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    Magda A Play in Four Acts
    Magda A Play in Four Acts
    Magda A Play in Four Acts
    Ebook1,097 pages1 hour

    Magda A Play in Four Acts

    By Charles Edward Amory Winslow and Hermann Sudermann

    ()

    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateDec 31, 1998
    Magda A Play in Four Acts

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      Book preview

      Magda A Play in Four Acts - Charles Edward Amory Winslow

      The Project Gutenberg EBook of Magda, by Hermann Sudermann

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.net

      Title: Magda

      A Play in Four Acts

      Author: Hermann Sudermann

      Translator: Charles Edward Amory Winslow

      Release Date: November 1, 2010 [EBook #34184]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK MAGDA ***

      Produced by Charles Bowen, from page scans provided by Google Books

      Transcriber's Notes:

      Page scan source: http://books.google.com/books?id=9pUnAAAAMAAJ&printsec

      MAGDA

      A Play In Four Acts

      By

      HERMANN SUDERMANN

      Translated from the German by

      CHARLES EDWARD AMORY WINSLOW

      Copyright, 1895, by

      Lamson, Wolffe and Company.

      Assignment of above Copyright to

      Emanuel Lederer,

      13 West 42d Street, New York City,

      recorded in Assignment Book

      V. 21 Page 143, June 8,1899, Washington, D. C.

      CAUTION.-Professionals and amateurs are hereby notified that this play is fully copyrighted under the existing laws of the United States Government, and nobody is allowed to do this play without first having obtained permission of Samuel French, 24 West 22d Street, New York City, U. S. A.

      Copyright, 1895,

      By Lamson, Wolffe, and Company.

      MAGDA

      CHARACTERS

      Lieutenant-Colonel Leopold Schwartz.

      Pastor Heffterdingt

      Dr. Von Kellner

      Max

      Major-General Von Klebs

      Prof. Beckmann

      Mrs. Schwartz, the stepmother

      Franziska

      Mrs. General Von Klebs

      Mrs. Justice Ellrich

      Mrs. Schumann

      Theresa, the Schwartzs' maid

      SYNOPSIS

      Note.

      Herr Hermann Sudermann has achieved surprising success in passing from novel-writing to dramatic authorship. He has a style of the utmost distinction, and is well skilled in technique. His masterpiece, Heimat, is absolutely original. No play has ever produced a more impressive effect upon German audiences. When it ceases to be performed, it will still hold a permanent and important place in the libraries of dramatic literature. Though a psychological study, there is no concentration of attention upon morbid conditions. All these have passed before the play begins. There is no passion for mere passion's sake. Its development proceeds from the energies of circumstances and character. Herr Sudermann, unlike some of the new dramatists, is not lacking in humor; and the snobbishness, stuffy etiquette, and scandal-mongering of a provincial town are well illustrated by the minor characters. Into this atmosphere comes the whirlwind from the outer world with fatal effect. It is scarcely possible to conceive more varied and intense emotions naturally and even inevitably evolved from the action of a single day. The value of the drama lies in the sharp contrasts between the New and the Old, alternately commanding, in their strife, the adhesion of the spectator or reader. The preparation for the return of The Prodigal Daughter occupies an entire act, and invests her entrance with an interest which increases until the tremendous climax. Yet the proud martinet father commands our respect and sympathy; and the Pastor, in his enlightened self-conquest, is the antithesis alike of the narrowness and lawlessness of parent and child, and remains the hero of the swift tragedy. It is not uncommon that the scrupulousness attending circumstances where partiality would be a natural impulse, makes criticism even unusually exacting. It is believed that in this spirit the present translation may be somewhat confidently characterized as being both spirited and faithful.

      E. W.

      The Oxford.

      January, 1896.

      Persons.

      Place. The principal city of a province.

      Time. The present.

      MAGDA.

      ACT I.

      Scene. Living-room in house of Lieutenant-Colonel Schwartze, furnished in simple and old-fashioned style. Left, at back, a glass door with white curtains through which the dining-room is seen. There is also a hall door, through which a staircase to the upper story is visible. Right, a corner window, with white curtains, surrounded by ivy. Left, a door to the Lieutenant-Colonel's room. Steel engravings of a religious and patriotic character, in tarnished gold frames, photographs of military groups, and cases of butterflies on the walls. Right, over the sofa, among other pictures, is the portrait of the first Mrs. Schwartze, young and charming, in the costume of the sixties. Behind the sofa, an old-fashioned desk. Before the window, a small table with workbox and hand sewing-machine. At the back, between the doors, an old-fashioned tall clock. In the left-hand corner, a stand with dried grasses; in front, a table with a small aquarium. Left, in front, a corner sofa with a small pipe-cupboard behind it. A stove with a stuffed bird on it; and behind, a bookcase with a bust of the old Emperor William.

      [Marie and Theresa discovered. Theresa at the door. Marie is occupied with the sewing-machine.]

      THERESA.

      Miss Marie!

      MARIE.

      Well!

      THERESA.

      Is your father still lying down?

      MARIE.

      What's the matter? Has any one called?

      THERESA.

      No, but-- There! Look at that! [Producing a magnificent mass of flowers.]

      MARIE.

      Good Heavens! Take it to my room quickly, or papa-- But, Theresa, when the first came yesterday, weren't you told not to let any more be left?

      THERESA.

      I'd have sent the florist's boy away if I could, but I was up on the ladder fixing the flag, and he laid it down and was gone before I could stop him. My, my, though, they're beautiful! and if I might make a guess, the Lieutenant--

      MARIE.

      You may not make a guess.

      THERESA.

      All right, all right. Oh, I know what I wanted to ask. Does the flag hang well? [Marie looks out, and nods assent.]

      THERESA.

      The whole town is full of flags and flowers, and the most expensive tapestries are hung out of the windows. One would think it was the King's birthday. And all this fuss is about a stupid Music Festival! What is this Music Festival, Miss Marie? Is it different from a choral festival?

      MARIE.

      Yes, indeed.

      THERESA.

      Is it better?

      MARIE.

      Oh, much better!

      THERESA.

      Oh, well, if it's better-- [A knock.]

      MARIE.

      Come in! Enter Max.

      THERESA.

      Well, now I suppose I can leave the flowers.

      [Exit Theresa, laughing.

      MARIE.

      You ought to be ashamed of yourself, Max.

      MAX.

      What on earth do you mean?

      MARIE.

      Aren't these flowers yours?

      MAX.

      Good Heavens! I can afford a few pennies for a bunch of violets once in a while, but this-- Oh, no!

      MARIE.

      Nor yesterday's?

      MAX.

      No, nor yesterday's. [Marie rings.]

      Enter Theresa.

      MARIE.

      Please throw these flowers away.

      THERESA.

      What! Throw those beautiful flowers away?

      MARIE.

      You are right. The pastor would say, If God's gifts do not please us, we must at least take care that they give pleasure to others. Wouldn't he?

      MAX.

      Probably he would.

      MARIE.

      Then you had better take them back to the florist's. Did they come from Zimmerman's? [Theresa nods.] Well, we'll sell them if we can, and give

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