Preface to Drama: An Introduction to Dramatic Literature and Theater Art

By Charles W. Cooper | Go to book overview

PROCTOR [hesitating, and with deep hatred of himself]. Good. Then her saintliness is done with. [ MARYbacks from him.] We will slide together into our pit; you will tell the court what you know.

MARY WARREN [in terror]. I cannot, they'll turn on me--

[ PROCTORstrides and catches her, and she is repeating, "I cannot, I cannot!"]

PROCTOR. My wife will never die for me! I will bring your guts into your mouth but that goodness will not die for me!

MARY WARREN [struggling to escape him]. I cannot do it, I cannot!

PROCTOR [grasping her by the throat as though he would strangle her]. Make your peace with it! Now Hell and Heaven grapple on our backs, and all our old pretense is ripped away--make your peace!

[He throws her to the floor, where she sobs, "I cannot, I cannot . . ." And now, half to himself, staring, and turning to the open door]

Peace. It is a providence, and no great change; we are only what we always were, but naked now. [He walks as though toward a great horror, facing the open sky.] Aye, naked! And the wind, God's icy wind, will blow!

[And she is over and over again sobbing, "I cannot, I cannot, I cannot," as

THE CURTAIN FALLS


ACT THREE

THE VESTRY ROOM of the Salem meeting house, now serving as the anteroom of the General Court.

As the curtain rises, the room is empty, but for sunlight pouring through two high windows in the back wall. The room is solemn, even forbidding. Heavy beams jut out, boards of random widths make up the walls. At the right are two doors leading into the meeting house proper, where the court is being held. At the left another door leads outside.

There is a plain bench at the left, and another at the right. In the center a rather long meeting table, with stools and a considerable armchair snugged up to it.

Through the partitioning wall at the right we hear a prosecutor's voice, JUDGE HATHORNE'S, asking a question; then a woman's voice, MARTHA COREY'S, replying.

-683-

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Preface to Drama: An Introduction to Dramatic Literature and Theater Art
Table of contents

Table of contents

  • Title Page i
  • Foreword iii
  • Contents v
  • Part One - The Preface 1
  • I - Preliminary 3
  • II - The Playscript 25
  • Scene I 44
  • Scene II 52
  • III - The Stageplay 64
  • IV - The Play 93
  • V - The Drama 124
  • H.M.S. Pinafore or the Lass That Loved a Sailor 145
  • Part Two - The Plays 181
  • I - Antigone 185
  • Scene I 192
  • Scene II 197
  • Scene IV 202
  • Scene V 206
  • II - Othello 221
  • Act One 224
  • Scene III - The Council Chamber. 229
  • Act Two 232
  • Scene II - A Street. 242
  • Act Three 251
  • Scene II - A Room in the Citadel. 261
  • Scene IV - Before the Citadel. 263
  • Act Four 276
  • Scene II - A Room in the Citadel. 282
  • Scene III - State Bedroom in the Citadel. 290
  • Act Five 297
  • III - The Ridiculous PræCieuses 320
  • Scene I - La Grange, Du Croisy 323
  • Scene IV - Madelon, Cathos, Gorgibus. 324
  • Scene V - Cathos, Madelon. 325
  • Scene VII - Mascarille, Two Chairmen. 327
  • Scene VIII - Marotte, Mascarillie. 328
  • Scene X - Cathos, Madelon, Mascarille, Marotte. 330
  • Scene XI - Cathos, Madelon, Jodelet, Mascarille, Marotte, Almanzor. 334
  • Scene XII - Lucile, CéLimène, Cathos, Madelon, Mascarille, Jodelet, Marotte, Almanzor, and Fiddlers. 335
  • Scene XIII - Du Croisy, la Grange, Cathos, Madelon, Lucile, CéLimène, Jodelet, Mascarille, Marotte, and Fiddlers. 337
  • Scene XVI - Madelon, Cathos, Jodelet, Mascarille, and Fiddlers. 338
  • Scene. XVIII - Gorgibus, Madelon, Cathos, and Fiddlers. 339
  • IV - Hedda Gabler 344
  • Act Two 347
  • Act Three 370
  • Act Four 390
  • V - Candida 420
  • Act I 423
  • Act II 445
  • VI: Life with Father - A Period Comedy by Lindsay and Crouse 482
  • Act One 485
  • Scene II 503
  • Scene II 517
  • Act Three 548
  • VII - The Glass Menagerie 569
  • Scene 1 572
  • Scene 2 578
  • Scene 3 583
  • Scene 5 587
  • Scene 6 594
  • Scene 7 601
  • VIII - The Crucible 636
  • Act One - (An Overture) 639
  • Act Two 663
  • Act Four 683
  • Appendix 731
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