Masks, with Jim's beast, Tides, Among the lions, The reason, The house: one act plays of contemporary life — John Shaqi
Masks, with Jim's beast, Tides, Among the lions, The reason, The house: one act plays of contemporary lifeMiddleton, George
General
Masks, with Jim's beast, Tides, Among the lions, The reason, The house: one act plays of contemporary life
Middleton, George
American drama -- 20th century; One-act plays, American
_The place is now dark save for the faint light on the skull;
and even that fades after a little while._)
[CURTAIN]
[B] Copyright by George Middleton. See back of title page.
TIDES
THE PEOPLE
WILLIAM WHITE, _a famous Internationalist_.
HILDA, _his wife_.
WALLACE, _their son_.
SCENE
_At the Whites; spring, 1917._
TIDES[C]
_A simply furnished study. The walls are lined with bookshelves,
indicating, by their improvised quality, that they have been
increased as occasion demanded. On these are stacked, in addition
to the books themselves, many files of papers, magazines and
“reports.” The large work-table, upon which rests a double student
lamp and a telephone, is conspicuous. A leather couch with pillows
is opposite, pointing towards a doorway which leads into the
living-room. There is also a doorway in back, which apparently
opens on the hallway beyond. The room is comfortable in spite of
its general disorder: it is essentially the work-shop of a busy man
of public affairs. The strong sunlight of a spring day comes in
through the window, flooding the table._
WILLIAM WHITE _is standing by the window, smoking a pipe. He is
about fifty, of striking appearance: the visual incarnation of
the popular conception of a leader of men. There is authority
and strength in the lines of his face; his whole personality is
commanding; his voice has all the modulations of a well-trained
orator; his gestures are sweeping--for, even in private
conversation, he is habitually conscious of an audience.
Otherwise, he is simple and engaging, with some indication of his
humble origin._
_On the sofa opposite, with a letter in her hand_, HILDA WHITE,
_his wife, is seated. She is somewhat younger in fact, though in
appearance she is as one who has been worn a bit by the struggle
of many years. Her manner contrasts with her husband’s: her
inheritance of delicate refinement is ever present in her soft
voice and gentle gesture. Yet she, too, suggests strength--the sort
which will endure all for a fixed intention._
_It is obvious throughout that she and her husband have been happy
comrades in their life together and that a deep fundamental bond
has united them in spite of the different social spheres from which
each has sprung._
WHITE
(_Seeing she has paused_)
Go on, dear; go on. Let’s hear all of it.
HILDA
Oh, what’s the use, Will? You know how differently he feels about
the war.
WHITE
(_With quiet sarcasm_)
But it’s been so many years since your respectable brother has
honored me even with the slightest allusion....
HILDA
If you care for what he says--(_Continuing to read the
letter_)--“Remember, Hilda, you are an American. I don’t suppose
your husband considers that an honor; but I do.”
WHITE
(_Interrupting_)
And what kind of an American has he been in times of peace? He’s
wrung forty per cent profit out of his factory and fought every
effort of the workers to organize. Ah, these smug hypocrites!
HILDA
(_Reading_)
Public-domain text, read in full here on John Shaqi.
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