The Saxons: A Drama of Christianity in the North — Reading Companion

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Schoonmaker, Edwin Davies, 1873-1940 Project Gutenberg 2014 Not confirmed
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Words 56,252
Reading time 245 min
Text sections 14

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Edwin Davies Schoonmaker's 1905 verse drama pits Saxon foresters against Roman clergy and Greek monks in thirteenth-century Europe, with a dwarf named Sigurd and a witch named Hulga among the characters. The play's diction shifts between blunt Saxon speech, Latin-tinged clerical dialogue, and supernatural interjections.
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That looked up at you when you stooped to drink. You did not see her? Oh, I did. I peeped Like this, softly, over, over the edge, And saw her peeping from the mossy stones Down in the spring. Her hair was loose like mine And brown as buckeyes, and her lips were stained With juice of berries. Then I raised my hand. Thinks I: "I'll drop a beech-nut on his head." Then she raised hers as if to say: "Be still! I'll make the bubbles break against his nose." Was that what made you jump? You scared her so. I saw her hair fly up about her face As I leaped back. She lives down in the spring. This morning as I passed I stooped and said: "I'm going after berries; won't you come?" She beckoned to me, too, and seemed to say: "I can't leave home; my little fish will stray. You come down here; I have some pretty shells." Oh, look! Be still! She's let them come again. See them flash.

OSWALD-- It's the green shell they're after.

SELMA--Why, there's no kernel in it. If there were They could not eat it; it would break their gills, They are so very thin.

OSWALD-- We all do that; We follow shells sometimes.

SELMA-- O Oswald, look! See how the little silver bubbles rise.

OSWALD--And we are like the fishes--

SELMA-- Oh, do look! You are not thinking of the fishes. See! They follow it through the dimples round and round, Paddling the current with their little fins, And poising. They're afraid. They're drawing back. There, by the green stone.

OSWALD-- They are safer there Than in the current.

SELMA-- See, there's one that still Nips at it in the eddies. See its scales. You cannot carve like that. Look out! Oh, oh!

(_She runs down to the outlet of the spring by which the minnow has passed out, and walks up and down, stooping occasionally to feel among the stones of the rill. Oswald goes back and sits down upon the log. After a while Selma rises and looks toward the spring. The trunk is between her and Oswald._)

'Twill grieve her so.

(_In a low chant, abstractedly._)

She's sleeping in the spring Under the dark rock where the white sand pours. The moss is softer in the forest there, And there the wood-doves coo. He's going away; they told me yesterday. The forest heard them moan: He will not come. The chestnut burr shall break; The wild bird, feeding, shake Unpicked the purple hartcrops to the ground, And the hushed forest only hear the sound Of antlers knocking where the wild deer rubs. He's going away--away--away.

(_Staring vacantly into the forest, her back to Oswald, she unconsciously picks the green burrs from the branches above her._)

OSWALD--Selma. (_After a pause._) Come here; will you?

SELMA-- I'm gathering mast. My fawns, they like it so. It makes them sleek.

OSWALD--I want to tell you something.

SELMA-- Tell me here. If I had listened to the forest birds, I'd have no berries. And my fawns must eat.

OSWALD--'Tis something serious.

SELMA-- Ah, you've been to town.

(_As she saunters toward the log she reaches up in the air._)

Gossamers, where do they come from, Oswald? You never are gay when you've heard the bells. We are going to the mountains, _may_ be. Then You will not hear them. Are there berries there? Rudolph said he saw flowers in the ice. Think of that. Blue-bells.--You are like my crow.

(_She takes a berry from her basket and holds it up between her fingers._)

If you will talk, you may.--I must go home.

(_She pulls down a bough and begins to pick the leaves off, one by one._)

OSWALD--I want you to go with me to the bridge.

SELMA--I can't. I must go home. Father will think I have been captured by the villagers.

(_She removes her basket from the sun and lays the leaves upon her berries._)

He said: "You will not find them." But I did.

SELMA-- I can't.--It makes my berries red. Father will say: "You see? They are not ripe."

(_She goes about under the boughs selecting the largest of the leaves._)

It makes them black, then makes them red again.

_I_ heard bells ring last night. I dreamed I did. I called and they called and you would not come. I thought you could not hear me where you were.

OSWALD--In a great forest once two children lived. They used to wander about the wood. One day, Playing among the trees, suddenly they heard Small voices calling: "Ho, children!" At that--

SELMA--Fairies. (_She comes to the log._)

The play opens with a road through a forest, a rude bridge, and a new crucifix set on a ten-foot post with a sheep's pelt at its base. The first exchange between Fritz and Rudolph concerns a trade of ewes, but the conversation quickly turns to a dragon and a lack of choice: 'We have not gone yet' and 'Nor would we go had I mine.' The dialogue is clipped, repetitive, and grounded in material concerns—sheep, axes, walking to the mountains—yet it immediately signals a world under pressure, where unseen forces constrain even the simplest decisions.

Diction and the Division of Speech

The play's three human groups—Saxon, Roman, Greek—are distinguished by their diction. The Saxons speak in short, concrete lines: 'I'll give you five, you pick them' and 'I'll keep my ewes, then.' Their speech is direct, often monosyllabic, and concerned with tangible objects: ewes, axes, a dragon. The Roman unit, led by Father Benedict, uses more elaborate, Latinate constructions: 'He need not think that God revealed to him / Alone my glory, for I knew it, too.' Father Benedict's lines are full of self-dramatization and theological assertion. The Greek monks, by contrast, engage in wordplay and jesting: 'Well, it is spring when asses put forth leaves' and 'Pluck-pudding or crupper?' Their dialogue is more playful, even punning, and often directed at one another in asides. These three registers create a linguistic map of the play's cultural conflicts.

The Supernatural as a Dramatic Device

The cast includes a dwarf named Sigurd, a witch named Hulga, gnomes (Zip, Gimel, Kilo, Suk), and fairies (Zory). These figures are listed under 'The Supernatural' and are distinct from the human units. In the excerpts, however, no supernatural character speaks; the supernatural is referenced only in human dialogue. Father Benedict claims to have seen blood on his hands and altar cups taking fire, and he speaks of a 'great hound' and a white dove. The gleeman Wiglaf is listed among the Saxons, suggesting a figure who might carry oral tradition or supernatural tales. The play thus embeds the supernatural in reported visions and folk belief rather than direct action, at least in the opening scenes.

Setting and Symbolic Objects

The opening stage direction is precise: a road through a forest, trees 'thick and dark,' a rude bridge, a narrow stream. The crucifix is 'apparently new,' elaborately carved, set in a deep frame, with a kneeling place and a white sheep's pelt. This object is the first thing the audience sees, and it immediately establishes the Christian presence in a pagan or pre-Christian landscape. The sheep's pelt—a Saxon commodity—lies at the foot of the Roman cross, a detail that quietly suggests appropriation or conversion. Later, Father Benedict pulls an ass by the bridle toward wine vessels, and the hunter Macias enters with a young deer and geese. These objects—cross, pelt, ass, wine, deer—are not merely decorative; they are the material stuff of the play's world, each carrying cultural and economic weight.

Voice and Self-Presentation in Clerical Speech

Father Benedict's speeches are marked by a grandiose, self-justifying tone. He says, 'I have been shown the blood of that great hound. / And I have got God's meaning. I am called.' He contrasts his own courage with what others would feel: 'You would have quaked with fear, / And sought the books of some old heathen sage / For explanation.' His language is full of claims to special revelation and divine favor. The Abbot and Louis, by contrast, speak in more measured, even skeptical tones: 'You may mistake what Father had in mind' and 'Be wary, Father; it may be a snare.' The dialogue between them reveals a power struggle masked as theological debate. Father Benedict's insistence on his own glory—'He need not think that God revealed to him / Alone my glory'—suggests a character driven by pride as much as faith.

Readers attentive to the play's verse will notice how Schoonmaker uses line breaks and repetition to create rhythm and emphasis. The Saxons' short lines, the Romans' longer speeches, and the Greeks' banter each establish a distinct vocal identity. The supernatural characters, though listed, do not appear in the excerpts; their role may become clearer later. The play rewards attention to the interplay of speech styles and the symbolic weight of objects like the crucifix and the sheep's pelt.

Reading this drama’s clash of old forest faith and new clergy, I remembered winters at my grandmother’s, where The White Christmas and other Merry Christmas Plays — Story, Setting & Ideas sat on her shelf. Both books share that hush of candlelight on snow—not doctrine, but the feel of people holding onto something older than their arguments. A quiet stubbornness, like Sigurd’s, that I’ve never quite shaken.

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