Scene:The terrace of Act I, but lit wanly now by the moon, whose sheen is cast like a pall over the city and kindles the Bay to quivering silver. Thro the open door of the house and from the window of Porzia's chamber which is just above the image of the Virgin, light falls streaming toward the Pan and toward the deeply shadowed bower. A stone seat is set to the front centre.Osio, haunted and desperate, stands without the bower, watching Matteo who is stealthily coming down from the pedestal of the Virgin where he has climbed to listen, and who crosses the terrace to him.
Scene:The terrace of Act I, but lit wanly now by the moon, whose sheen is cast like a pall over the city and kindles the Bay to quivering silver. Thro the open door of the house and from the window of Porzia's chamber which is just above the image of the Virgin, light falls streaming toward the Pan and toward the deeply shadowed bower. A stone seat is set to the front centre.
Osio, haunted and desperate, stands without the bower, watching Matteo who is stealthily coming down from the pedestal of the Virgin where he has climbed to listen, and who crosses the terrace to him.
Osio.Her words! give me her words—and them alone!What were they?Matteo.I could learn no more, Signor.The fever is tossing her.Osio.To peril of death?She is sinking now down into ceaseless Hell,Where he shall follow?Is swooning low to it?And to eternal flame?Matteo.I do not know.But burningly she sleeps. (Uneasily.) Shall we not go?[Looks around.For if we here are found—Osio.They have not brought herThe Sacrament?Matteo.No priest is there, Signor.Osio.The child, she asks for it?Matteo.I seemed to hearSignora Bianca say that since the morningWhen it was borne in secret to the tombShe has not.But still her moan's of Signor Rizzio,Who has not yet returned, tho still they seek him.Osio(bitterly).Her blood be on his head! upon his head!And not on mine, that has not swayed to schism,If death is calling now for her damnation.No, I am pure of it!Matteo.But should he come?[Again looks around.Osio.I'll fear him not. Never! For odiumIt were to God that I a moment should—Him black with unbelief!But come he will not ... since he left deluded.Or if he should a voice has pledged to meFull absolution if—Matteo.What, Signor?Osio.Peace!He will not. So again mount up!Matteo(unwillingly).Signor!Osio.Mount, mount, and strain the most to get me more.[Matteo loathly crosses and again ascends the pedestal. But scarcely has done so when a knock comes at the gate. He steps down into the shadow of the image—Osio into bower. Then Marina appears from the house hesitantly.Marina.Who knocks? Signor Aloysius, is it you?Aloysius.Ai, ai! and weary: open![Being admitted.This day! this day!The search till he was found; and then the toil—The patient physic pouredVainly it seemed unto the proud or poor.[Taking off medicine pouch.But it at last is done. Now, the relief—He came reluctant? and to her outpouredA lava of wild purpose and revengeWhen he was told?Marina.He? (Staring.) Signor Rizzio?You have not brought him?Aloysius.Brought? Is he not here?Marina(dismayed).Signor!Aloysius.But how? but how? (dropping pouch.) Not he? and Bruno?Who had been with him,Whom he had but leftTo search, sudden it seemed, for Osio?Not Bruno! whom I pledged to find and lead himHere to her—since we learned that OsioHas fled from Naples?Marina.Signor, neither! none![Involuntarily.O he must come, or she will die!Aloysius.... Die?...Marina.New evils gather ever in vendetta!Aloysius.You run from them too rapidly to death,Which comes but when it will—and not from sleepIn which I left her.Marina.But her sleep has grownTo fever that has flowed into her brain!Her heart is full of moans,Her lips of murmurs!She tore the crucifix from off her neckAnd flung it from her, saying that it wasThe arms of Osio; and then cried outThat she was virgin and immaculatelyHad borne a child, that now was laid in the tomb,But should arise again. Then would she startAnd say there is no God, but only stars,But stars, a heaven of stars! For which SignoraBianca ignorant arose and chid her.Aloysius.And all unduly did! This must be stayed,Not made immedicable.Go in; prepare the herbs that I left with you.[She goes—as he stands pondering—past Bianca, who enters.Bianca(pausing, then with resolute bitterness).So you have come and have not brought him? Well,The insult of this secrecy must end,The shrouding and affronting soil of it.I'll sift in doubt no more, but have the truth.Aloysius.Signora?Bianca.O, fatality's in the world,From atom to infinity it may be,But there is also sinning. Which is this?And whence is itIf she though sunk in sleepSays ever "I must go into the bower!"And ever with elusive lips "the bower!"Whom would she meet?Aloysius.The bower?Bianca.Whom! or ifNo guilt is in her why this grievous haunting?Aloysius.I will go to her.Bianca(angrily).So to evade confessing?To avoid grantingThat it is Osio?That it is he has been her paramour?That he it is has plundered her with passion—Whose proof is the childWhich Heaven has struck dead?Will go? Nor first denyThat rightly Rizzio has turned from herAnd now perchance is seeking Osio——[Breaks off, for the gate opens and Rizzio slowly enters. A deadly purpose is on him as he looks around.Rizzio(at length).You clothe my thought,Bianca, in the fleshOf speech that I have shunned: but we shall know——Soon know, for I have tracked him to this gate.[To Aloysius, solemnly.Where is he?Aloysius(amazed).He?... Osio?Rizzio.So! reveal him!Aloysius.But—this is error!... he is gone from Naples!Rizzio.Or wrapped in lies is hidden here for her?By the very God of the world, I say—— (With restraint.) But ... no!Aloysius.And "no" until you trust it! For her fateIs not as you suppose.Rizzio.Nor his? Nor he!This bigot whose religion's lechery?This monk to whom licentiousness is God?This monster I illimitably loathe?[Searching as he speaks.I say that he is here; that I will find him;That, I have tracked him to you, and ... (suddenly) Aha![Discovers Matteo under image.Aha! from Naples he is gone? from Naples?[Drawing Matteo forth.But leaves his shadow here?Matteo(terrified).Signor! Signor![Cringes.Rizzio.From Naples he is sped, but at the feetOf the Virgin he adores drops this devotion?[Slowly, terribly.Unpitiable toad—of filth begotten!Pander who should go down into the PitAnd be the go-between of burning lusts,Where lurks he?Matteo.Signor! (chokes) Signor! I will show.You shall have all; but let me live, Signor.I have a father crippled who would starveBut for the gold I get....And she, Signora Porzia's innocent.Rizzio.And virgin too! with that obliterationYou'll clothe her! Heaven's Queen, do I not knowWhat Nature and conception are!Aloysius(trembling).Ai, so!And of them there is no denial here.That she has given birth, herself has told you,Herself.... The childwashers, but——Rizzio.Born of miraclesAnd of imaginations and of dreams?Is this JudeaAnd a day divine,Not Italy and unregeneration,Where God deputes the world to Borgias?The father of it was he—he and no other!Aloysius.But in her innocence she—Rizzio.Yielded! Yielded!And clung to him as the harlot moon to earth.Aloysius.No, no!Rizzio.Thro nights and nights!Aloysius.Never; but dupedAnd unaware she took his arms for yours,Believed, tho by yon moon, I know not how,Unless she was entranced,That you had come to meet her in the bower,And——Marinaenters suddenly terrifiedMarina.Signor! Signor Aloysius! O quick!O come to her! She has arisen!Aloysius.Risen!Marina.O, in her sleep! and will not to her bedReturn, but says with eyes empty of sightThat it is time——Aloysius.For what?Marina(hesitant, distressed).To ... meet him inThe bower!Aloysius(quickly).I will come to her.Rizzio(burningly).Ah! ah![Starts before him.And drug her now with opiates to prevent her?Or waken her and bid her to deny?Did I not deem it? and will you feign further?Did I not say that Osio is here?There in the bower is he, there! and sheHas planned to meet him.Marina.Signor! no! no, no!'Tis you that she would meet!Rizzio.And not this croucher,[Of Matteo.Who is alone and purposeless? not he?Nor him he pledges craven to reveal?Marina.O, Signor, no!Rizzio.Lies! and a world of lies![His words writhing.And now you shall not hold her: she shall come:Shall go into the bower. She shall take himBefore your very breath unto her breast.Marina.But, Signor, she is asleep.Rizzio.Go, lead her.Marina.SheKnows not what she is doing!Rizzio.She shall learn!Marina.O Signor, no, no, no!Rizzio.I tell you, then,[Starting toward house.That truth is still my star, and that no shrinkingShall stay me, tho all night contains would quench it.[Is near door, when Porzia herself like a wraith appears—and at the same time Osio is seen in the entrance to bower. Before Porzia's sleep-fixed eyes Rizzio falls back: her somnambulant speech breaks faintly.Porzia.The night is as a spell. No more of physic.Return unto your couch. The Inquisition?To take him? from his very nuptials take him?He is no bigamist, Monsignor Querio.[Pauses.Yes, Rizzio, at midnight!... Yes.—EverThe arms of Osio round me instead!This choking shroud of fever that defiles![Moans, trying to throw it off.But, peace; the child will wake. My little one,My baby!... lift the candle to its face.[Again moaning.O that is Osio, not Rizzio,I see within its eyes! Yet do not kill him,No, Rizzio, do not kill him, tho he isYour brother and has done it: I have borneToo much and they would prison you again.Or if they did not, still the stars we loveMust not turn into ... drops of bloody vengeance!—But, peace to this! (moves forward) for it is time to meet him.Marina(withholdingly).Signora!Porzia.Time to meet him in the bower.[Is nearing it.For now he is returned and all the nightIs like a spell to draw my soul unto him.[With Osio before her.Yes, Rizzio, I come; you see, I ... I ...[Is reaching her arms to him when a shudder takes her. Her hand goes up to her brow and her gaze wanly flutters. Then suddenly her trance breaks and she shrinks screaming.It is not he! not Rizzio! Not he!Marina! Bianca! Help! not he! help; help![Sinks wildly back to the seat.Marina(who runs to her).Signora, no! not he! not he! but weAre here and he is come and you shall see him.[Kneeling.See, you have dreamed!...Aloysius(by her).And have awakened, Porzia,Awakened from imaginings and terrors;For you are ill....Marina.And knew not what you did!...But now look round you and all shall be well.[She looks and, finding Rizzio, rises again bewildered.Marina(who understands).It now is he, Signora; do not fear.Porzia.Rizzio! Rizzio! Rizzio!Rizzio.Porzia![He sobs.Porzia.O, is it dreams? I pray do not deceive me.I think that it is he, but O so manyMy thoughts have been and full of pain to meThat truth shall never more, alas, be true,Or trust be ever utter trust againTill peace has come to me as pure as thatTo earth, from the rainbow's woven amuletUpon the brow of God—peace wed to kindness.And to deceive me now were less than kind!Rizzio.My Porzia! (Falls weeping at her feet.)Deceit at last is o'er!And not he, even he, who wrought this wrongAnd who would forge that rainbow into fetters,Till I could wishThe eternal tooth of painAnd of remorse should tear him—not he, now,[Rising; to Osio.Shall turn my heart from love unto revenge.But "pagan" tho I be, I bid him go![Points to gate, and Osio tortured, flings it open—and goes. Then when Matteo has followed, Rizzio turns tenderly to Porzia. The horror falls from her as he folds her finally to him—while the moon that had clouded, shines on them bright and still.THE END
Osio.
Her words! give me her words—and them alone!
What were they?
Matteo.
I could learn no more, Signor.
The fever is tossing her.
Osio.
To peril of death?
She is sinking now down into ceaseless Hell,
Where he shall follow?
Is swooning low to it?
And to eternal flame?
Matteo.
I do not know.
But burningly she sleeps. (Uneasily.) Shall we not go?
[Looks around.
For if we here are found—
Osio.
They have not brought her
The Sacrament?
Matteo.
No priest is there, Signor.
Osio.
The child, she asks for it?
Matteo.
I seemed to hear
Signora Bianca say that since the morning
When it was borne in secret to the tomb
She has not.
But still her moan's of Signor Rizzio,
Who has not yet returned, tho still they seek him.
Osio(bitterly).
Her blood be on his head! upon his head!
And not on mine, that has not swayed to schism,
If death is calling now for her damnation.
No, I am pure of it!
Matteo.
But should he come?
[Again looks around.
Osio.
I'll fear him not. Never! For odium
It were to God that I a moment should—
Him black with unbelief!
But come he will not ... since he left deluded.
Or if he should a voice has pledged to me
Full absolution if—
Matteo.
What, Signor?
Osio.
Peace!
He will not. So again mount up!
Matteo(unwillingly).
Signor!
Osio.
Mount, mount, and strain the most to get me more.
[Matteo loathly crosses and again ascends the pedestal. But scarcely has done so when a knock comes at the gate. He steps down into the shadow of the image—Osio into bower. Then Marina appears from the house hesitantly.
Marina.
Who knocks? Signor Aloysius, is it you?
Aloysius.
Ai, ai! and weary: open!
[Being admitted.
This day! this day!
The search till he was found; and then the toil—
The patient physic poured
Vainly it seemed unto the proud or poor.
[Taking off medicine pouch.
But it at last is done. Now, the relief—
He came reluctant? and to her outpoured
A lava of wild purpose and revenge
When he was told?
Marina.
He? (Staring.) Signor Rizzio?
You have not brought him?
Aloysius.
Brought? Is he not here?
Marina(dismayed).
Signor!
Aloysius.
But how? but how? (dropping pouch.) Not he? and Bruno?
Who had been with him,
Whom he had but left
To search, sudden it seemed, for Osio?
Not Bruno! whom I pledged to find and lead him
Here to her—since we learned that Osio
Has fled from Naples?
Marina.
Signor, neither! none!
[Involuntarily.
O he must come, or she will die!
Aloysius.
... Die?...
Marina.
New evils gather ever in vendetta!
Aloysius.
You run from them too rapidly to death,
Which comes but when it will—and not from sleep
In which I left her.
Marina.
But her sleep has grown
To fever that has flowed into her brain!
Her heart is full of moans,
Her lips of murmurs!
She tore the crucifix from off her neck
And flung it from her, saying that it was
The arms of Osio; and then cried out
That she was virgin and immaculately
Had borne a child, that now was laid in the tomb,
But should arise again. Then would she start
And say there is no God, but only stars,
But stars, a heaven of stars! For which Signora
Bianca ignorant arose and chid her.
Aloysius.
And all unduly did! This must be stayed,
Not made immedicable.
Go in; prepare the herbs that I left with you.
[She goes—as he stands pondering—past Bianca, who enters.
Bianca(pausing, then with resolute bitterness).
So you have come and have not brought him? Well,
The insult of this secrecy must end,
The shrouding and affronting soil of it.
I'll sift in doubt no more, but have the truth.
Aloysius.
Signora?
Bianca.
O, fatality's in the world,
From atom to infinity it may be,
But there is also sinning. Which is this?
And whence is it
If she though sunk in sleep
Says ever "I must go into the bower!"
And ever with elusive lips "the bower!"
Whom would she meet?
Aloysius.
The bower?
Bianca.
Whom! or if
No guilt is in her why this grievous haunting?
Aloysius.
I will go to her.
Bianca(angrily).
So to evade confessing?
To avoid granting
That it is Osio?
That it is he has been her paramour?
That he it is has plundered her with passion—
Whose proof is the child
Which Heaven has struck dead?
Will go? Nor first deny
That rightly Rizzio has turned from her
And now perchance is seeking Osio——
[Breaks off, for the gate opens and Rizzio slowly enters. A deadly purpose is on him as he looks around.
Rizzio(at length).
You clothe my thought,
Bianca, in the flesh
Of speech that I have shunned: but we shall know——
Soon know, for I have tracked him to this gate.
[To Aloysius, solemnly.
Where is he?
Aloysius(amazed).
He?... Osio?
Rizzio.
So! reveal him!
Aloysius.
But—this is error!... he is gone from Naples!
Rizzio.
Or wrapped in lies is hidden here for her?
By the very God of the world, I say—— (With restraint.) But ... no!
Aloysius.
And "no" until you trust it! For her fate
Is not as you suppose.
Rizzio.
Nor his? Nor he!
This bigot whose religion's lechery?
This monk to whom licentiousness is God?
This monster I illimitably loathe?
[Searching as he speaks.
I say that he is here; that I will find him;
That, I have tracked him to you, and ... (suddenly) Aha!
[Discovers Matteo under image.
Aha! from Naples he is gone? from Naples?
[Drawing Matteo forth.
But leaves his shadow here?
Matteo(terrified).
Signor! Signor!
[Cringes.
Rizzio.
From Naples he is sped, but at the feet
Of the Virgin he adores drops this devotion?
[Slowly, terribly.
Unpitiable toad—of filth begotten!
Pander who should go down into the Pit
And be the go-between of burning lusts,
Where lurks he?
Matteo.
Signor! (chokes) Signor! I will show.
You shall have all; but let me live, Signor.
I have a father crippled who would starve
But for the gold I get....
And she, Signora Porzia's innocent.
Rizzio.
And virgin too! with that obliteration
You'll clothe her! Heaven's Queen, do I not know
What Nature and conception are!
Aloysius(trembling).
Ai, so!
And of them there is no denial here.
That she has given birth, herself has told you,
Herself.... The childwashers, but——
Rizzio.
Born of miracles
And of imaginations and of dreams?
Is this Judea
And a day divine,
Not Italy and unregeneration,
Where God deputes the world to Borgias?
The father of it was he—he and no other!
Aloysius.
But in her innocence she—
Rizzio.
Yielded! Yielded!
And clung to him as the harlot moon to earth.
Aloysius.
No, no!
Rizzio.
Thro nights and nights!
Aloysius.
Never; but duped
And unaware she took his arms for yours,
Believed, tho by yon moon, I know not how,
Unless she was entranced,
That you had come to meet her in the bower,
And——
Marinaenters suddenly terrified
Marina.
Signor! Signor Aloysius! O quick!
O come to her! She has arisen!
Aloysius.
Risen!
Marina.
O, in her sleep! and will not to her bed
Return, but says with eyes empty of sight
That it is time——
Aloysius.
For what?
Marina(hesitant, distressed).
To ... meet him in
The bower!
Aloysius(quickly).
I will come to her.
Rizzio(burningly).
Ah! ah!
[Starts before him.
And drug her now with opiates to prevent her?
Or waken her and bid her to deny?
Did I not deem it? and will you feign further?
Did I not say that Osio is here?
There in the bower is he, there! and she
Has planned to meet him.
Marina.
Signor! no! no, no!
'Tis you that she would meet!
Rizzio.
And not this croucher,
[Of Matteo.
Who is alone and purposeless? not he?
Nor him he pledges craven to reveal?
Marina.
O, Signor, no!
Rizzio.
Lies! and a world of lies!
[His words writhing.
And now you shall not hold her: she shall come:
Shall go into the bower. She shall take him
Before your very breath unto her breast.
Marina.
But, Signor, she is asleep.
Rizzio.
Go, lead her.
Marina.
She
Knows not what she is doing!
Rizzio.
She shall learn!
Marina.
O Signor, no, no, no!
Rizzio.
I tell you, then,
[Starting toward house.
That truth is still my star, and that no shrinking
Shall stay me, tho all night contains would quench it.
[Is near door, when Porzia herself like a wraith appears—and at the same time Osio is seen in the entrance to bower. Before Porzia's sleep-fixed eyes Rizzio falls back: her somnambulant speech breaks faintly.
Porzia.
The night is as a spell. No more of physic.
Return unto your couch. The Inquisition?
To take him? from his very nuptials take him?
He is no bigamist, Monsignor Querio.
[Pauses.
Yes, Rizzio, at midnight!... Yes.—Ever
The arms of Osio round me instead!
This choking shroud of fever that defiles!
[Moans, trying to throw it off.
But, peace; the child will wake. My little one,
My baby!... lift the candle to its face.
[Again moaning.
O that is Osio, not Rizzio,
I see within its eyes! Yet do not kill him,
No, Rizzio, do not kill him, tho he is
Your brother and has done it: I have borne
Too much and they would prison you again.
Or if they did not, still the stars we love
Must not turn into ... drops of bloody vengeance!—
But, peace to this! (moves forward) for it is time to meet him.
Marina(withholdingly).
Signora!
Porzia.
Time to meet him in the bower.
[Is nearing it.
For now he is returned and all the night
Is like a spell to draw my soul unto him.
[With Osio before her.
Yes, Rizzio, I come; you see, I ... I ...
[Is reaching her arms to him when a shudder takes her. Her hand goes up to her brow and her gaze wanly flutters. Then suddenly her trance breaks and she shrinks screaming.
It is not he! not Rizzio! Not he!
Marina! Bianca! Help! not he! help; help!
[Sinks wildly back to the seat.
Marina(who runs to her).
Signora, no! not he! not he! but we
Are here and he is come and you shall see him.
[Kneeling.
See, you have dreamed!...
Aloysius(by her).
And have awakened, Porzia,
Awakened from imaginings and terrors;
For you are ill....
Marina.
And knew not what you did!...
But now look round you and all shall be well.
[She looks and, finding Rizzio, rises again bewildered.
Marina(who understands).
It now is he, Signora; do not fear.
Porzia.
Rizzio! Rizzio! Rizzio!
Rizzio.
Porzia!
[He sobs.
Porzia.
O, is it dreams? I pray do not deceive me.
I think that it is he, but O so many
My thoughts have been and full of pain to me
That truth shall never more, alas, be true,
Or trust be ever utter trust again
Till peace has come to me as pure as that
To earth, from the rainbow's woven amulet
Upon the brow of God—peace wed to kindness.
And to deceive me now were less than kind!
Rizzio.
My Porzia! (Falls weeping at her feet.)
Deceit at last is o'er!
And not he, even he, who wrought this wrong
And who would forge that rainbow into fetters,
Till I could wish
The eternal tooth of pain
And of remorse should tear him—not he, now,
[Rising; to Osio.
Shall turn my heart from love unto revenge.
But "pagan" tho I be, I bid him go!
[Points to gate, and Osio tortured, flings it open—and goes. Then when Matteo has followed, Rizzio turns tenderly to Porzia. The horror falls from her as he folds her finally to him—while the moon that had clouded, shines on them bright and still.
THE END
FAR QUESTSCALE YOUNG RICEThe countrymen of Cale Young Rice apparently regard him as the equal of the great American poets of the past.Far Questsis good unquestionably. It shows a wide range of thought, and sympathy, and real skill in workmanship, while occasionally it rises to heights of simplicity and truth, that suggest such inspiration as should mean lasting fame.—The Daily Telegraph(London)."Mr. Rice's lyrics are deeply impressive. A large number are complete and full-blooded works of art."—Prof. Wm. Lyon Phelps(Yale University)."Far Questscontains much beautiful work—the work of a real poet in imagination and achievement."—Prof. J. W. Mackail(Oxford University)."Mr. Rice is determined to get away from local or national limitations and be at whatever cost universal.... These poems are always animated by a force and freshness of feeling rare in work of such high virtuosity."—The Scotsman(Edinburgh)."Mr. Cale Young Rice is acknowledged by his countrymen to be one of their great poets. There is great charm in the nature songs (of this volume) and of the East. Mr. Rice writes with great simplicity and beauty."—The Sphere(London)."Mr. Rice's forte is a poetic drama. Yet in the act of saying this the critic is confronted by such poems asThe Mystic.... These are the poems of a thinker, a man of large horizons, an optimist profoundly impressed with the pathos of man's quest for happiness in all lands."—The Chicago Record-Herald."Mr. Rice's latest volume shows no diminution of poetic power. Fecundity is a mark of the genuine poet, and a glance through these pages will demonstrate how rich Mr. Rice is in vitality and variety of thought.... There is too, the unmistakable quality of style. It is spontaneous, flexible, and strong with the strength of simplicity—a style of rare distinction."—Albert S. Henry(The Book News Monthly, Philadelphia).
FAR QUESTSCALE YOUNG RICE
The countrymen of Cale Young Rice apparently regard him as the equal of the great American poets of the past.Far Questsis good unquestionably. It shows a wide range of thought, and sympathy, and real skill in workmanship, while occasionally it rises to heights of simplicity and truth, that suggest such inspiration as should mean lasting fame.—The Daily Telegraph(London).
"Mr. Rice's lyrics are deeply impressive. A large number are complete and full-blooded works of art."—Prof. Wm. Lyon Phelps(Yale University).
"Far Questscontains much beautiful work—the work of a real poet in imagination and achievement."—Prof. J. W. Mackail(Oxford University).
"Mr. Rice is determined to get away from local or national limitations and be at whatever cost universal.... These poems are always animated by a force and freshness of feeling rare in work of such high virtuosity."—The Scotsman(Edinburgh).
"Mr. Cale Young Rice is acknowledged by his countrymen to be one of their great poets. There is great charm in the nature songs (of this volume) and of the East. Mr. Rice writes with great simplicity and beauty."—The Sphere(London).
"Mr. Rice's forte is a poetic drama. Yet in the act of saying this the critic is confronted by such poems asThe Mystic.... These are the poems of a thinker, a man of large horizons, an optimist profoundly impressed with the pathos of man's quest for happiness in all lands."—The Chicago Record-Herald.
"Mr. Rice's latest volume shows no diminution of poetic power. Fecundity is a mark of the genuine poet, and a glance through these pages will demonstrate how rich Mr. Rice is in vitality and variety of thought.... There is too, the unmistakable quality of style. It is spontaneous, flexible, and strong with the strength of simplicity—a style of rare distinction."—Albert S. Henry(The Book News Monthly, Philadelphia).
THE IMMORTAL LURECALE YOUNG RICEIt is great art—with great vitality.James Lane Allen.In the midst of the Spring rush there arrives one book for which all else is pushed aside.... We have been educated to the belief that a man must be long dead before he can be enrolled with the great ones. Let us forget this cruel teaching.... This volume contains four poetic dramas all different in setting, and all so beautiful that we cannot choose one more perfect than another.... Too extravagant praise cannot be given Mr. Rice.—The San Francisco Call.Four brief dramas, different from Paolo & Francesca, but excelling it—or any other of Mr. Phillips's work, it is safe to say—in a vivid presentment of a supreme moment in the lives of the characters.... They form excellent examples of the range of Mr. Rice's genius in this field.—The New York Times Review.Mr. Rice is quite the most ambitious, and most distinguished of contemporary poetic dramatists in America.—The Boston Transcript(W. S. Braithwaite.)The vigor and originality of Mr. Rice's work never outweigh that first qualification, beauty.... No American writer has so enriched the body of our poetic literature in the past few years.—The New Orleans Picayune.Mr. Rice is beyond doubt the most distinguished poetic dramatist America has yet produced.—The Detroit Free Press.That in Cale Young Rice a new American poet of great power and originality has arisen cannot be denied. He has somehow discovered the secret of the mystery, wonder and spirituality of human existence, which has been all but lost in our commercial civilization. May he succeed in awakening our people from sordid dreams of gain.—Rochester(N. Y.)Post Express.No writer in England or America holds himself to higher ideals (than Mr. Rice) and everything he does bears the imprint of exquisite taste and the finest poetic instinct.—The Portland Oregonian.In simplicity of art form and sheer mystery of romanticism these poetic dramas embody the new century artistry that is remaking current imaginative literature.—The Philadelphia North American.Cale Young Rice is justly regarded as the leading master of the difficult form of poetic drama.—Portland(Me.)Press.Mr. Rice has outlived the prophesy that he would one day rival Stephen Phillips in the poetic drama. As dexterous in the mechanism of his art, the young American is the Englishman's superior in that unforced quality which bespeaks true inspiration, and in a wider variety of manner and theme.—San Francisco Chronicle.Mr. Rice's work has often been compared to Stephen Phillips's and there is great resemblance in their expression of high vision. Mr. Rice's technique is sure, ... his knowledge of his settings impeccable, and one feels sincerely the passion, power and sensuous beauty of the whole. "Arduin" (one of the plays) is perfect tragedy; as rounded as a sphere, as terrible as death.—Review of Reviews.The Immortal Lure is a very beautiful work.—The Springfield(Mass.)Republican.The action in Mr. Rice's dramas is invariably compact and powerful, his writing remarkably forcible and clear, with a rare grasp of form. The plays are brief and classic.—Baltimore News.These four dramas, each a separate unit perfect in itself and differing widely in treatment, are yet vitally related by reason of the one central theme, wrought out with rich imagery and with compelling dramatic power.—The Louisville Times(U. S.)The literary and poetical merit of these dramas is undeniable, and they are charged with the emotional life and human interest that should, but do not, always go along with those other high gifts.—The(London)Bookman.Mr. Rice never [like Stephen Phillips] mistakes strenuous phrase for strong thought. He makes his blank verse his servant, and it has the stage merit of possessing the freedom of prose while retaining the impassioned movement of poetry.—The Glasgow(Scotland)Herald.These firm and vivid pieces of work are truly welcome as examples of poetic force that succeeds without the help of poetic license.—The Literary World(London.)We do not possess a living American poet whose utterance is so clear, so felicitous, so free from the inane and meretricious folly of sugared lines.... No one has a better understanding of the development of dramatic action than Mr. Rice.—The Book News Monthly(Albert S. Henry.)
THE IMMORTAL LURECALE YOUNG RICE
It is great art—with great vitality.James Lane Allen.
In the midst of the Spring rush there arrives one book for which all else is pushed aside.... We have been educated to the belief that a man must be long dead before he can be enrolled with the great ones. Let us forget this cruel teaching.... This volume contains four poetic dramas all different in setting, and all so beautiful that we cannot choose one more perfect than another.... Too extravagant praise cannot be given Mr. Rice.—The San Francisco Call.
Four brief dramas, different from Paolo & Francesca, but excelling it—or any other of Mr. Phillips's work, it is safe to say—in a vivid presentment of a supreme moment in the lives of the characters.... They form excellent examples of the range of Mr. Rice's genius in this field.—The New York Times Review.
Mr. Rice is quite the most ambitious, and most distinguished of contemporary poetic dramatists in America.—The Boston Transcript(W. S. Braithwaite.)
The vigor and originality of Mr. Rice's work never outweigh that first qualification, beauty.... No American writer has so enriched the body of our poetic literature in the past few years.—The New Orleans Picayune.
Mr. Rice is beyond doubt the most distinguished poetic dramatist America has yet produced.—The Detroit Free Press.
That in Cale Young Rice a new American poet of great power and originality has arisen cannot be denied. He has somehow discovered the secret of the mystery, wonder and spirituality of human existence, which has been all but lost in our commercial civilization. May he succeed in awakening our people from sordid dreams of gain.—Rochester(N. Y.)Post Express.
No writer in England or America holds himself to higher ideals (than Mr. Rice) and everything he does bears the imprint of exquisite taste and the finest poetic instinct.—The Portland Oregonian.
In simplicity of art form and sheer mystery of romanticism these poetic dramas embody the new century artistry that is remaking current imaginative literature.—The Philadelphia North American.
Cale Young Rice is justly regarded as the leading master of the difficult form of poetic drama.—Portland(Me.)Press.
Mr. Rice has outlived the prophesy that he would one day rival Stephen Phillips in the poetic drama. As dexterous in the mechanism of his art, the young American is the Englishman's superior in that unforced quality which bespeaks true inspiration, and in a wider variety of manner and theme.—San Francisco Chronicle.
Mr. Rice's work has often been compared to Stephen Phillips's and there is great resemblance in their expression of high vision. Mr. Rice's technique is sure, ... his knowledge of his settings impeccable, and one feels sincerely the passion, power and sensuous beauty of the whole. "Arduin" (one of the plays) is perfect tragedy; as rounded as a sphere, as terrible as death.—Review of Reviews.
The Immortal Lure is a very beautiful work.—The Springfield(Mass.)Republican.
The action in Mr. Rice's dramas is invariably compact and powerful, his writing remarkably forcible and clear, with a rare grasp of form. The plays are brief and classic.—Baltimore News.
These four dramas, each a separate unit perfect in itself and differing widely in treatment, are yet vitally related by reason of the one central theme, wrought out with rich imagery and with compelling dramatic power.—The Louisville Times(U. S.)
The literary and poetical merit of these dramas is undeniable, and they are charged with the emotional life and human interest that should, but do not, always go along with those other high gifts.—The(London)Bookman.
Mr. Rice never [like Stephen Phillips] mistakes strenuous phrase for strong thought. He makes his blank verse his servant, and it has the stage merit of possessing the freedom of prose while retaining the impassioned movement of poetry.—The Glasgow(Scotland)Herald.
These firm and vivid pieces of work are truly welcome as examples of poetic force that succeeds without the help of poetic license.—The Literary World(London.)
We do not possess a living American poet whose utterance is so clear, so felicitous, so free from the inane and meretricious folly of sugared lines.... No one has a better understanding of the development of dramatic action than Mr. Rice.—The Book News Monthly(Albert S. Henry.)
Country Life in AmericaThe World's WorkThe Garden MagazineDOUBLEDAY, PAGE & CO., GARDEN CITY, N. Y.MANY GODSByCALE YOUNG RICE"These poems are flashingly, glowingly full of the East.... What I am sure of in Mr. Rice is that here we have an American poet whom we may claim as ours."—The North American Review(William Dean Howells)."Mr. Rice has the gift of leadership ... and he is a force with whom we must reckon."—The Boston Transcript.... "We find here a poet who strives to reach the goal which marks the best that can be done in poetry."—The Book News Monthly(A. S. Henry)."When you hear the pessimists bewailing the good old time when real poets were abroad in the land ... do not fail to quote them almost anything by Cale Young Rice, a real poet writing to-day.... He has done so much splendid work one can scarcely praise him too highly."—The San Francisco Call."In 'Many Gods' the scenes are those of the East, and while it is not the East of Loti, Arnold or Hearn, it is still a place of brooding, majesty, mystery and subtle fascination. There is a temptation to quote such verses for their melody, dignity of form, beauty of imagery and height of inspiration."—The Chicago Journal."'Love's Cynic' (a long poem in the volume) might be by Browning at his best."—Pittsburg Gazette-Times."This is a serious, and from any standpoint, a successful piece of work ... in it are poems that will become classic."—Passaic(New Jersey)News."Mr. Rice must be hailed as one among living masters of his art, one to whom we may look for yet greater things."—Presbyterian Advance."This book is in many respects a remarkable work. The poems are indeed poems."—The Nashville Banner."Mr. Rice's poetical plays reach a high level of achievement.... But these poems show a higher vision and surer mastery of expression than ever before."—The London Bookman.Net, $1.25(postage 12c.)
Country Life in AmericaThe World's WorkThe Garden MagazineDOUBLEDAY, PAGE & CO., GARDEN CITY, N. Y.
Country Life in AmericaThe World's WorkThe Garden MagazineDOUBLEDAY, PAGE & CO., GARDEN CITY, N. Y.
MANY GODSByCALE YOUNG RICE
"These poems are flashingly, glowingly full of the East.... What I am sure of in Mr. Rice is that here we have an American poet whom we may claim as ours."—The North American Review(William Dean Howells).
"Mr. Rice has the gift of leadership ... and he is a force with whom we must reckon."—The Boston Transcript.
... "We find here a poet who strives to reach the goal which marks the best that can be done in poetry."—The Book News Monthly(A. S. Henry).
"When you hear the pessimists bewailing the good old time when real poets were abroad in the land ... do not fail to quote them almost anything by Cale Young Rice, a real poet writing to-day.... He has done so much splendid work one can scarcely praise him too highly."—The San Francisco Call.
"In 'Many Gods' the scenes are those of the East, and while it is not the East of Loti, Arnold or Hearn, it is still a place of brooding, majesty, mystery and subtle fascination. There is a temptation to quote such verses for their melody, dignity of form, beauty of imagery and height of inspiration."—The Chicago Journal.
"'Love's Cynic' (a long poem in the volume) might be by Browning at his best."—Pittsburg Gazette-Times.
"This is a serious, and from any standpoint, a successful piece of work ... in it are poems that will become classic."—Passaic(New Jersey)News.
"Mr. Rice must be hailed as one among living masters of his art, one to whom we may look for yet greater things."—Presbyterian Advance.
"This book is in many respects a remarkable work. The poems are indeed poems."—The Nashville Banner.
"Mr. Rice's poetical plays reach a high level of achievement.... But these poems show a higher vision and surer mastery of expression than ever before."—The London Bookman.
Net, $1.25(postage 12c.)
NIRVANA DAYSPoems byCALE YOUNG RICE"Mr. Rice has the technical cunning that makes up almost the entire equipment of many poets nowadays, but human nature is more to him always ... and he has the feeling and imaginative sympathy without which all poetry is but an empty and vain thing."—The London Bookman."Mr. Rice's note is a clarion call, and of his two poems, 'The Strong Man to His Sires' and 'The Young to the Old,' the former will send a thrill to the heart of every man who has the instinct of race in his blood, while the latter should be printed above the desk of every minor poet and pessimist.... The sonnets of the sequence, 'Quest and Requital,' have the elements of great poetry in them."—The Glasgow(Scotland)Herald."Mr. Rice's poems are singularly free from affectation, and he seems to have written because of the sincere need of expressing something that had to take art form."—The Sun(New York)."The ability to write verse that scans is quite common.... But the inspired thought behind the lines is a different thing; and it is this thought untrammeled—the clear vision searching into the deeps of human emotion—which gives the verse of Mr. Rice weight and potency.... In the range of his metrical skill he easily stands with the best of living craftsmen ... and we have in him ... a poet whose dramas and lyrics will endure."—The Book News Monthly(A. S. Henry)."These poems are marked by a breadth of outlook, individuality and beauty of thought. The author reveals deep, sincere feeling on topics which do not readily lend themselves to artistic expression and which he makes eminently worth while."—The Buffalo(N. Y.)Courier."We get throughout the idea of a vast universe and of the soul merging itself in the infinite.... The great poem of the volume, however, is 'The Strong Man to His Sires.'"—The Louisville Post(Margaret S. Anderson)."The poems possess much music ... and even in the height of intensified feeling the clearness of Mr. Rice's ideas is not dimmed by the obscure haze that too often goes with the divine fire."—The Boston Globe.Paper boards. Net, $1.25(postage 12c.)
NIRVANA DAYSPoems byCALE YOUNG RICE
"Mr. Rice has the technical cunning that makes up almost the entire equipment of many poets nowadays, but human nature is more to him always ... and he has the feeling and imaginative sympathy without which all poetry is but an empty and vain thing."—The London Bookman.
"Mr. Rice's note is a clarion call, and of his two poems, 'The Strong Man to His Sires' and 'The Young to the Old,' the former will send a thrill to the heart of every man who has the instinct of race in his blood, while the latter should be printed above the desk of every minor poet and pessimist.... The sonnets of the sequence, 'Quest and Requital,' have the elements of great poetry in them."—The Glasgow(Scotland)Herald.
"Mr. Rice's poems are singularly free from affectation, and he seems to have written because of the sincere need of expressing something that had to take art form."—The Sun(New York).
"The ability to write verse that scans is quite common.... But the inspired thought behind the lines is a different thing; and it is this thought untrammeled—the clear vision searching into the deeps of human emotion—which gives the verse of Mr. Rice weight and potency.... In the range of his metrical skill he easily stands with the best of living craftsmen ... and we have in him ... a poet whose dramas and lyrics will endure."—The Book News Monthly(A. S. Henry).
"These poems are marked by a breadth of outlook, individuality and beauty of thought. The author reveals deep, sincere feeling on topics which do not readily lend themselves to artistic expression and which he makes eminently worth while."—The Buffalo(N. Y.)Courier.
"We get throughout the idea of a vast universe and of the soul merging itself in the infinite.... The great poem of the volume, however, is 'The Strong Man to His Sires.'"—The Louisville Post(Margaret S. Anderson).
"The poems possess much music ... and even in the height of intensified feeling the clearness of Mr. Rice's ideas is not dimmed by the obscure haze that too often goes with the divine fire."—The Boston Globe.
Paper boards. Net, $1.25(postage 12c.)
A NIGHT IN AVIGNONByCALE YOUNG RICESuccessfully produced by Donald Robertson"It is as vivid as a page from Browning. Mr. Rice has the dramatic pulse."—James Huneker."It embraces in small compass all the essentials of the drama."—New York Saturday Times Review(Jessie B. Rittenhouse)."It presents one of the most striking situations in dramatic literature and its climax could not be improved."—The San Francisco Call."It has undeniable power, and is a very decided poetic achievement."—The Boston Transcript."It leaves an enduring impression of a soul tragedy."—The Churchman."Since the publication of his 'Charles di Tocca' and other dramas, Cale Young Rice has justly been regarded as a leading American master of that difficult form, and many critics have ranked him above Stephen Phillips, at least on the dramatic side of his art. And this judgment is further confirmed by 'A Night in Avignon.' It is almost incredible that in less than 500 lines Mr. Rice should have been able to create so perfect a play with so powerful a dramatic effect."—The Chicago Record-Herald(Edwin S. Shuman)."There is poetic richness in this brilliant composition; a beauty of sentiment and grace in every line. It is impressive, metrically pleasing and dramatically powerful."—The Philadelphia Record."It offers one of the most striking situations in dramatic literature."—The Louisville Courier-Journal."The publication of a poetic drama of the quality of Mr. Rice's is an important event in the present tendency of American literature. He is a leader in this most significant movement, and 'A Night in Avignon' is marked, like his other plays, by dramatic directness, high poetic fervor, clarity of poetic diction, and felicity of phrasing."—The Chicago Journal."It is a dramatically told episode, and the metre is most effectively handled, making a welcome change for blank verse, and greatly enhancing the interest."—Sydney Lee."Many critics, on hearing Mr. Bryce's prediction that America will one day have a poet, would be tempted to remind him of Mr. Rice."—The Hartford (Conn.) Courant.Net 50c.(postage 5c.)
A NIGHT IN AVIGNONByCALE YOUNG RICESuccessfully produced by Donald Robertson
"It is as vivid as a page from Browning. Mr. Rice has the dramatic pulse."—James Huneker.
"It embraces in small compass all the essentials of the drama."—New York Saturday Times Review(Jessie B. Rittenhouse).
"It presents one of the most striking situations in dramatic literature and its climax could not be improved."—The San Francisco Call.
"It has undeniable power, and is a very decided poetic achievement."—The Boston Transcript.
"It leaves an enduring impression of a soul tragedy."—The Churchman.
"Since the publication of his 'Charles di Tocca' and other dramas, Cale Young Rice has justly been regarded as a leading American master of that difficult form, and many critics have ranked him above Stephen Phillips, at least on the dramatic side of his art. And this judgment is further confirmed by 'A Night in Avignon.' It is almost incredible that in less than 500 lines Mr. Rice should have been able to create so perfect a play with so powerful a dramatic effect."—The Chicago Record-Herald(Edwin S. Shuman).
"There is poetic richness in this brilliant composition; a beauty of sentiment and grace in every line. It is impressive, metrically pleasing and dramatically powerful."—The Philadelphia Record.
"It offers one of the most striking situations in dramatic literature."—The Louisville Courier-Journal.
"The publication of a poetic drama of the quality of Mr. Rice's is an important event in the present tendency of American literature. He is a leader in this most significant movement, and 'A Night in Avignon' is marked, like his other plays, by dramatic directness, high poetic fervor, clarity of poetic diction, and felicity of phrasing."—The Chicago Journal.
"It is a dramatically told episode, and the metre is most effectively handled, making a welcome change for blank verse, and greatly enhancing the interest."—Sydney Lee.
"Many critics, on hearing Mr. Bryce's prediction that America will one day have a poet, would be tempted to remind him of Mr. Rice."—The Hartford (Conn.) Courant.
Net 50c.(postage 5c.)
YOLANDA OF CYPRUSA Poetic Drama byCALE YOUNG RICE"It has real life and drama, not merely beautiful words, and so differs from the great mass of poetic plays."—Prof. Gilbert Murray.Minnie Maddern Fisksays: "No one can doubt that it is superior poetically and dramatically to Stephen Phillips's work," and that Mr. Rice ranks with Mr. Phillips at his best has often been reaffirmed."It is encouraging to the hope of a native drama to know that an American has written a play which is at the same time of decided poetic merit and of decided dramatic power."—The New York Times."The most remarkable quality of the play is its sustained dramatic strength. Poetically it is frequently of great beauty. It is also lofty in conception, lucid and felicitous in style, and the dramatic pulse throbs in every line."—The Chicago Record-Herald."The characters are drawn with force and the play is dignified and powerful," and adds that if it does not succeed on the stage it will be "because of its excellence."—The Springfield Republican."Mr. Rice is one of the few present-day poets who have the steadiness and weight for a well-sustained drama."—The Louisville Post(Margaret Anderson)."It has equal command of imagination, dramatic utterance, picturesque effectiveness and metrical harmony."—The London (England) Bookman.T. P.'s Weeklysays: "It might well stand the difficult test of production and will be welcomed by all who care for serious verse."The Glasgow (Scotland) Heraldsays: "Yolanda of Cyprus is finely constructed; the irregular blank verse admirably adapted for the exigencies of intense emotion; the characters firmly drawn; and the climax serves the purpose of good stagecraft and poetic justice.""It is well constructed and instinct with dramatic power."—Sydney Lee."It is as readable as a novel."—The Pittsburg Post."Here and there an almost Shakespearean note is struck. In makeup, arrangement, and poetic intensity it ranks with Stephen Phillips's work."—The Book News Monthly.Net, $1.25(postage 10c.)
YOLANDA OF CYPRUSA Poetic Drama byCALE YOUNG RICE
"It has real life and drama, not merely beautiful words, and so differs from the great mass of poetic plays."—Prof. Gilbert Murray.
Minnie Maddern Fisksays: "No one can doubt that it is superior poetically and dramatically to Stephen Phillips's work," and that Mr. Rice ranks with Mr. Phillips at his best has often been reaffirmed.
"It is encouraging to the hope of a native drama to know that an American has written a play which is at the same time of decided poetic merit and of decided dramatic power."—The New York Times.
"The most remarkable quality of the play is its sustained dramatic strength. Poetically it is frequently of great beauty. It is also lofty in conception, lucid and felicitous in style, and the dramatic pulse throbs in every line."—The Chicago Record-Herald.
"The characters are drawn with force and the play is dignified and powerful," and adds that if it does not succeed on the stage it will be "because of its excellence."—The Springfield Republican.
"Mr. Rice is one of the few present-day poets who have the steadiness and weight for a well-sustained drama."—The Louisville Post(Margaret Anderson).
"It has equal command of imagination, dramatic utterance, picturesque effectiveness and metrical harmony."—The London (England) Bookman.
T. P.'s Weeklysays: "It might well stand the difficult test of production and will be welcomed by all who care for serious verse."
The Glasgow (Scotland) Heraldsays: "Yolanda of Cyprus is finely constructed; the irregular blank verse admirably adapted for the exigencies of intense emotion; the characters firmly drawn; and the climax serves the purpose of good stagecraft and poetic justice."
"It is well constructed and instinct with dramatic power."—Sydney Lee.
"It is as readable as a novel."—The Pittsburg Post.
"Here and there an almost Shakespearean note is struck. In makeup, arrangement, and poetic intensity it ranks with Stephen Phillips's work."—The Book News Monthly.
Net, $1.25(postage 10c.)
DAVIDA Poetic Drama byCALE YOUNG RICE"I was greatly impressed with it and derived a sense of personal encouragement from the evidence of so fine and lofty a product for the stage."—Richard Mansfield."It is a powerful piece of dramatic portraiture in which Cale Young Rice has again demonstrated his insight and power. What he did before in 'Charles di Tocca' he has repeated and improved upon.... Not a few instances of his strength might be cited as of almost Shakespearean force. Indeed the strictly literary merit of the tragedy is altogether extraordinary. It is a contribution to the drama full of charm and power."—The Chicago Tribune."From the standpoint of poetry, dignity of conception, spiritual elevation and finish and beauty of line, Mr. Rice's 'David' is, perhaps, superior to his 'Yolanda of Cyprus,' but the two can scarcely be compared."—The New York Times(Jessie B. Rittenhouse)."Never before has the theme received treatment in a manner so worthy of it."—The St. Louis Globe-Democrat."It needs but a word, for it has been passed upon and approved by critics all over the country."—Book News Monthly.And again: "But few recent writers seem to have found the secret of dramatic blank verse; and of that small number, Mr. Rice is, if not first, at least without superior.""With instinctive dramatic and poetic power, Mr. Rice combines a knowledge of the exigencies of the stage."—Harper's Weekly."It is safe to say that were Mr. Rice an Englishman or a Frenchman, his reputation as his country's most distinguished poetic dramatist would have been assured by a more universal sign of recognition."—The Baltimore News(writing of all Mr. Rice's plays).Net, $1.25(postage 12c.)
DAVIDA Poetic Drama byCALE YOUNG RICE
"I was greatly impressed with it and derived a sense of personal encouragement from the evidence of so fine and lofty a product for the stage."—Richard Mansfield.
"It is a powerful piece of dramatic portraiture in which Cale Young Rice has again demonstrated his insight and power. What he did before in 'Charles di Tocca' he has repeated and improved upon.... Not a few instances of his strength might be cited as of almost Shakespearean force. Indeed the strictly literary merit of the tragedy is altogether extraordinary. It is a contribution to the drama full of charm and power."—The Chicago Tribune.
"From the standpoint of poetry, dignity of conception, spiritual elevation and finish and beauty of line, Mr. Rice's 'David' is, perhaps, superior to his 'Yolanda of Cyprus,' but the two can scarcely be compared."—The New York Times(Jessie B. Rittenhouse).
"Never before has the theme received treatment in a manner so worthy of it."—The St. Louis Globe-Democrat.
"It needs but a word, for it has been passed upon and approved by critics all over the country."—Book News Monthly.And again: "But few recent writers seem to have found the secret of dramatic blank verse; and of that small number, Mr. Rice is, if not first, at least without superior."
"With instinctive dramatic and poetic power, Mr. Rice combines a knowledge of the exigencies of the stage."—Harper's Weekly.
"It is safe to say that were Mr. Rice an Englishman or a Frenchman, his reputation as his country's most distinguished poetic dramatist would have been assured by a more universal sign of recognition."—The Baltimore News(writing of all Mr. Rice's plays).
Net, $1.25(postage 12c.)
CHARLES DI TOCCAByCALE YOUNG RICE"I take off my hat to Mr. Rice. His play is full of poetry, and the pitch and dignity of the whole are remarkable."—James Lane Allen."It is a dramatic poem one reads with a heightened sense of its fine quality throughout. It is sincere, strong, finished and noble, and sustains its distinction of manner to the end.... The character of Helena is not unworthy of any of the great masters of dramatic utterance."—The Chicago Tribune."The drama is one of the best of the kind ever written by an American author. Its whole tone is masterful, and it must be classed as one of the really literary works of the season." (1903).—The Milwaukee Sentinel."It shows a remarkable sense of dramatic construction as well as poetic power and strong characterization."—James MacArthur, in Harper's Weekly."This play has many elements of perfection. Its plot is developed with ease and with a large dramatic force; its characters are drawn with sympathy and decision; and its thoughts rise to a very real beauty. By reason of it the writer has gained an assured place among playwrights who seek to give literary as well as dramatic worth to their plays."—The Richmond (Va.) News-Leader."The action of the play is admirably compact and coherent, and it contains tragic situations which will afford pleasure not only to the student, but to the technical reader."—The Nation."It is the most powerful, vital, and truly tragical drama written by an American for some years. There is genuine pathos, mighty yet never repellent passion, great sincerity and penetration, and great elevation and beauty of language."—The Chicago Post."Mr. Rice ranks among America's choicest poets on account of his power to turn music into words, his virility, and of the fact that he has something of his own to say."—The Boston Globe."The whole play breathes forth the indefinable spirit of the Italian renaissance. In poetic style and dramatic treatment it is a work of art."—The Baltimore Sun.Paper boards. Net, $1.25(postage, 9c.)
CHARLES DI TOCCAByCALE YOUNG RICE
"I take off my hat to Mr. Rice. His play is full of poetry, and the pitch and dignity of the whole are remarkable."—James Lane Allen.
"It is a dramatic poem one reads with a heightened sense of its fine quality throughout. It is sincere, strong, finished and noble, and sustains its distinction of manner to the end.... The character of Helena is not unworthy of any of the great masters of dramatic utterance."—The Chicago Tribune.
"The drama is one of the best of the kind ever written by an American author. Its whole tone is masterful, and it must be classed as one of the really literary works of the season." (1903).—The Milwaukee Sentinel.
"It shows a remarkable sense of dramatic construction as well as poetic power and strong characterization."—James MacArthur, in Harper's Weekly.
"This play has many elements of perfection. Its plot is developed with ease and with a large dramatic force; its characters are drawn with sympathy and decision; and its thoughts rise to a very real beauty. By reason of it the writer has gained an assured place among playwrights who seek to give literary as well as dramatic worth to their plays."—The Richmond (Va.) News-Leader.
"The action of the play is admirably compact and coherent, and it contains tragic situations which will afford pleasure not only to the student, but to the technical reader."—The Nation.
"It is the most powerful, vital, and truly tragical drama written by an American for some years. There is genuine pathos, mighty yet never repellent passion, great sincerity and penetration, and great elevation and beauty of language."—The Chicago Post.
"Mr. Rice ranks among America's choicest poets on account of his power to turn music into words, his virility, and of the fact that he has something of his own to say."—The Boston Globe.
"The whole play breathes forth the indefinable spirit of the Italian renaissance. In poetic style and dramatic treatment it is a work of art."—The Baltimore Sun.
Paper boards. Net, $1.25(postage, 9c.)
SONG-SURF(Being the Lyrics of Plays and Lyrics) byCALE YOUNG RICE"Mr. Rice's work betrays wide sympathies with nature and life, and a welcome originality of sentiment and metrical harmony."—Sydney Lee."In his lyrics Mr. Rice's imagination works most successfully. He is an optimist—and in these days an optimist is irresistible—and he can touch delicately things too holy for a rough or violent pathos."—The London Star(James Douglas)."Mr. Rice's highest gift is essentially lyrical. His lyrics have a charm and grace of melody distinctively their own."—The London Bookman."Mr. Rice is keenly responsive to the loveliness of the outside world, and he reveals this beauty in words that sing themselves."—The Boston Transcript."Mr. Rice's work is everywhere marked by true imaginative power and elevation of feeling."—The Scotsman."Mr. Rice's work would seem to rank with the best of our American poets of to-day."—The Atlanta Constitution."Mr. Rice's poems are touched with the magic of the muse. They have inspiration, grace and true lyric quality."—The Book News Monthly."Mr. Rice's poetry as a whole is both strongly and delicately spiritual. Many of these lyrics have the true romantic mystery and charm.... To write thus is no indifferent matter. It indicates not only long work but long brooding on the beauty and mystery of life."—The Louisville Post."Mr. Rice is indisputably one of the greatest poets who have lived in America.... And some of these (earlier) poems are truly beautiful."—The Times-Union(Albany, N. Y.).Net, $1.25(postage 12c.)
SONG-SURF(Being the Lyrics of Plays and Lyrics) byCALE YOUNG RICE
"Mr. Rice's work betrays wide sympathies with nature and life, and a welcome originality of sentiment and metrical harmony."—Sydney Lee.
"In his lyrics Mr. Rice's imagination works most successfully. He is an optimist—and in these days an optimist is irresistible—and he can touch delicately things too holy for a rough or violent pathos."—The London Star(James Douglas).
"Mr. Rice's highest gift is essentially lyrical. His lyrics have a charm and grace of melody distinctively their own."—The London Bookman.
"Mr. Rice is keenly responsive to the loveliness of the outside world, and he reveals this beauty in words that sing themselves."—The Boston Transcript.
"Mr. Rice's work is everywhere marked by true imaginative power and elevation of feeling."—The Scotsman.
"Mr. Rice's work would seem to rank with the best of our American poets of to-day."—The Atlanta Constitution.
"Mr. Rice's poems are touched with the magic of the muse. They have inspiration, grace and true lyric quality."—The Book News Monthly.
"Mr. Rice's poetry as a whole is both strongly and delicately spiritual. Many of these lyrics have the true romantic mystery and charm.... To write thus is no indifferent matter. It indicates not only long work but long brooding on the beauty and mystery of life."—The Louisville Post.
"Mr. Rice is indisputably one of the greatest poets who have lived in America.... And some of these (earlier) poems are truly beautiful."—The Times-Union(Albany, N. Y.).
Net, $1.25(postage 12c.)