INTRODUCTION THE greatest of English dramatists except Shakespeare, the first literary dictator and poet-laureate, a writer of verse, prose, satire, and criticism who most potently of all the men of his time affected the subsequent course of English letters: such was Ben Jonson, and as such his strong personality assumes an interest to us almost unparalleled, at least in his age. Ben Jonson came of the stock that was centuries after to give to... more...

THE MAN IN THE STALLS The sitting-room of a little flat in Shaftesbury Avenue. At back is a door leading to the dining-room—it is open, and the dinner-table is in full view of the audience. To the extreme right is another door, leading to the hall. The place is pleasantly and prettily, though quite inexpensively, furnished. To the left, at angles with the distempered wall, is a baby-grand piano; the fireplace, in which a fire is burning... more...

JOHN BULL. ACT THE FIRST. SCENE I. A Public House on a Heath: over the Door the Sign of the Red Cow;——and the Name of "Dennis Brulgruddery." Enter Dennis Brulgruddery and Dan, from the House. Dan opening the outward Shutters of the House. Dennis. A pretty blustratious night we have had! and the sun peeps through the fog this morning, like the copper pot in my kitchen.—Devil a traveller do I see coming to the Red Cow. Dan.... more...

It may surprise some people to learn that in 1915 this little play was a recruiting poster in disguise. The British officer seldom likes Irish soldiers; but he always tries to have a certain proportion of them in his battalion, because, partly from a want of common sense which leads them to value their lives less than Englishmen do [lives are really less worth living in a poor country], and partly because even the most cowardly Irishman feels... more...

THE BIG DRUM   THE FIRST ACT The scene is a room, elegantly decorated, in a flat in South Audley Street. On the right, two windows give a view, through muslin curtains, of the opposite houses. In the wall facing the spectator are two doors, one on the right, the other on the left. The left-hand door opens into the room from a dimly-lighted corridor, the door on the right from the dining-room. Between the doors there is a handsome... more...

The Drone A COMEDY IN THREE ACTS ACT I. Scene: The farm kitchen of John Murray. It is large and spacious, with a wide open fire-place to the right. At the back is one door leading to the parlour and other rooms in the house, also a large window overlooking the yard outside. To the left of this window is the door leading into the yard, and near the door an old-fashioned grandfather's clock. Opposite to the fire-place on the left side is another... more...

THE FIRST ACT The scene is a drawing-room, prettily but somewhat showily decorated. The walls are papered with a design representing large clusters of white and purple lilac. The furniture is covered with a chintz of similar pattern, and the curtains, carpet, and lamp-shades correspond. In the wall facing the spectator are two windows, and midway between the windows there is the entrance to a conservatory. The conservatory, which is seen... more...

PREFACE About seven years ago I began to dictate the first of these Plays to Lady Gregory. My eyesight had become so bad that I feared I could henceforth write nothing with my own hands but verses, which, as Theophile Gautier has said, can be written with a burnt match. Our Irish Dramatic movement was just passing out of the hands of English Actors, hired because we knew of no Irish ones, and our little troop of Irish amateurs—as they were... more...

INTRODUCTION By craftsmen and mean men, these pageants are played,And to commons and countrymen accustomably before:If better men and finer heads now come, what can be said? The pageants of the old English town-guilds, and the other mysteries and interludes that follow, have still an uncommon reality about them if we take them in the spirit in which they were originally acted. Their office as the begetters of the greater literary drama to... more...

INTRODUCTORY NOTE ROBERT BROWNING stands, in respect to his origin and his career, in marked contrast to the two aristocratic poets beside whose dramas his "Blot in the 'Scutcheon" is here printed. His father was a bank clerk and a dissenter at a time when dissent meant exclusion from Society; the poet went neither to one of the great public schools nor to Oxford or Cambridge; and no breath of scandal touched his name. Born in London in 1812, he... more...