Master Skylark; or, Will Shakespeare's ward; a dramatization of the story of the same name by John Bennett, in five acts

Front matter

I

MASTER SKYLARK

By John Bennett

Preface

The number of people who have been delighted with Mr. Bennett's charming story of Elizabethan England since it first appeared in the St. Nicho- :las magazine nearly twenty years ago continues to increase steadily. No contemporary presentation in fiction of the life of that age is more faithful ; no other has succeeded so well in reproducing the atmosphere of the times. To the winsome figure of Nicholas Attwood himself there clings a sort of Peter Pan quality which endears him to old and young alike. It is this fine sentiment that raises " Master Skylark " quite above the level of the ordinary historical romance.

At the same time it should be remarked that the story has been deemed of such historical accuracy as to warrant its use in colleges and schools in this country to give to students an adequate sense of the local color of the brilliant Elizabethan age; and to many it has had the effect of awakening an appreciation not only of the times, but of the literature of the period as well. So careful has the author been, in fact, that his book has been used

Vlll

PREFACE in England as an auxiliary guide to Stratford-on- Avon, while in Berlin, — for the minute study of all pertaining to Will Shakespeare has in some ways been more at heart to the German than to the Briton, — in addition to the regular German edition of the story, there has been issued a school edition with notes, glossary, etc., for German academic use.

The attempt made here to visualize the story upon the stage has had certain manifest difficulties, yet the continued superiority of this romance to all others in the field has justified such an attempt, particularly on this three-hundredth anniversary of Shakespeare's death, when clubs, high schools, colleges, communities, and cities everywhere are searching for dramatic material to use in connection with the nation-wide Shakespeare tercentenary celebration.

Many critics have felt that in the story which forms the basis of the play Shakespeare the man has for the first time in literature been adequately presented. In the play more prominence might have been given to the part if it had not been the desire of the dramatist to keep as closely as possible to the original version of the story. For the play, like the story, aims to set before the eye the fabric of the times as a whole; and perhaps the proportion is thus historically truer, since, so far

PREFACE

IX as we can know, Shakespeare did not make any tremendous stir among his contemporaries. Quietly, unostentatiously, he enters upon the scene when the gorgeous pageant of the century is already well unrolled, and always he is turning to materials and types exploited by his predecessors, though transmuting them with genius. And so in the play, as in the story, we find him adapting himself to conditions created largely by antecedent circumstances, yet unobtrusively transforming the very flow of the events themselves by the impress of his own sweet spirit. It is therefore eminently fitting that this gentle personality should follow on the heels of that lovable rascal Gaston Carew, the bold and tragic master-player, an embodiment for all time of the poet-adventurer, who holds the stage for two full acts and more before he makes his quietus. The shift in dramatic interest from such kaleidoscopic emotions as Carew's to the shining peace of Shakespeare's late appearance may violate technic, but what happier ending could be imagined for any play than the solace of a presence such as Will's ? j}. yy jj New York, December, 1915.

All communications looking towards production should be referred to E. W. Burrill, care of The Century Co., 353 Fourth Ave., New York City.

LIST OF ILLUSTRATIONS

"Master Skylark, thou shall have thy wish," Frontispiece said Queen Elizabeth Facing

Page

"What! How now? " cried the stranger sharply. "Dost like or like me not? " 40

"Master Nicholas Skylark, the sweetest singer in all the Kingdom of England! " - 48

" Nobody breaks nobody's hearts in old Jo-hn Smithses Sho-op," drawled the smith, in his deep voice; " nor steals nobody, nother." - -72

Cicely darted to his side with a frightened cry. - 88

" Oh, Nick, thou art most beautiful to see!" cried Cicely. - 92

"God bless thee, Nick! I love thee, lad." - 132

Master Shakespeare met them with outstretched hands. -------- 144

MASTER SKYLARK:

WILL SHAKESPEARE'S WARD

MASTER SKYLARK: WILL SHAKESPEARE'S WARD

OUTLINE

Nick Attwood, a young boy of Stratford-on- Avon and cousin to William Shakespeare, is kidnapped by a company of players that visit the town in 1596. Taken to London, he becomes a famous choir-boy singer, and at last appears before Queen Elizabeth herself. There he meets Shakespeare, and is eventually restored by him to his humble parents. The action throughout is portrayed with historically accurate setting.

In Act I the action shows the simple home life in a Stratford tanner's cottage, and the boy's dissatisfaction with the restrictions of his Puritanical father. Nick has decided to leave his schoolfellows and run away, when Gaston Carew, the leader of the Admiral's company of players, hears his sweet voice and resolves to kidnap him, partly for revenge on Stratford town for having been himself arrested there. An old thatched cottage by a country lane is the setting.

4 OUTLINE

Act II opens with a jovial tavern scene at Coventry, with a typical inn-yard performance of a play, wherein Nick sings. Learning there of his being stolen for good, he tries to escape, is for a time stoutly defended by a blacksmith to whom he flies, but finally is won back again by the blandishments of Carew.

Act III takes place at Carew's house in London, where Nick begins to be attracted by Cicely Carew, the master-player's charming little daughter; he is accepted as head choir-boy after singing for the old precentor of St. Paul's ; and is provided for by Carew, whose real affection has been aroused for him.

In Scene 1 of Act IV, Nick sings at the court of Queen Elizabeth, amidst all the glory and glitter of the great Greenwich palace throne-room; he meets Shakespeare, and is taken under his charge. Carew is taken to Newgate Jail for stabbing a fellow-player, and in Scene 2 Nick goes to say good-by to him there, in the semi-darkness of a gloomy corridor of cells. At the end of this brief drop-curtain scene, he is again kidnapped by Carew's disreputable servant.

Act V occurs in Shakespeare's rose-garden, " New Place," Stratford, at early dawn ; Nick and Cicely find Shakespeare and his friends, and Nick is reunited with his family, while Cicely finds a

OUTLINE 5

new father and mother in the tanner and his gentle wife.

NOTE

All the main characters may be taken by seven persons. Carew and Shakespeare, the leading male roles, can be played by one man, since Carew practically disappears after Act III. Queen Elizabeth and Nick's mother may be taken by the same person. Cicely Carew and the tavern maid may be played by the same actress. Schoolboys, pages, and choir boys all played by the same actresses, or by actual choir boys. Goole and Simon Attwood, the same actor; and this actor may also be one of the players in Carew's and Shakespeare's companies. The other parts, Ben Jonson, Tom Heywood, the carpenter, the tavern-keeper, the blacksmith, the butler, the precentor, the ambassador, and the two prison guards — may all be taken successively by two persons. Total necessary characters (including three actresses for choir boys, pages, and schoolboys) — ten. Courtiers and citizens may be supplied locally, the elaborate, gorgeous, but always beautiful costumes of these brightest and wittiest of all courtly days being the most striking feature necessary for their make-up.

The part of Nick, a boy of twelve to fourteen

6 OUTLINE

years, should be taken by an actress possessed of a sweet voice though by no means necessitating a professional singer. Or a choir boy of some histrionic ability would do. He sings a famous lyric by Shakespeare, Heywood, or some other Elizabethan in each act, and upon the sweetness and childlike charm of these five songs depends much of the effectiveness of the play.

If it is desired to shorten the acting-time of the play, an abbreviation of the fifth act is included, which is half the length of the regular version.

THE PLAY

CHARACTERS

Simon Attwood, a Stratford tanner

Margaret Attwood, his wife

Nicholas Attwood, afterwards called Master Skylark, their

son Gaston Carew, the Master-Player of the Lord High Admiral's Company Cicely Carew, his daughter Gregory Goole, Carew's disreputable servant William Shakespeare, Ben Jonson, Thomas Heywood,

And other players Queen Elizabeth A carpenter mason; a tavern-keeper; a blacksmith; a butler;

a maid; a precentor; schoolboys, choir boys, and pages;

guards; courtiers; citizens; etc.

SYNOPSIS

Act I.— A country lane outside the Attwoods' cottage at Stratford-on-Avon, the last of April, 1596.

Act V. — The rose-garden back of Shakespeare's house, "New Place," Stratford

Time Interval: One night passes in Act I, indicated by the descent of the curtain in mid-act, for a moment. Four days between Acts II and III. Eight days between Acts III and IV. Five days between Acts IV and V.

Act I

[Late afternoon in 1596, the last day of April. A country lane, running diagonally across the stage, in front of a ihatched cottage, which is to the right. Between the lane and the cottage is a low stone wall, with a loose-hung gate in the middle. Between the wall and the cottage is an open lawn, most of which is visible. On the left of the stage, at the side of the lane, is an Eng~ lish hedge, over the top of which, at some dis^ tance, can be seen the Swan Inn and other houses of Stratford-on-Avon.

The cottage has a large, low window and a wide open doorway, through which are visible a plain wooden table, a rough bench, three stools, and a smoldering hearth-fire. The house has no chimney. The black beams of the walls show up against the yellow plaster. There are rushes upon the floor; painted cloth hangings on the wall, representing the Prodigal Son, in a dingy blue coat, and the brownish Red Sea, •with Pharaoh's inky hosts; also the maxims — " Do No Wrong" " Beware of Sloth," " Overcome Pride," and " Keep an Eye on the Pence." 9

4.s the curt am rises, from the highroad — the edge of which is barely visible to the audience at the left back corner of the stage — imto which this lane evidently leads, comes a confused murmur of voices. Distant trumpet heard. Silence; then increased excitement. Enter two boys, running up the lane.]

1 Boy. We be in time ! They be na here yet ! [Enter, another boy.]

2 Boy. They're coming! they're coming!

3 Boy. Who? Who?

1 Boy. The Admiral's Players. Come on! [Exeunt.]

[The sound of many horses' hoofs on a bridge not far away. A fanfare of trumpets. Enter, Hodge, a clownish lout of a boy, puffing up the lane. Enter, at the doorway, from an inner room, Margaret Attwood, poorly but neatly dressed m a worsted gown with a falling linen collar, and with a soft silken coif upon her grayish hair.]

Hodge. Be it truly the players, Mistress Attwood ?

Margaret Attwood. Aye, Hodge ; 't is the players from London, sure enough. See, yon they come.

Act I MASTER SKYLARK 11

Hodge. Eigh! My stars! There be a heap on 'em! [Exit running, and crying out.'] They 're coming ! They 're coming ! The players be coming! Hurrah!

[Voices cheering. Music of kettledrums, cymbals, trumpets, flutes, etc., begins, as a line of men in court attire, with resplendent banners bearing the legend, " Ye Players of the Lord High Admiral," and long leveled trumpets, pass along the edge of the highroad across the left back corner of the stage, to the accompaniment of dust and of trampling horses. Then men's voices singing:]

'Song. [Outside, increasing, then dying away. Tune: "Green-Sleeves."] The hunt is up, the hunt is up, Sing merrily we, the hunt is up! The wild birds sing, The dun deer fling, The forest aisles with music ring! Tantara, tantara, tantara !

Then ride along, ride along, Stout and strong!

Farewell to grief and care; With a rollicking cheer For the high dun deer

And a life in the open air!

Tantara, the hunt is up, lads ;

Tantara, the bugles bray!

Tantara, tantara, tantara !

Hio, hark away !

[The music, cheering, and trampling has nearly died away, when, enter Nicholas Attwood, excitedly, running down the lane.]

Nick. \_Catching his breath.] Oh, Mother!

Margaret Attwood. [Embracing him.] Aye,

Nick.

Nick. Didst see it, Mother?

Margaret Attwood. Aye, my lad. — Was it thou by the bridge there, with Robin?

Nick. Yes, Mother. Upon the very highest coping-stones. And I counted two and twenty horses, though Robin saith there were but twentyone. — Didst see the drummer? — Oh, he was the finest of them all. What fine fellows they be! ■ — Hurrah for the Lord High Admiral's men!

[Enter, Simon Attwood, by a flag-stoned path from behind the cottage. He is a gaunt, sullen man, his doublet of serge, leathern apron, and fustian hose all stained with liquor from the tannery vats.]

Act I MASTER SKYLARK 13

Attwood. Do I hear thee praising these vagabond play-actors ? Soul and body o' man, let 's ha' na more on 't.

Margaret Attwood. Why, Simon, the lad was but —

Attwood. I know, I know. But we poor, honest folk of Stratford must slave to pay for the new-fangled notions these sorry fools bring up from London-town.

Margaret Attwood. Why, Simon, what aileth thee to-night?

Attwood. Why, look 'e, now. Here 's all our burgesses o' the town council ordered me to build a chimley on my house, because, forsooth, it is the fashion now in London ! [Thumb points over shoulder .] I must build my fire in a pipe, or pay ten shillings fine ! Pah ! [He goes into the cottage. ]

Margaret Attwood. [Speaking to him through the doorway.] Nay, but Simon; 'twill be very handy when the snows come and the east winds blow. — Dame Hathaway saith she is as cozy as a chick in an egg with hers.

Nick. Aye, Mother, and 't will be fine to read with thee before a fire that does na fill the room wi' smoke.

Attwood. [Within.] Well, this litter will ha' to be all took out. Atkins will be here at six i' the morning to do the job.

Margaret Attwood. The rushes need a changing anyway, Simon. Nick shall take the hangings down to-night, and right things up when the chimley 's done, wilt thou not, Nick?

Nick. Aye, Mother.

Attwood. \Commg out.] Then let him be about it. — A man can no more eat his meals in peace in his own house. Things ha' come to a pretty pass — a pretty pass indeed.

Margaret Attwood. Do na fret thee, Simon. We '11 sup without, until the work be done. The air is sweet and gentle with the spring. — Come, Nick, we '11 set the table yonder.

[Exit Attwooo. Margaret Attwood and Nick bring out the table, which is now seen to consist of two trestles and a wide board, and place it out upon the grass. She tenderly kisses Nick.]

There ! — Thou art mine own good little son, and I will bake thee a cake in the new chimley on the morrow for thy May-day feast.

Act I MASTER SKYLARK 15

[She goes about preparing the supper, while Nick can be seen inside, putting a stool upon the bench to reach the topmost hangings on the wall. He is humming the air of the players' song.]

Nick. {Taking down the hangings and embroidered maxims.] I wish Father would na be so cross.

Margaret Attwood. Nay, child, he has a true heart. 'Tis the spent shillings that worry him.

Nick. [Gazing ruefully at " Keep an Eye on the Pence."] Aye, and the pence as well ! But he need na scold so because I cheered the Admiral's men. [Comes to doorway with " Overcome Pride " in his hands.] They be dressed as fine as any lord.

Margaret Attwood. [Setting the table.] Wouldst like to be a player, Nick?

Nick. Oh, Mother, that would I ! — Mother, can I na go to see them play?

Margaret Attwood. Must ask thy father, child. Perchance, an thou art very good, he '11 let thee.

Nick. [Turning joyfully bach to his work.] Ah-h, 't would be — Oh!

[As he steps upon the bench, he capsizes the stool, which falls to the floor with a heavy thump. He jumps down, laughing. Reenter Attwood, wiping his face and hands on a coarse towel.]

Attwood. What madcap folly art thou up to now?

Nick. I be up to no folly at all, sir. I upset the stool. There 's no harm done. [He quickly hides " Beware of Sloth," which he still holds in his hand.]

Attwood; Then be about thy business. — Let us ha' supper quickly, Margaret ; I must away to bargain wi' Atkins. He shall do it more cheaply than he saith. [He seats himself moodily on a bench by the doorway. Margaret Attwood comes out with a jug of milk, which she adds to the loaf of rye bread, the cheese, and lettuce already on the table. She glances once or twice at Attwood half -fearfully, and with her finger on her lips significantly, she signs to Nick to be careful.]

Margaret Attwood. Fetch the stools, Nick.

Nick. [Entering the cottage and returning with the stools; — to Attwood. J 'T is ready, sir.

Act I MASTER SKYLARK 17

[Attwood seats himself first. Nick waits deftly upon them both, still without a word being said.]

They say — they say, sir — [Stops at sign from his mother.]

Attwood. Well, hast lost thy tongue?

Nick. Nay, sir. — They say the players will act a brand-new stage-play at the guild-hall to-morrow. — ■ It is a very good company, they say.

Margaret Attwood. [Encouragingly.] Where do they stay the night, Nick?

Nick. At the Swan Inn. Sir Thomas Lucy would na leave them come to the Peacock Inn, he doth mislike them so.

Margaret Attwood. [Hurriedly, to check further remarks by Nick along this line.] What is the play called?

Nick. I canna say surely, Mother — I ha' heard tell 't is one of Ben Jonson's. — [Tumultuously.] The play will be free, Father; it is May-day — may I go, sir?

Attwood. And lose thy time from school?

Nick. There is no school to-morrow, sir, after the morning session.

18 MASTER SKYLARK Act 1

Attwood. Then have ye naught to do, that ye waste the afternoon in idle folly?

Nick. I will do my work beforehand, sir. [His hand trembles as he refills his father's cup.]

Maegaeet Attwood. It is May-day, Simon, and a bit o' pleasure will na harm the lad.

Attwood. Pleasure? — If he canna find pleasure enough in his work, his book, and his home he shall na seek it of low rogues and strolling scapegraces.

Maegaeet Attwood. [With some spirit."] But, Simon, surely they are not all graceless! Since mine own cousin, Anne Hathaway, married Will Shakespeare, 'tis scarcely kind to call all players rogues.

Attwood. No more o' this, Margaret ! — < Thou art ever too ready with the boy's part against me. [Stands.] He shall na go. — I'll find a thing or two for him to do among the vats that will take this taste for idleness out of his mouth.

Maegaeet Attwood. But, Simon —

Attwood. Nay, that be all there is on't. [Exit abruptly.]

Maegaeet Attwood. [Softly, to Nick, who stands tenth clenched hands.] Nicholas !

Act I MASTER SKYLARK 19

Nick. He should na flout thee so, Mother! And, Mother, the Queen goes to the play. She —

Margaret Attwood. [With a tender smile, drawing him to her.] Art thou the Queen?

Nick. Nay. But — the other boys will go and see it all ; and I, on May-day of all the year, to be sousing hides in the tannery vats! — Surely it canna be wrong — i

Makgabet Attwood. To honor thy father? — [Stroking his hair.] Nay, lad; it is thy bounden duty.

Nick. [Slowly, wonderingly.] Mother, art thou an angel come down out of heaven?

Maegaket Attwood. [Patting his -flushed cheek.] Nay; I be only the every-day mother of a fierce little son who hath many a hard, hard lesson to learn. — ■ Now eat thy supper — 't will soon be growing dark. I must away to cousin Anne Shakespeare's to make her comfortable for the night. — Poor soul! she hath been bedridden a se'nnight since. — And do thou, lad, when thou hast finished eating, get thy friend Robin Getley an/l gather new rushes by the Shottery path. 'T will please thy father well, and mayhap on the morrow he '11 let thee go.

Nick. Oh, Mother, thou art good. [Kisses her impetuously.]

Margaret Attwood. Nay, but I love thee, child. [Exit.]

Nick. [Sits down to eat, but after a moment, stops, pushes the food away, and goes over to the hedge, staring out into the dusk towards the Inn, where lights have now appeared and, whence a faint sound of singing comes.] I know he will na let me go ! It is na fair ! It is na fair ! — Heigho ! I '11 go and get the rushes. [£»£.]

[The distant svngimg grows more boisterous. Enter soon three burgesses, with a bailiff, who is a regular Dogberry, followed by the nightwatch^ at a little interval behind them, with long staves and lanterns.]

1 Burgess. Aye, Master Bailiff, ye see it hath no chimney, and our order was made known full ten days past.

Bailiff. We '11 have him i' the stocks by noontide if he do na conform. — Muster Attwood! [Knocking. J — Muster ATTWOOD ! — Naught within. 'S at the tannery, no doubt. — Here 's food set out. 'S wife or son should be to home.

2 Burgess. Perchance they be in the garden. [Exeunt.]

Act I MASTER SKYLARK 21

[Enter Caeew with two other players. Caeew has a slender, lithe body, rather tall, and is dressed in a tawny silk jerkin. Over one shoulder hangs a plum-colored cloak; he wears high-heeled shoes. His bonnet is of tawny velvet, fastened by a jeweled brooch, through which is thrust a curly cock-feather. A broad lace collar is at his throat. He has a little pointed beard, and the ends of his mustache stand up fiercely on each side of his sharp nose. At his side is a long Italian poniard in a sheath of russet leather and silver filagree. He has a reckless high and mighty fling about his stride.]

Caeew. By the whistle of the Lord High Admiral, this country air doth like me well. Gad's boons, 't is a fair town, in truth. — Methinks Will Shakespeare's wife should live now hereabouts.

1 Ac toe. Aye ; we should be now near the edge o' the town. — Yon must be the way to Charlcote.

2 Actoe. Where Sir Thomas Lucy liveth?

Caeew. Aye, that " lowsie " Lucy who hated our sweet Will most bitterly. Yet, had he not sent Will packing for stealing of his deer, the ga MASTER SKYLARK Act 1

Lord Chamberlain had lost a master playwright.

1 Actor. True; but Sir Thomas hath always been an ass ; in Parliament as well as here.

Carew. Stratford burgesses are silly sheep for following his fool lead.

1 Burgess. [Reappearing, angrily, followed by the rest.] How? Who calls us silly sheep, thou bold-faced rogue?

Carew. [Clapping hand on poniard.'] Rogue? Gaston Carew, the Lord High Admiral's master-player, rogue? — Thou 'dst better pick thy words more tenderly, or it will work thee a mischief.

Bailiff. Sir, ye may na ruffle it like a high duke here. These be burgesses of Stratford Council.

Carew. I care not who ye be. I say Sir Thomas Lucy is but the stupid old bell-wether of thy flock. Ye let him drive Will Shakespeare out of the town for a pitiful trifling cause.

1 Burgess. I tell thee, thou strolling fellow, Will Shakespeare was neither more nor less than a deer-stealing gallow's-bird.

Act I MASTER SKYLARK 28

Carew. How? By the Lord, sirrah, I tell thee that Will Shakespeare is my own true friend, and the sweetest fellow in all England. Whoever gainsayeth it, is a hemp-cracking rascal, and I will prove it on his back with a quarter-staff, whenever and wherever he may choose.

1 Actor. Come, Gaston, 'twill not serve. Best cool thy blood. Here come others.

Baiuff. 'T is Sir Tummas himself, from dinner at the Inn. — Now, fellow, thou 'It hold thy peace.

Carew. Nay, that I '11 not. Be he Sir Thomas Lucy, St. George and the dragon, and all your silly burgesses, rolled up in one, I dare him come and prove my challenge false.

Sib. Thomas Lucy. [Entering, pompously, like a sort of Sir Toby Belch, with several followers, after whom come, softly at first, more of the players.~\ What means this brawling? — Sirrah, thy fellows are riotously drinking yonder at the Swan.

Cabew. That, sir, is no affair of thine — or mine. The score will be paid.

Lucy. Fie, thou art a saucy varlet.

Carew. [Bowing low, laughing.] Sir Thomas, I take no offense from thee for saying that — it cannot be denied. But when, as High Sheriff of Worcester, thou didst condemn my most true friend, Will Shakespeare, as a vagabond thief, and hadst him driven from Stratford, [shaking his forefinger under Sir Thomas' nose] I fling the words back in thy face.

Lucy. Out upon thee ! Thy Shakespeare is the greatest rogue of all ye stage-playing rabble!

Cabew. Thou art a Dorking cock, dost not know the truth from a truckle-bed in broad daylight, and art — to thy teeth ! — but the remnant of a gentleman to boot !

Lucy. [Furiously.] Thou — thou bold-faced rascal ! — This shall be seen to. — Master Stubbes, as High Bailiff do ye now deny this runagate rogue's company licenses to play.

Bailiff. [Aghast.] Eh? Eh? Deny the Lord High Admiral's players?

Lucy. [Throwing off angrily the restraining hand of a half-fearful follower.] Those were my words. Do thy duty, and see to it well.

Bailiff. But, my master, this will touch London town. Beware a coil with the Lord High Admiral !

Act I MASTER SKYLARK 25

Lucy. Beware thou the forty pounds thou owest me.

Bailiff. [Hastily, deprecatingly.] I have it done e'en now. — Hear ye ! Hear ye ! [rapidly, and almost inarticulately at first] Burgesses assembled — in Stratford town, as Bailiff, made and provided, I forthwith, this 30th day of April, Anni Domino 1596, do refuse said company of strollers, mountebanks, and interluders license to play within the walls of Stratford town, in guild-hall, inn-yard or common.

Caeew. A fig for you all, ye silly sheep ! [Throwing his glove in the Bailiff's face.]

Playees. [Crowding in bach.] Ha! Have at him!

Buegesses. Fie! For shame!

Bailiff. Fellow ! for that I seize thee for contempt of Stratford Council, and hold thee for trial.

Caeew. [As two of the nightwatch step forward to take him.] What! wilt take me? Unhand me, varlet, or by the Lord High Admiral's whistle, thou 'It rue it sorely.

1 Actoe. Nay, Gaston ! Beware.

26 MASTER SKYLARK Act l

Lucy. Take him, constable. — These stage-players be all upstarts of the same feather. [Exit, with followers; the actors steal away with a backward glance or two at Carew, who struggles violently a moment with the Bailiff and his men; then, being pinioned finally, he says, as exeunt: ]

Caeew. This will be a black score 'gainst ye all ! I '11 be revenged upon this devil-spotted town if 't costs the last remnant of my tattered honor!

[Cttktain descends for a moment to denote the passing of one night. ]

[Same scene, early morning. Noise of a carpenter-mason at work inside the cottage. Nick, poring over a book spread upon the grass, is conjugating Latin verbs — " canto, cantas, cantat . . ."; but the noise of the workman inside distracts him.]

Nick. Master Atkins! — Master Atkins!! — Oh, Master Atkins!!!

Atkins. [Stopping his pounding and coming to the window.] Well, what 's to do?

Nick. Canst thou not pound a little, a very tiny little more softly? A body canna hear hin> self think for thy noise!

Act I MASTER SKYLARK 27

Atkins. Art sickly that thou canst na bide a good, round, honest noise?

Nick. I have na got my lesson half; and I canna study in a noise.

Atkins. Then ye ha' idled, and will be well birched for it at school.

Nick. Idled! I ha' been at the hides in the tannery vats from first cock-crow till ten minutes agone. 'T is so I ha' na learned my lesson. [As pounding recommences, he claps both hands over his ears, and recites " canto, cantas, can.tat," in a dull monotone. Noise ceases suddenly; the workman comes out, making towards the rear of the house. Nick, who has slowly risen as in despair, slamming the book shut, turns eagerly.] Wilt work no more to-day?

Atkins. I be but going to mix the mortar. [Exit.]

[Shrill whistles heard outside. Enter, two Schoolboys, running, up the lane. ]