2601 A725C4 1 Annan de Caillavet Choosing a Career THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Choosing a Career : a Play n One Act: by G. A. de laillavet : Translated by arrett H. Clark Samuel French : Publisher >8-30 West Thirty -eighth Street : New York f-NTS THE WORLD'S BEST PLATS BY CELEBRATED EUROPEAN AUTHORS BARRETT H. CLARK GENERAL EDITOR Choosing a Career : a Play in One Act: by G. A. de Caillavet : Translated by Barrett H. Clark Samuel French : Publisher 28-30 West Thirty-eighth Street : New York COPYRIGHT, 1915, BY SAMUEL FRENCH G. A. de CAILLAVET To mention Caillavet independently of his col- laborator, Robert de Flers, is most unusual : " Flers and Caillavet" w a dramatist. For some fifteen years these men have written plays in which the art and personalities of the two are so welded together that it is impossible to distinguish which part was written by which. " L' Amour reille " (" Love Watches"), " Le Bois sacre" ("Decorating Clementine"), " Primerose," and "La Belle areit- ture" ("The Beautiful Adventure") are among the comedies of these writers which are already known to the American stage, yet practically all their plays have been performed successfully in every important city on the Continent. The in- comparable wit, humor, charm and sprightliness of the Flers-Caillavet union have made it justly celebrated. Gaston-Armand de Caillavet began his dramatic career as director of a revue in a little theater on the second story of the Eiffel Tower. Hero he produced short plays and here learned his first lessons for, as he once confessed, he had to come in the elevator with part of his audience and hoar their remarks which were at times irritatingly true. " /-(/ Choi.r d'unc carricre." which is here for the first time presented to English readers, was one of these early ((Torts, though it was produced ;it another theater. It is pure farce, full of animal 3 t 5 G. A. de CAILLAVET. spirits, frankly written for the sake of the amuse- ment found in the situations and the bright lines. When playing this little piece amateurs should bear in mind that even farce must not be over- acted. The situation and the personages will " get over," without undue emphasis. The text does not include very definite descrip- tion of furniture, " props," or disposition of the stage. All the furniture that is needed is a table or dresser, to be placed in the upper left- or right- hand corner of the room ; a chair somewhere near the center, and a piano. There are entrances center and right. The valises should contain the few articles enumerated in the text; also a small hand- mirror. CHOOSING A CAREER PERSONS REPRESENTED: LA CIIEVRETTE DUBOIS A WAITER COLETTE SCENE: A small parlor at a sea-side resort in Prance. TIME: The present. CHOOSING A CAREER SCENE: A simple room in a hotel. For furnish- ing and disposition of the stage see the pref- atory note. A WAITER ushers in COLETTC and DLJBOIS, who are in traveling clothes, and carry valises. WAITER. This way, Madame. DUBOIS. (Sitting down) Whew! What a trip! I'm exhausted! WAITER. This room is Madame's, the other is there. (He opens the door to the right) COLETTE. Is that my room? Why, there's not even a bed? WAITER. We shall have one put in at once. The bathers at Anastasie-les-Bains are particularly nu- merous at this season, and we are doubling up on the rooms. This, for instance, is usually a sitting- room. COLETTE. (Peering about toward the right) And this? WAITER. A clothes-closet. DUBOIS. Charming! One has to open the door in order to change one's u&! ^fr *Jtjfut\* WAITER. These were our last vacant rooms. Madame will be very comfortable here. Monsieur, on the other hand, may be a trifle crowded, but he has a superb view. DUIIOIS. There's no window ! WAITKK. A small one, Monsieur, and by stand- ing on a chair 8 CHOOSING A CAREER. COLETTE. Listen to me : You must give us bet- ter accommodations, and as soon as possible. This room is like a pill-box! WAITER. The fresh-air is superb. However, we shall do all in our power, Madame. Your trunks will be brought up at once. (He goes out} COLETTE. (Taking off her veil, and opening her valise) Now DUBOIS. You see, dear? What he says con- firms the doctor's remarks. I know the air here will prove most beneficial. Aren't you happy? COLETTE. Deliriously. DUBOIS. Ah! You're never satisfied! This seems very pleasant. And, if I'm the one who comes here for the cure, it was really you who de- cided me to take the step. COLETTE. (Between her teeth) Pooh! DUBOIS. (Starting to leave) Well, I'll leave you to fix up, and run around to the spring and have my glass. I shan't begin my massages until to-morrow. It seems there's a wonderful masseur here, inventor of the Concentric and Eccentric Massage. Dr. Langlois wrote him to call on me the moment I arrived. They say he's rather pe- culiar, but that he knows his business thoroughly. See you later! (He goes out. COLETTE arranges her hair in front of the glass, powders her face, etc.) (Enter LA CHEVRETTE. He falls into the chair in which DUBOIS has been sitting.) LA CHEVRETTE. Whew, what a trip! I'm ex- hausted ! COLETTE. (Not turning round) You've said that once before. LA CHEVRETTE. No, I haven't you're mis- taken. COLETTE. (Suddenly facing him) What! Oh, the man in the train ? ! You here, Monsieur ! CHOOSING A CAREER. 9 LA CHEVRETTE. (Rising amiably) Madame, allow me to introduce myself. COLETTE. I shall allow you to leave the room instantly. LA CHEVRETTE. You wouldn't think of sending me away without knowing who I am? COLETTE. (Coldly) Monsieur, this is my room ! Will you please go? LA CHEVRETTE. (In despair) Ah, Madame, I am desperate! (Seats himself once more) COLETTE. (Outraged) Monsieur! LA CHEVRETTE. (Quickly) Yesterday evening, Madame, I was accompanying a childhood friend of mine to the Lyons Station ; I came straight from the table, you see. (He opens his overcoat and shows evening clothes) I was standing in the large court-yard. Happy, content with my lot, I paced back and forth COLETTE. Please ! LA CHEVRETTE. (Authoritatively) Hush! A free heart palpitated within this thoracic box. (He strikes his chest) Love! Ah, then I knew noth- ing of its imperial subjection only its occasional and vagarious manifestations. I stood gazing at the starry vault of heaven. Before me, indifferent rhythmic martinets ! two police-officers passed. I was happy- COLETTE. (Starts to ring) I- LA CHEVRETTE. (Stopping her by a ivave of the hand) You appeared ! You stepped out of a tiny omnibus burst from it like water from a fountain. I looked at you then ah ! COLETTE. (Trying to stop him) This is out- rageous ! LA CHEVRETTE. (Undaunted) I followed in hot haste, and bought my ticket. The fellow who was with you COLETTE. Is my husband. LA CIIFVRKTTI:. Your husband indeed. A io CHOOSING A CAREER. vulgar type no appearance, no life hardly a man ! COLETTE. This is too much ! LA CHEVRETTE. It was only a snap judgment, of course ! When he asked for " Two firsts to Anastasie-les-Bains," I said, " Same for me ! " I took the two tickets, followed you to your compart- ment ; you took notice of me COLETTE. I ? ! LA CHEVRETTE. You recognized me just now! We rode side by side; we passed Melun, stopped at Montargis, scorched by Cosne and Nevers on we sped, through salty Bourgogne, through the fertile Bourbonnais. We supped to- gether at Gien, and lunched at Neussargues and oh marvelous and happy portent! the guard punched our tickets at the same time, as we were crossing the Roanne ! Together we stepped out at Anastasie-les-Bains. If during that night of platonic intoxication I did not give words to the volcanic forces surging within me, it is because, Madame, I am cursed with the most ridiculous timidity (He drinks a glass of water) COLETTE. (Who cannot restrain her laughter) Is that all you have to say ? very well ; I am will- ing, Monsieur, to forgive you for this absurd rig- marole. I have to spend three mortal weeks in this impossible hole, and you have helped me pass five minutes of the time very pleasantly. That is all, now, isn't it? (She bows) LA CHEVRETTE. But, Madame I love you! COLETTE. (Dryly) Monsieur ! LA CHEVRETTE. I love you, I COLETTE. That is enough, Monsieur. I am married. I don't even know you. LA CHEVRETTE. I beg your pardon I'm so nervous : my name is Henri la Chevrette. I am an explorer COLETTE. My compliments ! LA CHEVRETTE. But, Madame, you would not CHOOSING A CAREER. 11 dream of showing the door to a man who has spent two years in the sands of the Sahara! COLETTE. (Shrugging her shoulders') The Sahara ? Really ? LA CHEVRETTE. When I returned I was wel- comed by the whole city of Paris ! COLETTE. (Laughing) Well, I suggest that you introduce yourself to my husband. LA CHEVRETTE. Delighted! COLETTE. I warn you, he is fearfully jealous. LA CHEVRETTE. But so am I! Then you allow me to breathe the same atmosphere as you? Ah, the realization of my dream! Madame, if I could but tell you how I loved you ! But my blessed t'midity, you know - COLETTE. I have already noticed it ! LA CHEVRETTE. Before you I am mute dumbfounded - / * u COLETTE. (Aside) LA CHEVRETTE. While I cannot pretend to be a poet, I am an artist at times I can dream COLETTE. Listen to me, Monsieur Monsieur ? LA CHEVRETTE. La Chevrettc. COLETTE. Monsieur La Chevrettc, this joke has gone quite far enough. I realize that at a water- ing-place one can be a little lax in these matters ; I have no objection, either, to seeing you from time to time, but let me repeat : I have a husband, and 1 am devoted to him. LA CHKVRETTI:. Poor woman! COLETTE. You are very tiresome ! I Xoise out- side) LA CHEVRETTE. What's that? <"ou rr::. My husband. LA CiiF.VRi.TTK. Your bur-band? I'll be run- f'ng.- -Is tliis your room ? Well, get (lustave out tin; wny. Cni.KTT!:. (iiistrivc? l.\ ("ui VKITTI;. Your husband. 12 CHOOSING A CAREER. COLETTE. His name is Adolphe. LA CHEVRETTE. We shall call him Gustave! COLETTE. You are out of your mind! LA CHEVRETTE. Get rid of Gustavus Adolphus. I shall return in eight minutes ! (He disappears, left) COLETTE. (Furiously) Eight minutes! Ha! Whom does he take me for! Monsieur! (She goes to the door, while DUBOIS enters) DUBOIS. (Joyfully) I had two glasses. COLETTE. This is too much! DUBOIS. No? Two glasses ! I feel wonder- fully restored this cure will do miracles for me COLETTE. In eight minutes ! DUBOIS. Eight minutes? That's an exaggera- tion. COLETTE. Didn't you see him? DUBOIS. Whom ? COLETTE. The audacity ! DUBOIS. I ? COLETTE. You don't understand How out- rageous! In eight minutes, I tell you! Here! Don't you see? (Struck with an idea) That's it! (Gathering together her valise and wraps) You take this room, I'll take the other DUBOIS. But?! COLETTE. (Carrying her things with her toward the door) Never mind, I can take them myself. See you later! (She goes into the next room, closing the door after her) DUBOIS. What's the trouble? Ah, Colette! (Looking at his watch) That masseur ought to be here now four o'clock! (He unpacks his valise, arranging the various toilet articles on the table) (Enter LA CHEVRETTE, precipitately.) LA CHEVRETTE. Here I am ! DUBOIS. Ah, it's you? I'm so glad to see you! (Bowing) Monsieur CHOOSING A CAREER. 13 LA CHEVRETTE. Ah! I Monsieur Hm! Whew! DUBOIS. I was expecting you. LA CHEVRETTE. What? Ah, I (A long pause, after which LA CHEVRETTE, not knozving what to do, begins to laugh) DUBOIS. (Aside) He's a jovial soul! (To LA CHEVRETTE) To tell you the truth, I hardly ex- pected to see you before to-morrow. LA CHEVRETTE. Ha! Ha! (Aside) He thinks I'm someone else! Whom, I wonder? DUBOIS. Did you get Langlois' letter? LA CHEVRETTE. Langlois' letter? DUBOIS. Naturally since you are here! LA CHEVRETTE. Naturally here I am! DUBOIS. You see, I've never had the honor of meeting you before. LA CHEVRETTE. No, never met me! Of course. DUBOIS. Of course what? LA CHEVRETTE. It's too complicated to explain an involved family matter. DUBOIS. I've never seen you before, but I should have recognized you at once, from Langlois' de- scription. LA CHEVRETTE. Of course dear old Langlois! (Aside) Who the deuce ? DUBOIS. In that case there's no need of going into details LA CHEVRETTF.. Of course, but still do it, please ! DUBOIS. No, no, I place myself entirely in your charge. A man who is so thoroughly competent as yourself I leave it all to you! You understand ? LA CHEVRETTE. Certainly why, only yesterday I was thinking of you DUBOIS. Really ? LA CHEVRETTE. Yes, I kept repeating to myself: He is coming to-morrow, he is coming to-morrow 14 CHOOSING A CAREER. (He coughs) Hm let me see, how do you spell your name? DUBOIS. (Surprised) Why D-U-B-O-I-S . Dubois. LA CHEVRETTE. Indeed and now (He is about to go) DUBOIS. No, no, I'd like some information. How, for instance, are you going to begin? LA CHEVRETTE. Well, I well, I intended to no, I hardly think I shall tell you, but I know you will be satisfied. DUBOIS. I'm sure of it. You are so jovial, I see! LA CHEVRETTE. (Rising) I am. And now DUBOIS. (Retaining him) You are in a hurry. Let us chat a little Do you like your work? LA CHEVRETTE. My w ? Hm you know DUBOIS. I have an idea It's just four o'clock now. We have time. Why not ? LA CHEVRETTE. (Aside) Now I shall find out! DUBOIS. I can see how I shall like your work. LA CHEVRETT. Of course I'll wait. (He sits down again) DUBOIS. No, no now. I mean. Come! (He points inadvertently toward the piano) LA CHEVRETTE. (Aside) The piano! Ah! (He goes toward the piano) You like it? DUBOIS. I adore music. LA CHEVRETTE. Here's a military funeral- march. (He sits at the piano and plays a few bass- notes) DUBOIS. But LA CIIEVRETTE. There's nothing remarkable in that. Do you like Wagner? Have you studied counterpoint? Adagio? DUBOIS. No ! LA CHEVRETTE. Pizzicato? Presto? Met- ronome? No? No? In that case, Monsieur, it CHOOSING A CAREER. 15 is useless for you to pursue your studies with me. (He leaves the piano) DUBOIS. Well, what ? What has music to do with me? LA CHEVRETTE. Oh? Why not say so at once, then ? DUBOIS. The idea! You are a curious fellow! Now, let's not waste any more time. (He begins to unbutton his waistcoat) See here between my shoulders makes it look as if my waistcoat were too narrow for me. Here, would you like to see? (He turns his back to LA CHEVRETTE) LA CHEVRETTE. (Aside) He thinks I'm a tailor ! DUBOIS. Well ? LA CHEVRKTTE. (Brusquely) Button it up, now. ( DUBOIS does so) Here. (He takes his pen-knife from his pocket and opens the blade) Between the shoulders yes. (He pretends to mark DUBOIS' back as if ivith a piece of tailor's chalk) And here the cuff is too long. (He cuts off the lower part of the coat-si eere) DUBOIS. Here, what are you doing? LA CHEVRETTE. (Busily engaged, as he attacks the other sleeve helping DUBOIS off with his coat) One moment ! You must have these sleeves cut right. Now (He cuts off the other cuff) DUBOIS. (Alarmed) What the deuce! Me is eccentric! I'm so glad Langlois told me before- hand! LA CHKVRETTE. So Langlois told you : Have you noticed ? Langlois foresees everything. Now, if you'll let me see your other clothes DUBOIS. Indeed ! Why you behave like a tailor! LA CHEVRETTE. (Astonished) Ah! What bad luck ! DUBOIS. I told you about my shoulders because I thought you'd like to know. 16 CHOOSING A CAREER. LA CHEVRETTE. (Aside) If I could only get out of this alive! (He tries again to make for the door, but DUBOIS grasps his arm) DUBOIS. Never mind. (He leads LA CHEV- RETTE back to the chair, where he himself sits down. LA CHEVRETTE stands at his side) Now, a matter of graver importance : during the past year I have been subject to severe headaches, I'm losing my hair, and my blood is very thin. I ought to have a friction treatment every day. LA CHEVRETTE. (Very much annoyed aside) Friction ha! So I'm a barber? What luck! (He seises a clothes' brush and violently rubs DUBOIS' head) DUBOIS. Ow! What are you doing now? LA CHEVRETTE. My system! Your hair will grow again in six weeks' time ! All over you ! DUBOIS. Thank you, I don't care for that ! LA CHEVRETTE. You'll see! (Hands DUBOIS a hand-glass) There ! DUBOIS. (Looking at himself) Fearful! LA CHEVRETTE. How easy it is, Monsieur, to criticize ! DUBOIS. Nonsense ! Listen to me ; you do too many things ; if you want to succeed, you had bet- ter confine yourself to your profession, and not try to act the barber LA CHEVRETTE. Then I'm not a barber?! DUBOIS. Ha! Ha! LA CHEVRETTE. Not a barber! Then what am I? DUBOIS. No, indeed! I can feel what you are by the strength of your arm. What hands for a boxer ! LA CHEVRETTE. (Aside) Boxer! Good! (To DUBOIS) On guard! DUBOIS. (Going up to LA CHEVRETTE) I'm sure this will benefit me go straight ahead! LA CHEVRETTE. Time! (LA CHEVRETTE admin- CHOOSING A CAREER. 17 isters on? thrust after another, while DUBOIS, thun- derstruck, falls about the room) Right! Left! Uppercut ! Direct ! DUBOIS. Here, here ! You're killing me ! Stop ! Stop ! I've never seen anything like this. LA CHEVRETTE. It's my system. DUBOIS. Well, I don't like your system ; let me tell you that ! You're as bad as a boxer LA CHEVRETTE. What! As bad ? (He stops short) DUBOIS. Yes. LA CHEVRETTE. Then I'm not one? DUBOIS. And to think that Langlois spoke of your great touch, your lightness ! LA CHEVRETTE. Curse Langlois! Listen to me: exactly what did Langlois say? I must know. DUBOIS. He said, " You will notice at once how skilful he is." You are simply ridiculous! LA CHEVRETTE. Now, Gustave DUBOIS. Gustave? Whom are you speaking to? And let me tell you, you ! COLETTE. (Appearing in her door at the right) What is all this noise? LA CHEVRETTE. Ah! Now! DUBOIS. I was told you were eccentric, but I couldn'.t have believed all this possible! COLETTE. (To DUBOIS) What's the trouble? Who is that man? DUBOIS. The masseur. COLETTE. He?! LA CHEVRETTE. He's crazy! (Aside) At last! DUBOIS. Don't come near me, for the love of Heaven! The way decent people are treated here, huh ! LA CHEVRETTE. But, Monsieur DUBOIS. Keep away ! I want nothing more to do with you ! COI.FTTE. Now, now, dear. You were told that he had his little peculiarities i8 CHOOSING A CAREER. DUBOIS. Peculiarities ! COLETTE. Get ready now; I feel sure he will prove most satisfactory. LA CHEVRETTE. (In despair to COLETTE) I, Madame? I a masseur? COLETTE. (Oratorically) And you said you cared for me, Monsieur! LA CHEVRETTE. That's not the question ! COLETTE. Ah ! LA CHEVRETTE. Anything else, Madame, and I shall be glad to do it. COLETTE. To work, or never lay eyes on me again ! LA CHEVRETTE. But I'm not a masseur, Ma- dame. DUBOIS. You're not a masseur? COLETTE. What, are you not ? DUBOIS. "Well, if you're not a masseur, what are you doing here? COLETTE. Yes what indeed? DUBOIS. Who are you, then? Why did you force your way in here? (He is about to ring for a servant) COLETTE. (Intercepting him) No, no! (To LA CHEVRETTE) Confess! (To DUBOIS) It's another of his jokes. Remember what Doctor Langlois said. LA CHEVRETTE. Langlois! Ha! COLETTE. Now, will you attend to my husband? DUBOIS. I refuse to allow him! COLETTE. How childish, dear! Sit down now. DUBOIS. (Defiantly) Well, just to be agreeable to you! COLETTE. Begin with the right leg. (She forces LA CHEVRETTE to kneel) LA CHEVRETTE. (To COLETTE) Let me tell you one thing, Madame: never again shall I follow any one from the Lyons Station! DUBOIS. Careful, there! CHOOSING A CAREER. 19 COLETTE. (To LA CHERVETTE) How amusing! DUBOIS. (Languorously) Ah! (As LA CHEVRETTE starts to work) COLETTE. It is nice, isn't it? (To LA CHEV- RETTE) Now, the other! DUBOIS. (To LA CHEVRETTE) Splendid, old man! Have dinner with us, will you? LA CHEVRETTE. Dinner? DUBOIS. Insist, Colette! COLETTE. If you like, dear. LA CHEVRETTE. (Rising, still holding DUBOIS' left foot in his hand) Madame, too good of you! DUBOIS. Wonderful effect! Marvellous! I feel twenty years younger already! I think I'm sure you'll pardon us? I think we'll dine alone this evening. And don't forget to come to-morrow! LA CHEVRETTE. (Preparing to go) Hm!? DUBOIS. And, if you would be so obliging, please turn on the electricity when you go? LA CHEVRETTE. There is no electricity! DUBOIS. Never mind, then! LA CHEVRETTK. Good-night. ( He goes) CURTAIN THE WORLD'S BEST P]LAYS By Celebrated European Authors A NEW SERIES OF AMATEUR PLAYS BY THE BEST AUTHORS, ANCIENT AND MODERN, ESPECIALLY TRANSLATED WITH HISTORICAL NOTES, SUG- GESTIONS FOR STAGING, Etc., FOR THE USE OF SCHOOLS, COLLEGES, AND DRAMATIC CLUBS BARRETT H. CLARK General Editor W ITH the immensely increased demand for new plays for purposes of production by amateurs comes a correspondingly great demand for a care- ful selection of those plays which can be easily and well presented by clubs and colleges. The plays in the present series have been chosen with regard to their intrinsic value as drama and liter- ature, and at the same time to their adaptability to the needs and limitations of such organizations. The Series, under the personal supervision of Mr. Barrett H. Clark, instructor in the department of Dramatic Literature at Chautauqua, New York, assistant stage manager and actor with Mrs. Fiske (season 1912-1913), now comprises ten volumes, and fifteen more will make their appearance during the year. Eventually there will be plays from ancient Greece and Rome, Italy, Spain, France, Russia, Germany, and the Scandinavian countries, repre- sentative of some of the best drama of all ages and lands. Each volume Is prefaced by a concise historical note by Mr. Clark, and with a few suggestions for staging. Plays Now Ready INDIAN SUMMER, a comedy in one act by MEILHAO and HALEVY. This little play, by two of the most famous writers of comedy of the last century, has been played at the Com&lie Fran- caise at Paris for upwards of forty years, and remains one of the brightest and most popular works of the period. PUICK 25 CENTS. ROSALIE, by MAX MAUREY. A " Grand Guignol " comedy in one act, full of verve andclever dialogue. Rosalie, the stubborn maid, leads her none too amiable master and mistress into uncomfortable complications by refusing to open the front door to a supposed guest of wealth and influence. PRICE 25 CENTS- MODESTY, by PAUL HBRVIUJ. A delightful trifle by one of the most celebrated of living dramatists. PRICE 25 CENTS. THE ART OP BEING BORED. (Le Monde ou I'on s'Ennuie), a comedy in three acts by EDOUAHD PAILLERON. Probably the best- known and most frequently acted comedy of manners In the realm of nineteenth century French drama. It is replete with wit and comic situations. For nearly forty years it has held the stage, while count less imitators have endeavored to reproduce Its fresh- ness and charm. PRICE 25 CENTS. A MARRIAGE PROPOSAL, by ANTON TCHEKHOFF, a comedy In one act. by one of the greatest of modern Russian writers. This little farce Is very popular in Russia, and satirizes the peasants of that country in an amusing manner- PRICE 25 CENTS. THK GREEN COAT, by ALFRED in: MITSSET and KMI I,K Arm KU. A slight and comic character sketch of the life of Bohemian artists In Paris, written by one of France's greatest poets and one of her best-known dramatists. PRICE 25 CENTS. THE WAGER, by GIUSEPPE GIAOOHA. This one act poetic comedy, written by the most celebrated dramatist of modern Italy, was the author's first work. It treats of a wager madi- by a proud young page, who risks his life on the outcome of a gatnu of cheas- I'KICC 25 THE LITTLE SHEPHERDESS, a poetic comedy in one act, by ANDRE RIVOIRE. A charming pastoral sketch by a well-known French poet and dramatist. Played with success at the Coruedie Francaise. PRICE 25 CENTS. PHORMIO, a Latin comedy by TERENCE. An up-to-date version of the famous comedy. One of the masterpieces of Latin drama; the story of a father who returns to find that his son has married a slave girl. Phormio, the parasite-villain who causes the numerous comic complications, succeeds in unraveling the difficulties, and all ends happily. PRICE 25 CENTS. THE TWINS, a Latin farce by PLAUOTS, upon which Shake- speare founded his Comedy of Errors. PRICE 25 CENTS. THE BOOR, by ANTON TCHEKOFF. A well-known farce by the celebrated Russian master; it is concerned with Russian peasants, and portrays with masterly skill the comic side of country life. PRICE 25 CENTS. THE BLACK PEARL,, by VICTORIEN SARDOU. One of Sardou's most famous comedies of intrigue. A house has, it is thought, been robbed- But through skilful investigation it is found that the havoc wrought has been done by lightning. PRICE 25 CENTS. CHARMING LEANDRE, by THEODORE DE BANVILLE. The author of " Grlngoire " is here seen in a poetic vein, yet the French- man's innate sense of humor recalls, in this satirical little play, the genius of Moliere. PRICE 25 CENTS. THE POST-SCRIPTUM, by EMILE AUGIER. Of this one-act comedy Pro "essor Brander Matthews writes: "... one of the brightest and most brilliant little one-act comedies in any language, and to be warmly recommended to American readers." PRICE 25 CENTS. THE HOUSE OF FOURCHAMBAULT, by EMILE AUGIER. One of the greatest of recent French family dramas. Although the play is serious in tone, it contains touches which entitle it to a position among the best comedies of manners of the times. PRICB 50 CENTS. THE DOCTOR IN SPITE OF HIMSELF, by MOIJERE. A famous farce by the greatest of French dramatists. Sganarelle has to be beaten before he will acknowledge that he Is a doctor, which he Is not. He then works apparently miraculous cures. The play is a sharp satire on the medical profession In the 17th Century. I'm HE 25 CENTS. BRIGNOL. AND HIS DAUGHTER, by CAPTTS. The first comedy In English of the most sprightly and satirical of present- day French dramatists. PRICE 50 CENTS. CHOOSING A CAREER, by G. A. DE CAIL.L.AVET. Written by one of the authors of " Love Watches." A farce of mistaken Identity, full of humorous situations and bright lines- PRICE 25 CENTS- FRENCH WITHOUT A MASTER, by TRISTAN BERNARD. A clever farce by one of the most successful of I'rench dramatists. It is concerned with the difficulties of a bogus-interpreter who does not know a word of French. PRICE 25 CENTS. PATEH NOSTER. a poetic play In one act, by FRANCOIS COPPBE. A pathetic Incident of the time of the Paris Commune, In 1S71. PBICE 25 CENTS. University of California SOUTHERN REGIONAL LIBRARY FACILITY 405 Hilgard Avenue, Los Angeles, CA 90024-1388 Return this material to the library from which it was borrowed. iitUJ) MC.ftt, JAN 15 REC'D YRL JdN 6 Ml THE LIBRARY UNIVERSITY OF CALIFORNIA LOS ANGELES Rj 2601 Gail la vet - A726C4E Choosing a career BINDERY ULU 1 D PQ 2601 A725CUE Unive; Sou Li