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    Magic A Fantastic Comedy
    Magic A Fantastic Comedy
    Magic A Fantastic Comedy
    Ebook114 pages1 hour

    Magic A Fantastic Comedy

    By G. K. (Gilbert Keith) Chesterton

    3.5/5

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    LanguageEnglish
    PublisherArchive Classics
    Release dateApr 1, 2001
    Magic A Fantastic Comedy

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    Reviews for Magic A Fantastic Comedy

    3.5/5

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    • 3/5
      Play which works in Chesterton's ideas of the importance of the magical. A duke hires a magician to keep company with his niece because she believes in fairies. When her brother, a severe rationalist, returns home the magician is revealed as a fraud, but the magician causes several strange things to happen, which throws the rationalist brother into a breakdown. All of them try to get the magician to reveal how the trick is done; when he does, the answer is more upsetting than the problem.I don't think this would make much sense as a stage production. Chesterton believed that the severely rational way of looking at the world was more dangerous than heresy and he uses his characters as types to illustrate various ideas. I enjoyed it--Chesterton is always both fun and thought-provoking.

    Book preview

    Magic A Fantastic Comedy - G. K. (Gilbert Keith) Chesterton

    The Project Gutenberg EBook of Magic, by G.K. Chesterton

    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.org

    Title: Magic

    A Fantastic Comedy

    Author: G.K. Chesterton

    Release Date: August 21, 2006 [EBook #19094]

    Language: English

    *** START OF THIS PROJECT GUTENBERG EBOOK MAGIC ***

    Produced by Suzanne Lybarger, Brian Janes, Melissa Er-Raqabi

    and the Online Distributed Proofreading Team at

    http://www.pgdp.net

     MAGIC

    A FANTASTIC COMEDY

    G.K. Chesterton

    From a photograph

    MAGIC

    A FANTASTIC COMEDY

    BY

    G.K. CHESTERTON

    G.P. PUTNAM'S SONS

    NEW YORK AND LONDON

    The Knickerbocker Press

    1913

    Copyright, 1913

    BY

    G.K. CHESTERTON

    The Knickerbocker Press, New York

    NOTE

    This play was presented under the management of Kenelm Foss at The Little Theatre, London, on November 7, 1913, with the following cast:

    THE PRELUDE

    Scene: A plantation of thin young trees, in a misty and rainy twilight; some woodland blossom showing the patches on the earth between the stems.

    The Stranger is discovered, a cloaked figure with a pointed hood. His costume might belong to modern or any other time, and the conical hood is so drawn over the head that little can be seen of the face.

    A distant voice, a woman's, is heard, half-singing, half-chanting, unintelligible words. The cloaked figure raises its head and listens with interest. The song draws nearer and Patricia Carleon enters. She is dark and slight, and has a dreamy expression. Though she is artistically dressed, her hair is a little wild. She has a broken branch of some flowering tree in her hand. She does not notice the stranger, and though he has watched her with interest, makes no sign. Suddenly she perceives him and starts back.

    Patricia. Oh! Who are you?

    Stranger. Ah! Who am I? [Commences to mutter to himself, and maps out the ground with his staff.]

    I have a hat, but not to wear;

    I wear a sword, but not to slay,

    And ever in my bag I bear

    A pack of cards, but not to play.

    Patricia. What are you? What are you saying?

    Stranger. It is the language of the fairies, O daughter of Eve.

    Patricia. But I never thought fairies were like you. Why, you are taller than I am.

    Stranger. We are of such stature as we will. But the elves grow small, not large, when they would mix with mortals.

    Patricia. You mean they are beings greater than we are.

    Stranger. Daughter of men, if you would see a fairy as he truly is, look for his head above all the stars and his feet amid the floors of the sea. Old women have taught you that the fairies are too small to be seen. But I tell you the fairies are too mighty to be seen. For they are the elder gods before whom the giants were like pigmies. They are the Elemental Spirits, and any one of them is larger than the world. And you look for them in acorns and on toadstools and wonder that you never see them.

    Patricia. But you come in the shape and size of a man?

    Stranger. Because I would speak with a woman.

    Patricia. [Drawing back in awe.] I think you are growing taller as you speak.

    [The scene appears to fade away, and give place to the milieu of Act One, the Duke's drawing-room, an apartment with open French windows or any opening large enough to show a garden and one house fairly near. It is evening, and there is a red lamp lighted in the house beyond. The Rev. Cyril Smith is sitting with hat and umbrella beside him, evidently a visitor. He is a young man with the highest of High Church dog-collars and all the qualities of a restrained fanatic. He is one of the Christian Socialist sort and takes his priesthood seriously. He is an honest man, and not an ass.

    [To him enters Mr. Hastings with papers in his hand.

    Hastings. Oh, good evening. You are Mr. Smith. [Pause.] I mean you are the Rector, I think.

    Smith. I am the Rector.

    Hastings. I am the Duke's secretary. His Grace asks me to say that he hopes to see you very soon; but he is engaged just now with the Doctor.

    Smith. Is the Duke ill?

    Hastings. [Laughing.] Oh, no; the Doctor has come to ask him to help some cause or other. The Duke is never ill.

    Smith. Is the Doctor with him now?

    Hastings. Why, strictly speaking, he is not. The Doctor has gone over the road to fetch a paper connected with his proposal. But he hasn't far to go, as you can see. That's his red lamp at the end of his grounds.

    Smith. Yes, I know. I am much obliged to you. I will wait as

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