NOTES FOR THE MODERN TRAGEDYRome, 19. 10, 78.There are two kinds of spiritual law, two kinds of conscience, one in man and another, altogether different, in woman. They do not understand each other; but in practical life the woman is judged by man’s law, as though she were not a woman but a man.The wife in the play ends by having no idea of what is right or wrong; natural feeling on the one hand and belief in authority on the other have altogether bewildered her.A woman cannot be herself in the society of the present day, which is an exclusively masculine society, with laws framed by men and with a judicial system that judges feminine conduct from a masculine point of view.She has committed forgery, and she is proud of it; for she did it out of love for her husband, to save his life. But this husband, with his commonplace principles of honour is on the side of the law and regards the question with masculine eyes.Spiritual conflicts. Oppressed and bewildered by the belief in authority, she loses faith in her moral right and ability to bring up her children. Bitterness. A mother in modern society, like certain insects who go away and die when she has done her duty in the propagation of the race.12Love of life, of home, of husband and children and family. Here and there a womanly shaking-off of her thoughts. Sudden return of anxiety and terror. She must bear it all alone. The catastrophe approaches, inexorably, inevitably. Despair, conflict, and destruction.(Krogstad has acted dishonourably and thereby become well-to-do; now his prosperity does not help him, he cannot recover his honour.)13PersonsStenborg, a Government clerk.Nora, his wife.Miss(Mrs.)Linde(a widow).Attorney Krogstad.Karen, nurse at the Stenborgs’.A Parlour-Maid at the Stenborgs’.A Porter.The Stenborgs’ three little children.Doctor Hank.SCENARIO. FIRST ACTA room comfortably, but not showily, furnished. In the back, on the right, a door leads to the hall; on the left another door leads to the room or office of the master of the house, which can be seen when the door is opened. A fire in the stove. Winter day.She enters from the back, humming gaily; she is in outdoor dress and carries several parcels, has been shopping. As she opens the door, a Porter is seen in the hall, carrying a Christmas-tree. She: Put it down there for the present. (Taking out her purse.)How much? Porter: Fifty öre. She: Here is a crown. No, keep the change. The Porter thanks her and goes. She continues humming and smiling with quiet glee as she opens several of the parcels she has brought. Calls off, is he at home? Yes! At first, conversation through the closed door; then he opens it and goes on talking to her while continuing to work most of the time, standing at his desk. There is a ring at the hall-door;he does not want to be disturbed; shuts himself in. The maid opens the door to her mistress’s friend, just arrived in town. Happy surprise. Mutual explanation of the position of affairs. He has received the post of manager in the new joint-stock bank and is to enter on his duties at the New Year; all financial worries are at an end. The friend has come to town to look for some small employment in an office or whatever may present itself. Mrs. Stenborg gives her good hopes, is certain that all will turn out well. The maid opens the front door to the debt-collector. Mrs. Stenborg, terrified; they exchange a few words; he is shown into the office. Mrs. Stenborg and her friend; the circumstances of the debt-collector are touched upon. Stenborg enters in his overcoat; has sent the collector out the other way. Conversation about the friend’s affairs; hesitation on his part. He and the friend go out; his wife follows them into the hall; the Nurse enters with the children. Mother and children play. The collector enters. Mrs. Stenborg sends the children out to the left. Great scene between her and him. He goes. Stenborg enters; has met him on the stairs; displeased; wants to know what he came back for? Her support? No intrigues. His wife cautiously tries to pump him. Strict legal answers. Exit to his room. She (repeating her words when the collector went out): But that’s impossible. Why, I did it from love!SCENARIO. SECOND ACTThe last day of the year. Midday. Nora and the old Nurse. Nora, impelled by uneasiness, is putting on her things to go out. Anxious random questions of one kind and another give a hint that thoughts of death are in her mind. Tries to banish these thoughts, to turn it off, hopes that something or other may intervene. But what? The Nurse goes off to the left.—Stenborg enters from his room. Short dialogue between him and Nora.—The Nurse re-enters, looking for Nora; the youngest child is crying. Annoyance and questioning on Stenborg’s part; exit the Nurse; Stenborg is going in to the children.—Doctor Hank enters. Scene between him and Stenborg.—Nora soon re-enters; she has turned back; anxiety has driven her home again. Scene between her, the Doctor and Stenborg. Stenborg goes into his room.—Scene between Nora and the Doctor. The Doctor goes out.—Nora alone.—Mrs. Linde enters. Short scene between her and Nora.—Krogstad enters. Short scene between him and Mrs. Linde and Nora. Mrs. Linde goes in to the children.—Scene between Krogstad and Nora.—She entreats and implores him for the sake of her little children;in vain. Krogstad goes out. The letter is seen to fall from outside into the letter-box.—Mrs. Linde re-enters after a short pause. Scene between her and Nora. Half confession. Mrs. Linde goes out.—Nora alone.—Stenborg enters. Scene between him and Nora. He wants to empty the letter-box. Entreaties, jests, half playful persuasion. He promises to let business wait till after New Year’s Day; but at 12 o’clock midnight—! Exit. Nora alone. Nora (looking at the clock): It is five o’clock. Five;—seven hours till midnight. Twenty-four hours till the next midnight. Twenty-four and seven—thirty-one. Thirty-one hours to live.—THIRD ACTA muffled sound of dance music is heard from the floor above. A lighted lamp on the table. Mrs. Linde sits in an armchair and absently turns the pages of a book, tries to read, but seems unable to fix her attention; once or twice she looks at her watch. Nora comes down from the dance; uneasiness has driven her; surprise at finding Mrs. Linde, who pretends that she wanted to see Nora in her costume. Helmer, displeased at her going away, comes to fetch her back. The Doctor also enters, but to say good-bye. Meanwhile Mrs. Linde has gone into the side room on the right. Scene between the Doctor, Helmer, and Nora. He is going to bed, he says, never to get up again; they are not to come and see him; there is ugliness about a death-bed. He goes out. Helmer goes upstairs again with Nora, after the latter has exchanged a few words of farewell with Mrs. Linde. Mrs. Linde alone. Then Krogstad. Scene and explanation between them. Both go out. Nora and the children. Then she alone. Then Helmer. He takes the letters out of the letter-box. Short scene; goodnight; he goes into his room. Nora in despair prepares for the final step; is already at the door when Helmer enters with the open letter in his hand. Great scene. A ring. Letter to Nora from Krogstad. Final scene. Divorce. Nora leaves the house.14
NOTES FOR THE MODERN TRAGEDY
Rome, 19. 10, 78.
There are two kinds of spiritual law, two kinds of conscience, one in man and another, altogether different, in woman. They do not understand each other; but in practical life the woman is judged by man’s law, as though she were not a woman but a man.
The wife in the play ends by having no idea of what is right or wrong; natural feeling on the one hand and belief in authority on the other have altogether bewildered her.
A woman cannot be herself in the society of the present day, which is an exclusively masculine society, with laws framed by men and with a judicial system that judges feminine conduct from a masculine point of view.
She has committed forgery, and she is proud of it; for she did it out of love for her husband, to save his life. But this husband, with his commonplace principles of honour is on the side of the law and regards the question with masculine eyes.
Spiritual conflicts. Oppressed and bewildered by the belief in authority, she loses faith in her moral right and ability to bring up her children. Bitterness. A mother in modern society, like certain insects who go away and die when she has done her duty in the propagation of the race.12Love of life, of home, of husband and children and family. Here and there a womanly shaking-off of her thoughts. Sudden return of anxiety and terror. She must bear it all alone. The catastrophe approaches, inexorably, inevitably. Despair, conflict, and destruction.
(Krogstad has acted dishonourably and thereby become well-to-do; now his prosperity does not help him, he cannot recover his honour.)13
Persons
Stenborg, a Government clerk.Nora, his wife.Miss(Mrs.)Linde(a widow).Attorney Krogstad.Karen, nurse at the Stenborgs’.A Parlour-Maid at the Stenborgs’.A Porter.The Stenborgs’ three little children.Doctor Hank.
Stenborg, a Government clerk.
Nora, his wife.
Miss(Mrs.)Linde(a widow).
Attorney Krogstad.
Karen, nurse at the Stenborgs’.
A Parlour-Maid at the Stenborgs’.
A Porter.
The Stenborgs’ three little children.
Doctor Hank.
SCENARIO. FIRST ACT
A room comfortably, but not showily, furnished. In the back, on the right, a door leads to the hall; on the left another door leads to the room or office of the master of the house, which can be seen when the door is opened. A fire in the stove. Winter day.
She enters from the back, humming gaily; she is in outdoor dress and carries several parcels, has been shopping. As she opens the door, a Porter is seen in the hall, carrying a Christmas-tree. She: Put it down there for the present. (Taking out her purse.)How much? Porter: Fifty öre. She: Here is a crown. No, keep the change. The Porter thanks her and goes. She continues humming and smiling with quiet glee as she opens several of the parcels she has brought. Calls off, is he at home? Yes! At first, conversation through the closed door; then he opens it and goes on talking to her while continuing to work most of the time, standing at his desk. There is a ring at the hall-door;he does not want to be disturbed; shuts himself in. The maid opens the door to her mistress’s friend, just arrived in town. Happy surprise. Mutual explanation of the position of affairs. He has received the post of manager in the new joint-stock bank and is to enter on his duties at the New Year; all financial worries are at an end. The friend has come to town to look for some small employment in an office or whatever may present itself. Mrs. Stenborg gives her good hopes, is certain that all will turn out well. The maid opens the front door to the debt-collector. Mrs. Stenborg, terrified; they exchange a few words; he is shown into the office. Mrs. Stenborg and her friend; the circumstances of the debt-collector are touched upon. Stenborg enters in his overcoat; has sent the collector out the other way. Conversation about the friend’s affairs; hesitation on his part. He and the friend go out; his wife follows them into the hall; the Nurse enters with the children. Mother and children play. The collector enters. Mrs. Stenborg sends the children out to the left. Great scene between her and him. He goes. Stenborg enters; has met him on the stairs; displeased; wants to know what he came back for? Her support? No intrigues. His wife cautiously tries to pump him. Strict legal answers. Exit to his room. She (repeating her words when the collector went out): But that’s impossible. Why, I did it from love!
SCENARIO. SECOND ACT
The last day of the year. Midday. Nora and the old Nurse. Nora, impelled by uneasiness, is putting on her things to go out. Anxious random questions of one kind and another give a hint that thoughts of death are in her mind. Tries to banish these thoughts, to turn it off, hopes that something or other may intervene. But what? The Nurse goes off to the left.—Stenborg enters from his room. Short dialogue between him and Nora.—The Nurse re-enters, looking for Nora; the youngest child is crying. Annoyance and questioning on Stenborg’s part; exit the Nurse; Stenborg is going in to the children.—Doctor Hank enters. Scene between him and Stenborg.—Nora soon re-enters; she has turned back; anxiety has driven her home again. Scene between her, the Doctor and Stenborg. Stenborg goes into his room.—Scene between Nora and the Doctor. The Doctor goes out.—Nora alone.—Mrs. Linde enters. Short scene between her and Nora.—Krogstad enters. Short scene between him and Mrs. Linde and Nora. Mrs. Linde goes in to the children.—Scene between Krogstad and Nora.—She entreats and implores him for the sake of her little children;in vain. Krogstad goes out. The letter is seen to fall from outside into the letter-box.—Mrs. Linde re-enters after a short pause. Scene between her and Nora. Half confession. Mrs. Linde goes out.—Nora alone.—Stenborg enters. Scene between him and Nora. He wants to empty the letter-box. Entreaties, jests, half playful persuasion. He promises to let business wait till after New Year’s Day; but at 12 o’clock midnight—! Exit. Nora alone. Nora (looking at the clock): It is five o’clock. Five;—seven hours till midnight. Twenty-four hours till the next midnight. Twenty-four and seven—thirty-one. Thirty-one hours to live.—
THIRD ACT
A muffled sound of dance music is heard from the floor above. A lighted lamp on the table. Mrs. Linde sits in an armchair and absently turns the pages of a book, tries to read, but seems unable to fix her attention; once or twice she looks at her watch. Nora comes down from the dance; uneasiness has driven her; surprise at finding Mrs. Linde, who pretends that she wanted to see Nora in her costume. Helmer, displeased at her going away, comes to fetch her back. The Doctor also enters, but to say good-bye. Meanwhile Mrs. Linde has gone into the side room on the right. Scene between the Doctor, Helmer, and Nora. He is going to bed, he says, never to get up again; they are not to come and see him; there is ugliness about a death-bed. He goes out. Helmer goes upstairs again with Nora, after the latter has exchanged a few words of farewell with Mrs. Linde. Mrs. Linde alone. Then Krogstad. Scene and explanation between them. Both go out. Nora and the children. Then she alone. Then Helmer. He takes the letters out of the letter-box. Short scene; goodnight; he goes into his room. Nora in despair prepares for the final step; is already at the door when Helmer enters with the open letter in his hand. Great scene. A ring. Letter to Nora from Krogstad. Final scene. Divorce. Nora leaves the house.14
Finally, here is the full scenario of a play which made a great success both in England and the United States and was seen by practically all the Continental countries, namely,Kismet. Notice how well it fulfils the requirements for a good scenario stated in this chapter, not because Mr. Knobloch had these rules in mind as he composed it, butbecause, as a trained dramatist, he instinctively gave these qualities to his scenario. Carefully studied in relation to the essentials of scenario writing just stated, it should remove all doubt in the mind of a student as to what a good scenario is and why it is an essential preliminary to a good play.
KISMETorHAJJI’S DAYScenario for a play in three acts, byEDWARD KNOBLOCH15CHARACTERS(in order of their appearance)Original NamesLater NamesHajji.Hajj (as Hajji is Persian, Hajj Arabian).A Priest.Imam Mahmud.Guide.Nasir.Sheikh of the Desert.Jawan.Young Beggar.Kasim.Sultan.The Caliph Abdallah.His Vizier.Abu Bakr.Shopkeeper I.Amru.Shopkeeper II.Fayd.Zira.Marsinah.Old Woman I.Narjis.Officer of Guard.Captain of the Watch.Executioner.Mansur, Chief of Police.His Scribe.Turned into two characters:Kafur, the Sworder.Afife, the Hunchback.Old Woman II.Executioner’s Wife.Kut-Al-Kulub.Gaoler.Kutayt.Peasant.Trial scene atCut out in final draft.Two Wives.Sultan’s.Dancers, Soldiers, Courtiers, Women, the People.ACT I[Scene later introduced before the curtain.]Scene 1. A Street before a Mosque.Scene 2. The Bazaar.Scene 3. Courtyard of a Poor House.Scene 4. Courtyard of Executioner’s House.ACT IIScene 1. Interior Room of Executioner’s House.Scene 2. Courtyard of a Poor House. (Act I, Scene 3.)Scene 3. The Sultan’s Audience Hall.Scene 4. A Dungeon.ACT IIIScene 1. Courtyard of a Poor House (Act I, Scene 3) [cut in final version].Scene 2. The Bath of the Executioner’s House.Scene 3. A street before a Mosque. (Act I, Scene 1.)The Scene is laid in Bagdad.The action takes place from morning to night.ACT ISCENE 1A narrow street with stone steps leading up to a Mosque left. (Small set.)The sun is just beginning to rise.Asleep on a large stone which juts out from the angle of the wall C. sits Hajji wrapped in his beggar’s cloak. On the minaret of the Mosque appears the priest, a venerable white bearded man. He calls to prayer.[See alterations in actual play.]The crowd begins to pass into the Mosque as the sun rises. Hajji wakes up, rubs his eyes, and has a drink of water from a gourd which he draws out from behind his seat. He begins to beg from the passers-by.An Old Man (Jawan) preceded by a guide (Nasir) is carried across the scene in a litter. He fixes his gaze on Hajji and is carried off into the Mosque. The guide remains in the portico. Hajji follows the Old Man on his knees to the steps of the Mosque, begging.As he does so a lean Beggar of a younger cast of countenance takes Hajji’s place.Hajji returns to his seat.
KISMETorHAJJI’S DAY
Scenario for a play in three acts, byEDWARD KNOBLOCH15
CHARACTERS(in order of their appearance)
ACT I
[Scene later introduced before the curtain.]Scene 1. A Street before a Mosque.Scene 2. The Bazaar.Scene 3. Courtyard of a Poor House.Scene 4. Courtyard of Executioner’s House.
[Scene later introduced before the curtain.]
Scene 1. A Street before a Mosque.
Scene 2. The Bazaar.
Scene 3. Courtyard of a Poor House.
Scene 4. Courtyard of Executioner’s House.
ACT II
Scene 1. Interior Room of Executioner’s House.Scene 2. Courtyard of a Poor House. (Act I, Scene 3.)Scene 3. The Sultan’s Audience Hall.Scene 4. A Dungeon.
Scene 1. Interior Room of Executioner’s House.
Scene 2. Courtyard of a Poor House. (Act I, Scene 3.)
Scene 3. The Sultan’s Audience Hall.
Scene 4. A Dungeon.
ACT III
Scene 1. Courtyard of a Poor House (Act I, Scene 3) [cut in final version].Scene 2. The Bath of the Executioner’s House.Scene 3. A street before a Mosque. (Act I, Scene 1.)
Scene 1. Courtyard of a Poor House (Act I, Scene 3) [cut in final version].
Scene 2. The Bath of the Executioner’s House.
Scene 3. A street before a Mosque. (Act I, Scene 1.)
The Scene is laid in Bagdad.The action takes place from morning to night.
The Scene is laid in Bagdad.
The action takes place from morning to night.
ACT I
SCENE 1
A narrow street with stone steps leading up to a Mosque left. (Small set.)
The sun is just beginning to rise.
Asleep on a large stone which juts out from the angle of the wall C. sits Hajji wrapped in his beggar’s cloak. On the minaret of the Mosque appears the priest, a venerable white bearded man. He calls to prayer.[See alterations in actual play.]
The crowd begins to pass into the Mosque as the sun rises. Hajji wakes up, rubs his eyes, and has a drink of water from a gourd which he draws out from behind his seat. He begins to beg from the passers-by.
An Old Man (Jawan) preceded by a guide (Nasir) is carried across the scene in a litter. He fixes his gaze on Hajji and is carried off into the Mosque. The guide remains in the portico. Hajji follows the Old Man on his knees to the steps of the Mosque, begging.
As he does so a lean Beggar of a younger cast of countenance takes Hajji’s place.
Hajji returns to his seat.
SCENE 2The Bazaar.(Large set)Shopkeeper I and Shopkeeper II lying outside of adjoining shops. They are very friendly.Crowd.Young Sultan (Caliph) rides through the bazaar on a white donkey. His Vizier (Abu Bakr) follows him. Also guards.
SCENE 2
The Bazaar.(Large set)
Shopkeeper I and Shopkeeper II lying outside of adjoining shops. They are very friendly.
Crowd.
Young Sultan (Caliph) rides through the bazaar on a white donkey. His Vizier (Abu Bakr) follows him. Also guards.
SCENE 3(For “Zira” read “Marsinah.”)Zira’s home. Small courtyard of a poor house. On right side a large gate backing to street. Fountain in courtyard.
SCENE 3
(For “Zira” read “Marsinah.”)
Zira’s home. Small courtyard of a poor house. On right side a large gate backing to street. Fountain in courtyard.
SCENE 4Hall in Executioner’s House (large set). A colonnade at back, showing courtyard.
SCENE 4
Hall in Executioner’s House (large set). A colonnade at back, showing courtyard.
ACT IIAn inner chamber in Executioner’s House. Door leading to Hareem.[This is the same hall as at the end of Act I, only that curtains are drawn to hide the courtyard.]
ACT II
An inner chamber in Executioner’s House. Door leading to Hareem.
[This is the same hall as at the end of Act I, only that curtains are drawn to hide the courtyard.]
SCENE 2Zira’s home. Same scene as Scene 3, Act I. Small courtyard.Zira sits with her guitar singing a love song.
SCENE 2
Zira’s home. Same scene as Scene 3, Act I. Small courtyard.
Zira sits with her guitar singing a love song.
SCENE 3The Sultan’s Audience Hall(The Caliph’s Diwan). (Large set.)Sultan seated on a Divan.His Vizier by his side.Dances of Women.Sultan melancholy. He says to Vizier that all these dances are nothing to the faded rose in his hand.Hour for audience strikes.The women dismissed.The gates are opened to the crowd.The various dignitaries enter.The Executioner and the Guard come and kneel to the Sultan.Different cases for trial called.First of all the old Sheikh is called.His whereabouts have been ascertained through the Guide.The Sheikh is carried in on his litter and with greatest difficulty descends to do obeisance to the Sultan.
SCENE 3
The Sultan’s Audience Hall(The Caliph’s Diwan). (Large set.)Sultan seated on a Divan.His Vizier by his side.Dances of Women.Sultan melancholy. He says to Vizier that all these dances are nothing to the faded rose in his hand.Hour for audience strikes.The women dismissed.The gates are opened to the crowd.The various dignitaries enter.The Executioner and the Guard come and kneel to the Sultan.Different cases for trial called.First of all the old Sheikh is called.His whereabouts have been ascertained through the Guide.The Sheikh is carried in on his litter and with greatest difficulty descends to do obeisance to the Sultan.
The Sultan’s Audience Hall(The Caliph’s Diwan). (Large set.)
Sultan seated on a Divan.
His Vizier by his side.
Dances of Women.
Sultan melancholy. He says to Vizier that all these dances are nothing to the faded rose in his hand.
Hour for audience strikes.
The women dismissed.
The gates are opened to the crowd.
The various dignitaries enter.
The Executioner and the Guard come and kneel to the Sultan.
Different cases for trial called.
First of all the old Sheikh is called.
His whereabouts have been ascertained through the Guide.
The Sheikh is carried in on his litter and with greatest difficulty descends to do obeisance to the Sultan.
SCENE 4A Dungeon. A massive door at the back leads to an endless flight of shallow steps. It is dark: Hardly any light except from one barred window high up: through this come the rays of the setting sun.The Sheikh is alone in one corner saying his prayers. He then lies down and goes to sleep.The Gaoler opens the door.Hajji is thrown in and chained.
SCENE 4
A Dungeon. A massive door at the back leads to an endless flight of shallow steps. It is dark: Hardly any light except from one barred window high up: through this come the rays of the setting sun.
The Sheikh is alone in one corner saying his prayers. He then lies down and goes to sleep.
The Gaoler opens the door.Hajji is thrown in and chained.