One-Act Plays by Modern Authors

Act 1 — Foonotes

Reading edition

Cf. Maurice Browne, The Temple of a Living Art. The Drama, Chicago, 1913, No. 12, p. 168: "Nor is this just a question of stage jargon; that man or woman who would establish an Art Theatre that is an Art Theatre and not a pet rabbit fed by hand, must be able to design it, to ventilate it, to decorate it, to equip its stage, to light it (and to handle its lighting himself, or his electricians will not listen to him), to plan his costumes and scenery, aye, and at a shift, to make them with his own hand."

"Poets with whom I learned my trade, Companions of the Cheshire Cheese."

Professionals and amateurs are hereby warned that this play is fully copyrighted under the existing laws of the United States, and no one is allowed to produce this play without first having obtained permission of Samuel French, 28 West 38 Street, New York.

SPECIAL NOTICE

This play in its printed form is designed for the reading public only. All dramatic rights in it are fully protected by copyright, in the United States, Great Britain, and all countries subscribing to the Berne Convention. NO PUBLIC OR PRIVATE PERFORMANCE—PROFESSIONAL OR AMATEUR—MAY BE GIVEN WITHOUT THE WRITTEN PERMISSION OF THE AUTHOR AND THE PAYMENT OF ROYALTY. As the courts have also ruled that the PUBLIC READING of a play, for pay or where tickets are sold, constitutes a "PERFORMANCE," no such reading may be given except under conditions above stated.

Anyone disregarding the author's rights renders himself liable to prosecution. PERSONS WHO DESIRE PERMISSION TO GIVE PERFORMANCES OR PUBLIC READINGS OF THIS PLAY SHOULD COMMUNICATE DIRECT WITH THE AUTHOR, AT HIS ADDRESS, HARVARD CLUB, 27 WEST 44 STREET, NEW YORK CITY.

This play has been copyrighted and published simultaneously in the United States and Great Britain.

All acting rights, both professional and amateur, are reserved in the United States, Great Britain, and all countries of the Copyright Union, by the author. Performances forbidden and right of presentation reserved.

Application for the right of performing this play or reading it in public should be made to Samuel French, 28 West 38 St., New York City.

1 ch has, roughly, the same sound as in German or in the Scotch loch.

2 dd = English th, roughly, in breathe.

3 e has, roughly, the sound of ai in dairy.

4 f = English v.

5 ff = English sharp f.

6 ll represents a sound intermediate between the and fl.

7 w as a consonant is pronounced as in English; as a vowel = oo.

8 y is sometimes like u in but, but sometimes like ee in green.

Note: The author will gladly answer questions about pronunciation, costuming, etc., etc.

Any infringement of the author's rights will be punished by the penalties imposed under the United States Revised Statutes, Title 60, Chapter 3.

Since it is just possible that someone may think The Little Man has a deep, dark reference to the war, it may be as well to state that this whimsey was written in October, 1913.

Notes in this chapter

Note 1 · For a bibliography of his works through the year 1913, see Asa Don Dickinson, Booth Tarkington, a Gentleman from Indiana, Garden City, no da Note 2 · Robert Cortes Holliday, Booth Tarkington, Garden City and New York, 1918, pp. 155-156; p. 157.Note 3 · Yeats has commemorated this club in the following lines in his poem, The Grey Rock:Note 4 · Constance D'Arcy Mackay, The Little Theatre in the United States, New York, 1917, p. 97.Note 5 · Maurice Sand, The History of the Harlequinade, London, 1915, Vol. I, p. 219.Note 6 · Mon Ami Pierrot. Songs and Fantasies, compiled by Kendall Banning, Chicago, 1917. This book presents the Pierrot of modern poetry and drama.Note 7 · A list of his works is given in the latest Who's Who in America.Note 8 · A suggestion for the appropriate arrangement of these mounds may be found in the map of the battle-field annexed to the volume by Capt. R. K Note 9 · Harold Brighouse, Three Lancashire Plays, London and New York, 1920. There is a bibliographical note at the end.Note 10 · The a's are broad throughout, i. e., Kats is pronounced Kaats; Vavasour is Vavasoor: ou is oo.Note 11 · For a list of Synge's other plays, see E. A. Boyd, The Contemporary Drama of Ireland, Boston, 1917.Note 12 · B. N. Hedderman, Glimpses of My Life in Aran, Bristol, 1917.Note 13 · J. B. Yeats, Life in the West of Ireland, Dublin and London, 1912. The color prints and line drawings in this book are very beautiful. Cf. a Note 14 · For bibliography see E. A. Boyd, The Contemporary Drama of Ireland, Boston, 1917.Note 15 · Clayton Hamilton, Seen on the Stage, New York, 1920, p. 238; p. 239.Note 16 · Maurice F. Egan, Everybody's St. Francis, with pictures by M. Boutet de Monvel, New York, 1912.Note 17 · For bibliography, see Jethro Bithell, Life and Writings of Maurice Maeterlinck, London and New York, 1913.Note 18 · For a short bibliography, see Sheila Kaye-Smith, John Galsworthy, London, 1916.