Representative Plays by American Dramatists: 1856-1911: Rip van Winkle by Charles Burke First Project Gutenberg Edition , (December 18, 2007) [Illustration: Charles Burke] CHARLES BURKE CONTENTS Preface Announcement RIP VAN WINKLE Introduction CAST OF CHARACTERS COSTUME RIP VAN WINKLE ACT I. SCENE I. SCENE II. SCENE III. SCENE IV. SCENE V. ACT II. SCENE I. SCENE II. SCENE III. SCENE IV. SCENE LAST. Transcribers’ Notes This is the history of the evolution of a play. Many hands were concerned in its growth, but its increase in scenic effect as well as in dialogue was a stage one, rather than prompted by literary fervour. No dramatization of Washington Irving’s immortal story has approached the original in art of expression or in vividness of scene. But, if historical record can be believed, it is the actor, rather than the dramatist, who has vied with Irving in the vitality of characterization and in the romantic ideality of figure and speech. Some of our best comedians found attraction in the r�le, yet, though Charles Burke and James A. Herne are recalled, by those who remember back so far, for the very Dutch lifelikeness of the genial old drunkard, Joseph Jefferson overtops all memories by his classic portrayal. As far as literary value of the versions is concerned, it would be small loss if none of them were available. They form a mechanical frame-work as devoid of beauty as the skeleton scarecrow in Percy Mackaye’s play, which was based on Hawthorne’s “Feathertop” in “Mosses from an Old Manse.” It was only when the dry bones were clothed and breathed into by the actor’s personality that the dramatizations lived. One can recall no plot that moves naturally in these versions; the transformation of the story into dialogue was mechanical, done by men to whom hack-work was the easiest thing in the world. Comparing the Kerr play with the Burke revision of it, when the text is strained for richness of phrase it might contain, only one line results, and is worth remembering; it is Burke’s original contribution,—“Are we so soon forgot when we are gone?” The frequency with which “Rip Van Winkle” was dramatized would indicate that, very early in the nineteenth century, managers of the theatre were assiduous hunters after material which might be considered native. Certainly _Rip_ takes his place with _Deuteronomy Dutiful_, _Bardwell Slote_, _Solon Shingle_ and _Davy Crockett_ as of the soil.