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Arnold Bennett's 'Judith, a Play in Three Acts,' draws upon the Apocryphal Book of Judith, skillfully reinterpreting the ancient narrative with a modernist flair of dramaturgy. Bennett's adaptation breathes new life into the formidable Biblical figure, Judith, presenting her story against the backdrop of socio-political turmoil and spiritual struggle. His literary style marries the richness of Edwardian prose with the crispness of modern dialogue, providing a captivating blend that appeals to both classical sensibilities and contemporary tastes. This work resides within the broader literary context of the early 20th century, wherein authors grappled with timeless themes through the prism of modern experiences. Bennett's astute character development and his mastery over the three-act structure exemplify Edwardian theatre's impact on the evolution of English drama. As an accomplished author, journalist, and playwright, Arnold Bennett's literary trajectory was embroidered with explorations into human nature and societal constructs. His diverse experiences and profound observations of English middle-class life fashioned a foundation upon which he built the characters and narratives of his works. 'Judith' represents a bold divergence from his typically realist novels, demonstrating Bennett's versatility and his intellectual engagement with historical and religious motifs. The outcome is a crafted piece that is as much a celebration of a mythic heroine as it is a reflection of Bennett's own interpretive prowess and historical interests. Bennett's 'Judith' is recommended for those enamored with literary reworkings of ancient tales, as well as aficionados of early 20th-century drama. It offers a window into the period's transitional literary landscape, serving as a compelling examination of a vividly retold legend through the lens of Edwardian artistry. Readers looking for a work that combines the gravitas of historical subject matter with the sophistication of theatrical form will find 'Judith, a Play in Three Acts' a worthy and enriching engagement.
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A PLAY IN THREE ACTS
Founded on the apocryphal book of "Judith"
BY
ARNOLD BENNETT
LONDON
1919
First published April 30, 1919
NOTE
This play was presented for the first time at the Devonshire Park Theatre, Eastbourne, on Monday, April 7th, 1919, with the following cast:
Judith
LILLAH MCCARTHY
Haggith
ESMÉ HUBBARD
Rahel
MADGE MURRAY
Ozias
CAMPBELL GULLAN
Holofernes
CLAUDE KING
Bagoas
ERNEST THESIGER
Achior
GEOFFREY DOUGLAS
Chabris
E.H. PATERSON
Charmis
FEWLASS LLEWELLYN
Ingur
FREDERICK VOLPE
Messenger
FELIX AYLMER
Soldier
CLIFFORD MOLLISON
Attendant
EDWIN OXLEE
The play was produced by WILFRED EATON
Hebrews
JUDITH HAGGITH, her waiting-woman RAHEL OZIAS, Governor of Bethulia CHABRIS, an elder CHARMIS, an elder A SOLDIER A MESSENGER
Assyrians
HOLOFERNES, General of the Assyrian armies BAGOAS, his chief eunuch ACHIOR, a captain INGUR, a soldier AN ATTENDANT ON BAGOAS
ACT I
A street in the city of Bethulia.
ACT II
SCENE I.The valley near the Assyrian camp. Time, morning; two days later.
SCENE II.The tent of Holofernes. Time, later, the same morning.
SCENE III.The same. Time, the same night.
ACT III
SCENE I.Same as Act I. Time, later, the same night.
SCENE II.The same. Time, the next day.
A street in the city of Bethulia in Judea. Bethulia is in the hill country, overlooking the great plain of Jezreel to the south-west. Back, the gates of the city, hiding the view of the plain. Right, Judith's house, with a tent on the roof. Left, houses. The street turns abruptly, back left, along the wall of the city. Left centre, a built-up vantage-point, from which the plain can be seen over the gates.
TIME: Fifth century B.C.
Towards evening.
Ozias is standing alone in the street, drinking from a leathern bottle. Enter Chabris, back left.
OZIAS (quickly, but with perfect calmness, hiding the bottle in his garments). Old man! It is years since I saw you. How came you past the guard, old man?
CHABRIS. Old? Old? I am not yet a hundred. Who are you?
OZIAS. Ozias.
CHABRIS. Ah! So this is Ozias, the son of Ezbon. Before your father could walk I have nursed him on my knee; and he was filled like the full moon—with naughtiness.
OZIAS. What has brought you at last out of your house? Are you come to prophesy once more?
CHABRIS. I have given up prophesying.
OZIAS. A profession full of risks.
CHABRIS. I pass my endless days in meditation and solitude.
OZIAS. That sounds much safer. How comely is the wisdom of old men!
CHABRIS. And what do you do, sprig?
OZIAS. Has none told you?
CHABRIS. I see nobody but my daughter's granddaughter, and her I forbid to speak to me, because being a woman she has the tongue of a woman, and a woman's tongue is unfavourable to meditation. How should I be told?
OZIAS. I am the governor of this great city of Bethulia.
CHABRIS. You are responsible for this city?
OZIAS. I am.
CHABRIS. Now I understand my misfortune. And the truth was in me when I said to your mother as she lay dying: Better it is to die without children than to have them that are ungodly.
OZIAS. Oh! How comely a thing is the judgment of grey hairs!
CHABRIS. You ask me what has brought me at last out of my house. I will tell you. Thirst! Thirst has brought me out of my house. Every morning and every evening my great-grandchild serves me with pulse and water. For five days she has furnished less and less water, and this day—not a drop! Can one eat pulse without water to drink? Half an hour ago I went to her to reason with her, and she lay on her bed cracked, and raved that she herself had not drunk for three days and that there was no water left in all Bethulia. So I came at last out of my house into the streets of this city famous for its cool fountains which never fail. And lo! I meet the governor of this city, and he is Ozias! Ozias! Seven days do men mourn for him that is dead, but for an ungodly man all the days of his life! Why is there no water in Bethulia, sprig?
OZIAS. Old man, meditation is good and solitude is good, but think not because you sit staring all day at your own belly that the sun and stars have ceased to revolve round the earth and the kings of this world to make war. Is it possible that you do not know what has happened?
CHABRIS. I only know that I cannot eat pulse without water to drink.
OZIAS. Bethulia is besieged.
CHABRIS. Who is besieging Bethulia?
OZIAS. Holofernes.
CHABRIS. I have never heard his name. Who is he?
OZIAS. Never heard the name of the chief captain of Nebuchadnezzar? Have you heard the name of Nebuchadnezzar, by chance?
CHABRIS. I seem to remember it.
OZIAS. Come up here. (They go up the steps to the vantage-point.) Look! A hundred and twenty thousand foot-soldiers. Twelve thousand archers on horseback. Oxen and sheep for their provisions. Twenty thousand asses for their carriages. Camels without number. Infinite victuals; and very much gold and silver. The like was never seen before.