Nazareth: a Morality in One Act, by Laurence Housman

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Nazareth: a Morality in One Act: by Laurence Housman

Scene:—The Carpenter’s shop is a low, broad chamber built of wood. At the back to the left-center a wide open doorway reveals a level stretch of landscape. It is late afternoon, but the air is still pale with the heat of day. To the right of the door is a small square window with wooden shutters thrown wide; before it stands a carpenter’s bench upon which lies a wooden door frame nearly finished. The carpenter and his assistant are quietly at work planing, and boring holes for the fitting in of the rivets; beneath them the floor is strewn with shavings, saw-dust, and odds and ends of wood. Away to the left, near a spinning wheel, sits an aged woman combing flax. Against the wall to the same side of the doorway sits Mary, the carpenter’s wife, with a book upon her knees; on the other side her son stands against the door-post, with his back to the interior, looking out into the sunshine.

After the scene has opened the carpenter raises himself from a stooping position, and hands over to Reuben, his assistant, a beam of wood, which the latter lays aside.

Carpenter. ’Twill soon be done. Nay, we’ll not need that now. Yes, speak on. If you read slowly enough, I can give heed.

Mary. (Reading). “Because his visage was so marred, many did marvel at him then, for more[Pg 6] than most his form was scarred, yea, more than all the sons of men. Yet him shall all the nations hear, and kings shall shut their mouths for fear.”

Mary. (Reading) “Who hath believed our report? To whom is the Lord’s arm revealed? He shall grow up in tender sort, and as a root from a dry field, having no form nor comeliness, that men who see should scorn him less.”

Anna. (Reading) “He was taken from prison and from judgment, and who shall declare his generation? For he was cut off out of the land of the living, for the transgression of my people was he smitten. And he made his grave with the wicked, and with the rich in his death; because he had done no violence, neither was any deceit in his mouth.”

2nd Antiphon. The Lord maketh poor and maketh rich. He bringeth low and lifteth up.

1st Man. The grass withereth, the flower fadeth, but the word of our God shall stand forever.

All. Hail, Mary, full of Grace, the Lord is with thee! Blessed art thou among women, and blessed is the fruit of thy womb: Jesus. Holy Mary, Mother of God, pray for us sinners now, and at the hour of our death. Amen.

A NEW SERIES OF AMATEUR PLAYS BY THE BEST AUTHORS, ANCIENT AND MODERN, ESPECIALLY TRANSLATED WITH HISTORICAL NOTES, SUGGESTIONS FOR STAGING, Etc., FOR THE USE OF SCHOOLS, COLLEGES, AND DRAMATIC CLUBS

With the immensely increased demand for new plays for purposes of production by amateurs comes a correspondingly great demand for a careful selection of those plays which can be easily and well presented by clubs and colleges. The plays in the present series have been chosen with regard to their intrinsic value as drama and literature, and at the same time to their adaptability to the needs and limitations of such organizations.

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Each Play is prefaced by a concise historical note by Mr. Clark and with a few suggestions for staging.

INDIAN SUMMER, a comedy in one act by Meilhac and Halevy. This little play, by two of the most famous writers of comedy of the last century, has been played at the Comédie Francaise at Paris for upwards of forty years, and remains one of the brightest and most popular works of the period. Price 25 Cents.

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CHOOSING A CAREER, by G. A. de Caillavet. Written by one of the authors of “Love Watches.” A farce of mistaken identity, full of humorous situations and bright lines. Price 25 Cents.

PATER NOSTER, a poetic play in one act, by Francois Coppee. A pathetic incident of the time of the Paris Commune, in 1871. Price 25 Cents.

THE MERCHANT GENTLEMAN, (Le Bourgeois Gentil-homme), by Moliere. New translation of one of Moliere’s comic masterpieces, a play which is peculiarly well adapted to amateur production. Price 50 Cents.

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Nazareth: a Morality in One Act: by Laurence Housman

NAZARETH.

PROLOGUE.

THE WORLD’S BEST PLAYS

Transcriber’s note