and some of tbe Retainers bave not perceived tbe entrance of tbe Kings and move about excitedly. FIRST SERVANT A dance! A dance! What's song without a dance! SECOND SERVANT As Ireland has her songs, she has her dances, Unrivalled in their merriment and grace. Come, let the best among you dance for us. \_Eigbt young men two eacb from Munster, Ulster, Connaugbt and Leinster step forwardand begin to dance. When the music ends and during the applause that follows , the HIGH KING enters with the BREHON and DRUID OF MEATH, conducted by the STEWARD. He smiles at the scene and goes to his seat. The Retainers settle to their places. THE BREHON OF MEATH (raising bis voice) The time for revelry has now expired. The High King bids that silence be proclaimed. [There is a gradual settling down of the crowd under the urging of the STEWARD, The KING OF MUNSTER and the KING OF CONNAUGHT fall into drunken sleep. But after their drinking, dancing and revelling, tbe Retainers can not en- tirely settle down at once. The High King begs our sacred singer here, Druid of Erin, now to sing the song Which cheers the hearts of loyal Irishmen More than the utterances of drunken joy. [57] THE GROVE PLAYS OF THE BOHEMIAN CLUB \be DRUID OF MEATH steps forward and sings the Song of Erin. THE DRUID OF MEATH (singing) Dear is the island, the land of our mothers, Dear is the land where our forefathers died; Dear is the country where all men are brothers Great is our love for her, great is our pride. Love for her meadows fair, Love for her mountains bare, Love for the marsh-land and love for the glen. Pride in her gallant sons, Pride that each heart overruns Land of pure women and land of brave men. CHORUS 'T is Erin, dear Erin, The green isle of Erin, The island of Erin, that all of us love; We 'd fight for her honored name, We 'd die for her righteous fame The island of Erin that all of us love. THE DRUID OF MEATH Though we are ready to anger each other, We quickly forgive when the harsh word is by; But if Erin 's insulted by one or another Gladly we 'd fight for her, gladly we 'd die: Fight for her ancient laws, Fight in her freedom's cause, Fight for her over and over again, Die for her honored name, Die for her righteous fame The land of pure women and land of brave men. [58] ST. PATRICK AT TARA CHORUS T is Erin, dear Erin, etc. \_While the last chorus is being sung, the STEWARD, who has left during the song y returns conducting PATRICK and bis followers, who take up a position in the center of the space before the thrones, the CRUCIFER holding up the cross. At the same time, the BREHON OF LEINSTER brings in the CHIEFTAIN, who seats himself moodily below the KING OF LEINSTER, alternately glancing fiercely at the KING OF CONNAUGHT and brooding in melancholy fashion. The council settles itself. PATRICK faces the HIGH KING. THE BREHON OF MEATH Now we will listen to the argument Made to us by this former British slave. (to PATRICK) The High King bids you speak, but bids you fear How you insult belief in holy things. The druids here will quick refute your words, Unless you prove the truth of what you say. PATRICK I come to tell you of a living God. I come to tell you of His son, who died Upon the cross, to cleanse you of your sins. I come to tell you of a faith that spread O'er all the world of men a faith that spread Despite of persecution and the death Of many martyrs: until Rome herself, Head of the world, drove out her native gods And those she borrowed from the mystic East Isis, the mighty mother, Mithra, all And worshiped humbly at the cross of Christ. [59] THE GROVE PLAYS OF THE BOHEMIAN CLUB The Roman Empire, which includes the bounds Of all the civilized world, is Christian now, And hopes this distant island, which refused To bow to Roman strength, will recognize And seize on Roman wisdom THE KING OF LEINSTER (interrupting) What said I? When first this man spoke to us I declared It was a scheme of Roman statesmen wise, Who could not conquer Ireland, to ensnare Her valiant peoples into bondage deep. (to PATRICK) We do not want your Rome, your Roman peace, Your Roman roads, your Roman laws, and all That makes your Roman Empire, for we love Our Irish freedom and our Irish chiefs. Britain has lost its heart, and holds out hands In suppliant prayer for help when we invade, And cannot help herself; and we will not Give up our ancient gods, if that implies End of our freedom and our liberties. We Irishmen are free and will obey None but our native princes and our laws. PATRICK Alas, my lord, I did not mean to rouse So great a storm of protest, but I say That without settled peace and settled laws, Such as Rome gives its subjects, none can hope That Ireland ever will her freedom keep. Unless she rules herself, and she unites Her chiefs and peoples in a common bond Of civil wisdom in a mighty state, Dissensions fierce will tear her chiefs apart [60] ST. PATRICK AT TARA And make them subject to a foreign race. Whose hand will heavier be than that of Rome. But, let us not waste time in vain debate; My gospel teaches true obedience To chiefs and kings, and ever to repay To Caesar what is Caesar's. Let me now Turn rather to the law of temperance. The Irish nature, in its love of life, Rejects restraint and bubbles o'er with joy Or sadness ; ye refuse to limit cheer, And in excess find all your merriment, Just as to sudden wrath ye give yourselves, Or sudden grief. Look around you now, my lords, And see the heavy stupor which has come Upon the wild, rejoicing, shouting crowd Which filled this place a little hour ago. My gospel teaches temperance, and would Drive from your land the curse of drunkenness. THE KING OF MUNSTER The curse of drunkenness ! Come, my good man, You know not what you say. Take a deep draught, (offering cup) And you will not repeat those foolish words. The gods gave us good liquor, and with it Forgetfulness of sorrow for a while, And brilliant dreams which banish heavy care; And make the poor forget their poverty, The sick their sickness, and the sad their grief. PATRICK (smiling) But when the waking comes, and the dreams end In horrid visions of fantastic shapes Of snakes, and bats, and crawling, grinning toads. Then do you think of holy temperance [61] THE GROVE PLAYS OF THE BOHEMIAN CLUB And promise to abstain till the next time Temptation tries your will. I promise you. That if you sober be and quite abstain From liquor, you shall never harbor snakes In Ireland, for I will them straight expel. THE DRUID OF MUNSTER Abstain from liquor, give up the best gift The gods bestowed! If it be such a sin To drink good liquor, wherefore does the earth And fruitful nature let the liquor be And with it grateful thirst to savor it ? If this thy teaching be, then I remain True to the ancient gods of tolerance And kindness to the weakness of mankind. [He drinks. PATRICK A God of chastity I bring to you ; A God of peace on earth, who would put down The cruel wars which ravish Irish lands And wreak such havoc among Irish folk. I preach a God who hates the murderous And savage customs of your tribal wars, And would make Ireland, 'neath his gentle sway, A fertile and a smiling land of peace. THE KING OF CONNAUGHT (abruptly) Peace didst thou say ? Ireland, a land of peace! Why Irishmen love fighting most of all; We joy in battle, and the strongest man Gets women, cattle, and the ripe rewards Of valor ; and, for my part, I despise Your prating talk of peace and chastity. PATRICK (indignantly) I argue not with vile and vicious men, [62] ST. PATRICK AT TARA Who make parade of passions and who speak In sneering, boastful words ; for such as you My God provides a hell of fire and flame, Worse than your false gods ever did conceive, Or their false priests, the druids; and we all Should suffer in eternal hell, had not The Son of God himself come down to earth, And died a shameful death upon the cross, To save all those who do repent their sins And trust in Him. THE KING OF ORIEL Did your god live on earth And die a shameful death ? Then those who slew Were mightier than he. A hero god, As some we worship, or sweet Nature's self, Never can die, but, oft renewing life, Gives signs to us of life beyond the grave. The trees above us speak of Nature's god ; Their soaring height that ever seeks the sun Draws our eyes upward, when we would adore ; Their length of years and calm, majestic growth Rebuke our petty love for earth-born days. What sort of hero was your Son of God Who lived on earth and died ? PATRICK No warrior he; A man of sorrows, who loved all mankind And with his life atoned for all their sins. THE KING OF ORIEL Worship a dead man, that I cannot do. Our gods are young and beautiful, or else Aged and splendid; and to us they are The mysteries of life and death ; they show [63] THE GROVE PLAYS OF THE BOHEMIAN CLUB In each returning year fair Nature's work Upon the earth, or else explain the strange And haunting fancies of the minds of men. Shall we renounce them all and in their place Take the pale shadow of a god that died, And could not save himself? THE DRUID OF ORIEL But worse than all, For this dead man we 're asked to throw away Our fathers' faith, that faith which we have held Throughout the life of Erin, which has made Erin the last home of druidic lore, Where, free from Rome and free from foreign foes, The ancient worship has been firmly fixed. (to PATRICK) What can you give us in exchange for this ? What consolation for abandonment Of what our fathers taught, our mothers loved ? PATRICK (solemnly) Immortal life I promise to all those Who trust in God and in His only Son, Who died upon the cross immortal life In heaven, where all believers, after death, Shall see His face, and praise and bless His name. But for the wicked and those who refuse To hear His gospel, I most solemnly, As priest of God and bishop in His church, Declare eternal punishment in hell, Where flames shall torture, and where, worst of all, They ne'er shall look upon the face of God. THE HIGH KING But, Patrick, is this fearful fate prescribed ST. PATRICK AT TARA For those, who never had the chance to hear Your teaching, for the little unborn babes, Like those of Fochland, whose sweet memory Made you come hither, or for those of old, Who lived and died in the druidic faith, Our fathers and the heroes of the past ? PATRICK (troubled) Most High King, son of Niall, great Laogaire I know not how to answer. I 'm unskilled And quite unlearned, so I leave to God The solving of such problems as you set. I know that God is mighty and is just And do not fear to leave to Him the fate Of those who have not heard His blessed word. THE HIGH KING I can not leave my question. You must tell The answer. Could I bear to be in heaven, The heaven of Christians, while my father lay In torture of such flames as you describe Burn in the Christian hell, or would I choose To spend eternity in any place, Where great Cuchulainn, Ireland's hero famed, Is not revered? Answer that question straight! PATRICK The God, whom I adore, to whom I pray Shall answer the appeal. O God on high! (ecstatically praying) Help Thy poor servant to uphold Thy cause And give a sign from heaven, that these great kings, These chiefs of Ireland, may Thy power behold And come to trust in Thee, the living God, And in the mercy of Thy blessed Son. [65] THE GROVE PLAYS OF THE BOHEMIAN CLUB [PATRICK raises bis bands; bis followers sing four lines of the "Veni Creator '; all follow the direc- tion of PATRICK'S eyes; he makes a gesture of command. PATRICK Appear Cuchulainn, appear, appear, In such guise as thou lived'st upon this earth, [Music is beard and the APPARITION OF CUCHULAINN, in ghostly gray apparel with a long lance in his bandy comes mysteriously into view. 'The KING OF MUNSTER is terrified, as are the Retainers of all the Kings; the DRUIDS are unembarrassed; the KING OF CONNAUGHT grins; the KING OF LEINSTER smiles sceptically; the KING OF ORIEL is interested; the HIGH KING rises from his seat; the CHIEFTAIN, who has now come up to PATRICK, does not look at the APPARITION, but gazes into PATRICK'S ecstatic face. PATRICK (triumphantly) Praise God for all His mercies. (to the APPARITION) Who art thou ? THE APPARITION I was Cuchulainn. God sent me here. THE HIGH KING Art thou indeed Cuchulainn, dead long since, And passed into the spirit world ? THE APPARITION I am. [66] ST. PATRICK AT TARA THE KING OF ORIEL At whose command came'st thou to meet us here ? THE APPARITION By God's command, His servant Patrick's word. THE KING OF LEINSTER 'T is magic brings that vain appearance here. (to PATRICK) 'T is clever magic by a wizard wrought. Better than ever druids tried to do. (to bis Retainers) Go up and see the nature of the spell. [Some of the Retainers of Leinster and a few others begin to climb tbe hillside. PATRICK and the APPARITION pay no attention to the skeptical king. THE DRUID OF ORIEL If thou art the Cuchulainn that we praise, Whose deeds we sing in Ulster, where the songs Of the Red Branch are written to thy fame, Tell all these waiting souls the druids' truth And scorn to answer to this wizard's words. PATRICK (slowly) Spirit of eld, the High King, Laogaire, Will not believe in God the Father's love, Nor in His Son, nor in the Holy Ghost, And will not hear my word, until he knows Whither thy spirit fled upon thy death, For he desires to be where thou dost rule. THE APPARITION Great was my courage, hard as was my sword, Yet down to hell my soul was carried off THE GROVE PLAYS OF THE BOHEMIAN CLUB To suffer in red fire. PATRICK Oh, tell the king, Oh ! tell King Laogaire, tell all within The hearing of thy voice, that God is good And does but seek the soul of men to save. Tell him to look for mercy and to pray That they may meet each other in the heaven Thou may'st not enter. THE APPARITION (to the HIGH KING) Listen, thou, to me And save thy soul from death by heeding well The message of the servant loved of God, The Bishop Patrick. [The APPARITION vanishes and there is silence for a moment. THE KING OF LEINSTER Did I not say true That this was clever magic ? THE CHIEFTAIN (at last making up his mind to speak) Did I hear That we could meet each other after death ? PATRICK Yea, weary soul, God's grace is infinite, And He loves all His creatures, great and small, And would not have them perish. Who art thou ? A chieftain by thy garb, but sad at heart, Unless thy looks belie thee. THE CHIEFTAIN Thou say'st right, [68] ST. PATRICK AT TARA A man unhappy, who in one short day Lost all that makes life worth the living; all The joy went out of me the day I lost My wife and babes; they died; and I am left Alone with grief. PATRICK Alas ! poor suffering soul ! Look on the cross, for He who died thereon Bore all for you and sent His minister To comfort and sustain you. Oh, believe! And thou shalt see thy loved ones once again. THE DRUID OF ORIEL (furiously) This false magician is making converts now. Look how he stoops toward him and entreats His listening ears! Look how the stupid crowd Is filled with pity and forgets this rank And wicked blasphemy against the gods. I cannot bear it. \he KING OF ORIEL tries to check bim, but be throws off his hand. And I'll send him straight To see what sort of life is after death. \he DRUID OF ORIEL rushes furiously at PATRICK, but the CHIEFTAIN intercepts the blow and is struck down. The DRUID drops bis knife. 'There is general excitement. he KING OF LEINSTER pushes forward. Even the KING OF MUNSTER rises from bis seat. Only the KING OF CONNAUGHT continues to grin sardonically. *The STEWARD tries to restore order. 'Tbe KING OF ORIEL seizes bis DRUID. PATRICK Look up, my son, look on the cross of Christ. THE GROVE PLAYS OF THE BOHEMIAN CLUB THE CHIEFTAIN And I shall see my loved ones once again. I do believe, I must believe in Christ. Help me, my father; set me on the road That leads to Christian heaven. Tell me the way. PATRICK Forgive, that thou may'st truly be forgiven ; Forgive thine enemies. THE CHIEFTAIN Yes, all except The King of Connaught. I cannot forgive The King of Connaught. PATRICK Look, my son, upon The cross, and think what Christ had to forgive. [The CHIEFTAIN grows weaker , and is supported with difficulty by the KINGS OF ORIEL and LEINSTER; the HIGH KING comes down from his seat with his DRUID and BREHON. The KING OF CONNAUGHT comes down closely surrounded by his Retainers > fear ing violence. THE CHIEFTAIN Him also I forgive. . . . But I lose strength. My eyes are growing dim. I cannot see The cross of Christ. [The CRUCIFER holds it before him. Father, I cannot see The cross of Christ. . . . Shall I be shut outside The gates of heaven ? Make me to see the cross, For I must meet my wife and babes again. [70] ST. PATRICK AT TARA PATRICK (deeply moved) This, my first convert, gives his life for me. And can I not a miracle perform To aid his dying sight? If God could bring A ghost from hell, at my beseeching Him, Will He not listen to my prayers again, And set the symbol of salvation high Upon the Hill of Tara, as a sign That God has come to Ireland to remain And make this favored land the Isle of Saints. [PATRICK blesses the CHIEFTAIN, then falls on his knees , and looks ecstatically up the hillside. 'The "Veni Creator" begins , the torches go out and a great white cross appears far up the hillside; all except the HIGH KING and the five DRUIDS fall on their knees; the CHIEFTAIN staggers to his feet, sees the cross and falls back dead. As the "Veni Creator" finally closes^ the followers of PATRICK carry out the body of the CHIEFTAIN, ^he music ends) the cross disappears and the hillside is illu- mined as all slowly withdraw. [71] NOTES Page 30. // seems to come from Slaney, just across The valley y "The distance of Tara from Slaney is about ten miles." (Bury, p. 104, note.) Page 38. 'The valiant men of Leinster oft have shown That Laogaire is King in name alone. On the wars between Laogaire and Leinster; see Bury, p. 353. Page 43. Sucat my British, Patrick my Roman name. Britain my birth-place. On the names of Patrick; see Bury, pp. 23, 291. On his birth-place; Idem, pp, 322-325. And sold to slavery in far Connaught. On the place of Patrick's servitude; see Bury, pp. 27-30, 334-336. Page 50. But died before his mission was fulfilled. On the mission of Palladius to Ireland in 431; see Bury, pp. 54-58, 342-344. Page 66. The apparition of Cuchulainn. "In the "Phantom Chariot of Cuchulinn" it is related that Patrick went to Tara to enjoin belief upon the King of Erin, upon Laoghaire, son of Nial, for he was King of Erin at the time, and would not believe in the Lord, though he had preached unto him. 'By no means will I believe in thee, nor yet in God,' said the heathen monarch to the saint, 'until thou shalt call up Cuchulinn in all his dignity, as he is recorded in the old stories, that I may see him, and that I may address him in my presence here ; after that I will believe in thee.' Upon this St. Patrick conjured up the hero, so that he appeared to the King in his chariot as of old. . . . [73] THE GROVE PLAYS OF THE BOHEMIAN CLUB TWORDS OF CUCHULAINN TO KlNG LAOGAIREl LITERALLY TRANSLATED FROM THE IRISH. J "My little body was scarred With Lugaid the victory: Demons carried off my soul Into the red charcoal. "I played the swordlet on them, I plied on them the gae-bolga; I was in my concert victory With the demon in pain. "Great as was my heroism, Hard as was my sword, The devil crushed me with one finger Into the red charcoal." "The tale consistently enough concludes that 'great was the power of Patrick in awakening Chuchulinn, after being nine fifty years in the grave.' " The Literature of the Celts: its History and Romance, by Magnus Maclean, M. A., D. Sc. pp 171, 172. London, Glasgow and Dublin, 1902. [74] NOTE ON THE MUSIC BY WALLACE A. SABIN THE PRELUDE to "St. Patrick at Tara" opens with a long sustained note on the double basses with a sug- gestion of the St. Patrick theme or Veni Creator played by the 'cellos later by the brass and wood-wind: This theme is heard again toward the close of the Pre- lude, scored for full orchestra, signifying the triumph of the Christian faith over that of Nature-worship. After forty bars, another theme is heard on the wood-wind, accompanied by muted violins, which is intended to sug- gest the beauty and peace of nature: At a certain point this is interrupted by a succession of chromatic chords ending in an abrupt stop, which is in- tended to suggest the tragic end of the Chieftain. This is followed by a few sustained chords on the low notes of the [75] THE GROVE PLAYS OF THE BOHEMIAN CLUB wood-wind, suggesting gloom and despair which, however, soon give place to a religious atmosphere which gradually increases until the Veni Creator theme is triumphantly announced by the full orchestra and gradually diminish- ing to a pianissimo ending. Early in the play, after an introduction of fourteen bars, the King of Leinster enters with his retainers who sing in unison: fcfc=? TTT7 fP f This is followed by the other kings and their escorts each singing in turn and finally uniting in singing "Ireland a Nation Still." The next entrance is that of Patrick and his mission- aries who chant the Easter hymn, Pange Lingua: At the close of Scene I the march is again heard and is taken up by the chorus who sing as they make their exit. The Intermezzo is intended to prepare the audience for the revelry with which Scene II opens. After an intro- duction of sixteen bars, the following theme is announced on the clarinet accompanied by pizzicato strings: [76] ST. PATRICK AT TARA J H=^- i i \ r < fv r * i i 4- " f J it 1 $ i _i _ !Uu A rollicking theme brings on the revellers and also serves to introduce a jig Later on, at a signal from Patrick, the missionaries chant the Veni Creator , unaccompanied: - -HV ^S This is followed by a few bars of orchestral music built on the same theme, which is played during the appearance of the Apparition of Cuchulainn. The finale is also constructed on the above theme begin- ning very softly and finally swelling into a triumphant burst of praise. [77] THE GROVE PLAYS OF THE BOHEMIAN CLUB During the play four songs (two with chorus) are sung. The following are fragments of the themes: THE SONG OF CONNAUGHT 'His - -tfevv\ t THE SONG OF ULSTER THE SONG OF ERIN DRINKING SONG .1.. . . ._!_ J. ) i,i [78] NOTE ON THE COSTUMES BY PORTER GARNETT IN DEVISING costumes for a play dealing with Ireland in the fifth century one is confronted with a discouraging paucity of data. The ordinary books on costume give only certain generalizations on "Celtic" costume, and numerous books on Irish archaeology, at first consulted, were either entirely silent on the subject of dress, or yielded informa- tion as vague as it was meagre. Working from analogy in Celtic costume is not wholly satisfactory in that the abundant evidence we possess of design distinctively native in ornaments and implements among the ancient Irish would seem to connote character- istics equally underived in their dress. Further research proved this to be the fact. The most important consideration in designing costumes for the stage is to suggest through them the attributes of the characters represented and to aid in expressing visually their emotional content. Archaeological accuracy is of value only as a working basis; if carried out with scrupulous exactitude, it leaves no room for the exercise of fancy, in the expression of which a certain quality of creativeness may reside. In the present instance, there- fore, the scarcity of data afforded not only an opportunity for the exercise of fancy, but rendered it imperative. The distribution of color among the retinues of the five kings conforms with the directions given in his play by Professor Stephens, but, as he states in his preface, it is quite arbitrary. [79] THE GROVE PLAYS OF THE BOHEMIAN CLUB After the task had been begun with these conditions in view, /. e. y the scarcity of data and the restriction of an assigned color-scheme, two works were found which sup- plied an abundance of such information as would insure the necessary degree of historical accuracy. Regarding the main facts, quotations from these authorities follow: The dress of the ancient Irish consists of the truls or straight bracca, the long c ota, the cochal y the canabhas, the barrad and the brog. The truis or straight bracca was made of weft with various colors running on it in stripes or divisions. It covered the ankles, legs and thighs. The c ota was a kind of shirt made of thin woolen stuff plaided, or of linen dyed yellow. The cochaloT cocula was the upper garment, a kind of long cloak with a large hanging collar or hood of different colors . . . and was fringed with a border like shagged hair;. and being brought over the shoulders was fastened on the breast by a clasp. The canabhas or filliad was a large loose garment not unlike the cochal and probably worn as its substitute. The barrad was a conical cap . . . The cone of the barrad usually hung behind. The first innovation in the Irish dress, after the Milesian invasion, took place (if our annals are to be credited) in the reign of Tighernmas, A. M. 2815. This prince we are told ordained a sumptuary law called ilbreachta according to which the different classes of the people were to be distinguished by the number of colors in their garments thus: the peasantry and soldiers were to wear garments of one color; military officers and private gentlemen, of two; commanders of battalions, of three; beatachs, buighnibbs, or keepers of houses of hospitality, of four; the principal nobility and knights, of five; the ollahms or dignified bards, of six; and the kings and princes of the blood, seven. An Historical Essay on the Dress of the Ancient and Modern Irish, by Joseph C. Walker, Dublin, 1788. Both men and women wore the hair long, and commonly flowing down the back and shoulders. [so] ST. PATRICK AT TARA The fashion of wearing the beard varied. Sometimes it was consid- ered becoming to have it long and forked, and gradually narrowed to two points below. There were various kinds of gold and silver ornaments for wearing round the neck, of which perhaps the best known was the torque. We know from the best authorities that at the time of the invasion /. e. in the twelfth century the Irish used no armour. A Social History of Ancient Ireland^ by P. W. Joyce, LL.D., M. R. I. A., London, Longmans, Green & Co., 1903. [81] THE CAVE MAN THE NEW WEAPON THE EIGHTH GROVE PLAY [PERFORMED ON THE SIXTH NIGHT OF AUGUST, 1910] THE CAVE MAN of the T^edwoods BY CHARLES K. FIELD WITH A NOTE ON THE MUSIC BY THE COMPOSER W. J. McCOY CHARLES K. FIELD SIRE AUTHOR'S PREFACE THE grove play of the Bohemian Club is the outgrowth of an illuminated spectacle produced annually among redwood trees in California. In "The Man in the Forest/' at the Midsummer Jinks of 1902, this spectacle first be- came a play, the text being the work of one author and the music the work of one composer. Since then, the music- drama has been steadily elaborated. Yet it has been the aim, excepting the play of "Montezuma" (1903), to pro- duce a play inherently of the forest. The "Cave Man" has its inspiration in the fact that the sequoia groves of California, one of which the Bohe- mian Club owns, are the only forests now existing that resemble the forests of the cave man's day. While it has not yet been established that man of the cave type oc- cupied this region of the earth, migrations here bringing people possibly of a much more advanced culture, it is sufficient for the purposes of the grove dramatist to be able to present characters of the more ancient type in a natural setting startlingly close to the original scenery of the cave man's life. No attempt has been made to reproduce the exact con- ditions of speech, appearance, or musical expression. Simple language, to set forth such ideas and passions as might make a presentable play, has been employed and has been reinforced by interpretative music in the manner of to-day. Many thousands of years of progress may lie, in reality, between the types exhibited in this drama, yet in the physical aspects of the life of these people, care has been taken to exclude such anachronisms as the use of the [85] THE GROVE PLAYS OF THE BOHEMIAN CLUB bow and arrow and the making of pictures on rock or in carved bone accomplishments that post-dated the dis- covery of fire by tens of thousands of years. The charac- ters have been costumed to suggest men of a primitive type, yet far removed from the creature that was to evolve the gorilla of our day. That creature, also a character in the drama, doubtless resembled the cave man more nearly than his decendant resembles us. His quest of the woman in the play is warranted by the reported anxiety of modern Africans regarding their own women and the gorilla. The episode of the tar pool is based upon the recently reported discoveries in a similar deposit, in California, where remarkably frequent remains of the animals and birds named by Long Arm in his narrative have been brought to light. To Dr. J. C. Merriam, of the University of California, under whose direction these discoveries have been reported, I am indebted for a sympathetic editing of the text of this play. I desire to record my gratitude to those members of the Bohemian Club whose cooperation, well in accord with the traditions which have made possible the Club's admir- able productions, has carried my dream of the cave man to fulfillment. Mr. W. J. McCoy, already wearing the laurels of "The Hamadryads," undertook to express my play in music when the task could be accomplished only by severe sacrifice. That he has contibuted to the musical treasures of the Club a work which, perhaps, excels his former com- position is, I trust, some measure of reward. Mr. Edward J. Duffey, the wizard of the illuminated grove, has ren- dered service equally important to a play whose action is written round the phenomenon of fire. Mr. George E. Lyon, that rare combination of artist and carpenter, with the assistance of Dr. Harry Carlton, has performed the feat of making the hillside more beautiful, adding stage scenery without sacrilege. To Mr. Frank L. Mathieu, veteran of many battles with amateur talent, I am [86] THE CAVE MAN indebted for untiring supervision of the production of the play and for valuable suggestions in its arrangement. Mr. Porter Garnett, authority upon grove plays and himself sire imminent, has proved his loyalty by working all night upon the making of this book of the play. Mr. J. de P. Teller has drilled two choirs in the difficult music of the Epilogue. Mr. David Bispham, a new member of the club and an artist of international fame, has shown himself im- bued also with the amateur spirit which is one of the important elements in the grove play's charm. To the Board of Directors, and to their immediate predecessors, with their respective jinks committees, whose sympathy and aid under unusual circumstances have made possible the Midsummer Jinks of 1910, and to all the brothers in Bohemia who have joined me in the labor and pleasure of that effort, I subscribe myself in sincere acknowledgment. CHARLES K. FIELD. ARGUMENT ONCE upon a time, some tens of thousands of years ago, the greater part of the northern hemisphere was covered with a mighty forest of conifers. Its trees rose hundreds of feet in height; their huge trunks, twenty and thirty feet through, were shaggy with a reddish bark; and between them grew smaller and gentler trees, thick ferns and blossoming vines. To-day, in the sequoia groves of California stands all that is left of that magnificent woodland. On a memorable night, when the moon searched the deep shadows of Bohemia's redwoods for memories of the past and the mystery of night magnified our trees to the size of their brethern in other groves, I sat with W. J. McCoy before the high jinks stage. Fancy has ever been stimulated by fact and we were aware that we looked upon such a scene as the cave man knew. And so in the moonlight we dreamed that the forest was still growing in the comparative youth of man- kind, that no light other than the fires of heaven had ever shone in the grove, that the man of that day wooed his mate and fought great beasts for their raw flesh and made the first fire among those very trees. THE prehistoric forest was very dark and as dangerous as it was dark. Therefore the cave men went into their caves when daylight faded among the trees and they blocked the cave doorways with great boulders and they slept soundly on leaves and rushes until the daylight peeped through the chinks of the boulders. One morning, Broken Foot, a big man with heavy dark hair on his body and an expression that was not amiable even for a cave [89] THE GROVE PLAYS OF THE BOHEMIAN CLUB man's face, rolled back the blocking of his cave and crept cautiously out. It happened that a deer had chosen to drink from a pool by Broken Foot's cave. A great stone broke the neck of the luckless deer and the cave man break- fasted well. As he sat there on the rocks, carving with his flint knife the raw body of the deer, certain neighbors joined him, one by one. They were Scar Face, a prodigious glutton but sharp witted and inventive, Fish Eyes and Short Legs, young hunters with specialties, and Wolf Skin, the father of Singing Bird, a much-admired maiden just entering womanhood. Then ensued such talk as belonged to that period stories of hunting, of escape and also of dis- coveries. Many remarkable things were being put forth in those days by the inquiring spirit of men, shells to hold water, a log that would obey a man with a paddle, even a wolf had been tamed and made a companion of a hunter. So the morning passed in interesting discussion and all would have been harmonious in the little group before Broken Foot's cave had not Short Legs listened eagerly to Wolf Skin's description of his daughter and announced his intention of mating with her. As he rose to seek the girl, Broken Foot knocked him down with a sudden blow and bade him think no more of the cave maiden. At this, Short Legs, although no match for the great bully, burst out with a torrent of abuse, calling Broken Foot many un- pleasant names, and Fish Eyes, his inseparable friend, came to his aid with more unflattering words, even accus- ing Broken Foot of murdering his brother to get his cave and his mate. Broken Foot, making ready to seek the girl, listened indifferently to this tirade until Short Legs called him a coward. Earlier in the day Wolf Skin had told of meeting a stranger in the forest, a young man who carried a singular weapon made of both wood and stone. This stranger had inquired for the cave of Broken Foot, a man who dragged [90] THE CAVE MAN one foot as he walked. Short Legs accused Broken Foot of running away from this new comer. This was too much. Broken Foot, already part way up the hill on his way to Singing Bird, turned back toward the cave men threaten- ingly. Just then a young man came along a higher path. He looked down on the man who dragged one foot as he walked. With a terrible cry of rage he leaped down the hill. Broken Foot, with his great strength, had been the champion of those woods for years. But Long Arm, the stranger, carried the first stone axe, and under this new weapon Broken Foot went down into the dead leaves. Then, of course, the whole story came out. The young stranger proved to be the son of the man whom Broken Foot had murdered. The boy had been with the two men at the time. The scene of the murder was a small lake into which tar continually oozed, making a sticky trap for all sorts of wild animals. A similar place exists in California to-day, where animals are caught, and geologists have found in the ground there great quantities of bones of prehis- toric animals, the sabre-tooth tigers and the great wolves of the cave man's day. Here was enacted the tragedy of which Long Arm tells. The boy got away and was reared by the Shell People on their mounds beside the sea. He had invented a new weapon and now he had come back to kill Broken Foot and to get again the cave of his father. Long Arm was kindly welcomed by the cave men. They had no love for the dead bully and they respected a good fight. So the boy was welcomed home again. Yet the greeting held a note of warning in it. Old One-Eye, fleeing through the forest, told them that the terrible man-beast was again roving through the trees. The cave men did not know that this creature was but the ancestor of the gorilla of to-day. To them he was a man who seemed to be a beast. They could not understand him but they knew that he was larger than any other man and stronger than all of them together, and they gave him a wide berth. [9'] THE GROVE PLAYS OF THE BOHEMIAN CLUB Long Arm was left alone in the cave he had regained. He sat on the rocks, in the pleasant shade of the trees, and chipped away at the edge of his flint axe. He was very well satisfied with himself and he sang a kind of exultant song in tribute to the weapon that had served him so well. As he worked and sang the sparks flew from the flint, and, by one of those chances which have made history from the dawn of time, some dry grass was kindled. No one in the world had made fire before that day. Long Arm saw what he thought was some bright new kind of serpent. He struck it a fatal blow with his axe and picked it up; it bit him and with a cry he shook it from his hand. Chances go in pairs, sometimes. Tne burning twig fell into a little pool and was extinguished. Long Arm observed and studied all this, a very much puzzled but interested young man. Then occurred one of those moments that have lifted men above the brutes. Long Arm struck his flints together and made fire again and man has been repeating and improving that process ever since. That was destined to be a red-letter day, if we may use such a calendar term, in the life of that young cave man. He had got his cave again and he had discovered some- thing that would make it the best home in all the world, yet it was not complete. And just then he heard Wolf Skin's daughter singing among the trees. Long Arm dropped his new toy and it burned out on the rock. He hid behind a great tree and watched. Singing Bird came, unsuspect- ing, down the path. One of the pools near the cave was quiet and the young girl was not proof against the allure- ment of this mirror. She had twined some blossoms in her hair and she was enjoying the reflection when Long Arm stole toward her. But she saw his reflection too, in time to leap away from him. Then Long Arm wooed her in- stead of following to take her by force, for that was not at all a certainty, since she might easily outrun him. So he told her of himself and his stone axe and his victory and THE CAVE MAN his cave, making it all as attractive as possible and at last he told her of the fire and made it before her eyes with his sparkling flints. Singing Bird was deeply impressed by all these things and by the confident manner of Long Arm, and especially by the bright new plaything, and she came gradually nearer to see these wonders. Then suddenly the man-beast came upon the two, and the woman leaped in terror to the arms of the man. The man-beast barred the way to the cave. Then Long Arm braved him, though it meant death, that the girl might flee. The man-beast seized Long Arm's boasted axe and snapped it like a twig. Then he grasped the man and pro- ceeded to crush him in his hairy hold. But the girl, under the spell of her new love, had run but a little way and then, in spite of her terror, turned to look back. She shrieked wildly at Long Arm's peril and the great beast threw the man aside and came after the girl. She tried desperately to evade him and to get the the narrow door of the cave. Meanwhile Long Arm had been only stunned. Recover- ing, he saw the firebrand burning where he had dropped it on the rocks. He seized it, remembering its bite, and again attacked the man-beast. Here was something new, and very terrible. No animal, from that day to this, has stood against fire. The man-beast fled into the forest. Then Long Arm came back in triumph. Wonderful days followed, with the happy discovery of cooked meat, and the tragedy of a forest fire, but through all their lives Long Arm and Singing Bird remembered this day when, in the joy of their escape from death and under the spell of the woodland in springtime, they began their life together in the cave. [93] CAST OF CHARACTERS BROKEN FOOT MR. HENRY A. MELVIN SCAR FACE MR. WALDEMAR YOUNG SHORT LEGS MR. SPENCER GRANT FISH EYES MR. ORRIN A. WILSON WOLF SKIN MR. FRANK P. DEERING LONG ARM MR. DAVID BISPHAM ONE EYE MR. HARRY A. RUSSELL SINGING BIRD MR. R. M. HOTALING THE MAN-BEAST MR. AMEDEE JOULLIN THE VOICE OF SINGING BIRD MASTER WYNDHAM MEDCRAFT Cave men. Women, Children PLACE: A sequoia forest. TIME: From dawn to midnight, about fifty thousand years ago. THE EPILOGUE THE VOICE OF THE STAR MR. T. V. BAKEWELL AN ARCHANGELIC VOICE MR. EDWARD H. HAMILTON THE MASTER (persona muta) MR. FREDERICK J. KOSTER Spiritual Voices, Shepherds, Farmers, Warriors, Philosophers [95] THE GROVE PLAYS OF THE BOHEMIAN CLUB Production directed by MR. FRANK L. MATHIEU. Setting and properties designed and executed by MR. GEORGE E. LYON and DR. HARRY P. CARLTON. Lighting by MR. EDWARD J. DUFFEY. Musical Director, MR. W. J. McCoY. Chorus Master, MR. JOHN DE P. TELLER. [96] THE CAVE MAN *A Tlay of the T^edwoods ACT I A forested hillside in the geological period preceding the present some tens of thousands of years ago. The landscape is black with night, but between the tree tops are glimpses of the stars. 'The musical prelude is in keeping with the dark- ness; it suggests the chill of an era when fire is unknown , and the terror that pervades the prehistoric forest at night. Into the glimpses of sky at the top of the hill comes the flush of dawn. 'The red fades into blue and light comes through the forest, progressively down the hillside. 'The radiance of morn- ing discloses a grove of giant conifers, rich in ferns and in blossoming vines; it is spring in the forest. Rock outcrops form the lower parts of the hillside and a small stream splashes into a succession of pools; at the base of the hill the rock appears as a great ledge, the upper portion of which over- hangs. Small plants cling to the uneven face of the cliff and young trees stand along its rim. Under the overhanging ledge there is a narrow entrance, closed with two boulders, that is high enough to admit a man stooping slightly. The ground immediately before the cave is level, but soon drops in a suc- cession of ledges to a plateau filled with ferns and boulders through which the stream flows. Blossoming plants edge the pools and the lower and larger pool has tall reeds, tules, and ferns about it. The stream continues on to a river that runs westward to the sea. [97] THE GROVE PLAYS OF THE BOHEMIAN CLUB \As the prelude concludes , the morning light has struck upon the entrance to the cave and the boulders with which it is closed are moved cautiously aside. BROKEN FOOT, the man of the cave, is aware of day. His figure is dimly seen in the entrance. He emerges and stands before the cave, listening. The light increases. BROKEN FOOT suddenly crouches, gazing intently at the lower pool. The tall rushes quiver and a stags head emerges from them. 'The stag drinks . BROKEN FOOT picks up a stone and creeps forward. He hurls the stone upon the stag. 'The animal, struck fairly, crashes back among the rushes and the stone caroms into the pool with a great splash. BROKEN FOOT utters a cry and leaps into the rushes. 'They quiver with a struggle from which BROKEN FOOT emerges, dragging the limp body of the stag. He pulls the carcass up over the rocks to the level be- fore the cave and throws it down with a grunt of triumph,