1 1 1) i ' i ( i 1 1 1 1 1 I ('!!' (1 i: ^ I'l » '':■ ;i <.«.^ ■•- r Book ,0§ 'c^ 4 r GopightN" '^^/ COEXRIGHT DEPOSIT. SHERWOOD SHERWOOD OR ROBIN HOOD AND THE THREE KINGS A Play in Five Acts BY ALFRED NOYES SCHOOL AND ACTING EDITION WITH DIRECTIONS FOR PRODUCTION BY MILNOR DOREY NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS Copyright, 1911, 1921, by Frederick A. Stokes Company All rights reserved, including rights of production and adaptation. The dramatic rights are controlled by the author. Application for the right of production, whether amateur or professional, should be made to the Paget Literary Agency, 500 Fifth Avenue, New York City. ftPR -11921 PERSONS OF THE DRAMA EOBIN Little John . . . .' Friar Tuck .... Will Scarlet .... Reynold Greenleaf . Much, the Miller's Son Alan -A-D ale .... Prince John. King Eichard, Coeur de Lion. Blondel Oberon TiTANIA Puck The Sheriff of Notting- ham. FiTZWALTER . . . . Shadow-of-a-Leaf Arthur Plantagenet Earl of Huntingdon, known as " Robin Hood." Outlaws and followers of "Robin Hood.'' King Richard's minstrel. King of the Fairies. Queen of the Fairies. A Fairy. Queen Elinor . Marian Fitzw alter . Jenny Widow Scarlet Prioress of Kirklee. Fairies, merry men, abbot, a baron, a retainers, etc. Father of Marian, known as ''Maid Marian." A Fool. Nephew to Prince John, a boy of about ten years of age. Mother of Prince John and Richard Lion-Heart. Known as Maid Marian, be- trothed to Robin Hood. Maid to Marian. ' Mother of Will Scarlet. serfs, peasants, mercenaries, an novice, nuns, courtiers, soldiers, ACT I SHERWOOD ACT I Scene I. Night. The borders of the forest. \The smouldering emhers of a Saxon homestead.'J The Sheriff and his men are struggling with a Serf. SERF No, no, not that ! not that ! If you should blind me God will repay you. Kill me out of hand ! \^Enter Prince John and several of his retainers,] JOHN Who is this night- jar ? [The retainers laugh.'] Surely, master Sheriff, You should have cut its tongue out, first. [Its cries Tingle so hideously across the wood They^ll wake the King in Palestine.] Small wonder That Eobin Hood evades you. sheriff [To the Serf] Silence, dog, Know you not better than to make this clamour Before Prince John? serf Prince John ! It is Prince John ! For God's love save me, sir! JOHN Whose thrall is he? Note — Passages to be omitted in acting are indicated by heavy brackets. 3 4 SHERWOOD SHERIFF I know not, sir, but he was caught red-handed Killing the king's deer. By the forest law He should of rights be blinded; for, as you see, [He indicates the Serf's right hand.'] 'Tis not his first deer at King Richard's cost. JOHN 'Twill save you trouble if you say at mine. [sheriff Ay, sir, I pray your pardon — at your cost ! His right hand lacks the thumb and arrow-finger, And though he vows it was a falling tree That crushed them, you may trust your Sheriff, sir, It was the law that clipped them when he last Hunted your deer.J SERF Prince, when the Conqueror came, They burned my father's homestead with the rest To make the King a broader hunting-ground. I have hunted there for food. How could I bear To hear my hungry children crying? Prince, They'll make good bowmen for your wars, one day. JOHN He is much too fond of " Prince " : he'll never live To see a king. Whose thrall ? — his iron collar, Look, is the name not on it? SHERIFF Sir, the name Is filed away, and in another hour The ring would have been broken. He is one of those Green adders of the moon, night-creeping thieves Whom Huntingdon has tempted to the woods. SHERWOOD [These desperate ruffians flee their lawful masters And flock around the disaffected Earl Like ragged rooks around an elm, by scores! And now, i' faith, the sun of Huntingdon Is setting fast. They've well nigh beggared him. Eaten him out of house and home. They say That, when we make him outlaw, we shall find Nought to distrain upon, but empty cupboards.] JOHN Did you not serve him once yourself? SHERIFF Oh, ay. He was more prosperous then. But now my cupboards Are full, and his are bare. [Well, I'd think scorn To share a crust with outcast churls and thieves. Doffing his dignity, letting them call him Eobin, or Robin Hood, as if an Earl Were just a plain man, which he will be soon, When we have served our writ of outlawry!] 'Tis said he hopes much from the King's return And swears by Lion-Heart; and though King Richard Is brother to yourself, 'tis all the more Ungracious, sir, to hope he should return. And overset your rule. [But then — to keep Such base communications! Myself would think it Unworthy of my sheriffship, much more Unworthy a right Earl.] JOHN [You talk too much! This whippet, here, slinks at his heel, you say. Mercy may close her eyes, then.] Take him off, Blind him or what you will; and let him thank His master for it. But wait — perhaps he knows 6 SHERWOOD Where we may trap this young patrician thief. Where is your master? SERF Where you'll never find him. JOHN Oh, ho ! the dog is faithful ! Take him away. Get your red business done. I shall require Your men to ride with me. SHERIFF [To his men.'] Take him out yonder, A bow-shot into the wood, so that his clamour Do not offend my lord. Delay no time, The irons are hot by this. They'll give you light Enough to blind him by. SERF [Crying out and struggling as he is forced hack into the forest.] No, no, not that ! God will repay you ! Kill me out of hand ! SHERIFF [To Prince John.] [There is a kind of justice in all this. The irons being heated in that fire, my lord, Which was his hut, aforetime. [Some of the men take the glowing irons from the fire and follow into the wood.'\ There's no need To parley with him, either. The snares are laid For Eobin Hood. He goes this very night To his betrothal feast. SHERWOOD JOHN Betrothal feast! SHERIFF At old Fitzwalter's castle, sir. JOHN That's good ! There will be one more guest there than he thought! Ourselves are riding thither. We intended My Lady Marian for a happier fate Than bride to Robin Hood. Your plans are laid To capture him ? SHERIFF \ Consequentially.'] It was our purpose, sir. To serve the writ of outlawry upon him And capture him as he came forth. JOHN That's well. Then — let him disappear — ^you understand? SHERIFF I have your warrant, sir? Death? A great Earl? JOHN Why, first declare him outlawed at his feast! 'Twill gladden the tremulous heart of old Fitzwalter With his prospective son-in-law; and then — No man will overmuch concern himself Whither an outlaw goes. You understand? SHERIFF It shall be done, sir. 8 SHERWOOD JOHN But the Lady Marian ! By heaven, I'll take her. I'll banish old Fitzwalter If he prevent my will in this. You'll bring How many men to ring the castle round? SHERIFF A good five score of bowmen. JOHN Then I'll take her This very night as hostage for Fitzwalter, Since he consorts with outlaws. These grey rats Will gnaw my kingdom's heart out. For 'tis mine, This England, now or later. They that hold By Richard, as their absent king, would make My rule a usurpation. God, am I My brother's keeper? \^There is a cry in the forest from the Serf, who imme- diately afterwards appears at the edge of the glade, shaTcing himself free from his guards. He seizes a weapon and rushes at Prince John. One of the retainers runs him through and he falls at the Prince's feet.'] JOHN That's a happy answer ! SHERIFF [Stooping over the body.] He is dead. JOHN I am sorry. It were better sport To send him groping like a hoodman blind Through Sherwood, whimpering for his Robin. Come, SHERWOOD 9 I'll ride with you to this betrothal feast. Now for my Lady Marian ! [Exeunt all. A pause. The scene darkens. Shadowy figures creep out from the thickets, of old men, women and children.~\ FIRST OLD MAN [Stretching his arms up to Heaven.^ God, am I My brother's keeper? Witness, God in heaven. He said it and not we — Cain's word, he said it ! FIRST WOMAN [Kneeling by the body.'] Father, Father, and the blood of Abel Cries to thee ! A BLIND MAN [Is there any light here still? 1 feel a hot breath on my face. The dark Is better for us all.] I am sometimes glad They blinded me those many years ago. Princes are princes; and God made the world For one or two it seems. Well, I am glad I cannot see His world. FIRST WOMAN [Still hy the body and whispering to the others.'] Keep him away. 'Tis as we thought. The dead man is his son. Keep him away, poor soul. He need not know. [Some of the men carry the body among the thickets.l A CHILD [Mother,] I'm hungry, I'm hungry ! 10 SHERWOOD [first old man There's no food For any of us to-night. The snares are empty, And I can try no more.J A BLIND MAN Wait till my son Comes back. He's a rare hunter is my boy. You need not fret, [poor little one.] My son Is much too quick and clever for the Sheriff. He'll bring you something good. [Why, ha! ha! ha! Friends, I've a thought — the Sheriff's lit the fire Eeady for us to roast our meat. Come, come. Let us be merry vv^hile we may ! My boy Will soon come back with food for the old folks. The fire burns brightly, eh? SECOND OLD MAN The fire that feeds On hope and eats our hearts away. They've burnt Everything, everything !] THE BLIND MAN [Ah, princes are princes !] But when the King comes home from the Crusade, We shall have better times. FIRST OLD MAN Ay, when the King Comes home from the Crusade. [child Mother, I'm hungry.] SECOND WOMAN Oh, but if I could only find a crust SHERWOOD 11 Left by the dogs. Masters, [the child will starve.J We must have food. THE BLIND MAN I tell you when my boy Comes back, we shall have plenty ! FIRST WOMAN God pity thee! THE BLIND MAN What dost thou mean? [second V70MAN Masters, the child will starve.J FIRST OLD MAN Hist, who comes here — a forester ? THE BLIND MAN We'd best Slip back into the dark. FIRST VrOMAN [Excitedly.'] No, stay! All's well. There's Shadow-of-a-Leaf, good Lady Marian's fool, Beside him! THE BLIND MAN Ah, they say there's fairy blood In Shadow-of-a-Leaf. But I've no hopes of more From him, than wild bees' honey-bags. [Enter Little John, a giant figure, leading a donkey, laden with a sack. On the other side, Shadow-of- a-Leaf trips, a slender figure in green trunk-hose and doublet. He is tickling the donkey's ears with a long fern.'] 13 SHERWOOD SHADOW-OF-A-LEAF Gee ! Whoa ! Neddy, my boy, have you forgot the Weaver, And how Titania tickled your long ears? Ha! ha! Don't ferns remind you? LITTLE JOHN Friends, my master Hath sent me to you, fearing ye might hunger. FIRST OLD MAN Thy master? LITTLE JOHN Eobin Hood. SECOND WOMAN \^Fdlling on her TcneesJ] God bless his name. God bless the kindly name of Eobin Hood. LITTLE JOHN ^Giving them food.'] 'Tis well nigh all that's left him; and to-night He goes to his betrothal feast. [All the outcasts except the first old man exeunt.] SHADOV^-OF-A-LEAF [Pointing to the donlcey.] Now look, There's nothing but that shadow of a cross On his grey back to tell you of the palms That once were strewn before my Lord, the King. [Won't ferns, won't branching ferns, do just as well ? There's only a dream to ride my donkey now !] But, Neddy, I'll lead you home and cry — Hosanna ! We'll thread the glad Gate Beautiful again, SHERWOOD 13 Though now there's only a Fool to hold your bridle And only moonlit ferns to strew your path, And the great King is fighting for a grave In lands beyond the sea. Come, Neddy, come, Hosanna ! [Exit Shadow-of-a-Leaf with the donkey. He strews ferns before it as he goes.] FIRST OLD MAN 'Tis a strange creature, master ! Thinkest There's fairy blood in him? LITTLE JOHN 'Twas he that brought Word of your plight to Eobin Hood. He flits Like Moonshine thro' the forest. [He'll be home Before I know it. I must be hastening back. This makes a sad betrothal night.J FIRST OLD MAN That minds me, Couched in the thicket yonder, we overheard The Sheriff tell Prince John . . . LITTLE JOHN Prince John! FIRST OLD MAN You'd best Warn Pobin Hood. They're laying a trap for him. Ay! Now I mind me of it! I heard 'em say They'd take him at the castle. LITTLE JOHN To-night? 14 SHERWOOD FIRST OLD MAN To-night ! Fly, lad, for God's dear love. Warn Robin Hood! Fly like the wind, [or you'll be there too late. And yet you'd best be careful.] There's five score In ambush round the castle. LITTLE JOHN I'll be there An if I have to break five hundred heads ! [He rushes off thro' the forest. The old man goes into the thicltet after the others. The scene darkens. A soft light, as of the ?noon, appears between the ferns to the right of the glade, showing Oberon and TiTANiA.] TITANIA Yet one night more the gates of fairyland Are opened by a mortal's kindly deed. OBERON Last night the gates were shut, and I heard weeping! Men, women, children, beat upon the gates That guard our happy world. [They could not sleep. Titania, must not that be terrible. When mortals cannot sleep?] TITANIA Yet one night more Dear Eobin Hood has opened the gates wide And their poor weary souls can enter in. OBERON Yet one night more we woodland elves may steal Out thro' the gates. [I fear the time will come When they must close for ever ; and we no more Shall hold our Sherwood revels.] SHERWOOD 15 TITANIA Only love And love's kind sacrifice can open them. For when a mortal hurts himself to help Another, then he thrusts the gates wide open Between his world and ours. OBERON Ay, but that's rare, That kind of love, Titania, for the gates Are almost always closed. TITANIA Yet one night more! Hark, how the fairy host begins to sing Within the gates. Wait here and we shall see What weary souls by grace of Eobin Hood This night shall enter Dreamland. See, they come ! [The soft light deepens in the hollow among the ferns and the ivory gates of Dreamland are seen swinging open. The fairy host is heard, singing to invite the mortals to enter.'] [Song of the fairies.] The Forest shall conquer! The Forest shall conquer! The Forest shall conquer ! Your world is growing old; But a Princess sleeps in the greenwood, Whose hair is brighter than gold. The Forest shall conquer! The Forest shall conquer! The Forest shall conquer ! hearts that bleed and burn. Her lips are redder than roses. Who sleeps in the faery fern. 16 SHERWOOD The Forest shall conquer! The Forest shall conquer! The Forest shall conquer ! By the Beauty that wakes anew Milk white with the fragrant hawthorn In the drip of the dawn-red dew. The Forest shall conquer! The Forest shall conquer! The Forest shall conquer! hearts that are weary of pain, Come back to your home in Faerie And wait till she wakes again. l[The victims of the forest-laws steal out of the thicket once more — dai'k, distorted, lame, blind, serfs with iron collars round their necks, old men, women and children; and as the fairy song breaks into chorus they pass in procession thro' the beautiful gates. The gates slowly close. The fairy song is heard as dying away in the distance. 1^ TITANIA [Coming out into the glade and holding up her hands to the evening star beyond the tree-tops,'] Shine, shine, dear star of Love, yet one night more.] Scene II. A banqueting hall in Fitzwalter's castle. The guests are assemhling for the betrothal feast of RoBiN" and Marian. Some of Eobin Hood's men, clad in Lincoln green, are just arriving at the doors. Shaeow-of-a-Leaf runs forward to greet them. SHADOW-OF-A-LEAF Come in, my scraps of Lincoln green; come in, My slips of greenwood. You're much wanted here! Head, heart and eyes, we are all pent up in walls Of stone — nothing but walls on every side — • And not a rose to break them — big blind walls, [Neat smooth stone walls ! Come in, my ragged robins ;] Come in, my jolly minions of the moon. My straggling hazel-boughs! Hey, bully friar, Come in, my knotted oak! Ho, little Much, Come in, my sweet green linnet. [Come, my cushats, Larks, yellow-hammers, fern-owls. Oh, come in, Come in, my Dian's foresters, and drown us With may, with blossoming may!] FITZW ALTER Out, Shadow-of-a-Leaf I Welcome, welcome, good friends of Huntingdon, Or Eobin Hood, by whatsoever name You best may love him. CRIES Robin ! Robin ! Eobin ! {Enter Robin Hood.] FITZW ALTER Eobin, so be it ! Myself I am right glad 17 18 SHERWOOD To call him at this bright betrothal feast My son. [Lays a hcmd on Eobin's shoulder,'] Yet, though I would not cast a cloud Across our happy gathering, you'll forgive An old man and a father if he sees All your glad faces thro' a summer mist Of sadness. ROBIN Sadness? Yes, I understand. FITZWALTER No, Eobin, no, you cannot understand. ROBIN FITZWALTER Ay, that's all you think of, boy. But I must say a word to all of you Before she comes. ROBIN Why — what? . . FITZWALTER Where's Marian? No need to look So startled; but it is no secret here; [For many of you are sharers of his wild Adventures. Now I hoped an end had come To these, until another rumour reached me, This very day, of yet another prank.J You know, you know, how perilous a road My Marian must ride if Huntingdon Tramples the forest-laws beneath his heel And, in the thin disguise of Eobin Hood, Succours the Saxon outlaws, makes his house A refuge for them, lavishes his wealth To feed their sick and needy. SHERWOOD 19 [The Sheriff aiid two of liis men appear in the great doorway out of sight of the guests.'\ SHERIFF [Whispering. 1 Not yet ! keep back ! One of you go — see that the guards are set ! He must not slip us. FITZWALTER Oh, I know his heart Is gold, but this is not an age of gold; And those who have must keep, or lose the power Even to help themselves. No — he must doff His green disguise of Robin Hood for ever. And wear his natural coat of Huntingdon. ROBIN Ah, which is the disguise ? Day after day We rise and put our social armour on, A different mask for every friend; but steel Always to case our hearts. We are all so wrapped. So swathed, so muffled in habitual thought That now I swear we do not know our souls Or bodies from their winding-sheets; but Custom, Custom, the great god Custom, all day long Shovels the dirt upon us where we lie Buried alive and dreaming that we stand Upright and royal. Sir, I have great doubts About this world, doubts if we have the right To sit down here for this betrothal feast And gorge ourselves with plenty, when we know That for the scraps and crumbs which we let fall And never miss, children would kiss our hands And women weep in gratitude. [Suppose A man fell wounded at your gates, you'd not Pass on and smile and leave him there to die. 20 SHERWOOD And can a few short miles of distance blind you ? Miles, nay, a furlong is enough to close The gates of mercy. Must we thrust our hands Into the wounds before we can believe? Oh, is our sight so thick and gross? We came. We saw, we conquered with the Conqueror. We gave ourselves broad lands ; J and when our king Desired a wider hunting ground we set Hundreds of Saxon homes a-blaze and tossed Women and children back into the fire If they but wrung their hands against our will. And so we made our forest, and its leaves Were pitiful, more pitiful than man. [They gave our homeless victims the same refuge And happy hiding place they give the birds And foxes. Then we made our forest-laws. And he that dared to hunt, even for food. Even on the ground where we had burned his hut. The ground we had drenched with his own kindred's blood. Poor foolish churl, why, we put out his eyes With red-hot irons, cut off both his hands, Torture him with such horrors that . . . Christ God,J How can I help but fight against it all ? [SHADOW-OF-A-LEAF Ah, gossips, if the Conqueror had but burned Everything with four walls, hut, castle, palace. And turned the whole wide world into a forest. Drenched us with may, we might be happy then ! With sweet blue wood-smoke curling thro' the boughs. And just a pigeon's flap to break the silence, And ferns, of course, there's much to make men happy. Well, well, the forest conquers at the last 1 I saw a thistle in the castle courtyard, A purple thistle breaking thro' the pavement, Yesterday ; and it's wonderful how soon Some creepers pick these old grey walls to pieces. SHERWOOD 21 These nunneries and these monasteries now. They don't spring up like flowers, so I suppose Old mother Nature wins the race at last.J FITZWALTER Eobin, my heart is with you, but I know A hundred ages will not change this earth. SHADOW-OF-A-LEAF [With a candle in his hand.] Gossip, suppose the sun goes out like this. Pouf! [Blows it out.l Stranger things have happened FITZWALTER Silence, fool! . . . So, if you share your wealth with all the world Earth will be none the better, and my poor girl Will suffer for it. Where you got the gold You have already lavished on the poor Heaven knows. FRIAR TUCK Oh, by the mass and the sweet moon Of Sherwood, so do I ? That's none so hard A riddle! SHADOW-OF-A-LEAF Ah, Friar Tuck, we know, we know ! Under the hawthorn bough, and at the foot Of rainbows, that's where fairies hide their gold. [Cut me a silver penny out of the moon Next time you're there. [Whispers.] Now tell me, have you brought Your quarter-staff? 22 SHERWOOD FMAR TUCK [Whispering.'] Hush ! hush. I see it!] SHADOW-OF-A-LEAF Oh, mum's the word ! FITZWALTER Believe me, Eobin, there's one way And only one — patience ! When Lion-Heart Comes home from the Crusade, he will not brook This blot upon our chivalry. Prince John Is dangerous to a heart like yours. Beware Of rousing him. Meanwhile, your troth holds good ; But till the King comes home from the Crusade You must not claim your bride. ROBIN So be it, then. ... When the great King comes home from the Crusade ! . . . FITZV7ALTER Meanwhile for Marian's sake and mine, I pray Do nothing rash. [Enter Widow Scarlet. She goes up to Eobin Hood.] WIDOW SCARLET Are you that Eobin Hood They call the poor man's friend? ROBIN I am. WIDOW SCARLET They told me, They told me I should find you here. They told me ! SHERWOOD 23 ROBIN Come, mother, what's the trouble? WIDOW SCARLET Sir, my son Will Scarlet lies in gaol at Nottingham For killing deer in Sherwood ! Sir, they'll hang him. He only wanted food for him and me ! [They'll kill him, I tell you, they'll kill him. I can't help Crying it out. He's all I have, all ! Save him ! I'll pray for you, I'll . . .J ROBIN [To FiTZWALTER, as he raises Widow Scarlet gently to her feet.] Sir, has not the King Come home from the Crusade? Does not your heart Fling open wide its gates to welcome him? FITZWALTER Eobin, you set me riddles. Follow your conscience. Do what seems best. RO-BIN I hope there is a way. Mother. I knew Will Scarlet. Better heart There never beat beneath a leather jerkin. [He loved the forest and the forest loves him; J And if the lads that wear the forest's livery Of living green should happen to break out And save Will Scarlet [as on my soul I swear, Mother, they shall !] why, that's a matter none Shall answer for to prince, or king, or God, But you and Robin Hood ; [and if the judgment Strike harder upon us than the heavenly smile »4 SHERWOOD Of sunshine thro' the greenwood, may it fall Upon my head alone.] [Enter the Sheriff, with two of his men,'] SHERIFF \_Reads.~\ In the King's name! Thou, Earl of Huntingdon, by virtue of this writ are hereby attained and deprived of thine earldom, thy lands and all thy goods and chattels whatsoever and whereas thou hast at divers times trespassed against the officers of the king by force of arms, thou art hereby outlawed and ban- ished the realm. ROBIN That's well. [He laughs,'] It puts an end to the great question Of how I shall dispose my wealth, Fitzwalter. But " banished " ? — No ! [that is beyond their power While I have power to breathe, unless they banish The kind old oaks of Sherwood. They may call it " Outlawed," perhaps.] FITZWALTER Who let the viUain in Thro' doors of mine ? CRIES Out with him! Out with him! [The guests draw swords and the Sheriff retreats thro' the doorway with his men.} robin Stop! Put up your swords ! He had his work to do. [WiD0V7 Scarlet falls sohhing at his feet.] SHERWOOD 25 WIDOW SCARLET master, master, who will save my son, Mj son ? ROBIN [Eaising her.'] Wh}^, mother, this is but a dream. This poor fantastic strutting show of law ! And you shall wake with us in Sherwood Forest And find Will Scarlet in your arms again. Come, cheerly, cheerly, we shall overeome All this. Hark! [A hugle sounds in the distance. There is a scuffle in the doorway and Little John hursts in with his head bleeding. 1 LITTLE JOHN Master, master, come away! They are setting a trap for thee, drawing their lines All round the castle. ROBIN How now. Little John, They have wounded thee ! Art hurt ? LITTLE. JOHN No, no, that's nothing. Only a bloody cockscomb. Come, be swift, [Or, if thou wert a fox, thou'dst never slip Between 'em. J Ah, hear that ? [Another bii,gle sounds from another direction.] That's number twor. Two sides cut off already. When the third Sounds — they will have thee, sure as eggs is eggs. Prince John is there, Fitzwalter cannot save 'ee. They'll burn the castle down. 26 SHERWOOD ROBIN Prince John is there ? LITTLE JOHN Ay, and my lord Fitzwalter had best look Well to my mistress Marian, if these ears Heard right as I came creeping thro' their lines. [Look well to her, my lord, look well to her.J Come, master, come, for God's sake, come away. FITZWALTER Eobin, this is thy rashness. I warned thee, boy ! Prince John! Nay, that's too perilous a jest For even a prince to play with me. Come, Kobin, You must away and quickly. ROBIN Let me have One word with Marian. LITTLE JOHN It would be the last On earth. Come, if you ever wish to see Her face again. FITZWALTER Come, Eobin, are you mad ? You'll bring us all to ruin ! [He opens a little door in the wall.'] The secret passage. This brings you out by Much the Miller's wheel, Thro' an otter's burrow in the river bank. [Come, quick, or you'll destroy us ! Take this lanthorn.] If you're in danger, slip into the stream And let it carry you down into the heart Of Sherwood. Come now, quickly, you must go ! SHERWOOD 27 ROBIN The old cave, lads, in Sherwood, you know where To find me. [Friar Tuck, bring Widow Scarlet Thither to-morrow, with a word or two From Lady Marian!] FITZWALTEB Quickty, quickly, go. [He pmhes Robin and Little John into the opening and shuts the door. A pause.] Oh, I shall pay for this, this cursed folly ! Henceforth I sw^ear I wash my hands of him ! [Enter Marian, from a door on the right above the ban- queting hall. She pauses, pale and frightened, on the broad steps leading down.] MARIAN Father, whereas Robin? FITZWALTER Child, I bade you stay MARIAN Until I called you. Something frightened me! Father, where's Robin? Where's Robin? FITZWALTER Hush, Marian, hark! [All stand listening.] SHADOW-OF-A-LEAF [Stealing to the foot of the stairs and whispering to Lady Marian.] Lady, they're all so silent now. I'll tell you I had a dream last nidit — there was a man 28 SHERWOOD That bled to death, because of four grey walls And a black-hooded nun. riTZWALTER lAngrily.] Hist, Shadow-of-a-Leaf ! [The third bugle sounds. There is a clamour at the doors. Enter Prince John and his retainers.^ JOHN [Moclcingly.'] Now this is fortunate! I come in time To see — Oh, what a picture ! Lady Marian, Forgive me — coming suddenly out of the dark And seeing you there, robed in that dazzling white Above these verdant gentlemen, I feel Like one that greets the gracious evening star Thro' a gap in a great wood. Is aught amiss ? Why are you all so silent ? Ah, my good. My brave Fitzwalter, I most fervently Trust I am not inopportune. FITZWALTER My lord, I am glad that you can jest. I am sadly grieved And sorely disappointed in that youth Who has incurred your own displeasure. JOHN Ah? Your future son-in-law ? FITZWALTER Never on earth! He is outlawed — SHERWOOD 29 MARIAN Outlawed ! FITZWALTER And I wash my hands Of Huntingdon. His shadow shall not darken My doors again! JOHN That's vehement! Ha! ha! And what does Lady Marian say ? MARIAN My father Speaks hastily. I am not so unworthy. FITZWALTER Unworthy ? MARIAN Yes, unworthy as to desert him Because he is in trouble — the bravest man In England since the days of Hereward. You know why he is outlawed ! FITZWALTER [To Prince John.] Sir, she speaks As the spoilt child of her old father's dotage. Give her no heed. She shall not meet with him On earth again, and till she promise this, She'll sun herself within the castle garden And never cross the draw-bridge. MARIAN Then I'll swim The moat! 30 SHERWOOD FRIAR TUCK Ha! ha! well spoken. MARIAN Oh, you forget, Father, you quite forget there is a King; And, when the King comes home from the Crusade, Will you forget Prince John and change once more? [Murmurs of assent from the Foresters.] JOHN Enough of this. Though I be prince, I am vice-gerent too ! Fitzwalter, I would have some private talk With you and Lady Marian. Bid your guests Eemove a little — FITZWALTER I'll lead them all within ! And let them make what cheer they may. Come, friends. [He leads them up the stairs to the inner room.'\ My lord, I shall return immediately ! [Exeunt Fitzwalter and the guests.'] JOHN Marian ! MARIAN My lord ! JOHN y [Drawing close to her.] \ I have come to urge a plea v On your behalf as well as on my own! Listen, you may not know it — I must tell you. I have watched your beauty growing like a flower. With — why should I not say it — worship ; yes, Marian, I will not hide it. SHERWOOD 31 MARIAN Sir, you are mad ! [Sir, and your bride, your bride, not three months wedded ! You cannot mean . . . JOHN Listen to me ! Ah, Marian, You'd be more merciful if you knew all ! D'you think that princes wed to please themselves ?] MARIAN Sir, [English maidens do; and] I am plighted Not to a prince, but to an outlawed man. JOHN Listen to me! One word! Marian, one word! [I never meant you harm ! Indeed, what harm Could come of this?] Is not your father poor? I'd make him rich! Is not your lover outlawed? I'd save him from the certain death that waits him. You say the forest-laws afflict your soul And his — you say you'd die for their repeal ! Well — I'll repeal them. All the churls in England Shall bless your name and mix it in their prayers With heaven itself. MARIAN The price ? JOHN You call it that ! To let me lay the world before your feet, [To let me take this little hand in mine. Why should I hide my love from you?] 32 SHERWOOD MARIAN No more, I'll hear no more ! You are a prince, you say ? JOHN One word — suppose it some small sacrifice, To save those churls for whom you say your heart Bleeds ; yet you will not lift your little finger To save them ! [And what hinders you ? — A breath, A dream, a golden rule! Can you not break it For a much greater end? J MARIAN I'd die to save them. Then live to save them. JOHN MARIAN No, you will not let me ; D'you think that bartering my soul will help To save another ? [If there's no way but this, Then through my lips those suffering hundreds cry, We choose the suffering.] All that is good in them, All you have left, all you have not destroyed. Cries out against you : and I'll go to them. Suffer and toil and love and die with them Eather than touch your hand. [You over-rate Your power to hurt our souls. You are mistaken! There is a golden rule !] JOHN And with such lips You take to preaching! I was a fool to worry Your soul with reason. With hair like yours — it's hope- less! But Marian — you shall hear me. SHERWOOD 33 [He catches her in his arms.'\ [Yes, by GodJ Marian, you shall! [I love you.] MARIAN [Struggling.'] You should not live ! [JOHN" One kiss, then ! Devil take it.] [Enter Fitzwalter above.'] MARIAN [Wresting herself free.] You should not live ! Were I a man and not a helpless girl You should not live ! JOHN Come, now, that's very wicked. See how these murderous words affright your father. My good Fitzwalter, [there's no need to look So ghastly. For your sake and hers and mine] I have been trying to make your girl forget The name of Huntingdon. A few short months At our gay court would blot his memory out! I promise her a life of dazzling pleasures, And, in return she flies at me — a tigress — Clamouring for my blood ! Try to persuade her ! FITZWALTER My lord, you are very good. She must decide Herself. JOHN [Angrily.] I'll not be trifled with ! I hold The hand of friendship out and you evade it. 34 SHERWOOD [The moment I am gone, back comes your outlaw.] You say you have no power with your own child! Well, then I'll take her back this very night ; Back to the court with me. How do I know What treasons you are hatching here ? I'll take her As hostage for yourself. I have sworn to you. FITZWALTER My lord, you jest ! JOHN No more ! If you be loyal. What cause have you to fear ? FITZWALTER My lord, I'll give A hundred other pledges; but not this. JOHN By heaven, will you dictate your terms to me ? I say that she shall come back to the court This very night! Ho, there, my men. [Enter John's retainers.] Escort This lady back with us. FITZVr ALTER Back there, keep back. Prince or no prince, I say she shall not go ! \_He draws his sword.] I'd rather see her Begging in rags with outlawed Huntingdon Than that one finger of yours should soil her glove. JOHN So here's an end of fawning, here's the truth, SHERWOOD 35 My old white-bearded hypocrite. Come, take her, Waste no more time. [Let not the old fool daunt you With that great skewer. J FITZW ALTER [As John's men advance.^ [By God, since you will have it,] Since you will drive me to my last resort. Break down my walls, and hound me to the forest. This is the truth ! Out of my gates ! Ho, help ! A Eobin Hood ! A Robin Hood ! [There is a clamour from the upper room. The doors are fuiig open and the Foresters appear at the head of the steps.'] FRIAR TUCK [Commg down into the hall and brandishing his quarter- staff,] A Robin? Who calls on Robin Hood ? His men are here To answer. FITZW ALTER Drive these villains out of my gates. FRIAR TUCK [To Prince John.] Sir, I perceive you are a man of wisdom, So let me counsel you. There's not a lad Up yonder, but at four-score yards can shoot A swallow on the wing. They have drunken deep. I cannot answer but their hands might loose Their shafts before they know it. Now shall I give The word? Ready, my lads! [The Foresters make ready to shoot. John hesitates for a moment.] 36 SHERWOOD JOHN My Lady Marian, One word, and then I'll take my leave of you ! [She pays no heed.'] Farewell, then! I have five-score men at hand! [And they shall be but lightning to the hell Of my revenge, Fitzwalter. I will not leave One stone upon another.] From this night's work Shall God Himself not save you. [Exeunt John and his men.'\ FRIAR TUCK [As they go out.'] My Lord Fitzwalter ! I have confessed him ! Shall I bid 'em shoot ? 'Twill save a world of trouble. FITZWALTER No ; or the King Himself will come against me. Follow them out. Drive them out of my gates, then raise the drawbridge And let none cross. Oh, I foresaw, foretold ! Eobin has wrecked us all ! [Exeunt the Foresters and Fitzwalter. Shadow-of-a- Leaf remains alone with Marian.] MARIAN [She flings herself down on a couch and buries her head in her arms.'] Eobin, Robin, I cannot lose you now ! shadow-of-a-leaf [Sitting at her feet. The lights grow dim.] [Ah, well, the prince Promised to break the walls down. Don't you think These villains are a sort of ploughshare, lady. SHERWOOD 37 And where they plough, who knows what wheat may spring ! The lights are burning low and very low; So,J Lady Marian, let me tell my dream. , There was a forester that bled to death Because of four grey walls and a black nun Whose face I could not see — but, oh, beware ! Though I am but your fool, your Shadow-of-a-Leaf, Dancing before the wild winds of the future, £1 feel them thrilling through my tattered wits Long ere your wisdom feels them. My poor brain Is like a harp hung in a willow-tree Swept by the winds of fate.] I am but a fool. But oh, beware of that black-hooded nun. MARIAN This is no time for jesting, Shadow-of-a-Leaf. SHADOW-OF-A-LEAF The lights are burning low. Do you not feel A cold breath on your face ? MARIAN Fling back that shutter ! Look out and tell me what is happening. SHADOW-OF-A-LEAF [Flinging hack the shutter.'] [Look, Look, gossip, how the moon comes dancing in.] Ah, they have driven Prince John across the drawbridge. They are raising it, now ! [There are cries in the distance, then a heavy sound of chains clanking and silence. Shadow-of-a-Leaf turns from the window and stands in the stream of moonlight, pointing to the door on the left.'] Look ! Look ! 38 SHERWOOD MARIAN [Starting up with a cry of fear.'] Ah! [The tall figure of a nun glides into the moonlit hall and throwing hack her hood reveals the face of Queen Elinor.] ELINOR Lady Marian, Tell me quickly, where is Huntingdon hiding? MARIAN The Queen! ELINOR Yes! Yes! I donned this uncouth garb To pass through your besiegers. If Prince John Discover it, all is lost. Come, tell me quickly. Where is Eobin? [MARIAN Escaped, I hope. Not here ? ELINOR MARIAN No! ELINOR Come, dear Lady Marian, do not doubt me. I am here to save you both. MARIAN He is not here.] ELINOR [Ah, but] you know where I may find him, Marian. [All will be lost if you delay to tell me Where I may speak with him.J He is in peril. SHERWOOD 39 By dawn Prince John will have five hundred men Beleaguering the castle. [You are all ruined Unless you trust me ! Armies will scour the woods To hunt him down.J Even now he may be wounded, [Helpless to save himself.] MARIAN" Wounded ! ELINOR Dear child, Take me to him. Here, on this holy cross. My mother's dying gift, I swear to you I wish to save him. MARIAN Oh, but how? ELINOR Trust me ! MARIAN" Wounded ! He may be wounded ! Oh, if I could, I'd go to him ! I am helpless, prisoned here. ELINOR I alone can save your father. Give me your word that if I can persuade him, You'll lead me to your lover's hiding place, And let me speak with him. [Enter Fitzwalter.] Ah, my Lord Fitzw^alter ! FITZWALTER The queen ! [0 madam, madam, I am driven Beyond myself.] This girl, this foolish girl 40 SHERWOOD Has brought us all to ruin. This Huntingdon, As I foresaw, foresaw, foretold, foretold. Has dragged me down with him. ELINOR I am on your side. If you will hear me ; and you yet may gain A son in Kobin Hood. FITZW ALTER Madam, I swear I have done with him. £1 pray you do not jest; J But if you'll use your power to save my lands . . . I was provoked! . . . [Prince John required this child here — • ELINOR Oh, I know! But you'll forgive him that ! I do not wonder That loveliness like hers — ] EITZWALTER [Ay, but you'll pardon A father's natural anger. Madam, I swear I was indeed provoked.^ But you'll assure him I've washed my hands of Huntingdon. MARIAN And yet His men are, even now, guarding your walls ! Father, you cannot, you shall not — EITZWALTER Oh, be silent ! [Who wrapt me in this tangle?] Are you bent On driving me out in my old age to seek Shelter in caves and woods? SHERWOOD 41 ELINOR My good Fitzwalter, It has not come to that ! If you will trust me All will be well ; but I must speak a word With Robin Hood. FITZWALTER You! ELINOR Oh, I have a reason. Your daughter knows his hiding place. FITZWALTER She knows ! ELINOR Oh, trust them both for that. [I am risking much ! To-morrow she shall guide me there. This bird Being flov/n J trust me to make your peace with John. FITZWALTER But — Marian ! ELINOR She'll be safer far with Robin, Than loitering here until your roof-tree burns. £1 think you know it.] Fitzwalter, I can save you, I swear it on this cross. FITZWALTER But — Marian ! Marian I ELINOR Your castle wrapt in flame! . . . There^s nought to fear, If she could — Marian, once, at a court masque, You wore a page's dress of Lincoln green. 42 SHERWOOD [And a green hood that muffled half your face, I could have sworn 'twas Eobin come again — He was my page, you know — J Wear it to-morrow — go, child, bid your maid Make ready — we'll set out betimes. MARIAN- \_Going up to her father.'] I'll go, If you will let me, father. He may be wounded ! Father, forgive me. Let me go to him. ELINOR Go, child, first do my bidding. He'll consent When you return. [Exit Marian.] My dear good friend Fitzwalter, Trust me, I have some power with Huntingdon. All shall be as you wish. I'll let her guide me. But — as for her — she shall not even see him Unless you wish. Trust me to wind them all Around my little finger. FITZWALTER [It is dark here. Let us within.] Madam, I think you are right. And you'll persuade Prince John ? ELINOR [As they go up the steps.] I swear by this, This holy cross, my mother's dying gift ! FITZWALTER It's very sure he'd burn the castle down. [Exeunt.li SHERWOOD 43 SHADOW-OF-A-LEAP [Coming out into the moonliglit and staring up after them.] The nun ! The nun ! They'll whip me if I speak, For I am only Shadow-of-a-Leaf, the Fool. ICurtain.l ACT II ACT II Scene I. Sherwood Forest: An open glade, showing on the right the mouth of the outlaw's cave. It is about sunset. The giant figure of Little John comes out of the cave, singing. LITTLE JOHN [Sings.] When Spring comes back to England And crowns her brows with may, Round the merry moonlit world She goes the greenwood way. [He stops and calls in stentorian tones.'] Much! Much! Much! [Where has he vanished now,J Where has that monstrous giant the miller's son Hidden himself? [Enter Much, a dwarf-like figure, carrying a large bundle of ferns.] MUCH Hush, hush, child, here I am! And here's our fairy feather-beds, ha ! ha ! [Come, praise me, praise me, for a thoughtful parent.] There's nothing makes a better bed than ferns Either for sleeping sound or rosy dreams. LITTLE JOHN Take care the fern-seed that the fairies use Get not among thy yellow locks, my Titan, Or thou'lt wake up invisible. There's none Too much of Much already. 47 48 SHERWOOD MUCH \_LooMng up at him impudently.^ It would take Our big barn full of fern-seed, I misdoubt. To make thee walk invisible, Little John, [My sweet Tom Thumb! And, in this troublous age Of forest-laws, if we night-walking minions. We gentlemen of the moon, could only hunt Invisible, there's many and many of us With thumbs lopped off, eyes gutted and legs pruned, Slick, like poor pollarded pear-trees, would be lying Happy and whole this day beneath the boughs.] LITTLE JOHN Invisible? Ay, but what would Jenny say To such a ghostly midge as thou would'st be Sipping invisibly at her cherry lips. MUCH Why, there now, that's a teaser. [E'en as it is (Don't joke about it)] my poor Jenny takes The smallness of her Much sorely to heart ! And though I often tell her half a loaf (Ground in our mill) is better than no bread. She weeps, poor thing, that an impartial heaven Bestows on her so small a crumb of bliss As me ! You'd scarce believe, now, half the nostrums, [Possets and strangely nasty herbal juices] That girl has made me gulp, in the vain hope That I, the frog, should swell to an ox like thee. [I tell her it's all in vain, and she still cheats Her fancy and swears I've grown well nigh three feet Already. Lord, she's desperate. She'll advance Eight inward to the sources of creation. She'll take the reins of the world in hand. She'll stop The sun like Joshua, turn the moon to blood, SHERWOOD 49 And if I have to swallow half the herbs In Sherwood, I shall stalk a giant yet, Shoulder to shoulder with thee, Little John, And crack thy head at quarter-staff. But don't,J Don't joke about it. 'Tis a serious matter. LITTLE JOHN Into the cave, then, with thy feather-bed. Old Much, thy father, waits thee there to make A table of green turfs for Eobin Hood. We shall have guests anon, [0 merry times. Baron and Knight and abbot, all that ride Through Sherwood, all shall come and dine with him When they have paid their toll ! Old Much is there Growling at thy delay.] MUCH \_Going towards the cave.'] 0, my poor father. Now, there's a sad thing, too. He's so ashamed Of his descendants. Why for some nine years He shut his eyes whenever he looked at me ; [And I have seen him on the village green Pretend to a stranger, once, who badgered him With curious questions, that I was the son Of poor old Gaffer Bramble, the lame sexton. That self-same afternoon, up comes old Bramble White hair a-blaze and big red waggling nose All shaking with the palsy; bangs our door Clean off its hinges with his crab-tree crutch, And stands there — framed — against the sunset sky ! He stretches out one quivering fore-finger At father, like the great Destroying Angel In the stained window : straight, the milk boiled over. The cat ran, baby squalled and mother screeched. Old Bramble asks my father — what — what — what 50 SHERWOOD He meant — he meant — he meant! You should have seen My father's hopeless face ! Lord, how he blushed, Eed as a beet-root ! Lord, Lord, how he blushed !] *Tis a hard business when a parent looks Askance upon his offspring. lExit into the cave.^ LITTLE JOHN Skip, you chatterer! Here comes our master. [Enter Eobin Hood.] Master, where hast thou been? I feared some harm had come to thee. What's this ? This was a cloth-yard shaft that tore thy coat ! ROBIN" Oh, ay, they barked my shoulder, devil take them. I got it on the borders of the wood. St. Nicholas, my lad, they're on the watch. LITTLE JOHN What didst thou there ? They're on the watch, i' faith ! A squirrel could not pass them. Why, my namesake Prince John would sell his soul to get thy head, And both his ears for Lady Marian; [And whether his ears or soul be worth the more, I know not. When the first lark flittered up To sing, at dawn, I woke; and thou wast gone. What didst thou there ?] ROBIN Well, first I went to swim In the deep pool below the mill. SHERWOOD 51 LITTLE JOHN I swam Enough last night to last me many a day. What then? ROBIN [I could not wash away the thought Of all you told me. If Prince John should dare ! That helpless girl ! No, no, I will not think it.] Why, Little John, I went and tried to shoot A grey goose wing thro' Lady Marian's casement. LITTLE JOHN Oh, ay, and a pink nosegay tied beneath it. Now, master, you'll forgive your Little John, — But that's a midsummer madness [and the may Is only half in flower as yet. J But why — You are wounded — ■ why are you so pale ? ROBIN No — no — Not wounded ; but oh, my good faithful friend. She is not there ! I wished to send her warning. I could not creep much closer ; but I swear I think the castle is in the hands of John. I saw some men upon the battlements, Not hers — I know — not hers! LITTLE JOHN Hist, who comes here ? [He seizes his how and stands ready to shoot.l ROBIN Stop, man, it is the fool. Thank God, the fool, Shadow-of-a-Leaf, my Marian's dainty fool. How now, good fool, what news? What news? [Enter Shadow-of-a-Leaf.] 62 SHERWOOD SHADOW-OF-A-LEAP Good fool! Should I be bad, sir, if I chanced to bring No news at all? That is the wise man's way. Thank heaven, I've lost my wits. I am but a leaf Dancing upon the wild winds of the world, A prophet blown before them. [Well, this evening, It is that lovely grey wind from the West That silvers all the fields and all the seas, And I'm the herald of May ! J EOBIN Come, Shadow-of-a-Leaf, I pray thee, do not jest. SHADOV^-OF-A-LEAP I do not jest. I am vaunt-courier to a gentleman, A sweet slim page in Lincoln green who comes. Wood-knife on hip, and wild rose in his face, With golden news of Marian. [Oh, his news Is one crammed honeycomb, swelling with sweetness In twenty thousand cells ; but delicate !] So send thy man aside. ROBIN Gro, Little John. [Little John goes into the cave,'] Well, Shadow-of-a-Leaf, where is he? SHADO V^-O F- A-LEAF At this moment His hair is tangled in a rose bush : hark, He swears, like a young leopard ! Nay, he is free. SHERWOOD 63 Come, master page, here is that thief of love, Give him your message. I'll to Little John. [Exit into the cave. Enter Marian, as a page in Lincoln green her face muffled in a hood.] ROBIN Good even, master page, what is thy news. Of Lady Marian? [She stands silent.] Answer me quickly, come, Hide not thy face ! [She still stands muffled and silent.] Come, boy, the fool is chartered. Not thou ; and I'll break off this hazel switch And make thee dance if thou not answer me. What ? Silent still ? Sirrah, this hazel wand Shall lace thee till thou tingle, top to toe. I'll . . . Robin ! MARIAN [Unmuffling.] ROBIN [Catches her in his arms with a cry.~\ Marian ! Marian ! MARIAN Robin, you did not know me. Fie upon you, ROBIN [Embracing her.] Oh, you seemed Ten thousand miles away. This is not moonlight, And I am not Endymion. Could I dream My Dian would come wandering through the fern 54 SHERWOOD Before the sunset? [Even that rose your face You muffled in its own green leaves.] MARIAN" But you. Were hidden in the heart of Sherwood, Eobin, [Hidden behind a million mighty boughs,] And yet I found you. ROBIN Ay, the young moon stole In pity down to her poor shepherd boy ; [But he could never climb the fleecy clouds Up to her throne, never could print one kiss On her immortal lips. He lay asleep Among the poppies and the crags of Latmos, And she came down to him, his queen stole down.] MARIAN Oh, Eobin, first a rose and then a moon, [A rose that breaks at a breath and falls to your feet,] The fickle moon — Oh, hide me from the world ; [For there they say love goes by the same law! Let me be outlawed then. I cannot change.] Sweetheart, sweetheart. Prince John will hunt me down ! Prince John — Queen Elinor will hunt me down ! ROBIN Queen Elinor ! 'Nay, but tell me what this means ? How came you here ? MARIAN The Queen — she came last night, [Made it an odious kind of praise to me That he, not three months wedded to his bride. Should — pah ! SHERWOOD 55 And thenj she said five hundred men Were watching round the borders of the wood ; But she herself would take me safely through them. Said that I should be safer here with Robin, She had your name so pat — and I gave way. [Enter Queen Elinor heliind. She conceals herself to listen.'] ROBIN Marian, she might have trapped you to Prince John. MARIAN No ; no ; I think she wanted me to guide her Here to your hiding place. She wished to see you Herself, unknown to John, I know not why. [It was my only way. Her skilful tongue Quite won my father over, made him think. Poor father, clinging to his lands again. He yet might save them. And so, without ado (It will be greatly to the joy of Much, Your funny little man),] I bade my maid Jenny, go pack her small belongings up This morning, and to follow with Friar Tuck And Widow Scarlet. They'll be here anon. ROBIN Where did you leave the Queen? MARIAN Eobin, she tried To kill me ! We were deep within the wood And she began to tell me a wild tale. Saying that I reminded her of days When Robin was her page, and how you came To Court, a breath of April in her life. And how you worshipped her, and how she grew To love you. But she saw you loved me best 56 SHERWOOD [(So would she mix her gall and lies with honey),] So she would let you go. And then she tried To turn my heart against you, bade me think Of all the perils of your outlawry, Then flamed with anger when she found my heart Steadfast ; and when I told her we drew nigh The cave, she bade me wait and let her come First, here, to speak with you. [Some deviPs trick Gleamed in her smile, the way some women have Of smiling with their lips, wreathing the skin In pleasant ripples, laughing with their teeth. While the cold eyes watch, cruel as a snake's That fascinates a bird.] I'd not obey her. She whipped a dagger out. Had it not been For Shadow-of-a-Leaf, who dogged us all the way. Poor faithful fool, and leapt out at her hand. She would have killed me. Then she darted away Like a wild thing into the woods, trying to find Your hiding place most like. ROBIN Marian, why, Why did you trust her ? Listen, who comes here ? [Enter Friar Tuck, Jenny and Widow Scarlet.] Ah, Friar Tuck! MARIAN Good Jenny! ROBIN And Widow Scarlet! FRIAR TUCK children, children, this is thirsty weather! The heads I have cracked, the ribs I have thwacked, the bones 1 have bashed with my good quarter-staff, to bring These bits of womankind through Sherwood Forest. SHERWOOD 57 ROBIN What, was there scuffling, friar ? FRIAR TUCK Some two or three Pounced on us, ha! ha! ha! JENNY A score at least. Mistress, [most unchaste ruffians.] FRIAR TUCK They've gone home, Well chastened by the Church. This pastoral staff Mine oaken Pax Vohiscum, sent 'em home [To think about their sins, with watering eyes. You never saw a bunch of such blue faces. Bumpy and juicy as a bunch of grapes Bruised in a Bacchanalian orgy, dripping The reddest wine a man could wish to see.] ROBIN I picture it — those big brown hands of thine [Grape-gathering at their throttles, ha! ha! ha!] Come, Widow Scarlet, come, look not so sad. WIDOW SCARLET master, master, they have named the day For killing of my boy. ROBIN They have named the day For setting of him free, then, my good dame. Be not afraid. We shall be there, eh. Friar? [Grape-gathering, eh?] 68 SHERWOOD FRIAR TUCK Thou'lt not be there thyself My son, the game's too dangerous now, methinks. ROBIN I shall be there myself. The game's too good To lose. We'll all be there. You're not afraid, Marian, to spend a few short hours alone Here in the woods with Jenny. MARIAN Robin. Not for myself. ROBIN We shall want every hand that day. And you'll be safe enough. You know we go Disguised as gaping yokels, old blind men. With patches on their eyes, poor wandering beggars, [Pedlars with pins and poking-sticks to sell;] And when the time is come — « a merry blast Eings out upon a bugle and suddenly The Sheriff is aware that Sherwood Forest Has thrust its green boughs up beneath his feet. Off go the cloaks and all is Lincoln green, [Great thwacking clubs and twanging bows of yew. Oh, we break up like nature thro' the laws Of that dark world; and then, good Widow Scarlet, Back to the cave we come and your good Will Winds his big arm about you once again.] Go, Friar, take her in and make her cosy. Jenny, your Much will grow three feet at least With joy to welcome you. He is in the cave. [Friar Tuck and Widow Scarlet go towards the cave.} FRIAR TUCK Now for a good bowse at a drinking can. SHERWOOD 59 I've got one cooling in the cave, unless That rascal, Little John, has drunk it all. [Exeunt into cave.'] JENNY [To Marian.] Mistress, I haven't spoke a word to you For nigh three hours. 'Tis most unkind, I think. MARIAN Go, little tyrant, and be kind to Much. JENNY Mistress, it isn't Much I want. Don't think Jenny comes trapesing through these awful woods For Much. I haven't spoke a word with you For nigh three hours. 'Tis most unkind, I think. MARIAN Wait, Jenny, then, I'll come and talk with you. Eobin, she is a tyrant ; but she loves me. [And if I do not go, she'll pout and sulk Three days on end. But she's a wondrous girl. She'd work until she dropped for me. 'Poor Jenny !] ROBIN [That's a quaint tyranny.] Go, dear Marian, go; But not for long. We have so much to say. Come quickly back. [Exit Marian. Eobin paces thoughtfully across the glade. Queen Elinor steals out of her hiding place and stands before him.'] You here! ELINOR Eobin, can you Believe that girl? Am I so treacherous? 60 SHERWOOD ROBIN It seems you have heard whatever I had to say. ELINOR Surely you cannot quite forget those days When you were kind to me. Do you remember The sunset through that oriel? ROBIN Ay, a god Grinning thro' a horse-collar at a pitiful page, Dazed with the first red gleam of what he thought Life, as the trouveres find it! I am ashamed, Kemembering how your quick tears blinded me! ELINOR Ashamed! You — you — that in my bitter grief When Rosamund — ROBIN I know! I thought your woes, Those tawdry relics of your treacheries. Wrongs quite unparalleled. I would have fought Eoland himself to prove you spotless then. ELINOR Oh, you speak thus to me! Robin, beware! I have come to you, I have trampled on my pride. Set all on this one cast ! If you should now Reject me, humble me to the dust before That girl, beware! I never forget, I warn you; I never forgive. ROBIN Are you so proud of that ? SHERWOOD 61 ELINOR Ah, well, forgive me, Robin. I'll save you yet From all these troubles of your outlawry ! Trust me — for I can wind my poor Prince John Around my little finger. Who knows — [with me To help you — there are but my two sons' lives That greatly hinder it] — why, yourself might reign Upon the throne of England. ROBIN Are you so wrapped In treacheries, helplessly false, even to yourself, That now you do not know falsehood from truth, Darkness from light? ELINOR Robin, I was true At least to you. If I were false to others, At least I — ROBIN ^"0 — not that — [that sickening plea Of truth in treachery.] Treachery cannot live With truth. The soul wherein they are wedded dies Of leprosy. ELINOR IComing closer to him.'] Have you no pity, Robin, No kinder word than this for the poor creature That crept — Ah, feel my heart, feel how it beats ! No pity? [robin Five years ago this might have moved me ! ELINOR No pity?] 62 SHERWOOD ROBIN None. There is no more to say. My men shall guide you safely through the wood. ELINOR I never forgive! [Enter Marian from the cave; she stands silent and startled.] ROBIN My men shall guide you back. [Calls.] Ho, there, my lads! [Enter several of the Outlaws.] This lady needs a guide Back thro' the wood. ELINOR Good-bye, then, Eobin, and good-bye to j^ou, Sweet mistress! You have wronged me! What of that? For — when we meet — Come, lead on, foresters ! [Exeunt the Queen and her guides.] MARIAN Eobin, Eobin, how the clouds begin To gather — how that woman seems to have brought A nightmare on these woods. ROBIN Forget it all! She is so tangled in those lies the world Draws round some men and women, none can help her. [Marian, for God's sake, let us quite forget That nightmare! Oh, that perfect brow of yours. Those perfect eyes, pure as the violet wells That only mirror heaven and are not dimmed SHERWOOD 63 Except by clouds that drift thro' heaven and catch God's glory in the sunset and the dawn.] MARIAN [It is enough for them simply to speak The love they hold for you.] But — I still fear. Eobin — think you — she might have overheard Your plan — the rescue of Will Scarlet ? ROBIN Why — No — No — some time had passed, [and yet — • she seemed To have heard your charge against her! No, she guessed it.] Come — let us brush these cobwebs from our minds, [Look how the first white star begins to tremble Like a big blossom in that sycamore.] Now you shall hear our forest ritual. Ho, Little John ! Summon the lads together ! [The Outlaws come out of the cave. Little John blows a bugle and others come in from the forest.] Friar, read us the rules. friar tuck First, shall no man Presume to call our Eobin Hood or any By name of Earl, lord, baron, knight or squire, But simply by their names as men and brothers : Second, that Lady Marian while she shares Our outlaw life in Sherwood shall be called Simply Maid Marian. Thirdly, we that follow Eobin, shall never in thought or word or deed Do harm to widow, wife or maid; [but hold. Each, for his mother's or sister's or sweetheart's sake, The glory of womanhood, a sacred thing, A star twixt earth and heaven.] Fourth, whomsoever Ye meet in Sherwood ye shall bring to dine 64 SHERWOOD With Eobin, [saving carriers, posts and folk That ride with food to serve the market towns Or any, indeed, that serve their fellow men.] Fifth, you shall never do the poor man wrong, Nor spare a priest or usurer. You shall take The waste wealth of the rich to help the poor, [The baron's gold to stock the widow's cupboard,] The naked ye shall clothe, the hungry feed. And lastly shall defend with all your power All that are trampled under by the world, The old, the sick and all men in distress. KOBIN So, if it be no dream, we shall at last Hasten the kingdom of God's will on earth. There shall be no more talk of rich and poor, Norman and Saxon. We shall be one people. One family, clustering all with happy hands And faces round that glowing hearth, the sun. Now let the bugle sound a golden challenge To the great world. Greenleaf, a forest call! [Eeynold Greenleaf blows a resounding call.'] Now let the guards be set ; and then, to sleep ! To-morrow there'll be work enough for all. The hut for Jenny and Maid Marian ! Come, you shall see how what we lack in halls We find in bowers. Look how from every branch Such tapestries as kings could never buy Wave in the starlight. You'll be waked at dawn By feathered choirs whose notes were taught in heaven. MUCH Come, Jenny, come, we must prepare the hut For Mistress Marian. Here's a bundle of ferns! [They go into the hut. The light is growing dimmer and richer.] SHERWOOD 65 [little JOHN And here's a red cramoisy cloak, a baron [Handing them in at the door.'\ Dropt, as he fled one night from Eobin Hood ; And here's a green, and here's a midnight blue, All soft as down. But wait, I'll get you more. [Two of the Outlaws appear at the door with deerskins. Shadow-of-a-Leaf stands behind them with a great hunch of flowers and ferns,'] FIRST outlaw Here's fawn-skins, milder than a maiden's cheek. SHADOW-OF-A-LEAF Oh, you should talk in rhyme ! The world should sing Just for this once in tune, if Love were king! SECOND OUTLAW Here's deer-skins, for a carpet, smooth and meek.] SHADOW-OF-A-LEAF [I knew you would ! J Ha ! ha ! Now look at what I bring ! [He throws flowers into the hut, spray hy spray, speaking in a kind of ecstasy. 1 Here's lavender and love and sweet wild thyme. And dreams and blue-bells that the fairies chime, Here's meadow-sweet and moonlight, bound in posies, With ragged robin, traveller's Joy and roses. And here — just three leaves from a weeping willow ; And here — that's best — deep poppies for your pillow. MUCH And here's a pillow that I made myself. Stuffed with dry rose-leaves and grey pigeon's down, The softest thing on earth except my heart! 66 SHERWOOD SHADOW-OF-A-LEAF [Going aside and throwing himself down among the ferns to watch.'] [[Just three sweet breaths and then the song is flown !] [Much looks at him for a moment with a puzzled face, then turns to the hut again.] MUCH Jenny, here, take it — though I'm fond of comforts, Take it and give it to Maid Marian. JENNY Why, Much, 'tis bigger than thyself. MUCH Hush, child. I meant to use it lengthways. 'Twould have made A feather-bed complete for your poor Much, Take it ! [The Outlaws all go into the cave.] MARIAN Eobin, what a fairy palace! How cold and grey the walls of castles seem Beside your forest's fragrant halls and bowers. I do not think that I shall be afraid To sleep this night, as I have often been Beneath our square bleak battlements. ^ ROBIN And look. Between the boughs, there is your guard, all night, That great white star, white as an angel's wings, White as the star that shone on Bethlehem! Good-night, sweetheart, good-night ! MARIAN Good-night ! SHERWOOD 67 [robin One kiss! Oh, clear bright eyes, dear heavens of sweeter stars, Where angels play, and your own sweeter sorl Smiles like a child into the face of God, Good-night ! Good-night !] [Marian goes into the hut. The door is shut. Robin goes to the mouth of the cave and throws himself down on a couch of deerskins. The light grows dimly rich and fairy-like.^ SHADOW-OF-A-LEAF [Rising to his knees.'] Here conies the little cloud ! [A little moonlit cloud comes floating down between the tree-tops into the glade. Titania is seen reposing upon it. She steps to earth. The cloud melts away.] How blows the wind from fairyland, Titania? TITANIA Shadow-of-a-Leaf, the wicked queen has heard Your master's plan for saving poor Will Scarlet. She knows Maid Marian will be left alone. Unguarded in these woods. The wicked Prince Will steal upon her loneliness. He plots To carry her away. SHADOW-OF-A-LEAF What can we do? Can I not break my fairy vows and tell? TITANIA No, no; you cannot, even if you would. Convey our fairy lore to mortal ears. [When have they heard our honeysuckle bugles Blowing reveille to the crimson dawn?] 68 SHERWOOD We can but speak by dreams ; and, if you spoke, They'd whip you, for your words would all ring false Like sweet bells out of tune. SHADOW-OP-A-LEAP What can we do? TITANIA Nothing, except on pain of death, to stay The course of Time and Tide. There's Oberon! SHADOW-OF-A-LEAP Oberon ! TITANIA He can tell you more than I. [Enter Obeeon.] OBERON Where's Orchis? Where's our fairy trumpeter To call the court together? ORCHIS Here, my liege. OBERON" Bugle them hither; [let thy red cheeks puff Until thy curled petallic trumpet thrill More loudly than a yellow-banded bee Thro' all the clover clumps and boughs of thyme. They are scattered far abroad.] ORCHIS My liege, it shall Outroar the very wasp! [Exif] SHERWOOD 69 OBERON [[i4s he speaksi^ the fairies come flocking from all sides into the glade.l [Metliinks they grow Too fond of feasting. As I passed this way I saw the fairy halls of hollowed oaks All lighted with their pale green glow-worm lamps. And under great festoons of maiden-hair Their brilliant mushroom tables groaned with food. Hundreds of rose-winged fairies banqueted! All Sherwood glittered with their prismy goblets Brimming the thrice refined and luscious dew Not only of our own most purplest violets, But of strange fragrance, wild exotic nectars, Drawn from the fairy blossoms of some star Beyond our tree-tops! Ay, beyond that moon Which is our natural limit — the big lamp Heaven lights upon our boundary.] ORCHIS Mighty King, The Court is all attendant on thy word. OBERON" [With great dignity.] [Elves, pixies, nixies, gnomes and leprechauns,] [He pauses.] We are met, this moonlight, for momentous councils Concerning those two drowsy human lovers, Maid Marian and her outlawed Eobin Hood. They are in dire peril; yet we may not break Our vows of silence. [Many a time Has Eobin Hood by kindly words and deeds Done in his human world, sent a new breath Of life and joy like Spring to fairyland; And at the moth-hour of this very dew-fall. He saved a fairy, whom he thought, poor soul, 70 SHERWOOD Only a may-fly in a spider's web, He saved her from the clutches of that Wizard, That Cruel Thing, that dark old Mystery, Whom ye all know and shrink from — [Exclamations of horror from the fairies.'] Plucked her forth, So gently that not one bright rainbow gleam Upon her wings was clouded, not one flake Of bloom brushed off — there lies the broken web. Go, look at it; and here is pale Perilla To tell you all the tale. [The fairies cluster to look at the web, e^c.]] A FAIRY Can we not make them free Of fairyland, like Shadow-of-a-Leaf, to come And go, at will, upon the wings of dreams? OBERON Not till they lose their wits like Shadow-of-a-Leaf. SHADOW-OF-A-LEAF Can I not break my fairy vows and tell? OBERON Only on pain of what we fairies call Death ! SHADOW-OF-A-LEAP Death? OBERON Never to join our happy revels, Never to pass the gates of fairyland Again, but die like mortals. What that means. We do not know — 'who knows? SHERWOOD 71 SHADOW-OF-A-LEAF If I could save them ! — I am only Shadow-of-a-Leaf ! OBERON There is a King Beyond the seas. If he came home in time, All might be well. [We fairies only catch Stray gleams, wandering shadows of things to come.] TITANIA Oh, if the King came home from the Crusade! SHADO W-O F- A-LEAF Why will he fight for graves beyond the sea? OBERON Our elfin couriers brought the news at dusk That Lion-Heart, while wandering home thro' Europe, In jet-black armour, like an errant knight. Despite the great red cross upon his shield. Was captured by some wicked prince and thrust Into a dungeon. Only a song, they say. Can break those prison-bars. There is a minstrel That loves his King. If he should roam the world Singing until from that dark tower he hears The King reply, the King would be set free. TITANIA Only a song, only a minstrel? OBERON Ay; And Blondel is his name. [A long, low sound of wailing is heard in the distance. The fairies shudder and creep together.} 72 SHERWOOD TITANIA Hark, what is that? OBEEON The cry of the poor, the cry of the oppressed. The sound of women weeping for their children. The victims of the forest laws. The moan Of that dark world where mortals live and die Sweeps like an icy wind thro' fairyland. [And oh, it may grow bitterer yet, that sound! 'Twas Merlin's darkest prophecy that earth Should all be wrapped in smoke and fire, the woods Hewn down, the flowers discoloured and the sun Begrimed, until the rows of lifeless trees Against the greasy sunset seemed no more Than sooty smudges of an ogre's thumbs Upon the sweating forehead of a slave. While, all night long, fed with the souls of men. And bodies, too, great forges blast and burn Till the great ogre's cauldrons brim with gold.] [The tvailing sound is heard again in the distance.'] SHADOW-OF-A-LEAF To be shut out for ever, only to hear Those cries! I am only Shadow-of-a-Leaf, the fool, I cannot face it ! Is there no hope but this ? No hope for Robin and Maid Marian? OBERON If the great King comes home from the Crusade In time ! If not, — there is another King Beyond the world, they say. SHADOW-OF-A-LEAF Death, that dark death! To leave the sunlight and the flowers for ever! I cannot bear it! Oh, I cannot tell them. SHERWOOD 73 I'll wait — perhaps the great King will come home, If not — Oh, hark, a wandering minstrel's voice ? OBERON Who is drawing hither? Listen, fairies, listen! [Song heard approaching thro* the wood.l Knight on the narrow way. Where wouldst thou ride? " Onward," I heard him say, " Love, to thy side ! " "Nay," sang a bird above; " Stay, for I see Death in the mask of love. Waiting for thee." [The song hrealcs off. Enter a Minstrel, leading a great white steed. He pauses, confronted by the fairy host. The moonlight dazzles him.] SHADOW-OF-A-LEAF Minstrel, art thou, too, free of fairyland? Where wouldst thou ride? What is thy name? MINSTREL Is Blondel. SHADOW-OF-A-LEAF Blondel ! My name THE FAIRIES Blondel ! MINSTREL And I ride Through all the world to seek and find my King! U SHERWOOD [He passes through the fairy host and goes inio the woods on the further side of the glade, continuing his song, which dies away in the distance.'] [Song.] "Death? What is death?" he cried. " I must ride on, On to my true love's side. Up to her throne ! " [Curtain.] ACT III ACT III Scene I. May-day. An open place {near Nottingham). A crowd of rustics and townsfolk assembling to see the execution of Will Scarlet. FIRST RUSTIC A sad may-day ! Where yonder gallows glowers. We should have raised the may-pole. SECOND RUSTIC Ay, no songs, No kisses in the ring, no country dances To-day; [no lads and lasses on the green. Crowning their queen of may.] [Enter Eobin Hood, disguised as an old beggar, with a green patch on one eye.'] ROBIN Is this the place. Masters, where they're a-goin' to hang Will Scarlet? FIRST RUSTIC Ay, father, more's the pity. ROBIN Eh ! Don't ye think There may be scuffling, masters? [There's a many ' That seems to like him well, here, roundabouts. SECOND RUSTIC Too many halberts round him. There's no chance. 77 78 SHERWOOD ROBIN I've heard the forest might break out, the lads In Lincoln green, you wot of ! If they did ?] FIEST RUSTIC There's many here would swing a cudgel and help To trip the Sheriff up. If Robin Hood Were only here! But then he's outlawed now. [second rustic Ay, and there's big rewards out. It would be Sure death for him to try a rescue now. The biggest patch of Lincoln Green we'll see This day, is that same patch on thy old eye, Eh, lads!3 THIRD rustic What's more, they say Prince John is out This very day, scouring thro' Sherwood forest In quest of Lady Marian! ROBIN [Sharply.'] You heard that ? THIRD RUSTIC Ay, for they say she's flown to Sherwood forest. SECOND RUSTIC [Ah ! Ah ? That's why he went. J I saw Prince John ! With these same eyes I saw him riding out To Sherwood, not an hour ago. ROBIN You saw him? SHERWOOD 79 SECOND RUSTIC Ay, and he only took three men at arms. FIRST RUSTIC Three men at arms ! Why then, he must ha' known That Eobin's men would all be busy here ! [He's none so bold, he would not risk his skin!] I think there'll be some scuffling after all. ROBIN Ay, tell 'em so — go, spread it thro' the crowd ! [He mutters to himself.'] [He'd take some time, to find her, but 'fore God We must be quick; 'fore God we must be quick! SECOND RUSTIC AVhy, father, one would never think to see thee Thou had'st so sound a heart!] FIRST RUSTIC Ah, here they come! The Sheriff and his men; and, in the midst^ There's poor Will Scarlet bound. THE CROWD MURMURS Ah, here they come! Look at the halberts shining! Can you see him? FIRST RUSTIC There, there he is. His face is white : but. Lord, He takes it bravely. SECOND RUSTIC He's a brave man, Will. SHERIFF Back with the crowd there, guards; delay no time! 80 SHERWOOD [some women in the crowd Ah, ah, poor lad!] ROBIN [Eagerly.] What are they doing now ? I cannot eee! [first rustic The Sheriff's angered now! SECOND rustic Ay, for they say a messenger has come From that same godless hangman whose lean neck I'd like to twist, saying he is delayed. 'Tis the first godly deed he has ever done.J THIRD RUSTIC The Sheriff says he will not be delayed. But who will take the hangman's office? ROBIN Masters, I have a thought ; make way ; let me bespeak The Sheriff! rustics How now, father, what's to do? ROBIN Make way, I tell you. Here's the man they want! sheriff What's this? ROBIN Good master Sheriff, I've a grudge Against Will Scarlet. Let me have the task Of sending him to heaven! SHERWOOD 81 [crowd Ah-h-h, the old devil IJ SHERIFF Come on, then, and be brief ! ROBIN I'm not a hangman ; But I can cleave your thinnest hazel wand At sixty yards. SHERIFF Shoot, then, and make an end. Make way there, clear the way! [An opening is made in the crowd. Robin stands in the gap. Will Scarlet is not seen hy the audience,'] [crowd Ah-h-h, the old devil IJ robin I'll shoot him one on either side, just graze him, To show you how I love him; then the third Slick in his heart. [He shoots. A murmur goes up from the crowd. The crowd hides Will Scarlet during the shooting. But EoBiN remains in full view, in the opening.'] SHERIFF [Angrily.] Take care ! You've cut the cord That bound him on that side ! ROBIN Then here's the second! I will be careful! [He takes a steady aim.] 82 SHERWOOD A RUSTIC TO HIS NEIGHBOURS I' faith, lads, he can shoot ! [What do you think — that green patch on his eye Smacks of the merry men ! He's tricking them !] [EoBiN shoots. A louder murmur goes up from the crowd.'] SHERIFF You have cut the rope again ! A CRY He has cut him free ! ROBIN All right ! All right ! It's just to tease the dog ! Here's for the third now! [He aims and shoots quickly. There is a loud cry of a wounded man; then a shout from the crowd.] CROWD Ah-h-h, he has missed; he has killed One of the guards! FIRST RUSTIC What has he done? He has killed SECOND RUSTIC One of the Sheriff's men ! SHERIFF There's treachery here ! I'll cleave the first man's heart that moves ! ROBIN Will Scarlet, Pick up that dead man's halbert! SHERWOOD 83 SHERIFF Treachery ! Help ! Down with the villain ! ROBIN" [Throws off his beggar's crouch and hurls the Sheriff and several of his men hack amongst the crowd. His cloak drops off.] Sherwood! A merry Sherwood! RUSTICS All! ha! The Lincoln Green! A Eobin Hood! [A bugle rings out and immediately some of the yokels throw off their disguise and the Lincoln green ap- pears as by magic amongst the crowd. The guards are rushed and hustled by them. Eobin and several of his men make a ring round Will Scarlet.] SHERIFF It is the outlawed Earl of Huntingdon: There is a great reward upon his head. Down with him! [The Sheriff's men make a rush at the little band. A Knight in jet black armour, ivith a red-cross shield, suddenly appears and forces his way through the mob, sword in hand.] KNTIGHT 7 What, so many against so few! Back, you wild wolves. Now, foresters, follow me, For our St. George and merry England, charge. Charge them, my lads! [The Foresters make a rush with him and the Sheriff and his men take to flight.] 84 SHERWOOD ROBIN Now back to Sherwood, swiftly ! A horse, or I shall come too late ; a horse ! [He sees the Knight in armour standing by his horse.'] Your pardon, sir ; our debt to you is great, Too great almost for thanks; but if you be Bound by the vows of chivalry, I pray you Lend me your charger; and my men will bring you To my poor home in Sherwood. There you'll find A most abundant gratitude. KNIGHT Your name? ROBIN Was Huntingdon ; but now is Eobin Hood. KNIGHT If I refuse? ROBIN Then, sir, I must perforce Take it. I am an outlaw, but the law Of manhood still constrains me — 'tis a matter Of life and death — KNIGHT Take it and God be with you ! I'll follow you to Sherwood with your men. [Robin seizes the horse, leaps to the saddle, and gallops away.] HCurtain.] SHERWOOD 85 Scene II. Shertvood Forest, Outside the cave.'J Jenny, Marian and Widow Scarlet. MARIAN This dreadful waiting ! [How I wish that Eobin Had listened to the rest and stayed with me. How still the woods are!] Jenny, do you think There will be fighting? Oh, I am selfish, mother; You need not be afraid. Eobin will bring Will Scarlet safely back to Sherwood. A\Tiy, Perhaps they are all returning even now! [Cheer up ! How long d'you think they've been away, Jenny, six hours or more ? The sun is high, And all the dew is gone.J JENNY [Nay, scarce three hours.] Now don't you keep a-fretting. They'll be back, Quite soon enough. [I've scarcely spoke with you. This last three days and more; and even now It seems I cannot get you to myself. Two's quite enough.] [To Widow Scarlet.J Come, widow, come with me. I'll give you my own corner in the hut And make you cosy. If you take a nap Will Scarlet will be here betimes you wake. [Takes her to the hut and shuts her in,'] [There, drat her, for a mumping mumble-crust I MARIAN Come, Jenny, that's too bad ; the poor old dame Is lonely.] 86 SHERWOOD JENNY [She's not lonely when she sleeps, x\nd if I never get you to myself Where was the good of trapesing after you And living here in Sherwood like wild rabbits?] You ha'nt so much as let me comb your hair This last three days and more. MARIAN Well, comb it, Jenny, Now, if you like, and comb it all day long; [But don't get crabbed, and don't speak so crossly !] [Jenny begins loosening Marian's hair and combing it.'\ JENNY Why, Mistress, it grows longer every day. [It's far below your knees, and how it shines ! And wavy, just like Much the Miller's brook, Where it comes tumbling out into the sun, Like gold, red gold.] MARIAN Ah, that's provoking, Jenny, For you forgot to bring me my steel glass, [And, if you chatter so, I shall soon want it.] JENNY I've found a very goou one at a pinch. There's a smooth silver pool, down in the stream, Wh^re you can see your face most beautiful. MARIAN So that's how Jenny spends her lonely hours, A sad female Narcissus, while poor Much Dwines to an Echo ! SHERWOOD 87 JENNY I don't like those gods. I never cared for them. But, as for Much, Much is the best of all the merry men. And, mistress, 0, he speaks so beautifully, It might be just an Echo from blue hills Far, far away! [You see he's quite a scholar: Much, more an' most (That's what he calls the three Greasy caparisons — much, more an' most) ! You see they thought that being so very small They could not make him grow to be a man, They'd make a scholar of him instead. The Friar Taught him his letters. He can write his name. And mine, and yours, just like a missal book. In lovely colours; and he alw^ays draws The first big letter of Jenny like a tree With naked Cupids hiding in the branches. Mistress, I don't believe you hear one word I ever speak to you! Your eyes pre always That far and far away. MARIAN I'm listening, Jenny! JENNY Well, when he draws the first big M of yours. He makes it like a bridge from earth to heaven. With white-winged angels passing up and down; And, underneath the bridge, in a black stream. He puts the drowning face of the bad Prince Holding his wicked hands out, while a devil Stands on the bank and with a pointed stake Keeps him from landing — J Ah, what's that? What's that? MARIAN Jenny, how you startled me! 88 SHERWOOD JENNY I thought I saw that same face peering thro' the ferns Yonder — there — see, they are shaking still. [She screams.] Ah! Ah! [Prince John and another man appear advancing across the glade.] JOHN So here's my dainty tigress in her den, [And — Warman — there's a pretty scrap for you Beside her.J Now, sweet mistress, will you deign To come with me, to change these cheerless woods For something queenlier? [If I be not mistaken, You have had time to tire of that dark cave. Was I not right, now? Surely you can see Those tresses were not meant to waste their gold Upon this desert. Nay, but Marian, hear me. I do not jest.] [At a sign from Marian, Jenny goes quickly inside the cave.] That's well! Dismiss your maid! Warman, remove a little. [His man retires.] I see you think A little better of me! Out in the wood There waits a palfrey for you, and the stirrup Longs, [as I long,] to clasp your dainty foot. [I am very sure by this you must be tired Of outlawry, a lovely maid like you.] [He draws nearer.] MARIAN Wait — I must think, must think. SHERWOOD 89 JOHN Give me your hand! Why do you shrink from me? [If you could know The fire that burns me night and day, you would not Eefuse to let me snatch one cooling kiss From that white hand of yours.J MARIAN If you be prince, You will respect my loneliness and go. JOHN How can I leave you, when by day and night I see that face of yours. [I'll not pretend I do not love you, do not long for you. Desire and hunger for your kiss, your touch! I'll not pretend to be a saint, you see ! I hunger and thirst for you. Marian, Marian. MARIAN You are mad ! JOHN Ay, mad for you. Body and soul I am broken up with love for you. Your eyes Flash like the eyes of a tigress, and I love them The better for it. Ah, do not shrink from me ! J [Jenny comes out of the cave and hands Marian a how. She leaps hack and aims it at John.] MARIAN Back, you wild beast, or by the heaven above us, I'll kill you ! Now, don't doubt me. I can shoot Truly as any forester. I swear. Prince or no prince, king or no king, I'll kill you If you should stir one step from where you stand. 90 SHERWOOD JOHN Come, come, sweet Marian, put that weapon down. I was beside myself, was carried away. I cannot help my love for — MARIAN I'll not hear Another sickening word: throw down your arms. That dagger at your side. JOHN Oh, that's too foolish, Marian, I swear — [marian You see that rusty stain Upon the silver birch down yonder? Watch. [She shoots. Then swiftly aims at him again.^ Now, throw your weapon down.] [He pulls out the dagger and throws it down, with a shrug of his shoulders. One of his men steals up behind Marian.] JENNY Ah, Mistress Marian, There's one behind you ! Look ! \_The man springs forward and seizes Marian's arms.'] JOHN [Coming forward and taking hold of her also.'] So, my sweet tigress. You're trapped then, are you ? Well, we'll waste no time ! We'll talk this over when we reach the castle. Keep off the maid, there, Warman; I can manage This turbulent beauty. [Ah, byv God, you shall Come! Ah? God's blood, what's this?] [Marian has succeeded in drawing her dagger and slightly wounding him. She wrests herself free.] SHERWOOD 91 MARIAN Keep back, I warn you ! JOHN [Advancing slowly,'] Strike, now strike if you will. You will not like To see the red blood spurting up your hand. That's not maid's work. Come, strike ! [EoBiN Hood appears at the edge of the glade behind him.'] You see, you cannot! Your heart is tenderer than you think. ROBIN [Quietly.] Prince John! JOHN [Turns round and confronts Robin.] Out with your blade, Warman ; call up the rest ! [We can strike freely now, without a fear Of marring the sweet beauty of the spoil.J We four can surely make an end of him. Have at him, lads, and swiftly, or the thieves Will all be down on us. [Robin draws his sword and sets his hack to an oak. The other two followers of Prince John come out of the wood.] ROBIN Come on, all four! This oak will shift its roots before I budge One inch from four such howling wolves. Come on; [You must be tired of fighting women-folk. Come on ! By God, sir, you must guard your head Better than that,J [He disarms Warman.] [Or you're just food for worms Already; come, you dogs!] SHERWOOD JOHN Work round, [you three,J Behind him ! [Drive him out from that damned oak !] ROBIN Oh, that's a princel}^ speech! Have at you, sir! [He strikes Prince John's siuord out of his hand and turns suddenly to confront the others. John picks up a dagger and makes as if to stab Eobin in the hack. At the same instant, bugles are heard in the dis- tance. The red-cross knight flashes between the trees and seizing John's arm in his gauntleted hand, disarms him, then turns to help Eobin.] knight What, four on one! Down with your blades, you curs, Or, by Mahound ! — [The three men take to flight. John stands staring at the newcomer. The Foresters appear, surround- ing the glade.] JOHN [Muttering.'] What? Thou? Thou? Or his ghost? "No — no — it cannot be. ROBIN Let them yelp home, [The pitiful jackals.] They have left behind The prime offender. Ha, there, my merry lads. All's well; but take this villain into the cave And guard him there. [The Foresters lead Prince John into the cave.} SHERWOOD 93 JOHN [To the Foresters.] Answer me one thing; who Is yonder red-cross knight? A FORESTER No friend of thine. Whoe'er he be ! KNIGHT [To Robin.] I need not ask his name. I grieve to know it ! ROBIN Sir, I am much beholden To your good chivalry. What thanks is mine To give, is all your own. KNIGHT Then I ask this ! Give me that prisoner! I think his life is mine. ROBIN You saved my own, and more, you saved much more Than my poor life is worth. But, sir, think well ! This man is dangerous, not to me alone, But to the King of England; for he'll yet Usurp the throne ! Think well ! KNIGHT I ask no more. I have more reasons than you know. ROBIN So be it. Ho! Bring the prisoner back! 94 SHERWOOD [The FoRE&TERS hring Prince John haclc. He stares at the Knight as if in fear.] Sir, you shall judge him. This prisoner is your own. KNIGHT Then — let him go! FORESTERS What! Set him free? ROBIN Obey! [They release Prince John.] KNIGHT Out of my sight; Go! PRINCE JOHN What man is this ? KNIGHT iQuickly, get thee gone! [Prince John goes out, shalcen and white.] ROBIN We'll think no more of him ! It is our rule That whomsoever we meet in merry greenwood Should dine with us. Will you not be our guest? KNIGHT That's a most happy thought ! I have not heard A merrier word than dinner all this day. I am well-nigh starved. SHERWOOD 95 ROBIN Will you not raise your visor And let us know to whose good kniglitly hand We are so beholden ? KNIGHT Sir, you will pardon me, If, for a little, I remain unknown. But, tell me, are you not that Eobin Hood Who breaks the forest laws ? ROBIN That is my name. [We hold this earth as naturally our own As the glad common air we breathe. We think No man, no king, can so usurp the world As not to give us room to live free lives,] But, if you shrink from eating the King's deer — KNIGHT Shrink ? Ha ! ha ! ha ! I count it as my own ! [The Foresters appear, preparing the dinner on a table [0/ green turfs^'J beneath a spreading oak. Marian and Jenny appear at the door of the hut. Jenny goes across to help at the prepara- tions for dinner. ~\ robin Ah, there's my Lady Marian ! Will you not come And speak with her? [He and the Knight go and talk to Marian in the back- ground.] LITTLE JOHN [At the table.] The trenchers all are set; [Manchets of wheat, cream, curds and honey-cakes, 96 SHERWOOD Venison pasties, roasted pigeons !] Much, Eun to the cave; we'll broach our rarest wine To-day. [Old Much is waiting for thee there To help him. He is growKng roundly, too, At thy delay. MUCH [Going towards the cave.'] Ah me, my poor old father ! JENNY I've dressed the salt and strawed the dining hall With flowers.] [Enter Friar Tuck with several more Foresters and Will Scarlet.] ROBIN Ah, good Will Scarlet, here at last ! [friae tuck We should ha' been here sooner; but these others Borrowed a farmer's market cart and galloped Ahead of us! robin] Thy mother is in the hut, Sheer broken down with hope and fearfulness. Waiting and trembling for thee, Will. Go in. Put thy big arm around her. [Will Scarlet goes into the hut with a cry.} scarlet Mother ! friar tuck You see, My sons, you couldn't expect the lad to run ! [There is a certain looseness in the limbs. SHERWOOD 97 A quaking of the flesh that overcomes The bravest who has felt a hangman's rope Cuddling his neck.J ROBIN You judge him by the rope That cuddles your slim waist! Oh, you sweet armful, Sit down and pant! I warrant you were glad To bear him company. FRIAR TUCK I'll not deny it! I am a man of solids. Like the Church, I am founded on a rock. [He sits down.'] ROBIN Solids, i' faith ! Sir, it is true he is partly based on beef; He grapples with it squarely; but fluids, too. Have played their part in that cathedral choir He calls his throat. [One godless virtue, sir. They seem to have given him. Never a nightingale Gurgles jug! jug! in mellower tones than he When jugs are flowing. Never a thrush can pipe Sweet, sweet, so rarely as, when a pipe of wine Summers his throttle, we'll make him sing to us One of his heathen ditties — The Malmsey Butt, Or Down the Merry Red Lane!'\ FRIAR TUCK Oh, ay, you laugh. But, though I cannot run, when I am rested I'll challenge you, Robin, to a game of buffets, [One fair, square, stand-up, stand-still, knock-down blow Apiece; you'll need no more.] If you not kiss 98 SHERWOOD The turf, at my first clout, I will forego Malmsey for ever ! ROBIN Friar, I recant; You're champion there. Fists of a common size I will encounter ; but not whirling hams Like thine ! FRIAR TUCK I knew it! JENNY \_Approaching.'] Please you, sirs, all is ready ! FRIAR TUCK Ah, Jenny, Jenny, Jenny, that's good news ! [Will Scarlet comes out of the hut with his arm round his mother. They all sit down at the table of turfs. Enter Shadow-of-a-Leaf timidly.} SHADOW-OF-A-LEAF Is there a place for me? A FORESTER Ay, come along! FRIAR TUCK ]^ow, Eobin, don't forget the grace, my son. ROBIN [Standing up.'] It is our custom, sir, since our repast Is borrowed from the King, to drain one cup To him, and his return from the Crusade, Before we dine. [That same wine-bibbing friar SHERWOOD 99 Calls it our ' grace ' ; and constitutes himself Eemembrancer — without a cause, for never Have we forgotten, never while bugles ring Thro' Sherwood, shall forget] — Outlaws, the King ! [All stand up except the Knight.] CRIES The King and his return from the Crusade ! [They drink and resume their seats.l ROBIN You did not drink the health, sir Knight. I hope You hold with Lion-Heart. KNIGHT Yes; I hold with him. You were too quick for me. I had not drawn These gauntlets off. But tell me, Lady Marian, When is your bridal day with Eobin Hood? MARIAN We shall be wedded when the King comes home From the Crusade. KNIGHT Ah, when the King comes home ! That's music — all the birds of April sing In those four words for me — the King comes home. MARIAN I am glad you love him, sir. ROBIN But you're not eating ! Your helmet's locked and barred. Will you not raise Your visor? 100 SHERWOOD KNIGHT [Laughs.'] Ha ! ha ! ha ! You see I am trapped ! I did not wish to raise it ! Hunger and thirst Break down all masks and all disguises, Eobin. [He rises and removes his helmet , revealing the face of ElCHARD CgEUR DE LiON.] ROBIN The King! [They all leap to their feet.] OUTLAWS The King! The Eang! ROBIN But oh, my liege, I should have known, when we were hard beset Around Will Scarlet by their swarming bands. And when you rode out of the Eastern sky And hurled our foemen down, I should have known It was the King come home from the Crusade ! And when I was beset here in the wood By treacherous hands again, I should have known Whose armour suddenly burned between the leaves ! I should have known, either it was St. George Or else the King come home from the Crusade ! RICHARD Indeed there is one thing that might have told you, Eobin — a lover's instinct, since it seems So much for you and Marian depends On my return. SHADOW-OF-A-LEAF Sire, you will pardon me. For I am only a fool, and yet metliinks SHERWOOD 101 You know not half the meaning of those words — The King, the King comes home from the Crusade ! Thrust up your swords, heft uppermost, my lads, And shout — the King comes home from the Crusade. [He leaps on a seat, and thriists up the King's sword, heft uppermost, as if it were a cross.} ROBIN Pardon him, sire, poor Shadow-of-a-Leaf has lost His wits ! SHADOW-OF-A-LEAF That's what Titania said you'd say, Poor sweet bells out of tune ! But oh, don't leave. Don't leave the forest! There's darker things to come! Don't leave the forest ! [I have wits enough at least To wrap my legs around my neck for warmth On winter nights. RICHARD Well, you've no need to pass The winter in these woods — SHADOW-OF-A-LEAF Oh, not that winter!] ROBIN Shadow-of-a-Leaf , be silent ! [Shadow-of-a-Leaf goes aside and throws himself down sobbing among the ferns.'] RICHARD [When even your cave Methinks can scarce be cheery.] Huntingdon, Your earldom we restore to you this day! You and my Lady Marian shall return To Court with us, where your true bridal troth 102 SHERWOOD Shall be fulfilled with golden marriage bells. Now, friends, the venison pasty ! [We must hear The Malmsey Butt and Down the Merry Red Lane.l Ere we set out, at dawn, for London Town. ROBIN Alan-a-Dale shall touch a golden string To speed our feast, sire [for he soars above The gross needs of the Churchman ! J RICHARD Alan-a-Dale ? WILL SCARLET Our greenwood minstrel, sire ! His harp is ours Because we won his bride for him. RICHARD His bride? REYNOLD GREENLEAF Was to be wedded, sire, against her will Last May, to a rich old baron. RICHARD [Pigeon-pie — And Malmsey — yes] — a rich old baron — tell ! ROBIN Sire, on the wedding day, my merry men Crowded the aisles with uninvited guests; And, as the old man drew forth the golden ring, [They threw aside their cloaks with one great shout Of ' Sherwood ' ; and, for all its crimson panes,] The church was one wild sea of Lincoln green ! The Forest had broken in, sire, and the bride Like a wild rose tossing on those green boughs, SHERWOOD 103 "Was borne away and wedded here by Tuck To her true lover ; and so — his harp is ours. ALAN-A-DALE No feasting song, sire, but the royal theme Of chivalry — a song I made last night In yonder ruined chapel. It is called The Old Knight's Vigil, RICHARD Our hearts will keep it young ! [Alan-a-Dale sings, Shadow-of-a-Leaf raises his head among the ferns.'] ^ISong,'] Once, in this chapel, Lord, Young and undaunted, Over my virgin sword Lightly I chaunted, — " Dawn ends my watch. I go Shining to meet the foe ! ^' II " Swift with thy dawn," I said, " Set the lists ringing ! Soon shall thy foe be sped. And the world singing! Bless my bright plume for me, Christ, King of Chivalry." [Shadow-of-a-Leaf rises to his Jcnees amongst the ferns.] 104 SHERWOOD III " War-worn I kneel to-night, Lord, by Thine altar ! Oh, in to-morrow's fight, Let me not falter ! Bless my dark arms for me, Christ, King of Chivalry. IV "Keep Thou my broken sword All the long night through While I keep watch and ward ! Then — the red fight through, Bless the wrenched haft for me, Christ, King of Chivalry. " Keep, in thy pierced hands. Still the bruised helmet : Let not their hostile bands Wholly overwhelm it ! Bless my poor shield for me, Christ, King of Chivalry. VI " Keep Thou the sullied mail. Lord, that I tender Here, at Thine altar-rail ! Then — let Thy splendour Touch it once . . . and I go Stainless to meet the foe/' [Shadow-of-a-Leap rises to his feet and takes a step towards the minstrel.'] [Curtain.'] ACT IV ACT IV Scene I. Garden of the King's Palace. Enter John and Elinor. ELINOR You will be king the sooner ! Not a month In England, and my good son Lion-Heart Must wander over-seas again. [These two, Huntingdon and his bride, must bless the star Of errant knighthood.J JOHN He stayed just long enough To let them pass one fearless honeymoon In the broad sunlight of his royal favour, Then, like a meteor off goes great King Eichard, And leaves them but the shadow of his name To shelter them from my revenge. [They know it! I have seen her shiver like a startled fawn And draw him closer, damn him, as I passed.] ELINOR They would have flitted to the woods again But for my Lord Fitzwalter. JOHN That old fool Has wits enough to know I shall be king, [And for his land's sake cheats himself to play Sir Pandarus of Troy. " 'Tis wrong, dear daughter, To think such evil."] Pah, he makes me sick ! 107 108 SHERWOOD ELINOR Better to laugh. He is useful. JOHN If I were king! If Richard were to perish over-seas! rd — ELINOR You'd be king the sooner. [Never fear : These wandering meteors flash into their graves Like lightning, and no thunder follows them To warn their foolish henchmen.] JOHN [Loohing at her searcliingly J] Shall I risk The Eling's return ? ELINOR What do you mean? JOHN I mean [I cannot wait and watch this Robin Hood Dangle the fruit of Tantalus before me, Then eat it in my sight !] I have borne enough ! He gave me like a fairing to my brother In Sherwood Forest ; and I now must watch him, A happy bridegroom with the happy bride, [Whose lips I meant for mine.] I love to see it ? ELINOR And do you think SHERWOOD 109 JOHN Had it not been for you He would have died ere this ! ELINOR Then let him die ! JOHN Oh, ay, but do you mean it, mother? ELINOR Gk)d, I hate him, hate him ! JOHN Mother, he goes at noon To Sherwood Forest, with a bag of gold For some of his old followers. If, by chance He [fall — how saith the Scripture ? — among thieves And] vanish — is not heard of any more, I think Suspicion scarce could lift her head Among these roses here to hiss at me. When Lion-Heart returns. ELINOR Vanish ? JOHN I would not Kill him too quickly. I would have him taken To a dungeon that I know. ELINOR You have laid your trap Already ? Tell me. You need not be afraid ! [I saw them kiss, in the garden, yesternight; And I have wondered, ever since, if fire 110 SHERWOOD Could make a brand quite hot enough to stamp My hate upon him J JOHN [Well, then, I will tell you — The plan is laid; and, if his bag of gold Eejoice one serf to-day, then I'll resign Maid Marian to his loving arms for ever. But you must help me, mother, or she'll suspect. Do not let slip your mask of friendliness. As I have feared !] Look — there our lovers come Beneath that arch of roses. Look, look, mother. They are taking leave of one another now, A ghastly parting, for he will be gone Well nigh four hours, they think. [To look at them, One might suppose they knew it was for ever.] ELINOR Come, or my hate will show itself in my face : I must not see them. [Exeunt Prince and Elinor. A pause. Enter Eobin Hood and Marian.] ROBIN So, good-bye, once more, Sweetheart. MARIAN Four hours ; how shall I pass the time ? Four hours, four ages, you will scarce be home By dusk; how shall I pass it? ROBIN You've to think What robe to wear at the great masque to-night And then to don it. When you've done all that I shall be home again. SHERWOOD 111 [mariax What, not before? ROBIN That's not unlikely, either. MARIAN Now you mock me. But you'll be back before the masque begins. ROBIN I warrant you I will.J MARIAN It is a month To-day since we were married. Did you know it? Fie, I believe you had forgotten, Robin. ROBIN I had, almost. If marriage make the moons Fly, as this month has flown, we shall be old And grey in our graves before we know it. I wish that we could chain old Father Time. MARIAN And break his glass into ten thousand pieces. ROBIN And drown his cruel scythe ten fathom deep, Under the bright blue sea whence Love was born : [MARIAN Ah, but we have not parted all this month More than a garden's breadth, an arrow's flight : Time will be dead till you come back again. Four hours of absence make four centuries ! Do you remember how the song goes, Robin, 112 SHERWOOD That bids true lovers not to grieve at parting Often? for Nature gently severs them thus, Training them up with kind and tender art, For the great day when they must part for ever. ROBIN Do you believe it, Marian? MARIAN No; for love Buried beneath the dust of life and death, Would wait for centuries of centuries, Ages of ages, until God remembered. And, through that perishing cloud-wrack, face looked up Once more to loving face. ROBIN Your hope — and mine ! Is not a man's poor memory, indeed, A daily resurrection ? Your hope — and mine ! MARIAN And all the world's at heart ! I do believe it. ROBIN And I — if only that so many souls Like yours have died believing they should meet Again, lovers and children, little children ! God will not break that trust. I have found my heaven Again in you ; and, though I stumble still, Your small hand leads me thro' the darkness, up And onward, to the heights I dared not see, And dare not even now; but my head bows Above your face; I see them in your eyes.] Love, point me onward still ! [He takes her in his arms.'] Good-bye ! Good-bye ! SHERWOOD 113 MARIAN Come back, come back, before the masque begins ! ROBIN Ay, or a little later — never fear : You'll not so easily lose me. MARIAN I shall count The minutes ! ROBIN Why, you're trembling ! MARIAN Yes, I am foolish. This is the first small parting we have had; But — youTl be back ere dusk ? ROBIN ILaughing.'] Ah, do you think That chains of steel could hold me, sweet, from you, [With those two heavenly eyes to call me home, Those lips to welcome me?J Good-bye! MARIAN Good-bye ! [He goes hurriedly out. She looks after him for a moment , then suddenly calls.] Eobin ! [Ah, well, no matter now — too late !] [She stands looking after him.] 114 SHERWOOD [Scene II. Sherwood Forest: dusk. Outside the cave, as in the second act.1 Shadow-of-a-Leaf runs quichly across the glade, followed hy Puck. PUCK Shadow-of-a-Leaf ! Shadow-of-a-Leaf ! Shadow-of-a-Leaf ! Don't dance away like that ; don't hop ; don't skip Like that, I tell you ! [I'll never do it again, I promise. Don't be silly now !] Come here ; I want to tell you something. Ah, that's right. Come, sit down liere upon this bank of thyme [ " While I thine amiable ears " — Oh, no. Forgive me, ha ! ha ! ha !] SHADOW-OF-A-LEAF Now, Master Puck, You'll kindly keep your word ! [A foxglove spray In the right hand is deadlier than the sword That mortals use, and one resounding thwack Applied to your slim fairyhood's green limbs Will make it painful, painful, very painful, Next time your worship wishes to sit down Cross-legged upon a mushroom.] PUCK Ha! ha! ha! Poor Shadow-of-a-Leaf ! SHADOW-OF-A-LEAF You keep your word, that's all! PUCK Haven't I kept my word? Wasn't it I That made you what these poor, dull mortals call Crazy? [Who crowned 3^ou with the cap and bells? Who made you such a hopeless, glorious fool That wise men are afraid of every word SHERWOOD 115 You utter? Wasn't it I that made you free Of fairyland — that showed you how to pluck Fern-seed hy moonlight, and to walk and talk Between the lights, with urchins and with elves? Is there another fool twixt earth and heaven Like you — ungrateful rogue — answer me that ! J SHADOW-OF-A-LEAF All true, dear gossip, and for saving me From the poor game of blind man's buff men call Wisdom, I thank you ; [but to hang and buzz Like a mad dragon-fly, now on my nose, Xow on my neck, now singing in my ears. Is that to make me free of fairyland? No — that's enough to make the poor fool mad And take to human wisdom. PUCK Yet you love me. Ha ! ha ! — you love me more than all the rest. You can't deny it ! You can't deny it ! Ha ! ha ! SHADOW-OF-A-LEAF I w^on't deny it, gossip. E'en as I think There must be something loves us creatures. Puck, More than the Churchmen say. We are so teased With thorns, bullied with briars, baffled with stars. I've lain sometimes and laughed until I cried To see the round moon rising o'er these trees With that same foolish face of heavenly mirth Winking at lovers in the blue-bell glade.J PUCK [Lovers ! Ha ! ha ! I caught a pair of 'em Last night, behind the ruined chapel ! Lovers ! Lord, these mortals, they'll be the death of me ! J Hist, who comes here ? 116 SHERWOOD SHADOW-OF-A-LEAF Scarlet and Little John, And all the merry men — not half so merry Since Eobin went away. He was to come And judge between the rich and poor to-day, I think he has forgotten. PUCK Hist, let me hide Behind this hawthorn bush till they are gone. [Enter the Foresters — Ithey all go iiito the cave except Scarlet and Little John, who stand at the entrance, looking anxiously back.'J LITTLE JOHN I have never known the time when Eobin Hood Said " I will surely come," and hath not been Punctual as yonder evening star. SCARLET Pray God 'No harm hath fallen him. Indeed he said, " Count on my coming." LITTLE JOHN I'll sound yet one more call. They say these Courts will spoil a forester. It may be he has missed the way. I'd give My sword-hand just to hear his jolly bugle Answer me. \_He blows a forest call. They listen. All is silent.'] SCARLET Silence — only the sough of leaves! SHERWOOD 117 LITTLE JOHN Well, I'm for sleep : the moon is not so bright Since Eobin left us. SCARLET Ha! Shadow-of-a-Leaf, alone? I thought I heard thy voice. LITTLE JOHN [Oh, he will talk With ferns and flowers and whisper to the mice!] Perfectly happy, art thou not, dear fool? SH ADO W-O F- A-LEAF Perfectly happy since I lost my wits ! SCARLET Pray that thou never dost regain them, then, Shadow-of-a-Leaf. SHADOW-OF-A-LEAF I thank you kindly, sir, And pray that you may quickly lose your own, And so be happy, too. [Robin's away. But, if you'd lost your wits, you would not grieve.] SCARLET Good-night, good fool. SHADOW-OF-A-LEAF [I will not say " Good-night," Wise man, for I am crazed, and so I know ^Tis good, and yet you'll grieve.] I wish you both A bad night that will tease your wits away And make you happy. [The Outlaws enter the cave. Shadow-of-a-Leaf beckons to Puck, who steals out again.'] 118 SHERWOOD PUCK Shadow-of-a-Leaf, some change Is creeping o'er the forest. [I myself Scarce laugh so much since Eobin went away ! Oh, my head hangs as heavily as a violet Brimmed with the rain.J Shadow-of-a-Leaf, a cloud, A whisper steals across this listening wood ! I am growing afraid. Dear fool, I am thy Puck, But I am growing afraid there comes an end To all our Sherwood revels, and I shall never Tease thee again. SHADOW-OF-A-LEAF Here comes the King ! [Enter Oberon.] Hail, Oberon. King of the fairies, I strew ferns before you. There are no palms here : ferns do just as well ! OBERON Shadow-of-a-Leaf, our battles all are wasted; Our fairy dreams whereby we strove to warn Eobin and Marian, wasted. Shadow-of-a-Leaf, Dear Eobin Hood, the lover of the poor. And kind Maid Marian, our forest queen, Are in the toils at last. [He pauses.'] SHADOW-OF-A-LEAF Speak, speak! OBERON Prince John Hath trapped and taken Eobin. SHERWOOD 119 SHADOW-OF-A-LEAF Is not Richard King of this England ? Did not Richard [tempt Robin, for Marian's sake, to leave the forest? Did he not] swear upon the Holy Cross That Robin should be Earl of Huntingdon And hold his lands in safety ? OBERON Only fear Of Richard held the wicked Prince in leash. But Richard roamed abroad again. Prince John Would murder Robin secretly. SHADOW-OF-A-LEAF Wise men Fight too much for these holy sepulchres ! Are not the living images of God Better than empty graves? OBERON One grave is filled Now; for our fairy couriers have brought Tidings that Richard lion-Heart is dead. SHADOW-OF-A-LEAF Dead? OBERON Dead ! In a few brief hours the news will reach The wicked Prince. He will be King of England, With Marian in his power ! SHADOW-OF-A-LEAF No way to save them ! 120 SHERWOOD OBERON We cannot break our fairy vows of silence. A mortal, Shadow-of-a-Leaf, can break those vows, But only on pain of death. SHADOW-OF-A-LEAP Oberon, I, Shadow-of-a-Leaf, the fool, must break my vows ! I must save Robin Hood [that he may save Marian from worse than death.] OBEKON Shadow-of-a-Leaf, Think what death means to you, never to join Our happy sports again, never to see The moonlight streaming through these ancient oaks Again, never to pass the fairy gates Again. We cannot help it. They will close Like iron in your face, and you will hear Our happy songs within ; but you will lie Alone, without, dying, [and never a word To comfort you, no hand to touch your brow.] SHADOW-OF-A-LEAF So be it. I shall see them entering in ! The time is brief. Quick, tell me, where is Eobin? Quick, or the news that makes Prince John a king Will ruin all. OBERON" Eobin is even now Thrust in the great dark tower beyond the wood. The topmost cell where foot can never climb. SHADOW-OF-A-LEAF Cannot an arrow reach it? Ay, be swift; Come, lead me thither. SHERWOOD 121 OBERON [I cannot disobey The word that kills the seed to raise the wheat, The word that — ] Shadow-of-a-Leaf, I think I know Now, why great kings ride out to the Crusade. SHADOW-OF-A-LEAP Quickly, come, quickly ! ^[Exeunt Oberon and Shadow-of-a-Leaf. Puck remains staring after them, then vanishes with a soh, he- tween the trees. [* Little John and Scarlet appear once more at the mouth of the cave.] scarlet I thought I heard a voice. little JOHN" ^Twas only Shadow-of-a-Leaf again. He talks For hours among the ferns, plays with the flowers, And whispers to the mice, perfectly happy ! scarlet I cannot rest for thinking that some harm Hath chanced to Eobin. Call him yet once more. [Little John Mows his hugle. All is silent. They stand listening.} Scene III. A gloomy cell. Eobin bound. Prince John and two mercenaries. A low narrow door in the background, small barred window on the left. * In acting omit text from this point to beginning of Sc. IV, the action of which follows directly after the lighting of the torches. 122 SHERWOOD PRINCE JOHN" [To the Mercenaries.'] Leave us a moment. I have private matters To lay before this friend of all the poor. You may begin to build the door up now, So that you do not wall me in with him. [The two men begin filling up tlie doorway with rude hlocJcs of masonry.'] So now, my good green foot-pad, you are trapped At last, trapped in the practice of your trade ! Trapped, as you took your stolen Norman gold To what was it — a widow, or Saxon serf With eye put out for breaking forest laws? You hold with them, it seems. Your dainty soul Sickens at our gross penalties; and so Well not inflict them on your noble self, Although we have the power. There's not a soul Can ever tell where Eobin Hood is gone. These walls will never echo it. [He taps the ivall with his sword.] And yet There surely must be finer ways to torture So fine a soul as yours. Was it not you Who gave me like a fairing to my brother With lofty condescension in your eyes; And shall I call my mercenaries in And bid them burn your eyes out with hot irons? Richard is gone — heTl never hear of it ! An Earl tliat plays the robber disappears. That's all. Most like he died in some low scuffle Out in the greenwood. I am half inclined To call for red-hot irons after all, So that your sympathy with Saxon churls May be more deep, you understand ; and then It would be sweet for you, alone and blind. To know that you could never in this life SHERWOOD 123 See Marian's face again. But no — that's bad. Bad art to put hope's eyes out. It destroys Half a man's fear to rob him of his hope. No; you shall drink the dregs of it. Hope shall die More exquisite a death. Robin, my friend, You understand that, when I quit your presence, This bare blank cell becomes your living tomb. Do you not comprehend ? It's none so hard. The doorway will be built up. There will be No door, you understand, but just a wall, Some six feet thick, of solid masonry. Nobody will disturb you, even to bring Water or food. You'll starve — see — like a rat, Bricked up and buried. But you'll have time to think Of how I tread a measure at the masque To-night, with Marian, while her wide eyes wonder Where Robin is — and old Fitzwalter smiles And bids his girl be gracious to the Prince For his land's sake. Ah, ha ! you wince at that ! Will you not speak a word before I go? Speak, damn you ! [He strikes Robin across the face tvith his glove. Robin remains silent.'] Six days hence, if you keep watch At yonder window (you'll be hungry then) You may catch sight of Marian and Prince John Wandering into the gardens down below. You will be hungry then; perhaps you'll strive To call to us, or stretch a meagre arm Through those strong bars; but then you know the height Is very great — no voice can reach to the earth : This is the topmost cell in my Dark Tower. Men look like ants below there. I shall say To Marian, See that creature waving there High up above us, level with the clouds, Is it not like a winter-shrivelled fly? And she will laugh; and I will pluck her roses. 124 SHERWOOD And then — and then — there are a hundred ways, You know, to touch a woman's blood with thoughts Beyond its lawful limits. Ha! ha! ha! By God, you almost spoke to me, I think. Touches at twilight, whispers in the dark, Sweet sympathetic murmurs o'er the loss Of her so thoughtless Eobin, do you think Maid Marian will be quite so hard to win When princes come to woo? There will be none To interrupt us then. Time will be mine To practise all the amorous arts of Ovid, And, at the last — ROBIN Will you not free my hands ? You have your sword. But I would like to fight you Here, with my naked hands. I want no more. PRINCE JOHN Ha ! ha ! At last the sullen speaks. That's all I wanted. I have struck you in the face. Is't not enough ? You can't repay that blow. ROBIN Bury me down in hell and I'll repay it The day you die, across your lying mouth That spoke of my true lady, I will repay it. Before the face of God ! PRINCE JOHN [Laughing.'] Meanwhile, for me Till you repay that blow, there is the mouth Of Marian, the sweet honey-making mouth That shall forestall your phantom blow with balm. Oh, you'll go mad too soon if I delay. SHERWOOD 125 I am glad you spoke. Farewell, the masons wait. And I must not be late for Marian. [Exit thro' the small aperture now left in the doorway. It is rapidly closed and sounds of heavy masonry being piled against it are heard. Robin tries to free his hands and after an effort, succeeds. He hurls himself against the doorway, and finds it hopeless. He turns to the window, peers through it for a moment, then suddenly unwinds a scarf from his neck, ties it to one of the bars and stands to one side.] ROBIN Too high a shot for most of my good bowmen ! What's that? A miss? [He looks thro' the window. 1 Good lad, he'll try again ! [He stands at tJie side once more and an arrow comes thro' the window.] Why, that's like magic ! [He pulls up the thread attached to it.~\ Softly, or 'twill break ! — Ah, now 'tis sturdy cord. — I'll make it fast. But, how to break these bars ! St. Nicholas, There's someone climbing. He must have a head Of iron, and the lightness of a cat ! Downward is bad enough, but up is more Than mortal ! Who the devil can it be ? Thank God, it's growing dark. But what a risk! None of my merry men could e'en attempt it. I'm very sure it can't be Little John. What, Shadow-of-a-Leaf ! [Shadow-of-a-Leaf appears at the window.] 'Fore God, dear faithful fool, I am glad to see you. 126 SHERWOOD SH ADO W-O F-A-LEAF Softly, gossip, softly. Pull up the rope a little until we break This bar away — or some kind friend may see The dangling end below. Now here's a toothpick, Six inches of grey steel, for you to work with, And here's another for me. Pick out the mortar ! [They work to loosen the hars.'] Wait ! Here's a rose I brought you in my cap And here's a spray of fern ! Old Nature's keys Open all prisons, I'll throw them in for luck, [Irlc throws them into the cell and begins working fever^ ishly again.^ So that the princes of the world may know The forest let you out. Down there on earth. If any sees me, they will only think The creepers are in leaf. Pick out the mortar! That's how the greenwood works. You know, 'twill thrust Its tendrils through these big grey stones one day And pull them down. I noticed in the courtyard The grass is creeping through the crevices Already, and yellow dandelions crouch In all the crumbling corners. Pick it out ! This is a very righteous work indeed For men in Lincoln green ; for what are we But tendrils of old Nature, herald sprays ! We scarce anticipate. Pick the mortar out. Quick, there's no time to lose, although to-night We're in advance of sun and moon and stars And all the trickling sands in Time's turned glass. [With a sudden cry.] Eichard is dead ! Is dead! ROBIN Eichard is dead I The King SHERWOOD 127 SHADOW-OF-A-LEAF All, dead ! Come, pick the mortar out, Out of the walls of towers and shrines and tombs ! For now Prince John is King, and Lady Marian In peril, gossip ! Yet we are in advance Of sun and moon to-night, for sweet Prince John Is not aware yet of his kinglihood, Or of his brother's death. ROBIN [Pausing a moment.'] Why, 8hadow-of-a-Leaf, What does this mean? SHADOW-OF-A-LEAF Come, pick the mortar out; You have no time to lose. This very night My Lady Marian must away to Sherwood. At any moment the dread word may come That makes John King of England. Quick, be quick! ROBIN" She is at the masque to-night! SHADOW-OF-A-LEAF Then you must mask And fetcli her thence ! Ah, ha, the bar works loose. Pull it! [They pull at the bar, get it free, and throw it into the cell.] Now, master, follow me down the rope. [Exit Robin tJiro' the windoiu.] Scene IV. Night."! The garden of the King's palace (as before), hut lighted luith torches for the masque. Music swells up and dies away con- tinually. Maskers pass to and fro between the 128 SHERWOOD palace and the garden. On the broad terrace in front some of them are dancing a galliard. [Prince John enters and is met hy Queen Elinor^ neither of them masked.] ELINOR All safe? PRINCE JOHN Ay, buried and bricked up now, to think Alone, in the black night, of all I told him. Thank God, we have heard the last of Eobin Hood. You are sure? ELINOR [She puts on her mask.'] PRINCE JOHN I saw him entombed with my own eyes ! Six feet of solid masonry. [Look there, There's the young knight you've lately made your own.J Where is my Lady Marian ? Ah, I see her ! With that old hypocrite, Fitzw^alter. [They part. Prince John puts on his mask as he goes.] A LADY But tell me Where is Prince John? A masker That burly-shouldered man By yonder pillar, talking with old Fitzwalter, And the masked girl, in green, with red-gold hair, Is Lady Marian! THE LADY Where is Eobin Hood? I have never seen him, but from all one hears SHERWOOD 129 He is a wood-god and a young Apollo, [And a more chaste Actagon all in one. MASKER Oh, ay, he never watched Diana bathing, Or, if he did, all Sherwood winked at it. Who knows ? Do you believe a man and maid Can sleep out in the woods all night, as these Have slept a hundred times, and put to shame Our first poor parents; throw the apple aside And float out of their leafy Paradise Like angels? LADY No; I fear the forest boughs Could tell sad tales. Oh, I imagine it — Married to Eobin, by a fat hedge-priest Under an altar of hawthorn, with a choir Of sparrows, and a spray of cuckoo-spit For holy water ! Oh, the modest chime Of blue-bells from a fairy belfry, a veil Of evening mist, a robe of golden hair ; A blade of grass for a ring; a band of thieves In Lincoln green to witness the sweet bans ; A glow-worm for a nuptial taper, a bed Of rose-leaves, and wild thyme and wood-doves' down. Quick ! Draw the bridal curtains — three tall ferns - Across the cave mouth, lest a star should peep And make the wild rose leap into her face ! Pish ! A sweet maid ! But where is Eobin Hood ? J MASKER I know not ; but he'd better have a care Of Mistress Marian. If I know Prince John He has marked her for his own. 130 SHERWOOD [lady What fascinates him. I cannot see MASKER No, you are right, nor I.] PRINCE JOHN Come, Lady Marian, let me lead you out To tread a measure. MARIAN Pray, sir, pardon me ! I am tired. riTZW ALTER [Whispering angrily to her.'] Now, Marian, be not so ungracious. [You both abuse him and disparage us. His courtiers led the ladies they did choose. Do not displease him, girl. I pray you, go ! Dance out your galliard. God's dear holy-bread, Y'are too forgetful. Dance, or by my troth. You'll move my patience. I say you do us wrong.] MARIAN I will do what you will. [Lead, lead your dance.J [Exeunt John and Marian.] [first masker [To a lady, as they come up from the garden.] Will you not let me see your face now, sweet ? LADY You hurt my lip with that last kiss of yours. Hush, do not lean your face so close, I pray you ; Loosen my fingers. There's my lord. SHERWOOD 131 FIRST MASKER Where ? Where ? Now, if I know him, I shall know your name ! LADY That tall man with the damozel in red. FIRST MASKER Oh, never fear him. He, too, wore a mask ! I saw them — [They pass out talking.'] SECOND MASKER [^Looking after them.'] Saw you those two turtle-doves! SECOND LADY Yes. SECOND MASKER Come with me, I'll show you where I caught them Among the roses, half an hour ago. \_They laugh and exeunt into the gardens.'^ The music swells up and more dancers appear.] [Enter Eobin Hood^ still in his foresters garh, hut wear- ing a mash. He walks as if wounded and in pain. He sits down in the shadoiv of a pillar watching, and partly concealed from the throng.] [third lady Remember now to say you did not see me Here at the masque. third masker Or shall I say that I Was out in Palestine? [They pass.'X Enter little Arthur Plantagenet. He comes up to Eobin Hood.] 132 SHERWOOD ARTHUR Are you not Eobin Hood? ROBIN Hush, Arthur. Don't you see I wear a mask Like all the rest to-night ? ARTHUR Why do they wear Masks? ROBIN They must always wear some sort of mask At court. Sometimes they wear them all their lives. ARTHUR You are jesting, Robin. Now I wanted you To tell me tales of Sherwood. Tell me how You saved Will Scarlet. ROBIN Why, I've told you that A score of times. ARTHUR I know, I want to hear it Again. Well, tell me of that afternoon When Lion-Heart came home from the Crusade. I have often thought of that. It must have been Splendid ! You weren't expecting it at all ? ROBIN No, not at all; but, Arthur, tell me first Have you see Lady Marian ? [ARTHUR Yes, I saw her Treading a measure with my Uncle John !] SHERWOOD 133 ROBIN Stand where you are and watch ; and, if you see her, Beckon her. Then 111 tell you how the King Came home from the Crusade. ARTHUR First, let me tell you Just how I think it was. It must have been Like a great picture. All your outlaws there Sitting around your throne of turf, [and you Judging the rich and poor. That's how it was Last night, I dreamed of it; and you were taking The baron's gold and giving it to the halt And blind ; and then there was a great big light Between the trees, as if a star had come Down to the earth and caught among the boughs, With beams like big soft swords amongst the ferns And leaves, and through the light a mighty steed Stepped, and the King came home from the Crusade. Was it like that? Was there a shining light? ROBIN I think there must have been, a blinding light. ARTHUR Filling an arch of leaves ?] ROBIN Yes! [ARTHUR That was it! Thaf s how the King came home from the Crusade. ROBIN But there — you've told the story ! 134 SHERWOOD ARTHUR Ah, not all! ROBIN- 'No, not quite all. What's that?] \_The music suddenly stops. The maskers crowd together whispering excitedly.'] ARTHUR Why have they stopped The music? [Ah, there's Hubert. Shall I ask him? ROBIN Yes, quickly, and come back ! [Arthur runs up to a masker. Several go hy hurriedly. "X FIRST MASKER The King is dead ! [second masker Where did it happen? France? first masker I know not, sir ! [Arthur returns.']'^ ARTHUR Eobin, they say the King is dead ! So John Is king now, is he not? robin Ay, John is king! Now, tell me quickly, use your eyes, my boy, Where's Lady Marian? SHERWOOD 135 ARTHUR Ah, there she is at last, Alone ! ROBIN Go to her quickly, and bring her hither. [Arthur runs off and returns with Marian.] MARIAN Eobin, thank God, you have returned. I feared — ROBIN N'o more, dear heart, you must away to Sherwood ! Shadow-of-a-Leaf is waiting by the orchard With your white palfrey. Away, or the new king Will hunt us down. I'll try to gain you time. Go — quickly ! MARIA.N Eobin, your face is white, you are wounded ! What's this — there's blood upon your doublet ! Eobin ! ROBIN Nothing ! Go, quickly ! MARIAN Eobin, I cannot leave you. ROBIN Go, Marian. If you ever loved me, go. MARIAN You'll follow? 136 SHERWOOD ROBIN Oh, with my last breath I will, God helping me ; but I must gain you time ! Quickly ! Here comes the King ! MARIAN Oh, follow soon ! [Exit.'] > [Robin sits down again, steadying himself against the 'pil- lar. John appears ^at the doors of the palace, above the terrace,'^ a scroll in his hand.'\ JOHN My friends, the King is dead ! MASKERS [Talcing off their masks, with a cry.'] Long live King John ! JOHN [Coming down amongst them.] Our masque is ended by this grievous news; But Where's my Lady Marian ? I had some word To speak with her ! Not here ! Why — ROBIN [Still masked, rises and confronts the King, mho stares at him and shrinks hack a little.] All the masks Are off, sire ! No, perhaps they wear them still. JOHN Who is this ? SHERWOOD 137 ROBIN One that was dead and lives. You say Your brother, the great King, is dead. Oh, sire. If that be so, you'll hear a dead man speak, For your dead brother's sake. You say the King Is dead ; but you are king. [So the King lives ! You are King of England now from sea to sea. Is it not so?] Shout, maskers, once again. Long live the King ! MASKERS Long live the King! ROBIN You see What power is yours ! Your smile is life, your frown Death. At a word from you the solid earth Would shake with tramp of armies. [You can call Thousands to throw away their lives like straws Upon your side, if any foreign king Dare to affront you.] [He draws nearer to John, who still shrinTcs a little, as if in fear.] Eichard, you say, is dead, And yet, King, I say that the great King Lives ! [He strikes John across the face. John cowers and stag- gers hack. The Maskers draw their swords, the women scream and rush together. Eobin turns, sword in hand, to confront the Maskers.] Back, fools ; for I say that the great King Lives. [Do not doubt it. Ye have dreamed him dead How often.] Hark, God in heaven, ye know that voice. [A voice is heard drawing nearer thro* the distant darkness of the garden, singing. All listen. John^s face whitens.'] 138 SHERWOOD [Song.] Knight, on the narrow way, Where wouldst thou ride? " Onward/' I heard him say, " Love, to thy side." ROBIN 'Tis Blondel ! Still vaunt-courier to the King, As when he burst the bonds of Austria ! Listen ! [Song nearer.] " Nay," sang a bird above, " Stay, for I see Death, in the mask of love, Waiting for thee." MASKERS [Resuming their masks and muttering to one anotJier.] Can the King live ? Is this John's treachery ? Look, He is crushed with fear ! ROBIK Listen ! I'll go to meet him. [Exit into the garden.] MASKERS It was the song of Blondel! The same song He made with Richard, long since ! — Blondel's voice! Just as we heard it on that summer's night When Lion-Heart came home from the Crusade. [The Song still drawing nearer.] " Death ! What is Death ? " he cried. " I must ride on, On to my true love's side, Up to her throne ! " SHERWOOD 139 [Enter Blondel, fro7n the garden. He stands, startled by the scene before him.~\ MASKERS Blondel ! Where is the King ? Where is the King ? BLONDEL Did ye not know? — Eichard, the King, is dead! MASKERS Dead! JOHN Dead! And ye let the living dog escape That dared snarl at our sovereignty. I know him. Risen from the dead or not. I know 'twas he, 'Twas Robin Hood ! After him ; hunt him down ! Let him not live to greet another sun. After him! MASKERS [Drawing their swords and plunging into the darTcnessJ\ After him ; hunt the villain down ! ^[Curtain.'] ACT V ACT V Scene I. Morning. Sherwood Forest (as before) . LiTi'LE John and some of the Outlaws are gath- ered together talking. Occasionally they look anxiously toward the cave and at the approaches through the wood.'J Enter two Foresters, run- ning and breathless. FIRST FORESTER The King's men ! They are scouring thro' the wood, Two troops of them, five hundred men in each And more are following. And quickly. SECOND FORESTER We must away from here [little JOHN Where did you sight them ? SECOND forester From the old elm. Our watch-tower. They were not five miles away ! FIRST forester Five, about five. We saw the sunlight flash Along, at least five hundred men at arms ; And, to the north, along another line. Bigger, I think ; but not so near. J SECOND FORESTER Where's Eobin? We must away at once ! 143 144 SHERWOOD FIRST FORESTER No time to lose! LITTLE JOHN His wound is bitter — I know not if we dare Move him ! FIRST FORESTER His wound ? LITTLE JOHN Ay, some damned arrow pierced him When he escaped last night from the Dark Tower. He never spoke of it when first he reached us ; And, suddenly, he swooned. [He is asleep Now. He must not be wakened. They will take Some time yet ere they thread our forest-maze. FIRST FORESTER Not long, by God, not long. They are moving fast.J [Marian appears \at the mouth of the cave. All turn to look at her, expectantly. She seems in distress.] MARIAN He is tossing to and fro. I think his wound Has taken fever ! What can we do ?] FRIAR TUCK I've sent A messenger to Kirklee Priory, Where my old friend the Prioress hath store Of balms and simples, and hath often helped A wounded forester. Could we take him there, Her skill would quickly heal him. LITTLE JOHN The time is pressing! SHERWOOD 145 FRIAR TUCK The lad will not be long ! [EoBiN appears tottering and white ^at the mouth of the cave.'\'^ MARIAN [Running to him.'] Robin, Eobin, You must not rise! Your wound! ROBIN [He speaks feverishly.] Where can I rest Better than on my greenwood throne of turf? [Friar, I heard them say they had some prisoners. Bring them before me. And they can wait. FRIAR TUCK Master, you are fevered, ROBIN Yes, yes; but there are some That cannot wait, that die for want of food, And then — the Norman gold will come too late, Too late. LITTLE JOHN master, you must rest. [Going up to him.] MARIAN Oh, help me, Help me w4th him. Help me to lead him back.] 146 SHERWOOD ROBIN Ko ! No ! You must not touch me ! [I will rest When I have seen the prisoners, not before.] LITTLE JOHN He means it, mistress, better humour him Or he will break his wound afresh. MARIAN Eobin, Give me your word that you'll go back and rest, [When you have seen them.] ROBIN Yes, I will try, I will try ! But oh, the sunlight ! Where better, sweet, than this ? IShe leads him to the throne of turf and he sits down upon it, with Marian at his side.] The Friar is right. This life is wine, red wine. Under the greenwood boughs ! Oh, still to keep it, One little glen of justice in the midst Of multitudinous wrong. Who knows? We yet May leaven the whole world. [* Enter the Outlaws, with several prisoners, among them, a Knight, an Abbot, and a Forester.] These are the prisoners? You had some victims of the forest laws That came to you for help. Bring them in, too. And set them over against these lords of the earth ! [8ome ragged women and children appear. Several serfs with iron collars round their necks and their eyes put out, are led gently in.] Is that our Lincoln green among the prisoners ? There ? One of my own band ? * In acting omit text from this point to end of scene with prisoners, p. 152. SHERWOOD 14? LITTLE JOHN Ay, more's the pity ! We took him out of pity, and he has wronged Our honour, sir ; he has wronged a helpless woman Entrusted to his guidance thro' the forest. ROBIX Ever the same, the danger comes from those We fight for, those below, not those above ! Which of you will betray me to the King? THE FORESTER Do you ask me, sir ? ROBIN" Judas answered first, With " Master, is it I ? " Hang not thy head ! What say'st thou to this charge? THE FORESTER Why, Friar Tuck Can answer for me. Do you think he cares Less for a woman's lips than I ? FRIAR TUCK Cares less, Thou rotten radish ? Nay, but a vast deal more ! God's three best gifts to man, — woman and song And wine, what dost tliou know of all their joy ? Thou lean pick-purse of kisses ? ROBIN Take him out. Friar, and let him pack his goods and go. Whither he will. I trust the knave to thee And thy good quarter-staff, for some five minutes Before he says " Farewell." 148 SHERWOOD FRIAR Bring him along, * Give him a quarter-staff, I'll thrash him roundly. [He goes out. Two of the Foresters follow with the p}'isoner. Others bring the Abbot before EOBIN.] ROBIN Ah ! Ha ! I know him, the godly usurer Of York ! We saw a woman beg for alms. One of the sufferers by the rule which gave This portly Norman his fat priory And his abundant lands. We heard him say That he was helpless, had not one poor coin To give her, not a scrap of bread ! He wears Purple beneath his cloak : his fine sleek palfrey Flaunted an Emperor's trappings ! Must keep her dignity ABBOT ROBIN Man, the Church [Pointing to the poor woman, etc,'] Ay, look at it ! There is your dignity ! And you must wear Silk next your skin to show it. But there was one You call your Master, and He had not where To lay His head, save one of these same trees ! ABBOT Do you blaspheme ! I pray you, let me go ! There are grave matters waiting. I am poor ! ROBIN Look in his purse and see. SHERWOOD 149 ABBOT [Hurriedly.] I have five marks In all the world, no more. I'll give them to you ! ROBIN Look in his purse and see. [They pour a heap of gold oui of his purse.] ROBIN Five marks, indeed! Here's, at the least, a hundred marks in gold ! ABBOT That is my fees, my fees ; you must not take them ! ROBIN The ancient miracle! — five loaves, two small fishes; And then — of what remained — they gathered up Twelve basketsful! ABBOT Oh, you blaspheming villains! ROBIN Abbot, I chance to know how this was wrought, This miracle ; wrought with the blood, anguish and sweat Of toiling peasants, while the cobwebs clustered Around your lordly cellars of red wine. Give him his five and let him go. ABBOT [Going out.] The King Shall hear of this ! The King will hunt you down ! 150 SHERWOOD ROBIN And now — the next! Your wound will — SCARLET Beseech you, sir, to rest. ROBIN No ! The next, show me the next ! SCARLET This Norman baron — ROBIN What, another friend ! Another master of broad territories. How many homes were burned to make you lord Of half a shire ? What hath he in his purse ? SCARLET Gold and to spare ! BARON To keep up mine estate I need much more. ROBIN I am not rich. l^Pointing to the poor.'] Ay, you need these! these! these! BARON [Protesting.'] ROBIN Look in his purse and see. SHERWOOD 151 BARON You dogs, the King shall hear of it ! ROBIN [Murmuring as if to himself,'] Five loaves ! And yet, of what remained, they gathered up Twelve basketsful. The bread of human kindness Goes far ! Oh, I begin to see new meanings In that old miracle! How much? How much? SCARLET Five hundred marks in gold ! ROBIN [Half rising and speaking with a sudden passion.'] His churls are starving. Starving ! Their little children cry for bread ! One of those jewels on his baldric there Would feed them all in plenty all their lives ! Five loaves — and yet — and yet — of what remained. The fragments, mark you, twelve great basketsful! BARON I am in a madman's power ! The man is mad ! ROBIN Take all he has, all you can get. To-night, When all is dark (we must have darkness, mind. For deeds like this) blind creatures will creep out With groping hands and gaping mouths, lean arms. And shrivelled bodies, branded, fettered, lame. Distorted, horrible; and they will weep Great tears like gouts of blood upon our feet, And we shall succour them and make them think (That's if you have not mangled their poor souls 152 SHERWOOD As well, or burned their children with their homes), We'll try to make them think that some few roods Of earth are not so bitter as hell might be. Are you not glad to think of this ? Nay — go — Or else your face will haunt me when I die ! Take him quickly away. The next ! The next ! God!] [Flings up his arms and falls fainting.'] MARIAN- [Bending over him.'] Eobin! Eobin! Help him quickly. The wound ! The wound ! [They gather round Eobin. iThe Outlaws come hack with the captive Forester, his pack upon his back.] friar tuck [To the Forester.] Now, get you gone and quickly ! What, what hath happened ? [Friar Tuck and the Outlaws join the throng round Eobin. The Forester shakes his fist at them and goes across the glade muttering. 1 The Mes- senger from Kirklee Priory comes out of the forest at the same moment land speaks to him, not knowing of his dismissal.]'^ messenger All's well ! Eobin can come To Kirklee. Our old friend the Prioress Is there, and faithful! They've all balms and simples To heal a wound. forester [Staring at him.] To Kirklee? SHERWOOD 153 MESSENGER Yes, at sunset, We'll take him to the borders of the wood All will be safe. Where he can steal in easily, alone. FORESTER The King's men are at hand ! MESSENGER Oh, but if we can leave him there, all's safe ; We'll dodge the King's men. FORESTER When is he to go? MESSENGER [Almost] at once; but he must not steal in Till sundown, when the nuns are all in chapel. [How now ? What's this ? What's this ?] [He goes across to the throng round Kobin.] [forester [Looking after him.^ Alone, to Kirklee!] [Exit,] Scene II. A room in Kirhlee Priory. A window on the right overlooks a cloister leading up to the chapel door. The forest is seen in the distance, the sun beginning to set behind it. The Prioress and a Novice are sitting [m a window-seaf^ engaged in broidery work. NOVICE He must be a good man — this Eobin Hood ! I long to see him. Father use to say England had known none like him since the days Of Hereward the Wake. PRIORESS He will be here By vespers. You shall let him in. Who's that? Can that be he? It is not sundown yet. See who is there. [Exit Novice. She returns excitedly.'] NOVICE A lady asks to see you ! She is robed like any nun and yet she spoke Like a great lady — [one that is used to rule More than obey ; and on her breast I saw A ruby smouldering like a secret fire Beneath her cloak.] She bade me say she came On Robin Hood's behest. PRIORESS What ? Bring her in Quickly. 154 SHERWOOD 155 [Exit Novice and returns with Queen Elinor in a nuns garb. At the sign from the Prioress the Nov- ice retires.] ELINOR Madam, I come to beg a favour. I am a friend of Eobin Hood. I have heard — [One of his Foresters, this very noon Brought me the news — ] that he is sorely wounded; And purposes to seek your kindly help At Kirklee Priory. PRIORESS Oh, then indeed. You must be a great friend, for this was kept Most secret from all others. ELINOR A great friend ! He was my page some fifteen years ago, [And all his life I have watched over him As if he were my son ! J I have come to beg A favour — let me see him when he comes. My husband was a soldier, and I am skilled In wounds. [In Palestine I saved his life When every leech despaired of it, a wound Caused by a poisoned arrow.] PRIORESS You shall see him. [I have some skill myself in balms and simples. But, in these deadlier matters I would fain Trust to your wider knowledge.] ELINOR Let me see him alone ; Alone, you understand. [His mind is fevered. 166 SHERWOOD I have an influence over him.] Do not say That I am here, or aught that will excite him. [Better say nothing — lead him gently in, And leave him. In my hands he is like a child.J PRIORESS It shall be done. [I see you are subtly versed In the poor workings of our mortal minds. ELINOR I learnt much from a wise old Eastern leech When I was out in Palestine. PRIORESS I have heard They have great powers and magic remedies; They can restore youth to the withered frame. ELINOR There is only one thing that they cannot do. PRIORESS And what? ELINOR They cannot raise the dead. PRIORESS Ah, no; I am most glad to hear you say it, most glad To know we think alike. That is most true — Yes — yes — most true ; for God alone, dear friend. Can raise the dead ! J \_A hell begins tolling slowly.^ The bell for even-song! You have not long to wait. [Shadowy figures of nuns pass the windows and enter the chapel. The sunset deepens.'] SHERWOOD 157 Will you not pray With me? [The Prioress and Queen Elinor kneel down together before a little shrine. Enter the Novice.] NOVICE There is a forester at the door. Mother, I think ^tis he ! PRIORESS [Rising. 1 Admit him, then. ELINOR Leave me : I will "keep praying till he comes. PRIORESS You are trembling ! You are not afraid ? ELINOR [With eyes closed as in strenuous devotion."] No ; no ; Leave me, I am but praying ! [A chant swells up in the chapel. Exit Prioress. Eli- nor continues muttering as in prayer. Enter EoBiN Hood, steadying himself on his bow, weak and white. She rises and passes between him and the door to confront him.l ELINOR Ah, Eobin, you have come to me at last Por healing. Pretty Marian cannot help you With all her kisses. ROBIN HOOD [Staring at her wildly.] You ! I did not know 158 SHERWOOD That you were here. I did not ask your help. I must go — Marian ! \_He tries to reach the door, hut reels in a half faint on the way, Elinor supports him as he pauses, pant- ing for breath.'] ELINOR Kobin, your heart is hard. Both to yourself and me. You cannot go, Eejecting the small help which I can give As if I were a leper. [Ah, come back. Are you so unforgiving ? God forgives ! Did you not see me praying for your sake ? Think, if you think not of yourself, oh, think Of Marian — can you leave her clinging arms Yet, for the cold grave, Eobin ?] I have risked Much, life itself, to bring you help this day! I have some skill in wounds. \_8he holds him closer and brings her face near to his own, looking into his eyes.] [Ah, do you know How slowly, how insidiously this death Creeps, coil by tightening coil, around a man, When he is weak as you are ? Do you know How the last subtle coil slips round your throat And the flat snake-like head lifts up and peers With cruel eyes of cold, keen inquisition, Eivetting your own, until the blunt mouth sucks Your breath out with one long, slow, poisonous kisspj ROBIN HOOD [0 God, that nightmare !] Leave me ! Let me go ! ELINOR [You stare at me as if you saw that snake. Ha ! Ha ! Your nerves are shaken ; you are so weak !] SHERWOOD 159 You cannot go ! What ! Fainting ? Ah, rest here Upon this couch. [She half supports, half thrusts him bach to a couch [in an alcove out of sight and draws a curtain.'J There is a knock at the door,} ELINOR Who's there? PRIORESS Madam, I came To know if I could help in anything. ELINOR Nothing ! His blood runs languidly. It needs The pricking of a vein to make the heart Beat, and the sluggish rivers flow. I have brought A lance for it. I'll let a little blood. Not over-much; enough, enough to set The pulses throbbing. PRIORESS Maid Marian came with him. She waits without and asks — ELINOR Let her not come Near him till all is done. Let her not know Anything, or the old fever will awake. I'll lance his arm now ! [The Prioress closes the door. [Elinor goes into the al- cove.1 The chant from the chapel swells up again. Queen Elinor Icomes out of the alcove,"! white and trembling. She speaks in a- low whis- per as she looks back.] Now, trickle down, sweet blood. Grow white, fond lips That have kissed Marian — [yet, she shall not boast 160 SHERWOOD You kissed her last; for I will have you wake To the fierce memory of this kiss in heaven Or burn with it in hell;] [She kneels down as if to kiss the face of EOBIN, ^within. The chant from the chapel swells up more loudly. '\ The door slowly opens. Marian steals in. Elinor rises and confronts her.] ELINOR [Laying a hand upon Eobin's how beside her.} Hush ! Do not wake him ! MARIAN [In a low voice.] What have you done with him ? ELINOR [^5 Marian advances towards the couch.] He is asleep. Hush ! Not a step further ! Stay where you are ! His life Hangs on a thread. MARIAN Why do you stare upon me? What have you done ? What's this that trickles down — l[Stoops to the floor and leaps hack with a scream. It is blood. You have killed him ! ELINOR [Seizes the how and shoots. Marian falls.] [Follow him — down to hell. King John will find you there.J [Exit. The scene grows dark.] MARIAN [Lifts up her head with a groan.] I am dying, Eobin ! SHERWOOD 161 [0 God, I cannot wake him!] Eobin ! Eobin! [Give me one word to take into the dark ! He will not wake ! He will not wake ! God, Help him!l [She falls back unconscious. Shadow-of-a-Leaf, a green spray in Jiis hand, opens the casement and stands for a moment in the windoiv against the last glow of sunset, then enters and runs to the side of KOBIX.] SHADOW-OF-A-LEAF [Hurriedly.~\ Awake, awake, Eobin, awake ! The forest waits to help you ! All the leaves Are listening for your bugle. Ah, where is it? [Let but one echo sound and the wild flowers Will break thro' these grey walls and the green sprays Drag down these deadly towers. Wake, Eobin, wake, And let the forest drown the priesf s grey song With happy murmurs.] Eobin, the gates are open For you and Marian ! All I had to give I have given to thrust them open, the dear gates Of fairyland which I shall never pass Again. I can no more, I am but a shadow, Dying as mortals die ! It is not I That calls, not I, but Marian. Hear her voice! Eobin, awake ! master mine, farewell ! lExit lingeringly through the casement.'] ROBIN [Eobin [is dimly seen in the mouth of the alcove. He} stretches out his hands blindly in the dark.] Marian! Why do you call to me in dreams? [Why do you call me ? I must go. What's this ?] Help me, kind God, for I must say [one word, 16^ SHERWOOD Only one word] — good-bye — to Marian, To Marian — Ah, too weak, too weak ! [He sees the darh body of Marian and utters a cry, falling on his knees beside herj\ God, Marian ! Marian ! My bugle ! Ah, my bugle ! \^He rises to his feet and, drowning the distant organ- music, he blows a resounding forest-call. It is answered by several in the forest. He falls on his knees by Marian and takes her in his arms.^ Marian, Marian, who hath used thee so ? MARIAN Eobin, it is my death-wound. [Ah, come close.J ROBIN Marian, Marian, what have they done to thee ? [The Outlaws are heard thundering at the gates with cries.'] OUTLAWS Eobin ! Eobin ! Eobin ! Break down the doors. [The terrified nuns stream 'past the window, out of the chapel. The Outlaws rush into the room. The scene still darkens.] SCARLET Eobin and Marian ! [little JOHN Christ, what devil's hand Hath played the butcher here ? Quick, hunt them down. They passed out yonder. Let them not outlive Our murdered king and queen. SHERWOOD 163 REYNOLD GREENLEAF Robin, Robin, Who shot this bitter shaft into her breast? ^Several stoop and kneel hy the two lovers.YX ROBIX HOOD [Speak to me, Marian, speak to me, only speak ! Just one small word, one little loving word Like those — do you remember ? — you have breathed So many a time and often, against my cheek, Under the boughs of Sherwood, in the dark At night, with nothing but the boughs and stars Between us and the dear God up in heaven !] God, why does a man's heart take so long To break? It would break sooner if you spoke A word to me, a word, one small kind word. [MARIAN Sweetheart ! ROBIN Sweetheart ! You have broken it, broken it ! Oh, kind, lund heart of Marian ! J MARIAN Robin, come soon! [Dies.^ ROBIN Soon, sweetheart ! [Oh, her sweet brave soul is gone !] Marian, I follow quickly ! [scarlet God, Kirklee Shall burn for this !] 164 SHERWOOD LITTLE JOHN Kirklee shall burn for this ! master, master, you shall be avenged! ROBIN No ; let me stand upright ! Your hand, good Scarlet ! We have lived our lives and God be thanked we go Together thro' this darkness. [We shall wake Please God, together. It is growing darker ! 1 cannot see your faces.] Give me my bow Quickly into my hands, for my strength fails And I must shoot one last shaft on the trail Of yonder setting sun, never to reach it! But where this last, last bolt of all my strength. My hope, my love, shall fall, there bury us both, Together, and tread the green turf over us! The bow ! [Scarlet liands him his how. He stands against the faint glow of the window, draws the how to full length, shoots and falls hack into the arms of Little John.] little john [Laying him down.^ [Weep, England, for thine outlawed lover. Dear Hobin Hood, the poor man's friend, is dead.] [The scene hecomes quite dark. Then out of the darkness, and as if at a distance, the voice of Shadow-of-a- Leaf is heard singing the fairy song of the first scene. The fairy glade in Sherwood hegins to be visible in the gloom by the soft light of the ivory gates ivhich are swinging open once more among the ferns. As the scene grows clearer the song of Shadow-of-a-Leaf grows more and more tnum^ phant and is gradually caught up by the chorus of the fairy host within the ivoods.^ SHERWOOD 165 [Song of Shadow-of-a-Lbaf] I The Forest has conquered! The Forest has conquered! The Forest has conquered! The world begins again ! And 0, the red of the roses, And the rush of the healing rain ! II The Forest has conquered! The Forest has conquered! The Forest has conquered ! The Princess wakes from sleep; For the soft green keys of the wood-land Have opened her donjon-keep! Ill The Forest has conquered! The Forest has conquered! The Forest has conquered! Their grey walls hemmed us round; But, under my greenwood oceans. Their castles are trampled and drowned. IV The Forest has conquered! The Forest has conquered! The Forest has conquered! My green sprays climbed on high. And the ivy laid hold on their turrets And haled them down from the sky ! V The Forest has conquered! The Forest has conquered! The Forest has conquered ! They were strong ! They are overthrown ! For the little soft hands of the wild-flowers Have broken them, stone by stone. 166 SHERWOOD VI The Forest has conquered! The Forest has conquered! The Forest has conquered ! Though Eobin lie dead, lie dead, And the green turf by Kirklee Lie light over Marian's head, VII Green ferns on the crimson sky-line, What bugle have you heard? Was it only the peal of the blue-bells. Was it only the call of a bird? VIII The Forest has conquered! The Forest has conquered! The Forest has conquered! The rose o'er the fortalice floats ! My nightingales chant in their chapels, My lilies have bridged their moats ! IX The Forest has conquered! The Forest has conquered! The Forest has conquered ! King Death, in the light of the sun. Shrinks like an elfin shadow ! His reign is over and done! X The hawthorn vs^hitens the wood-land; My lovers, awake, awake. Shake off the grass-green coverlet. Glide, bare-foot, thro' the brake! SHERWOOD 167 XI The Forest has conquered ! The Forest has conquered ! The Forest has conquered ! And, under the great green boughs, I have found out a place for my lovers, I have built them a beautiful house. XII Green ferns in the dawn-red dew-fall, This gift by my death I give, — They shall wander immortal thro' Sherwood ! In my great green house they shall live ! XIII The Forest has conquered! The Forest has conquered! The Forest has conquered ! When the first wind blows from the South, They shall meet by the Gates of Faerie ! She shall set her mouth to his mouth ! XIV He shall gather her, fold her and keep her ; They shall pass thro' the Gates, they shall live ! For the Forest, the Forest has conquered ! This gift by my death I give ! XV The Forest has conquered! The Forest has conquered! The Forest has conquered ! The world awakes anew ; And 0, the scent of the hawthorn. And the drip of the healing dew ! 168 SHERWOOD [The song ceases. Titania and Oberon come- out into the moonlit glade.] OBERON Yet one night more the gates of fairyland Are opened by a mortal's kindly deed. But Eobin Hood and Marian now are driven As we shall soon be driven, from the world Of cruel mortals. TITANIA Mortals call them dead; Oberon, what is death? OBERON Only a sleep. But these may dream their happy dreams in death Before they wake to that new lovely life Beyond the shadows; for poor Shadow-of-a-Leaf Has given them this by love's eternal law Of sacrifice, and they shall enter in To dream their lover's dream in fairyland. TITANIA And Shadow-of-a-Leaf? OBERON He cannot enter now. The gates are closed against him. TITANIA But is this For ever? OBERON We fairies have not known or heard What waits for those who, like this wandering Fool, SHERWOOD 169 Throw all away for love. But I have heard There is a great King, out beyond the world, Not Eichard, who is dead, nor yet King John; But a great King who one day will come home Clothed with the clouds of heaven from His Crusade. TITANIA The great King! [OBERON" Hush, the poor dark mortals come ! l^TJie crowd of serfs, old men, poor women, and children, begin to enter as the fairy song swells up within the gates again. Eobin and Marian are led along by a crowd of fairies at the end of the pro- cession.} TITANIA And there, see, there come Eobin and his bride. And the fairies lead them on, strewing their path With ferns and moon-flowers. See, they have entered in! [The last faii-y vanishes thro' the gates.]"! OBERON And we must follow, for the gates may close For ever now. Hundreds of years may pass Before another mortal gives his life To help the poor and needy. [Oberon and Titania follow hand in hand thro' the gates. They begin to close. Shadow-of-a-Leaf steals wistfully and hesitatingly across, as if to enter. They close in his face. He goes up to them and leans against them sobbing, a small green figure, looking like a greenwood spray against their soft ivory glow. The fairy inusic dies. He sinks to his knees and holds up his hands. Xlmmedi- 170 SHERWOOD ately a voice is heard singing and drawing nearer thro' the forest.] [Song — drawing nearer.] Knight on the narrow way, Where wouldst thou ride ? " Onward/' I heard him say, " Love, to thy side ! '' " Nay," sang a bird above, " Stay, for I see Death in the mask of love Waiting for thee." [Enter Blondel, leading a great white steed. He stops and looks at the kneeling figure.] BLONDEL Shadow-of-a-Leaf ! My King SHADOW-OF-A-LEAF [Rising to his feet.] Blondel ! BLONDEL I go to seek SHADOW-OF-A-LEAF [In passionate grief.] The King is dead ! BLONDEL [In yet more passionate joy and triumph.] The great King lives! [Then more tenderly.] Will you not come and look for Him with me ? [They go slowly together through the forest and are lost to sight Blondel^s voice is heard singing the SHERWOOD 171 third stanza of the song in the distance, further and further away.] " Death ? What is Death ? '' he cried. " I must ride on ! ''] ICiirtain.] DIRECTIONS FOR PRODUCTION DIRECTIONS FOR PRODUCTION FOREWORD " Sherwood," as a literary composition, contains so much that is beautiful and significant in history and legend; as a play so much opportunity for exquisite blend- ing of music, light, costume, scenic effect, and vigorous yet poetic acting, that the work should prove of great service to any school or college looking for permanent values to the cultural life of the institution. This stage version has been made with the hope that the producing success already achieved in many schools and colleges will be realized in many more. Practical experience has demonstrated that the textual cuts, the stage directions, the suggestions for costuming and scenic detail of this edition best serve the needs of average conditions. Brackets indicate all cuts so as to preserve the integrity of the original. Necessary stage directions follow, each page taken in order. The beauty and force of the lines furnish their own directions as to when a character shall '^ register " fear, love, hate, awe, tenderness, etc. Only such other directions are made as, from experience, will prove helpful. It is impossible, in an appendix, to make every direction as clear and as ex- plicit as a text annotated with comment and diagrams. But nothing must be done to detract from the poetic charm of the text. Besides, each director will want to use his or her own conception of detailed treatment and to mould the action according to local conditions. GENERAL CONDITIONS The play may be produced, in this edition, within two hours and a half, including intermissions, from overture to final curtain. It may be produced in a city theatre, 175 176 SHERWOOD out-of-doors, or in a school auditorium. If given in a city theatre, avoid, as far as possible, using the conventional scenery ; that is, any old-fashioned " wood wings '' and ** drops/' Use scenery that is simple and suggestive, augmenting it with actual trees and vines. Avoid wings with crude outlines or too strongly marked color effects. For a back drop prefer one with a minimum of woods and a maximum of sky, so that the play of lights can create the illusion of changing time. If given out-of- doors, clear an opening so that two rows of trees will face each other, masking off each side down stage with bushes. If there is no natural vista up stage, create one with shrub- bery. Effective stage lighting may be secured by artfully placed electric lights, shielded with cones throwing the lights away from the audience. The disposition of these lights will depend entirely upon a careful study of local conditions. They must be so placed as to give suflficient light upon the characters in action and yet create natural shadows. If a background of an ascending rocky slope is available, so much the better both for proper effect and for artistic stage entrances. The foot lights, of course, may be stretched across the level space dow^n stage. If the average school stage is used, one on which practically all scenery must be built, either resort to gray or blue screens and a solid blue back drop, with just a suggestion of woods secured by shrubbery, the whole played upon by proper lighting, or bring into use all the trees and shrubbery which will make a realistic forest scene. In any case a stage opening at least thirty feet wide by twenty-five or thirty feet deep is necessary. The height, from floor to flies, should be fifteen feet. The expenses of the production will vary according to circumstances. In general they comprise theatre rental, dress rehearsal, lights, costumes, orchestra hire, make-up work, advertising, programs, and rental of text and music. A general idea of average cost may be gathered from the following figures compiled from the production of this SHERWOOD 177 play as given in Trenton, N. J., in 1915. Some of the items would no doubt be doubled to-da}^ Theatre rental (two performance3) $250.00 Dress rehearsals (stage hands and lights) . . . 30.00 Costumes 130.00 Orchestra hire 60.00 Make-up work 25.00 Extras, including copies of text and Royalty i for performance 80.00 $575.00 Even with the cost of production to-day undoubtedly advanced, some of these items will be larger or smaller according to local conditions. The theatre rental will vary according to the city and size of the theatre. If given out-of-doors or in the school auditorium that item will be saved. Costume firms charge on varying scales according to the simplicity or ornateness of the material. Of course many costumes may be made. The costumes for this pro- duction were quite accurate and ample. Some school orchestras will be able to play the music composed for this play. Others will be entirely inadequate and some will have to be augmented. If programs are printed to allow for paid advertising, the entire cost of advertising — win- dow display cards, tickets, posters, etc., may be met. The above scale of expenses covers the outlay necessary for a typical high school production of the play. A more pretentious, out-of-door performance called for under av- erage college conditions, and involving special problems of lighting, seating, etc., and possibly the engaging of a professional director, may cost several times this amount. For production purposes a re-naming of the acts has been found desirable, designating Acts I and II as Pro- logue and Epilogue as follows : 1 Application for permission to produce the play, with full par- ticulars of conditions of performance, must be made to the Paget Literary Agency, 500 Fifth Ave., New York City. 178 SHERWOOD The Prologue, TJie Forest, pages 3-16; Act I, Banqueting Hall of Fitzwalters Castle, pages 17-43; Act II, Scene 1, The Forest, pages 47-74 ; Scene 2, The Forest, pages 77-104 ; Act III, Garden of the King's Palace, pages 107-153; The Epilogue, The Priory and the Forest, pages 154-169. It is understood, of course, that for class study purposes the arrangement of the play as devised by the author should not be changed. There are many useful books on the market which aid the amateur director, especially for a play of this char- acter. At least these thi'ee should be in the hands of every producer : " Practical Stage Directions for Ama- teurs," Taylor, E. P. Button and Co., New York; "Cos- tumes and Scenery for Amateurs," Mackay, Henry Holt & Co., New York; "How to Produce Amateur Plays," Clark, Little, Brown & Co., Boston. " Community Drama and Pageantry," Beegle and Crawford, Yale University Press, is also an excellent text with many practical sugges- tions for costumes, lighting, dancing, music, and all out- of-door conditions. Numerous pictures add greatly to its value. STAGE SETTINGS The scenery requirements are two interiors (a Castle Hall and a Priory), and two exteriors (a Forest and a Palace Garden). Stage diagrams for each scene are shown on pages 180 and 181. SHERWOOD 179 The Prologue — Pages 3-16 The Forest As indicated in the diagram, make a light wooden fence about four feet high, paint it white, and festoon it with vines. Extend the fence across stage about a fourth of the way down stage from the rear drop. The rear drop should represent the depth of the forest. The center of the fence should be broken by a high double gate, of scroll design, gilded. It should be at least ten feet high and made to swing up stage. Act I — Pages 17-43 Banqueting Hall of Fitzwalters Castle The banqueting hall is most effective if treated simply; little furniture but accurate in design, plain but richly colored hangings, and the walls of a tone color that does not jar. Preferably use a stage set of paneled wood with brown or dark red hangings. The banquet table may be entirely omitted, as it will interfere with the action. The steps indicated in the diagram lead to Marian's room. Obviously the furniture should be medieval in character. It is a good plan to solicit the aid of the proprietor of a furniture store which specializes in period decoration and to give him the opportunity of setting this act appro- priately, in return for the advantage of advertising. Once you determine on the stage set 3^ou will use — often limited by the conditions of the theatre — the decorator can then determine what furniture and hangings will secure the best effect. However, do not permit him to overload the stage with furniture or to use odd pieces. Act II — Scene 1 — Pages 47-74 The Forest The setting for this scene may be the same as for The Prologue, save that the fence and gates are out. If pos- sible use a different forest back drop. All references to 180 SHERWOOD PROLOGUE: BUNCH LicHrrs QSUA/C/f L/G//r BUMC/i UCHTQ^l Q3i/^/c//UG//r yqCTIL SCENE I SHERWOOD /^CT II, SC&NEII BUNCHUGHr 181 (^BUNCH L/CHr dU/^CHUGHT(^ (^UA/CH L/GHT 182 SHERWOOD the ^' cave " mean the " hut." The front of the hut, with door C, shows on stage as indicated in the diagram. Most theatres possess among their stock properties, a hut or cot- tage. This usually consists merely of " flats " or canvas on frames, painted to resemble a rustic cottage, and held in place by stage braces. The door should be practical but windows need not be. If the theatre does not have one, the stage carpenter or manual training department of the school can easily make one. The appearance of the hut may be enhanced with a few plants about the doorway, and a few trailing vines. Act II — Scene 2 — Pages 77-104 The Forest The setting for this scene is the same as for Scene 1, save that the hut is removed. A change in forest back drop, if possible, would, of course, be more in keeping with the place indicated. Act III — Pages 107-153 Garden of the King's Palace The rear drop should show the vista of a garden with a castle. Up stage may be elevated by a platform run- ning a quarter of the way down stage, the front edge of it faced by a balustrade three feet high with opening in the middle. Two seats should be placed against the balus- trade, conforming in design to that of the balustrade. See diagram. The Epilogue — Pages 154-169 The Priory and The Forest The stage for The Epilogue must be set up as for The Prologue — drop, forest scene, fence and gate. Down stage, as indicated in the diagram, set up a plain, dark interior to resemble a priory. Furnishings should be sim- ple — prayer-desk, couch covered with material in har- mony with the wall or hangings. The window should be SHERWOOD 183 made casement in design, to swing outward, and it is most important that this setting be so contrived that it can be removed very quickly and silently for the change to the final scene. LIGHTING The lighting of this beautiful play is an essential feature of the production and requires some thought and care. If the play is given out-of-doors the lighting will depend entirely upon local conditions. Under the discussion of " General Conditions " some suggestions for out-of-door lighting are offered. Indoors, foot lights, borders, bunch and spot lights are needed. The general caution, how- ever, should be given not to use too much light. In the foot lights take out here and there several lamps and secure better effects by higher-powered lamps. Use fewer but larger lamps in the bunch lights, and substitute colored silk, if possible, for the old gelatin frames, or one of the newer devices which may be purchased from theatrical supply houses. The border lights may be improved by substituting for the long rows of lamps a few larger lamps covered with cone-shaped globes. Any tinsmith can make them, and paint them white inside, although porcelain- lined shields are better. This applies also to the foot lights. For The Prologue, bunch lights may be used R and L off stage behind the fence. Spot light may be used from the rear of the balcony of the theatre, but judiciously, and only when it will actually focus attention in dramatic necessity, never for mere theatrical effect. The house should be darkened before the overture, to establish the atmosphere of the play. The rise of the curtain should show the stage absolutely dark back of the gate. If necessary, suspend a transparency in front of the gate and fence which becomes invisible when bunch lights come on. Down stage should give the effect of faint moonlight. This may be secured by greens and ambers in the border lights and blues in the foot lights. Bring 184 SHERWOOD up the bunch lights slowly on the entrance of the fairies, so as to create the effect of a fairy world growing out of the forest. A spot light in the balcony may play on the fairies as they dance, if desired. If their costumes are white, use colored lights. Raise curtain promptly on last note of overture. The lighting of Act I, The Banqueting Hall, represents late afternoon. First, use all ambers in the foots and bor- ders, blending off into reds with tinges of greens and blues. However, do not use these too strongly, because, as indi- cated in " Acting Directions," the bunch lights will develop the moonlight which eventually streams in from the hall- way. At this point the other lights may be dimmed down until they are hardly visible. For Act II, Scene 1, The Forest, we again have a sun- set scene, with the same effects employed as in Act I, the same dimming process, and the same use of the bunch lights. The lighting for Act II, Scene 2, The Forest, indicates the middle of the day, with full amber lights on in all lighting devices. The hour is sunset, in Act III, The Garden of the King's Palace. Use the same treatment of lights as in Act I, later effecting strong moonlight in the two bunch lights up stage. If gelatin frames are used, place first ambers in the frames, then slide in the reds as the ambers are removed. Then insert blues as the reds are removed, and then the greens as the blues are removed. It may be necessary, however, to retain the blues with the greens. An effective additional device is to festoon lines of odd- shaped lanterns in the flies, all wired with lights, ready to be lowered to view when Prince John enters to begin the festivities. The lighting for The Epilogue should be placed as in- dicated in The Prologue. For The Priory scene down stage use reds to indicate subdued light. Additional notes .may be found under acting directions, the epilogue. SHERWOOD 185 PROPERTIES For The Prologue the essential properties consist of the fence, gate, vines, plants, swords, canes, fern, sacks, wands, and a donkey. The donkey is quite " practical." With practice he may be enticed across the stage. All these prop- erties may either be made in the manual training depart- ment of any school, or easily borrowed or procured. The properties for Act I are swords, lances, a candle, a staff, a cloak, a paper, a bugle, table and chairs, coudh and cushions, and steps. For Act II, Scene 1, are necessary flowers, cloaks, a paper, a staff, swords, lances, wands, a harp (to be car- ried in the hand — easily made), fern, a bugle, a cottage, piano off stage, seats, and a horse. The horse is also " practical," but will need more practice than the donkey. Properties for Act II, Scene 2, are a staff, a bugle, the harp, the horse, plates, swords, lances, bows and arrows, a comb, daggers, tables, seats, grass mats, fruit, cakes, and mugs. For Act III there will be needed lanterns with wiring, a paper, swords, a wand, a staff, the harp, balustrades, seats, steps, dominoes, and piano off stage. For The Epilogue the necessary properties in The Priory are chairs, a shrine or prayer desk, couch witli cover, a bell, organ off stage, a bugle, bow and arrows, and a dagger; and for The Forest up-stage the gate, fence, vines, and plants. MUSIC Very competent and beautiful music has been composed for this edition by Mr. Edward A. Mueller, whose published works are well-kno^vn. Both piano and full orchestral score may be secured by applying to him at his address, 23 Prospect Street, Trenton, New Jersey. Following is a list of the numbers, with the composer^s suggestions: While the music for " Sherwood " is classic in form and standard, it is not difficult technically for singer or player. The director of the music should have sound musical judg- 186 SHERWOOD ment and experience, as it is in the ensemble of orchestra and voices that difficulties are encountered, whether the performers be professional or amateur. The piano and vocal score includes the following num- bers : Overture and Fairies' Chorus: The Fairies' Chorus is written for female voices, in four parts. If necessary, the chorus sections may be given with two parts only, or even the melody in unison. The greater part of this num- ber is a duet that will be most effective with four or six voices, although two singers can render it. The Fairies' Dance: This is a waltz in slow tempo. BlondeVs Song: This song is in minor, in ancient ballad style with a light arpeggio accompaniment, in imi- tation of the harp, and is followed by a recitative without accompaniment. It can be sung equally well by alto or baritone, and demands a stable, true voice. Alan-a-Dale's Song: For baritone. Gavotte: Use "La Cinquintaine," by Gabriel-Marie. Miserere: This number, produced back stage in the Kirklee Priory scene, is written for reed organ and three parts for female voices. Music for Death Scene of Bohin Hood: This is inci- dental music, directions for which will be found on the score; also under acting directions, the epilogue. Death Song of Shadoiu-of-a-Leaf : This song for soprano or mezzo is short and in dramatic recitative form. The orchestral score includes above numbers and en- trances, exits, and curtain finales not designated in the piano and vocal score. The scoring calls for First and Second Violins, Viola, 'Cello, Bass, Oboe, Flute, Clarinet, Cornet, Trombone, Tympani, and Piano. The parts may be reduced at the discretion of the orchestra leader. COSTUMES AND MAKE-UP In a play of this character most of the costumes should be rented. Most costuming houses will be able to furnish SHERWOOD 187 costumes well adapted for the period of the play, — Eobin Hood's, the foresters', the Friar's gown, and those for the lords and ladies, the King, Prince, and Queen. Careful directions should be given the costumer as to the exact na- ture of the play, and absolutely correct measurements be given. Be careful about the size of hats and shoes. Be sure tliat the costumes vary in design and color scheme and blend with the setting. Obviously the costumes of the lords and ladies should be rich in velvets and laces, the foresters' in green, the Friar's brown, the nuns' black (easily made), the rustics' brown or gray, the fairies' white, and the old men nondescript. The costume of Shadow-of-a-Leaf may be motley. Many of the costumes can easily be made from paper patterns. A good fairy costume may be made of cheese -cloth, three yards of tarlatan, three yards of wire for wings, two dozen gems, and a little silver dust. In addition to making all the fairies' costumes, money may be saved by making or borrowing the swords, lances, wands, crowns, ornaments and bows and arrows. The make-up work should be in the hands of an expert. Avoid all exaggeration. A black wig and beard should be provided for the Sheriff, a white wig for Fitzwalter, a red wig for Much, and a brown one for the Friar. Lack of space does not permit any detailed instructions as to what to do if no competent make-up man is available. Ample information is furnished in the books suggested. With the changes in lighting schemes on the modern stage, make-up work has followed accordingly. A good general principle is to try to secure the same effect on the stage as for the natural light of the street. In this way all exag- geration will be avoided. It is a good plan to observe in real life the same type of character you wish to affect on the stage and apply the make-up accordingly. This takes careful observation and some practice, but it can be done by the skillful amateur. 188 SHERWOOD THE CAST The cast of " Sherwood '' should be chosen with care, particularly the characters of Robin Hood, Prince John, Queen Elinor, Shadow-of-a-Leaf, Much, Little John, the Friar, Richard, Oberon, Titania, Fitzwalter, and Marian. The best way to secure an accurately chosen cast is to conduct trials. First, study the text carefully until each character is clearly outlined in your own mind. Think of these characters in terms of all possible available ma- terial in the school. By availability is meant not only fitness for the part, — appearance, size, voice, personality, good memor}', and mental alertness, but also aptness to take direction, punctuality, industry, and a proper spirit of team work. In order to obtain the first qualities men- tioned it may be necessary to sacrifice some of the others, and make the best of it. This means harder work for the director and the exercise of patience and persistence. Often it may be necessary to exclude from the cast those whose temperaments make it impossible to work with them without handicapping the good work of others. After all available material is fixed in mind as a result of careful study of the text, and every elimination made, call a meeting of this prospective cast. Read the play, or certain important sections of it, to them, commenting on the characteristics of each person in the play as you read, trying to give them an insight into all the matters of voice, interpretation, and mental and spiritual qualities they manifest. Then take some one act, choose those you have first in mind, give them copies, and have them read an act or certain scenes, on the stage. Watch closely the readiness with which they adapt themselves to the part. If, on repeated suggestion, certain ones fail to grasp the part, substitute others, until, after repeated trials, your final cast is chosen. All the students should, in the first place, have a clear understanding that they may or may not be chosen. Tact, SHERWOOD 189 amiability, and sincerity on the part of the director ought to be able to create this state of mind, if the school has anything like the proper spirit of team work and coopera- tion to make the play a real success. Often many students not chosen finally will be willing to serve as understudies, coming faithfully to rehearsals, filling in during necessary absences, and thus make themselves available in the event of unexpected illness, falling back in academic work, etc. This beautiful play, clearly defined in atmosphere, and rich with interesting personalities, shows Rohin Hood as a man of broad sympathies, poetic mind, and a person- ality gentle, proud, vigorous, and noble. His enactor should have grace and a well-proportioned body. John is arrogant, supercilious, crafty, and selfish. He should be portrayed by a tall, dark-complexioned person. Queen Elinor should be well-built, and should have a flexible voice, capable of shifting from hate and anger to sophistry and ingratiating charm. Shadoiv-of-a-Leaf needs most careful choosing. Nimble, versatile as to voice and per- sonality, poetic, eccentric, human, amiable, grave, foolish, commanding, he needs utmost attention. Often a girl can enact the part better than a boy. Much has all the quali- ties of the clown. Little John should, of course, be as immense as possible. Friar Tuck is fat, rollicking, human, and sincere. RicJiard, a tall, fair-haired man, is the soul of graciousness, dignity, kindness, and of commanding, righteous anger. Oheron and Titania should cultivate the charm of other-world characteristics, — wistful, mildly- declamatory in style, sweet, pathetic in interpretation. Fitzwalter may be an old man, childish, inconsistent, craven, affected, somewhat blusterous, but with some na- tive affection. Marian is the embodiment of everything womanly, the woman of " high degree." She has charm, a fascinating voice and manner, and a wealth of exquisite variability of temperament, — sweetness, affection, imper- ious hauteur, leadership, yet complete and wholly disarm- ing graciousness in affection. 190 SHERWOOD A word of caution about doubling parts. If all the characters are available, of course employ them. It sim- plifies stage entrance and costume changing, besides en- hancing the interest in the play from all points of view. If it is necessary to double any parts, be sure that the per- sons chosen are versatile enough to enact the different roles. Note the directions carefully about stage entrances and intervals of time so as to permit of costume change and changes of position in stage entrance. In addition to the stage director and prompter some one person should be utilized whose sole business it is to see that these changes are made, the persons in proper position for stage en- trance and in ample time, and to have in their possession all the articles they will use in the action. Following are suggestions for doubling when necessary: Alan-a-Dale and Blondel may be enacted by one person. Little John may also enact the Serf, page 3, and take the lines of the First Rustic, page 77, Greenleaf, page 102, the Second Forester, page 143, and the Forester, pages 152-153. Will Scarlet may take the lines of the First Old Man, pages 9-14, the Masker, page 128, and the Messenger, page 152. Much may enact the Blind Man, pages 9-12, the Forester, pages 152-153, Greenleaf, page 102, Arthur, pages 131- 135, and the First Forester, page 143. The Friar may also speak the lines of the Second and Third Rustics, pages 77-83. The First and Second Woman and the Child, pages 9-12, the Lady, page 128, and the Prioress, pages 154-159, may be enacted by one person. Widow Scarlet and the Novice, page 159, may also be taken by one person. Orchis, pages 68-69, may take the lines of the Fairy, page 70. Lords and Foresters, Ladies and Fairies, may inter- change. SHERWOOD 191 The characters of Oheron, Orchis, Puck, and Shadoiv-of- a-Leaf may be taken by girls. " Sherwood " de^iiands careful attention to details. There should be no misfits. There is such a slight gap between poetry and banality, between enchantment and the common- place, that it should be undertaken in all seriousness with a full consciousness of all tlie attention to detail involved. This means well-thought-out construction as to cast, cos- tumes, lighting, music, scenery, properties, rehearsals, ad- vertising, and the final goal to be reached; namely, the production of a play which because of its great beauty and force should live in the minds of all who share in the enterprise as the rarest occasion in their school lives. ACTING DIRECTIONS The Prologue — Pages 3-16 The Forest The following enter R : the Serf, Old Man, Old Woman, Blind Man, Sheriff and Men, Shadow-of-a-Leaf , Little John. The following enter L: Prince John and his Men. The following enter C : Titania, Oheron, Puclc, Fairies. Page 3. Make the initial entrance striking and drama- tic. Strike the note of John's character at once — cruelty, arrogance. Every word and gesture must carry. The Serfs abject behavior should be marked. He throws him- self at the feet of Prince John, the Sheriff endeavoring to restrain him. Be careful of a balanced stage picture, — the kneeling Serf with the Sheriff and his men, and the Prince with his men. Page 5. John turns to go on the line " Take him off,'' but turns on the phrase " But wait." Page 6. As the Serf is taken away, R, his words and cries trail off into distance as John converses indifferently with the Sheriff. Page 8. A more dramatic effect can be secured if the Serf suddenly appears, R, struggling with his men with- 192 SHERWOOD out a cry, as John is engrossed in his plans, rushes at John, but is killed just as he utters a cry of exultation. Pause before John's comment, and the Sheriff's statement. John's " I am sorry " should be quite casual. Exeunt L. Page 9. Only three characters required, an Old Man, a Woman, and a Blind Man, tliough more may be used if available. Slight pause before their entrance E. The pathos of this scene should contrast sharply with the pre- vious scene. The Woman takes the Child's lines, substi- tuting "Oh," for the word "Mother." Page 10. The Old Man should drag the body off as the Blind Man potters about. Page 11. Little John and Shadow-of-a-Leaf enter E. The donkey may be decorated with flowers and fern. Shadow-of-a-Leaf should walk him slowly across stage, pausing and talking to him. It can be done. Page 13. Shadow-of-a-Leaf exits L, his "Hosannas" dying away in the distance, while his hearers listen a mo- ment. Page 14. Little John exits L, the Old Man E. After a pause the lights come up in the bunch lights, gradually revealing the fence and gate into Fairyland, with Titania and Oberon just behind. They come down C to the music of the Overture repeated. Page 15. When Titania says, " See, they come ! " she and Oberon come down L C, as the Fairies enter through the gates from either side and down stage in the dance. Shadow-of-a-Leaf may reenter and stand with Puck down E C, opposite. Titania, Oberon, Puck, and Shadow-of-a- Leaf may dance in the center in III. Following are di- rections for the dance and chorus: There should be sixteen in the group. Fairies enter gate in introduction, second measure. I. Introduction. Four abreast at gate, — 4444 3333 2222 1111 SHERWOOD 193 a. Step forward with outside foot, raising heel, holding three counts (inside foot extended backward, arms in fourth position). b. Waltz step forward, beginning inside foot. (Step, slide, close.) 4444 3333 22 22 11 11 Eepeat a. c. Eepeat b. waltz step for first eight being taken to side, rear eight advancing forward, form- ing two rows of eight across stage, — 22444422 11333311 Eepeat a. and c. d. Step to outside and pirouette, arms sixth posi- ' tion. II. Dance. a. Beginning outside foot, six waltz balance step forward, arms in fifth position. b. Step and pirouette outside, arms in sixth posi- tion. c. Six waltz balance step backward, arms in third position. Eepeat b. Eepeat all of II, with alternate lines advancing forward and then backward, and others in op- posite directions with rows three and four keep- ing back stage. III. Forming groups of four in a semicircle, Principals coming across in front to form central group, groups mov- ing in circles. 44 44 33 33 22 22 11 pp 11 PP 194 SHERWOOD a. Eight waltz steps with arms crossed in center. b. Eight waltz steps chacging direction. c. Eight waltz steps facing inside with hands joined. d. Six waltz steps facing outside with hands joined. Einish in large semicircle with Principals center. IV. Chorus sways right and left. a. Two each direction; four pas-de-basque in semicircle meeting across back of stage (four measures). b. Step to right and pirouette; step left and pirouette (four measures). c. Titania and Shadow three steps diagonally forward and point. Oberon and Puck three steps forward diagonally crossing in back of Titania and Shadow. Repeat all of IV. ending in doubles, turn and pose while chorus groups for song. (S for standing, Si for sitting, K for kneeling, P for pros- trate.) SSSS SSSSSSSS KK Si Si KK P P Page 16. During the last two phrases of song, " The forest shall conquer," chorus gradually fades away, moving off by side wings and up stage through gate. Song must die away in distance, and lights go down slowly, leaving stage at end of prologue as at the beginning. The four Principals slowly recede through gate, closing it slowly, and exeunt slowly, R and L, back of fence. Slow curtain. Follow directions on musical score of Chorus strictly, for best effect. The duet may be sung by two good solo sopranos and two good altos. Try to have plenty of altos in the chorus. SHERWOOD 195 If the characters are available, use the last episode, the passing of the mortals through the gate, with Titania's re- entrance and line. Act I — Pages 17-43 Banqueting Hall of Fitzwalter's Castle The following enter R: Marian, Little John. The following enter L : Friar, Much, Rohin Hood, For- esters, Widoiv Scarlet, Queen Elinor. The following enter C : Fitzwalter, 8hadow-of-a-Leaf, Gentlemen, Ladies, Sheriff and his Men, John and his Men. Costume changes from prologue: Little John, Will Scarlet, Much, Fairies, Foresters, if doubled. There are many characters in this scene. Be careful tO' have the costumes in keeping with the color of the stage setting, and so to arrange the stage pictures that they are well balanced. Study the character of Shadow-of-a-Leaf to bring out his semi-serious, semi-whimsical traits. Play up the weakness of Fitzwalter. Page 17. Eobin enters L, vigorously. Page 19. The Sheriff and his men must be seen in the doorway, C, but unobserved of those on stage. Eobin should have the center of the stage during his long speech, which should be delivered with sincerity and feeling and should receive close attention by his^ hearers. Shadow should crouch on the floor until his lines, page 21. Page 22. On Eobin's lines he comes down stage, and raises his sword. All the men follow suit. Widow Scarlet enters L, and on her second speech kneels to Eobin. Page 24. Eobin has one of his men take Widow aside when Sheriff enters C. All the men draw their swords as Sheriff comes down center and reads his proclamation. Create a well-balanced stage picture and practice the formation sufficiently so that it will be taken without con- fusion. 196 SHERWOOD Page 25. Little John enters C, runs and kneels before Robin. Pages 26, 27. If a secret door is impracticable, Robin should exit R. Marian enters through door down steps up R. Page 27. Shadow should fall at Marian's feet, on his lines. Prince John and his Men enter C. Again work for a good stage picture. Page 30. Fitzwalter leads his guests out C or, as in- dicated, up the steps from whence Marian entered. Pause before John speaks. Page 33. Fitzwalter should enter unobserved. Marian's glance discloses him to John. Page 35. John's Men should enter C. It should be clear that they did not join the guests. Robin's Men enter as indicated, up R. Page 36. All the characters on this page exeunt C. Pages 36, 37. The most effective treatment of this light- ing situation is to employ a bunch light off stage, L, us- ing greens and blues. As the other lights dim, gradually bring the bunch light on so as to project a stream of light on stage. Shadow goes out, C, to look, returns and points L, as Queen Elinor enters L. Shadow crouches by stairs. Page 39. Fitzwalter enters C. Pages 42, 43. Marian exits up stairs R, and Fitzwalter and Elinor follow her. Shadow, during this scene, has been watching them closely, and as they approach the steps he retreats. On their exeunt he drops to the floor by the steps and utters his lines piteously. Slow curtain. Act II — Scene 1 — Pages 47-74 The Forest The following enter R : Little John, Shadoiv-of-a-Leaf, Friar, Widow, Jenny, Titania, Oberon, Orchis, Fairies, Blondel. The following enter L : Much, Robin, Elinor, Foresters. SHERWOOD 197 Costume changes from Act I: Marian, Elinor, Lords and Ladies, if doubled. Page 47. Much enters L. Page 50. Robin enters L. Little John runs to him and feels of his body to see if he has been hurt. Page 51. Little John aims his bow off, R. Shadow enters R. Page 53. Marian enters R. Take time for her by- play. Make this scene sincere, not mawkish. Page 55. Elinor enters L, unobserved. Page 56. All characters on this page enter R. Elinor retreats. Page 59. Marian exits into hut, as Elinor enters L. Page 62. Robin pauses before his reply, " Xone." Marian reenters from hut. Robin's men enter from L back of hut and take Elinor off L. Page 63. The Foresters may come in from all sides on bugle call. They seat themselves or lie about. Some stand. Seat the principals and study an effective stage picture. Jenny, Widow Scarlet, and Shadow should enter with them. Note that Little John talves the character of Greenleaf, page 64. Page 65. Shadow may be picking these flowers during the scene. The lights should grow dimmer until the same poetic atmosphere is created as in the prologue. Page 67. After Robin bids Marian good-night and throws himself by the door of the hut, a portion of the overture music may be played. The fairies do not enter formally, but in groups or individually, lightl}', rhythm- ically. Pages 67-70. It is impossible to create this entrance of Titania. The next best thing is to have her on stage in darkness, and on Shadow's lines to throw a flash or spot light on her. She enters R. Oberon also enters R and in the same fashion. Orchis simply comes out from the group, exits R as the fairies enter from all sides. A few may have entered as indicated, page 67, the rest at 198 SHERWOOD this point. The music has been playing softly. It may now swell out, and the lights may oome up slightly. Again strive for a beautiful stage picture. Pages 71-74. The wailing is off R. It blends softly into the opening bars of BlondeFs song. Use piano off stage. His first stanza is heard off stage E; the second just as he enters E, the orchestra taking up the music. The fairies retreat to one side L. When he passes through them and exits L, the fairies cross and mass themselves E, listening to the song trail off in the distance. Slow curtain. Act n — Scene 2 — Pages 77-104 The Forest The following enter E : Sheriff and his men. Will Scar- let, Alan-a-Dale, Shadow-of-a-Leaf, John and his men. The following enter L: Richard, Widow, Jenny, Marian, Rohin. Persons on stage are Little John, Much, Friar, Foresters. Costume changes from Act II, Scene 1: Little John, Much, Friar, Foresters, Rohin. Page 77. Eobin enters L. His disguise^ — costume, voice, and mannerism should be perfect. Pages 79-84. The action of this scene needs thorough rehearsal. The Sheriff and some of his Men enter E, some off stage holding Will Scarlet. Eobin and his Men are massed L. Eobin^s shooting, of course, is directed off stage, E, in the direction of Will Scarlet. On page 82 the Sheriff runs off E when one of his men is shot, and Will Scarlet runs on stage E. Page 83 is clear. Each director must work out his own problem of a stage fight. When the Knight enters, L, and forces his way into the fight, it must be at a stage when Eobin's men seem to be getting the worst of it. He may appear on horseback, jump to the stage, and an attendant may take the bridle of the horse. If the horse will not stand still during the ensuing scuffle, he may be led aside and the sounds off SHERWOOD 199 stage indicate that Eobin has galloped off on it. The Sheriff and his Men are driven off R. Robin gallops off R. No evidences of the fight should remain as the rest of the crowd follow R. A slight pause may intervene before the entrance, L, of Jenny, Marian, and Widow. Page 85. The hut to which Jenny takes the Widow may be off stage, L. Her next lines, obviously, are to Marian. Page 87. The sound is off R, whence John and his Man enter. Page 88. Marian has retreated L. Jenny goes off L, John's Man, R. In Jenny's speech change " that same '* to " a." Page 89. John does not see Jenny reenter, and slip to Marian a bow and arrow which she takes by putting her hand behind her. Pages 90-94. This scene also needs particularly care- ful rehearsal. John's man reenters R. Jenny, page 90, steals back of him and pins his arms when he has seized Marian. The four struggle. John does not see Robin on his entrance, R. Marian had raised her arm to strike, but dropped it on John's line, " Come, strike ! '' John's men enter R. The two women retreat L during the fight. Bugle calls off L. The Knight enters, L, at the moment when John is about to stab Robin. Page 92, John re- treats up C as Foresters enter on all sides. John is led off, L, and is brought back, L, and finally exits L. Page 95. Foresters reappear L, with seats and with table set with viands, as indicated. This may already be set up. Marian and Jenny enter L. Page 96. Friar, Will Scarlet, and Foresters enter R. Will Scarlet exits L, and reenters, page 98, L, with Ms mother, tlie Widow. Shadow enters R, page 98. The stage picture should place Marian, the Knight, and Robin up C, the rest massed on either side. Page 103. Alan should come down stage for his song, during opening bars by orchestra. He should employ ges- tures to accentuate the song, should strum his harp, and 200 SHERWOOD should include Shadow in his action so that at the end of the song, when Shadow approaches him, a tableau effect may be secured. Quick curtain. Act III — Pages 107-153 Garden of The King's Palace The following enter E: Marian, Eohin, Oheron, Blondel, Maskers, Lords, Ladies, John's men, Fitzwalter. The following enter L: Elinor, Puck, Prince John, Shadow, Little John, Scarlet, Foresters, Friar, Much, Maskers, Lords, Ladies. Costume changes from Act II, Scene 2 : Marian, Eohin, Much, Elinor, Little John, Will Scarlet, Lady, Foresters, and Fairies, if doubled. Page 107. John and Elinor enter up, L, and come down C. Page 110. Marian and Eobin enter R, as John 3nd Elinor go off L, watching them. Page 113. After Eobin exits do^vn E, Marian stands watching him a moment, then runs after him calling " Eobin ^' several times. Page 114. Puck and Shadow enter down L. They chase each other a moment, then sit down on the ground. Page 116. They hide, E, and Scarlet and Little John enter down L. Page 117. Shadow had come out on previous page, and Puck comes out when the Foresters exeunt down L. Page 118. By this time the lights should be gradually lowered, using greens and blues to indicate the transition from sunset to night. A spot light may be judiciously used on Oberon's entrance down E. Page 121. The text from here to page 127 is omitted. Shadow and Oberon exeunt up E. Shadow may go on the line, " Quickly, come quickly." After their exeunt, the lanterns may be lowered from the flies into view, page 128, as John enters E and Elinor enters L. During this scene the music of the Gavotte may be played softly, the SHERWOOD 201 strings in the orchestra playing pizzicato. The orchestra may be off stage. It comes out full for the dance, page 130. The Maskers, during this dialogue, come and go on the raised platform back of the balustrade. Page 128. Marian and Fitzwalter are pacing up R. John goes to them, as a Lord and Lady separate from the others and come down C. Elinor joins other Maskers. Page 130. John and Marian come down C. Fitz- walter, after his lines, joins the Maskers. The Maskers now take positions for the Gavotte as the music comes out full. Those who do not dance may be stationed on the seats or back of the balustrade to make an effective grouping. The directions for the Gavotte follow: Four couples across stage. Gentlemen bring ladies to places, and all courtesy. I. Face forward. a. Step outside foot, throw inside across in front. b. Chasse, beginning inside (slide, close, slide). Chasse outside, point inside foot and hold one count. c. Beginning inside foot, three walking steps and point. Outside foot and three walking steps and point inside foot. Repeat all of I. Finish facing partners. II. Moving back stage. a. Cross outside, foot back, inside foot side, out- side foot cross forward and point inside foot. Repeat starting inside (moving forwai*d stage). Repeat again right and left. b. Lady walks with eight small steps in a circle around partner, and all courtesy (sixteen counts), finishing with back to audience in a row. III. Hands held shoulder height, beginning in a row in back, repeat all of II. Finish, facing 202 SHERWOOD forward, and from beginning repeat all of I, II, and III. Page 131. During the dance Robin totters in down E, unobserved, and seats himself on a seat just visible to the audience. Arthur's part may be taken by the player of Much, who enters L, but sees Eobin just as the dance ceases and the Maskers retire up stage and resume their pacing. During this dialogue the music may continue softly as on page 127, stopping on page 133 on Robin's last word, " Yes." Pages 134, 135. Break the Maskers up into quick, ex- cited groups. Arthur runs off L and brings Marian. John finds Elinor and engages her in conversation. Page 136. Marian goes R. John appears in the open- ing of the balustrade on the platform for his announce- ment. Elinor goes off L. Be sure to secure a well-bal- anced stage of the Maskers, and a quick readjustment of positions on page 137 when Robin strikes John. The music of Blondel's song must begin in the orchestra on Robin's words, " Back, fools ! " All listen intently to the song in the distance. The first two stanzas are off stage. Page 138. Robin's exit down R must be made under the cover of the Maskers' intent listening to the song. Pages 138, 139. The third stanza is sung as Blondel comes on stage. He enters up R on the platform back of the balustrade. After the Maskers shout " Dead ! " Blon- del continues his way and passes off L, repeating the last stanza, the Maskers watching him. Then John speaks. The Maskers then run out in all directions, mostly R. The lights in the lanterns may be extinguished and the stage be lighted for moonlight as before ; that is, the lights are retained as changed on page 118. Page 143. The scene is continuous to this page. When the Maskers exeunt. Much and Little John as First and Second Forester, enter down L. Page 144. Marian appears down R, looking all about her, does not see the men at first. Friar Tuck enters L, SHERWOOD 203 stating "I've sent Will Scarlet to Kirklee Priory." Robin enters up R and drops on the same seat as in the previous scene. Page 146. Marian merely seats herself by his side. The text here is cut out to page 152. On his last lines, page 146, Robin tries to rise, and, as indicated, page 152, " Flings up his arms and falls fainting." Scarlet, the Messenger, enters down L. Pages 152, 153. Little John takes the lines of the For- ester. The Foresters lead Robin off L, Little John con- ducting Marian off L after them. Quick curtain. The Epilogue — Pages 154-169 The Priory and the Forest As stated, stage for epilogue must be set up just as for THE PROLOGUE. Down stage, as indicated on diagram, set up a plain interior to resemble a Priory. A bunch light should stand L to indicate sunset through casement window. On death of Robin Hood, while orchestra is playing, drop curtain a few seconds while The Priory set is struck, to reveal The Forest. The stage men must move it quickly. Do not turn on the house lights. If there are sufficient stage men, the stage lights can all be thrown off, the set may be moved in the dark, and the curtain need not drop. This will produce a better effect, since the lights disclosing the forest in moonlight may come grad- ually on. The lights revealing Fairyland up stage should come up later. However, if the curtain is lowered, tlie scene should show Shadow-of-a-Leaf standing in the gate. The music should change to his song. With spot light on him, he should sing song, gradually working down stage to bodies of Robin and Marian lying unmoved, and kneel. Fairies enter gates, and circle about the bodies (see p. 164), exeunt through gates. Oberon and Titania remain at gates, and close them on Shadow. The following enter R : Marian, Shadow, The following enter L: Elinor, Robin. 204 SHERWOOD The Fairies and Foresters enter E and L. On stage are the Prioress and the Novice, Costume changes from Act III are the Lady to the Prioress, Widow Scarlet to the Novice, Elinor, Marian, Lords, Ladies. Pages 154, 155. A knock at the door is heard, L, which calls for the Prioress's " Who's that ? " The Novice exits L, and returns at once. Of course Elinor enters L, and the Novice retires L. Page 157. After the bell ceases tolling, the chanting of the Miserere to organ accompaniment off stage should begin, and keep up until the entrance of Eobin Hood. A few girls garbed as nuns can create the illusion of many nuns passing by the window on the way to chapel, by pass- ing and repassing. The bunch light showing sunset (am- bers and reds), may gradually change to moonlight, the necessary lighting for The Forest scene back stage, by blending greens and blues, and gradually withdrawing the ambers and reds. The Novice exits L, the Prioress, R. Eobin enters L, unattended. He has bow and arrows, and bugle, which he drops to the floor at sight of Elinor. Pages 159, 160. The Prioress enters and exits E. The Miserere may be chanted again while Elinor is lancing the arm of Eobin. Marian enters E. The music continues up to Eobin's bugle calls. Page 160. Elinor stabs Marian with a dagger and exits L. Page 161. Shadow enters E and exits E. If possible let him climb in and exit by the casement. Page 162. After Eobin's bugle call, and the faint ones from the forest, and the Foresters^ knocks on the two doors, E and L, the music ceases, the nuns run to and fro out- side the easement, and the Foresters, with loud cries, rush in by way of the two doors. Page 164. After Eobin shoots his arrow through the casement, the music to accompany Eobin's death begins, continues during change of scene, and then merges into SHERWOOD 205 Shadow's song. After his exit through the casement he merely goes up stage and takes his place at the gates of the fence until the Priory set is removed. Little John places Eobin's body by the side of Marian's body, and when the scene changes to The Forest scene, as indicated, their bodies are still lying as placed, but now as if transported to the forest. Shadow, still singing, comes down stage to the bodies, and kneels. The Fairies throng in on all sides up stage and through the gates, and circle about the bodies, extending their arms to them as if to take them with them, symbolizing, in fact, that they do carry their spirits off to Fairyland. They exeunt through the gates and off R and L. Shadow finishes his song, and drops prostrate by the bodies. Pages 168, 169. Titania and Oberon appear at the gates. Use spot light. They come down stage for their dialogue, and return to the gates and close them behind them on Oberon's last lines, page 169. Meanwhile, Shadow is still kneeling over the bodies of Robin and Marian, and the Fairies are softly singing their song in the dis- tance. As the gates close. Shadow starts up, runs and throws himself against the gates as indicated, page 169. The music dies away. Oberon and Titania exeunt R. The spot light is retained on Shadow, softened, and the other lights are subdued. Slow curtain. ; iiiiil LIBRARY OF CONGRESS 014 677 607 3 • „!!'™" ,,,