



Produced by Paul Marshall, Mary Glenn Krause, MFR and the
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                   WORKS BY PERCY MACKAYE


                          _DRAMAS_

              THE CANTERBURY PILGRIMS. A Comedy.
              JEANNE D’ARC. A Tragedy.
              SAPPHO AND PHAON. A Tragedy.
              FENRIS THE WOLF. A Tragedy.
              A GARLAND TO SYLVIA. A Dramatic Reverie.
              THE SCARECROW. A Tragedy of the Ludicrous.
              YANKEE FANTASIES. Five One-act Plays.
              MATER. An American Study in Comedy.
              ANTI-MATRIMONY. A Satirical Comedy.
              TO-MORROW. A Play in Three Acts.
              A THOUSAND YEARS AGO. A Romance of the Orient.
              THE IMMIGRANTS. A Lyric Drama.


                         _MASQUES_

              CALIBAN. A Shakespeare Masque.
              SAINT LOUIS. A Civic Masque.
              SANCTUARY. A Bird Masque.
              THE NEW CITIZENSHIP. A Civic Ritual.


                          _POEMS_

              THE SISTINE EVE, and Other Poems.
              URIEL, and Other Poems.
              LINCOLN. A Centenary Ode.
              THE PRESENT HOUR.
              POEMS AND PLAYS. In Two Volumes.


                          _ESSAYS_

              THE PLAYHOUSE AND THE PLAY.
              THE CIVIC THEATRE.
              A SUBSTITUTE FOR WAR.


                  _AT ALL BOOKSELLERS_

                 Uniform with this volume
                 SAINT LOUIS: A CIVIC MASQUE

        AS ENACTED BY 7,000 CITIZENS OF SAINT LOUIS




CALIBAN

[Illustration: PRELIMINARY SKETCH OF SETEBOS, BY JOSEPH URBAN]




                                CALIBAN
                          BY THE YELLOW SANDS

                                  BY
                             PERCY MACKAYE

                            [Illustration]

                      GARDEN CITY       NEW YORK
                       DOUBLEDAY, PAGE & COMPANY
                                 1916




                ENDORSED BY THE DRAMA LEAGUE OF AMERICA

                         _Copyright, 1916, by_
                             PERCY MACKAYE

                _All rights reserved, including that of
                  translation into foreign languages,
                      including the Scandinavian_

      _All acting rights, and motion picture rights, are reserved
           by the author in the United States, Great Britain
                 and countries of the copyright Union_

                            SPECIAL NOTICE
              Regarding Public Performances and Readings

       No performance of this Masque—professional or amateur—and
       no public reading of it may be given without the written
       permission of the author and the payment of royalty.

       The author should be addressed in care of the publishers.

      During the Shakespeare Tercentenary season of 1916, the
      Masque--after its New York production at the City College
      Stadium, May 23, 24, 25, 26, 27--will be available for
      production elsewhere, on a modified scale of stage
      performance.

      With proper organization and direction, amateur participants
      may take part in performances with or without the Interludes.

      For particulars concerning performances wholly amateur,
      address Miss Clara Fitch, Secretary Shakespeare Tercentenary
      Committee, 736 Marquette Building, Chicago, Ill.

      After June first, a professional company, which will
      coöperate with local communities, will take the Masque on
      tour. For particulars address Miss A. M. Houston, Drama
      League of America, 736 Marquette Building, Chicago, Ill.


                    “_Come unto these yellow sands,
                        And then take hands!_”
                             THE TEMPEST.


                                CALIBAN
                          BY THE YELLOW SANDS


                          _A COMMUNITY MASQUE
                      Of the Art of the Theatre_

                Devised and Written to Commemorate the
                     Tercentenary of the Death of
                              SHAKESPEARE

                          _Illustrations by_
                  Joseph Urban & Robert Edmond Jones

                           TO · THE · ONLIE
                      BEGETTER · OF · THE · BEST
                         IN · THESE · INSUING
                        SCENES · MASTER · W · S




                   LIST OF ILLUSTRATIONS AND CHARTS

      Cover Design: “When the kings of earth
          clasp hands” (Act II, Second Inner
          Scene). By Robert Edmond Jones.

      Preliminary Sketch of Setebos.
          By Joseph Urban                     _Frontispiece_

                                                FACING PAGE
      Ground Plan for Auditorium (with
          Stages of Masque Proper and
          Interludes). By Joseph Urban                  xxx

      Design of Stage for Masque Proper.
          By Joseph Urban                             xxxii

      Preliminary Sketch for Seventh Inner
          Scene. By Robert Edmond Jones                  98

      Preliminary Sketch for Tenth Inner
          Scene. By Robert Edmond Jones                 138

                   APPENDIX
      Inner Structure of Masque (Chart).
          By Percy MacKaye                              154

      A Community Masque Audience
          (Photograph). By E. O. Thalinger              156

      Community Masque Organization Plan
          (Chart). By Hazel MacKaye                     158




                               CONTENTS

                                               PAGE
                    PREFACE                    xiii
                    MASQUE STRUCTURE           xxix
                    PERSONS AND PRESENCES      xxxi
                    PROLOGUE                      3
                    FIRST INTERLUDE              32
                    ACT I                        34
                    SECOND INTERLUDE             76
                    ACT II                       78
                    THIRD INTERLUDE             110
                    ACT III                     111
                    EPILOGUE                    142
                    APPENDIX                    147




PREFACE


Three hundred years alive on the 23rd of April, 1916, the memory of
Shakespeare calls creatively upon a self-destroying world to do him
honor by honoring that world-constructive art of which he is a master
architect.

Over seas, the choral hymns of cannon acclaim his death; in
battle-trenches artists are turned subtly ingenious to inter his art;
War, Lust, and Death are risen in power to restore the primeval reign
of Setebos.

Here in America, where the neighboring waters of his “vexed Bermoothes”
lie more calm than those about his own native isle, here only is given
some practical opportunity for his uninterable spirit to create new
splendid symbols for peace through harmonious international expression.

As one means of serving such expression, and so, if possible, of
paying tribute to that creative spirit in forms of his own art, I have
devised and written this Masque, at the invitation of the Shakespeare
Celebration Committee of New York City.

The dramatic-symbolic motive of the Masque I have taken from
Shakespeare’s own play “The Tempest,” Act I, Scene 2. There, speaking
to Ariel, Prospero says:

                                  “Hast thou forgot
    The foul witch Sycorax, who with age and envy
    Was grown into a hoop? This damn’d witch Sycorax,
    For mischiefs manifold and sorceries terrible
    To enter human hearing was hither brought with child
    And there was left by the sailors. Thou...
    Wast then her servant;
    And, for thou wast a spirit too delicate
    To act her earthly and abhorred commands,
    Refusing her grand hests, she did confine thee,
    By help of her most potent ministers
    And in her most unmitigable rage,
    Into a cloven pine, within which rift
    Imprisoned thou didst painfully remain...
    Then was this island—
    Save for the son that she did litter here,
    A freckled whelp hag-born—not honor’d with
    A human shape... that Caliban
    Whom now I keep in service. Thou best know’st
    What torment I did find thee in,... it was a torment
    To lay upon the damn’d.... _It was mine art_,
    When I arrived and heard thee, that made gape
    The pine and let thee out.”

“It was mine art”.... There—in Prospero’s words [and
Shakespeare’s]—is the text of this Masque.

The art of Prospero I have conceived as the art of Shakespeare in its
universal scope: that many-visioned art of the theatre which, age after
age, has come to liberate the imprisoned imagination of mankind from
the fetters of brute force and ignorance; that same art which, being
usurped or stifled by groping part-knowledge, prudery, or lust, has
been botched in its ideal aims and—like fire ill-handled or ill-hidden
by a passionate child—has wrought havoc, hypocrisy, and decadence.

Caliban, then, in this Masque, is that passionate child-curious part of
us all [whether as individuals or as races], grovelling close to his
aboriginal origins, yet groping up and staggering—with almost rhythmic
falls and back-slidings—toward that serener plane of pity and love,
reason and disciplined will, where Miranda and Prospero commune with
Ariel and his Spirits.

In deference to the master-originator of these characters and their
names, it is, I think, incumbent on me to point out that these four
characters, derived—but reimagined—from Shakespeare’s “The Tempest,”
become, for the purposes of my Masque, the presiding symbolic _Dramatis
Personæ_ of a plot and conflict which are my own conception. They are
thus no longer Shakespeare’s characters of “The Tempest,” though born
of them and bearing their names.

Their words [save for a very few song-snatches and sentences] and their
