Scene III The scene opens as the beggar is hurrying along. The two men are hiding behind a tree. Suddenly they leap upon him, stanza 22, and despoil him, stanza 24. The appeal of the beggar comes next, stanzas 27 and 28; then the retort of the men, stanzas 29 and 30. The beggar's explanation and proposal occur in stanzas 35 through 38. The beggar is freed in stanza 39. The men hold council, stanzas 39, 40, 41; they tell the beggar their decision, stanza 42. Stanzas 44 through 46 give the action of the beggar preparatory to the climax, flinging the meal in the men's faces, stanza 47. His chastisement of the men occurs next, stanzas 49 and 50. The men start to run away, stanza 51; the beggar addresses them, stanzas 52 and 53. Stanzas 54 and 55 tell of the beggar's escape. Scene IV This scene discovers Robin half reclining on the ground, his companion keeping watch by his side. As the curtain rises, the men come running in all covered with meal. Robin greets them, stanza 56, and inquires why they are covered with meal, stanza 57. They tell their story, stanza 60 through 62. The ballad is here in indirect discourse. It must be turned into speeches for the men. The thought of the last stanza should be suggested by inserting a speech for Robin with appropriate action. E. THE LYRIC I. SHORT LYRICS For treatment similar to that applied to the Spring Fantasy, the following themes are suggested: Winter, worked up, through various poets, into a Christmas celebration; Greek Characters from the poets, forming a series of classic tableaux; Fairy-lore and the World of Mystery, from poems dealing with the supernatural. The field is almost inexhaustible. II. L'ALLEGRO AND IL PENSEROSO John Milton The many charming pictures found in L'Allegro and Il Penseroso can be profitably visualized for high school use. Such presentation helps materially in interpreting the poems. The reader, in this case, may be dressed in cap and gown to impersonate the young Milton. As in other similar dramatic adaptations, he stands far to one side of the stage, so that he in no way becomes a part of the stage picture. The following tableaux are suggested. L'Allegro TABLEAU I. Banishment of Melancholy The stage presents a spring landscape. Melancholy, clad in somber robes, enters and moves about as if seeking a safe retreat during the reading of the opening lines. At the conclusion, Melancholy disappears. Reading. (Lines 1 through 10.) TABLEAU II. Summons of Mirth As Melancholy disappears, Mirth comes tripping in, followed by her companions, Jest, Jollity, Quips, Cranks, Wiles, Nods, Becks, Smiles, Sport, Laughter, and Liberty, appropriately gowned in Greek robes, flowers garlanded about them. At the closing lines, Come, and trip it, as you go, On the light fantastic toe; And in thy right hand lead with thee Mirth takes Liberty by the hand and leads in a merry dance. Music. Reading. (Lines 11 through 36.) TABLEAU III. Country Dance on the Green As the curtain rises, many girls and boys come trooping in, dressed in picturesque country fashion. One or two have violins on which they are playing a merry tune. They form for dancing, and as the lines are read go through with the figures of a country dance. Reading. (Lines 91 through 99.) TABLEAU IV. Fireside Scene A merry group of country lads and lasses are seated about a blazing fireplace, cracking nuts, and telling tales. Reading. (Lines 100 through 116.) TABLEAU V. L'Allegro The scene is a spring landscape. L'Allegro is discovered alone, seated on a rustic bench listening entranced, to music, as the concluding lines of the poem are read. TABLEAU I. Banishment of Joys The scene presents an autumn landscape. Several girls gayly dressed enter and frolic about the stage during the reading. All rush madly out as the last line is read. Reading. (Lines 1 through 10.) TABLEAU II. Summons of Melancholy As the lines for this tableau are read, Melancholy, arrayed in soft, clinging robes of somber hue, enters "with even step, and musing gait." She is followed by her com panions, Peace, Quiet, Fast, Leisure, and Contemplation. They join in a stately march, which they execute with much grace to slow music. Reading. (Lines 11 through 54; omitting 17 through 22 and 25 through 30.) TABLEAU III. Fireside Scene Il Penseroso, dressed as a mediaeval student, sits on a rude bench before a grate fire, which has almost died out. An open book is on his lap, but he is lost in contemplation and gazes at the flickering logs, as the lines are read. Reading. (Lines 73 through 84.) TABLEAU IV. Il Penseroso Il Penseroso, garbed in monastic robe, prayer book in hand, paces back and forth with measured tread, while solemn music is softly played. Reading. (Lines 155 through poem.) I. TEXTS USED FOR SPECIMEN DRAMATIZATIONS Arnold, Matthew. (Sohrab and Rustum.) Browning, Robert. (Song from Pippa Passes.) Selected Poems. (The Lake English Classics.) Butcher, S. H. and Lang, A. (Translators) The Odyssey of Homer. (The Macmillan Company.) Chaucer, Geoffrey. (The Prologue.) Selections from Chaucer. (The Lake English Classics.) Cooper, James F. The Last of the Mohicans. (The Lake English Classics.) Dickens, Charles. A Tale of Two Cities. (The Lake English Classics.) Eliot, George. Silas Marner. (The Lake English Classics.) Gayley, C. M. and Flaherty, M. C. (Robin Hood Ballads.) Poetry of the People. (Ginn and Company.) Goldsmith, Oliver. The Vicar of Wakefield. (The Lake English Classics.) Hawthorne, Nathaniel. (David Swan and The Ambitious Guest.) Twice-Told Tales. (The Lake English Classics.) (Feathertop.) Mosses from an Old Manse. (The Macmillan Company.) Irving, Washington. (The Adventure of My Aunt.) Tales of a Traveller. Lang, A., Leaf, W., and The Iliad of Homer. Longfellow, Henry W. Narrative Poems. Milton, John. (Comus.) Minor Poems. (The Lake English Classics.) |