The Project Gutenberg EBook of Fanny's First Play, by George Bernard Shaw
#33 in our series by George Bernard Shaw

Copyright laws are changing all over the world. Be sure to check the
copyright laws for your country before downloading or redistributing
this or any other Project Gutenberg eBook.

This header should be the first thing seen when viewing this Project
Gutenberg file.  Please do not remove it.  Do not change or edit the
header without written permission.

Please read the "legal small print," and other information about the
eBook and Project Gutenberg at the bottom of this file.  Included is
important information about your specific rights and restrictions in
how the file may be used.  You can also find out about how to make a
donation to Project Gutenberg, and how to get involved.


**Welcome To The World of Free Plain Vanilla Electronic Texts**

**eBooks Readable By Both Humans and By Computers, Since 1971**

*****These eBooks Were Prepared By Thousands of Volunteers!*****


Title: Fanny's First Play

Author: George Bernard Shaw

Release Date: May, 2004 [EBook #5698]
[Yes, we are more than one year ahead of schedule]
[This file was first posted on August 9, 2002]

Edition: 10

Language: English

Character set encoding: ASCII

*** START OF THE PROJECT GUTENBERG EBOOK FANNY'S FIRST PLAY ***




Scanned and proofed by Ron Burkey (rburkey@heads-up.com) and Amy Thomte.







This text was taken from a printed volume containing the plays
"Misalliance", "The Dark Lady of the Sonnets", "Fanny's First Play",
and the essay "A Treatise on Parents and Children".

Notes on the editing:  Italicized text is delimited with underlines
("_").  Punctuation and spelling retained as in the printed text.
Shaw intentionally spelled many words according to a non-standard
system.  For example, "don't" is given as "dont" (without apostrophe),
"Dr." is given as "Dr" (without a period at the end), and
"Shakespeare" is given as "Shakespear" (no "e" at the end).  Where
several characters in the play are speaking at once, I have indicated
it with vertical bars ("|").  The pound (currency) symbol has been
replaced by the word "pounds".





FANNY'S FIRST PLAY

BY BERNARD SHAW

1911




PREFACE TO FANNY'S FIRST PLAY

Fanny's First Play, being but a potboiler, needs no preface.  But its
lesson is not, I am sorry to say, unneeded.  Mere morality, or the
substitution of custom for conscience was once accounted a shameful
and cynical thing:  people talked of right and wrong, of honor and
dishonor, of sin and grace, of salvation and damnation, not of
morality and immorality.  The word morality, if we met it in the
Bible, would surprise us as much as the word telephone or motor car.
Nowadays we do not seem to know that there is any other test of
conduct except morality; and the result is that the young had better
have their souls awakened by disgrace, capture by the police, and a
month's hard labor, than drift along from their cradles to their
graves doing what other people do for no other reason than that other
people do it, and knowing nothing of good and evil, of courage and
cowardice, or indeed anything but how to keep hunger and concupiscence
and fashionable dressing within the bounds of good taste except when
their excesses can be concealed.  Is it any wonder that I am driven to
offer to young people in our suburbs the desperate advice:  Do
something that will get you into trouble?  But please do not suppose
that I defend a state of things which makes such advice the best that
can be given under the circumstances, or that I do not know how
difficult it is to find out a way of getting into trouble that will
combine loss of respectability with integrity of self-respect and
reasonable consideration for other peoples' feelings and interests on
every point except their dread of losing their own respectability.
But when there's a will there's a way.  I hate to see dead people
walking about:  it is unnatural.  And our respectable middle class
people are all as dead as mutton.  Out of the mouth of Mrs Knox I have
delivered on them the judgment of her God.

The critics whom I have lampooned in the induction to this play under
the names of Trotter, Vaughan, and Gunn will forgive me:  in fact Mr
Trotter forgave me beforehand, and assisted the make-up by which Mr
Claude King so successfully simulated his personal appearance.  The
critics whom I did not introduce were somewhat hurt, as I should have
been myself under the same circumstances; but I had not room for them
all; so I can only apologize and assure them that I meant no
disrespect.

The concealment of the authorship, if a _secret de Polichinelle_ can
be said to involve concealment, was a necessary part of the play.  In
so far as it was effectual, it operated as a measure of relief to
those critics and playgoers who are so obsessed by my strained
legendary reputation that they approach my plays in a condition which
is really one of derangement, and are quite unable to conceive a play
of mine as anything but a trap baited with paradoxes, and designed to
compass their ethical perversion and intellectual confusion.  If it
were possible, I should put forward all my plays anonymously, or hire
some less disturbing person, as Bacon is said to have hired
Shakespear, to father my plays for me.

Fanny's First Play was performed for the first time at the Little
Theatre in the Adelphi, London, on the afternoon of Wednesday, April
19th 1911.




FANNY'S FIRST PLAY



INDUCTION
_The end of a saloon in an old-fashioned country house (Florence
Towers, the property of Count O'Dowda) has been curtained off to form
a stage for a private theatrical performance.  A footman in grandiose
Spanish livery enters before the curtain, on its O.P. side._

FOOTMAN.  [announcing]  Mr Cecil Savoyard.  [Cecil Savoyard comes
in:  a middle-aged man in evening dress and a fur-lined overcoat.  He
is surprised to find nobody to receive him.  So is the Footman].  Oh,
beg pardon, sir:  I thought the Count was here.  He was when I took up
your name.  He must have gone through the stage into the library.
This way, sir.  [He moves towards the division in the middle of the
curtains].

SAVOYARD.  Half a mo.  [The Footman stops].  When does the play
begin?  Half-past eight?

FOOTMAN.  Nine, sir.

SAVOYARD.  Oh, good.  Well, will you telephone to my wife at the
George that it's not until nine?

FOOTMAN.  Right, sir.  Mrs Cecil Savoyard, sir?

SAVOYARD.  No:  Mrs William Tinkler.  Dont forget.

THE FOOTMAN.  Mrs Tinkler, sir.  Right, sir.  [The Count comes in
through the curtains].  Here is the Count, sir.  [Announcing]  Mr
Cecil Savoyard, sir.  [He withdraws].

COUNT O'DOWDA.  [A handsome man of fifty, dressed with studied
elegance a hundred years out of date, advancing cordially to shake
hands with his visitor]  Pray excuse me, Mr Savoyard.  I suddenly
recollected that all the bookcases in the library were locked--in fact
theyve never been opened since we came from Venice--and as our
literary guests will probably use the library a good deal, I just ran
in to unlock everything.

SAVOYARD.  Oh, you mean the dramatic critics.  M'yes.  I suppose
theres a smoking room?

THE COUNT.  My study is available.  An old-fashioned house, you
understand.  Wont you sit down, Mr Savoyard?

SAVOYARD.  Thanks.  [They sit.  Savoyard, looking at his host's
obsolete costume, continues]  I had no idea you were going to appear
in the piece yourself.

THE COUNT.  I am not.  I wear this costume because--well, perhaps I
had better explain the position, if it interests you.

SAVOYARD.  Certainly.

THE COUNT.  Well, you see, Mr Savoyard, I'm rather a stranger in your
world.  I am not, I hope, a modern man in any sense of the word.  I'm
not really an Englishman:  my family is Irish:  Ive lived all my life
in Italy--in Venice mostly--my very title is a foreign one:  I am a
Count of the Holy Roman Empire.

SAVOYARD.  Where's that?

THE COUNT.  At present, nowhere, except as a memory and an ideal.
[Savoyard inclines his head respectfully to the ideal].  But I am by
no means an idealogue.  I am not content with beautiful dreams:  I
want beautiful realities.

SAVOYARD.  Hear, hear!  I'm all with you there--when you can get them.

THE COUNT.  Why not get them?  The difficulty is not that there are no
beautiful realities, Mr Savoyard:  the difficulty is that so few of us
know them when we see them.  We have inherited from the past a vast
treasure of beauty--of imperishable masterpieces of poetry, of
painting, of sculpture, of architecture, of music, of exquisite
fashions in dress, in furniture, in domestic decoration.  We can
contemplate these treasures.  We can reproduce many of them.  We can
buy a few inimitable originals.  We can shut out the nineteenth
century--

SAVOYARD.  [correcting him]  The twentieth.

THE COUNT.  To me the century I shut out will always be the nineteenth
century, just as your national anthem will always be God Save the
Queen, no matter how many kings may succeed.  I found England befouled
with industrialism:  well, I did what Byron did:  I simply refused to
live in it.  You remember Byron's words:  "I am sure my bones would
not rest in an English grave, or my clay mix with the earth of that
country.  I believe the thought would drive me mad on my deathbed
could I suppose that any of my friends would be base enough to convey
my carcase back to her soil.  I would not even feed her worms if I
could help it."

SAVOYARD.  Did Byron say that?

THE COUNT.  He did, sir.

SAVOYARD.  It dont sound like him.  I saw a good deal of him at one
time.

THE COUNT.  You!  But how is that possible?  You are too young.

SAVOYARD.  I was quite a lad, of course.  But I had a job in the
original production of Our Boys.

THE COUNT.  My dear sir, not that Byron.  Lord Byron, the poet.

SAVOYARD.  Oh, I beg your pardon.  I thought you were talking of the
Byron.  So you prefer living abroad?

THE COUNT.  I find England ugly and Philistine.  Well, I dont live in
it.  I find modern houses ugly.  I dont live in them:  I have a palace
on the grand canal.  I find modern clothes prosaic.  I dont wear them,
except, of course, in the street.  My ears are offended by the Cockney
twang:  I keep out of hearing of it and speak and listen to Italian.
I find Beethoven's music coarse and restless, and Wagner's senseless
and detestable.  I do not listen to them.  I listen to Cimarosa, to
Pergolesi, to Gluck and Mozart.  Nothing simpler, sir.

SAVOYARD.  It's all right when you can afford it.

THE COUNT.  Afford it!  My dear Mr Savoyard, if you are a man with a
sense of beauty you can make an earthly paradise for yourself in
Venice on 1500 pounds a year, whilst our wretched vulgar industrial
millionaires are spending twenty thousand on the amusements of
billiard markers.  I assure you I am a poor man according to modern
ideas.  But I have never had anything less than the very best that
life has produced.  It is my good fortune to have a beautiful and
lovable daughter; and that girl, sir, has never seen an ugly sight or
heard an ugly sound that I could spare her; and she has certainly
never worn an ugly dress or tasted coarse food or bad wine in her
life.  She has lived in a palace; and her perambulator was a gondola.
Now you know the sort of people we are, Mr Savoyard.  You can imagine
how we feel here.

SAVOYARD.  Rather out of it, eh?

THE COUNT.  Out of it, sir!  Out of what?

SAVOYARD.  Well, out of everything.

THE COUNT.  Out of soot and fog and mud and east wind; out of
vulgarity and ugliness, hypocrisy and greed, superstition and
stupidity.  Out of all this, and in the sunshine, in the enchanted
region of which great artists alone have had the secret, in the sacred
footsteps of Byron, of Shelley, of the Brownings, of Turner and
Ruskin.  Dont you envy me, Mr Savoyard?

SAVOYARD.  Some of us must live in England, you know, just to keep the
place going.  Besides--though, mind you, I dont say it isnt all right
from the high art point of view and all that--three weeks of it would
drive me melancholy mad.  However, I'm glad you told me, because it
explains why it is you dont seem to know your way about much in
England.  I hope, by the way, that everything has given satisfaction
to your daughter.

THE COUNT.  She seems quite satisfied.  She tells me that the actors
you sent down are perfectly suited to their parts, and very nice
people to work with.  I understand she had some difficulties at the
first rehearsals with the gentleman you call the producer, because he
hadnt read the play; but the moment he found out what it was all about
everything went smoothly.

SAVOYARD.  Havnt you seen the rehearsals?

THE COUNT.  Oh no.  I havnt been allowed even to meet any of the
company.  All I can tell you is that the hero is a Frenchman
[Savoyard is rather scandalized]:  I asked her not to have an
English hero.  That is all I know.  [Ruefully]  I havnt been
consulted even about the costumes, though there, I think, I could have
been some use.

SAVOYARD.  [puzzled]  But there arnt any costumes.

THE COUNT.  [seriously shocked]  What!  No costumes!  Do you mean to
say it is a modern play?

SAVOYARD.  I dont know:  I didnt read it.  I handed it to Billy
Burjoyce--the producer, you know--and left it to him to select the
company and so on.  But I should have had to order the costumes if
there had been any.  There wernt.

THE COUNT.  [smiling as he recovers from his alarm]  I understand.
She has taken the costumes into her own hands.  She is an expert in
beautiful costumes.  I venture to promise you, Mr Savoyard, that what
you are about to see will be like a Louis Quatorze ballet painted by
Watteau.  The heroine will be an exquisite Columbine, her lover a
dainty Harlequin, her father a picturesque Pantaloon, and the valet
who hoodwinks the father and brings about the happiness of the lovers
a grotesque but perfectly tasteful Punchinello or Mascarille or
Sganarelle.

SAVOYARD.  I see.  That makes three men; and the clown and policeman
will make five.  Thats why you wanted five men in the company.

THE COUNT.  My dear sir, you dont suppose I mean that vulgar, ugly,
silly, senseless, malicious and destructive thing, the harlequinade of
a nineteenth century English Christmas pantomime!  What was it after
all but a stupid attempt to imitate the success made by the genius of
Grimaldi a hundred years ago?  My daughter does not know of the
existence of such a thing.  I refer to the graceful and charming
fantasies of the Italian and French stages of the seventeenth and
eighteenth centuries.

SAVOYARD.  Oh, I beg pardon.  I quite agree that harlequinades are
rot.  Theyve been dropped at all smart theatres.  But from what Billy
Burjoyce told me I got the idea that your daughter knew her way about
here, and had seen a lot of plays.  He had no idea she'd been away in
Venice all the time.

THE COUNT.  Oh, she has not been.  I should have explained that two
years ago my daughter left me to complete her education at Cambridge.
Cambridge was my own University; and though of course there were no
women there in my time, I felt confident that if the atmosphere of the
eighteenth century still existed anywhere in England, it would be at
Cambridge.  About three months ago she wrote to me and asked whether I
wished to give her a present on her next birthday.  Of course I said
yes; and she then astonished and delighted me by telling me that she
had written a play, and that the present she wanted was a private
performance of it with real actors and real critics.

SAVOYARD.  Yes:  thats what staggered me.  It was easy enough to
engage a company for a private performance:  it's done often enough.
But the notion of having critics was new.  I hardly knew how to set
about it.  They dont expect private engagements; and so they have no
agents.  Besides, I didnt know what to offer them.  I knew that they
were cheaper than actors, because they get long engagements:  forty
years sometimes; but thats no rule for a single job.  Then theres such
a lot of them:  on first nights they run away with all your stalls:
you cant find a decent place for your own mother.  It would have cost
a fortune to bring the lot.

THE COUNT.  Of course I never dreamt of having them all.  Only a few
first-rate representative men.

SAVOYARD.  Just so.  All you want is a few sample opinions.  Out of a
hundred notices you wont find more than four at the outside that say
anything different.  Well, Ive got just the right four for you.  And
what do you think it has cost me?

THE COUNT.  [shrugging his shoulders]  I cannot guess.

SAVOYARD.  Ten guineas, and expenses.  I had to give Flawner Bannal
ten.  He wouldnt come for less; and he asked fifty.  I had to give it,
because if we hadnt had him we might just as well have had nobody at
all.

THE COUNT.  But what about the others, if Mr Flannel--

SAVOYARD.  [shocked]  Flawner Bannal.

THE COUNT.  --if Mr Bannal got the whole ten?

SAVOYARD.  Oh, I managed that.  As this is a high-class sort of thing,
the first man I went for was Trotter.

THE COUNT.  Oh indeed.  I am very glad you have secured Mr Trotter.  I
have read his Playful Impressions.

SAVOYARD.  Well, I was rather in a funk about him.  Hes not exactly
what I call approachable; and he was a bit stand-off at first.  But
when I explained and told him your daughter--

THE COUNT.  [interrupting in alarm]  You did not say that the play
was by her, I hope?

SAVOYARD.  No:  thats been kept a dead secret.  I just said your
daughter has asked for a real play with a real author and a real
critic and all the rest of it.  The moment I mentioned the daughter I
had him.  He has a daughter of his own.  Wouldnt hear of payment!
Offered to come just to please her!  Quite human.  I was surprised.

THE COUNT.  Extremely kind of him.

SAVOYARD.  Then I went to Vaughan, because he does music as well as
the drama:  and you said you thought there would be music.  I told him
Trotter would feel lonely without him; so he promised like a bird.
Then I thought youd like one of the latest sort:  the chaps that go
for the newest things and swear theyre oldfashioned.  So I nailed
Gilbert Gunn.  The four will give you a representative team.  By the
way [looking at his watch] theyll be here presently.

THE COUNT.  Before they come, Mr Savoyard, could you give me any hints
about them that would help me to make a little conversation with them?
I am, as you said, rather out of it in England; and I might
unwittingly say something tactless.

SAVOYARD.  Well, let me see.  As you dont like English people, I dont
know that youll get on with Trotter, because hes thoroughly English:
never happy except when hes in Paris, and speaks French so
unnecessarily well that everybody there spots him as an Englishman the
moment he opens his mouth.  Very witty and all that.  Pretends to turn
up his nose at the theatre and says people make too much fuss about
art [the Count is extremely indignant].  But thats only his modesty,
because art is his own line, you understand.  Mind you dont chaff him
about Aristotle.

THE COUNT.  Why should I chaff him about Aristotle?

SAVOYARD.  Well, I dont know; but its one of the recognized ways of
chaffing him.  However, youll get on with him all right:  hes a man of
the world and a man of sense.  The one youll have to be careful about
is Vaughan.

THE COUNT.  In what way, may I ask?

SAVOYARD.  Well, Vaughan has no sense of humor; and if you joke with
him he'll think youre insulting him on purpose.  Mind:  it's not that
he doesnt see a joke:  he does; and it hurts him.  A comedy scene
makes him sore all over:  he goes away black and blue, and pitches
into the play for all hes worth.

THE COUNT.  But surely that is a very serious defect in a man of his
profession?

SAVOYARD.  Yes it is, and no mistake.  But Vaughan is honest, and dont
care a brass farthing what he says, or whether it pleases anybody or
not; and you must have one man of that sort to say the things that
nobody else will say.

THE COUNT.  It seems to me to carry the principle of division of labor
too far, this keeping of the honesty and the other qualities in
separate compartments.  What is Mr Gunn's speciality, if I may ask?

SAVOYARD.  Gunn is one of the intellectuals.

THE COUNT.  But arnt they all intellectuals?

SAVOYARD.  Lord! no:  heaven forbid!  You must be careful what you say
about that:  I shouldnt like anyone to call me an Intellectual:  I
dont think any Englishman would!  They dont count really, you know;
but still it's rather the thing to have them.  Gunn is one of the
young intellectuals:  he writes plays himself.  Hes useful because he
pitches into the older intellectuals who are standing in his way.  But
you may take it from me that none of these chaps really matter.
Flawner Bannal's your man.  Bannal really represents the British
playgoer.  When he likes a thing, you may take your oath there are a
hundred thousand people in London thatll like it if they can only be
got to know about it.  Besides, Bannal's knowledge of the theatre is
an inside knowledge.  We know him; and he knows us.  He knows the
ropes:  he knows his way about:  he knows what hes talking about.

THE COUNT.  [with a little sigh]  Age and experience, I suppose?

SAVOYARD.  Age!  I should put him at twenty at the very outside,
myself.  It's not an old man's job after all, is it?  Bannal may not
ride the literary high horse like Trotter and the rest; but I'd take
his opinion before any other in London.  Hes the man in the street;
and thats what you want.

THE COUNT.  I am almost sorry you didnt give the gentleman his full
terms.  I should not have grudged the fifty guineas for a sound
opinion.  He may feel shabbily treated.

SAVOYARD.  Well, let him.  It was a bit of side, his asking fifty.
After all, what is he?  Only a pressman.  Jolly good business for him
to earn ten guineas:  hes done the same job often enough for half a
quid, I expect.

_Fanny O'Dowda comes precipitately through the curtains, excited and
nervous.  A girl of nineteen in a dress synchronous with her
father's._

FANNY.  Papa, papa, the critics have come.  And one of them has a
cocked hat and sword like a--  [she notices Savoyard]  Oh, I beg
your pardon.

THE COUNT.  This is Mr Savoyard, your impresario, my dear.

FANNY.  [shaking hands]  How do you do?

SAVOYARD.  Pleased to meet you, Miss O'Dowda.  The cocked hat is all
right.  Trotter is a member of the new Academic Committee.  He induced
them to go in for a uniform like the French Academy; and I asked him
to wear it.

THE FOOTMAN.  [announcing]  Mr Trotter, Mr Vaughan, Mr Gunn, Mr
Flawner Bannal.  [The four critics enter.  Trotter wears a diplomatic
dress, with sword and three-cornered hat.  His age is about 50.
Vaughan is 40.  Gunn is 30.  Flawner Bannal is 20 and is quite unlike
the others.  They can be classed at sight as professional men:  Bannal
is obviously one of those unemployables of the business class who
manage to pick up a living by a sort of courage which gives him
cheerfulness, conviviality, and bounce, and is helped out positively
by a slight turn for writing, and negatively by a comfortable
ignorance and lack of intuition which hides from him all the dangers
and disgraces that keep men of finer perception in check.  The Count
approaches them hospitably].

SAVOYARD.  Count O'Dowda, gentlemen.  Mr Trotter.

TROTTER.  [looking at the Count's costume]  Have I the pleasure of
meeting a confrere?

THE COUNT.  No, sir:  I have no right to my costume except the right
of a lover of the arts to dress myself handsomely.  You are most
welcome, Mr Trotter.  [Trotter bows in the French manner].

SAVOYARD.  Mr Vaughan.

THE COUNT.  How do you do, Mr Vaughan?

VAUGHAN.  Quite well, thanks.

SAVOYARD.  Mr Gunn.

THE COUNT.  Delighted to make your acquaintance, Mr Gunn.

GUNN.  Very pleased.

SAVOYARD.  Mr Flawner Bannal.

THE COUNT.  Very kind of you to come, Mr Bannal.

BANNAL.  Dont mention it.

THE COUNT.  Gentlemen, my daughter.  [They all bow].  We are very
greatly indebted to you, gentlemen, for so kindly indulging her whim.
[The dressing bell sounds.  The Count looks at his watch].  Ah!  The
dressing bell, gentlemen.  As our play begins at nine, I have had to
put forward the dinner hour a little.  May I shew you to your rooms?
[He goes out, followed by all the men, except Trotter, who, going
last, is detained by Fanny].

FANNY.  Mr Trotter:  I want to say something to you about this play.

TROTTER.  No:  thats forbidden.  You must not attempt to _souffler_
the critic.

FANNY.  Oh, I would not for the world try to influence your opinion.

TROTTER.  But you do:  you are influencing me very shockingly.  You
invite me to this charming house, where I'm about to enjoy a charming
dinner.  And just before the dinner I'm taken aside by a charming
young lady to be talked to about the play.  How can you expect me to
be impartial?  God forbid that I should set up to be a judge, or do
more than record an impression; but my impressions can be influenced;
and in this case youre influencing them shamelessly all the time.

FANNY.  Dont make me more nervous than I am already, Mr Trotter.  If
you knew how I feel!

TROTTER.  Naturally:  your first party:  your first appearance in
England as hostess.  But youre doing it beautifully.  Dont be afraid.
Every _nuance_ is perfect.

FANNY.  It's so kind of you to say so, Mr Trotter.  But that isnt
whats the matter.  The truth is, this play is going to give my father
a dreadful shock.

TROTTER.  Nothing unusual in that, I'm sorry to say.  Half the young
ladies in London spend their evenings making their fathers take them
to plays that are not fit for elderly people to see.

FANNY.  Oh, I know all about that; but you cant understand what it
means to Papa.  Youre not so innocent as he is.

TROTTER.  [remonstrating]  My dear young lady--

FANNY.  I dont mean morally innocent:  everybody who reads your
articles knows youre as innocent as a lamb.

TROTTER.  What!

FANNY.  Yes, Mr Trotter:  Ive seen a good deal of life since I came to
England; and I assure you that to me youre a mere baby:  a dear, good,
well-meaning, delightful, witty, charming baby; but still just a wee
lamb in a world of wolves.  Cambridge is not what it was in my
father's time.

TROTTER.  Well, I must say!

FANNY.  Just so.  Thats one of our classifications in the Cambridge
Fabian Society.

TROTTER.  Classifications?  I dont understand.

FANNY.  We classify our aunts into different sorts.  And one of the
sorts is the "I must says."

TROTTER.  I withdraw "I must say."  I substitute "Blame my cats!"  No:
I substitute "Blame my kittens!"  Observe, Miss O'Dowda:  kittens.  I
say again in the teeth of the whole Cambridge Fabian Society, kittens.
Impertinent little kittens.  Blame them.  Smack them.  I guess what is
on your conscience.  This play to which you have lured me is one of
those in which members of Fabian Societies instruct their grandmothers
in the art of milking ducks.  And you are afraid it will shock your
father.  Well, I hope it will.  And if he consults me about it I shall
recommend him to smack you soundly and pack you off to bed.

FANNY.  Thats one of your prettiest literary attitudes, Mr Trotter;
but it doesnt take me in.  You see, I'm much more conscious of what
you really are than you are yourself, because weve discussed you
thoroughly at Cambridge; and youve never discussed yourself, have you?

TROTTER.  I--

FANNY.  Of course you havnt; so you see it's no good Trottering at me.

TROTTER.  Trottering!

FANNY.  Thats what we call it at Cambridge.

TROTTER.  If it were not so obviously a stage _cliche_, I should say
Damn Cambridge.  As it is, I blame my kittens.  And now let me warn
you.  If youre going to be a charming healthy young English girl, you
may coax me.  If youre going to be an unsexed Cambridge Fabian virago,
I'll treat you as my intellectual equal, as I would treat a man.

FANNY.  [adoringly]  But how few men are your intellectual equals,
Mr Trotter!

TROTTER.  I'm getting the worst of this.

FANNY.  Oh no.  Why do you say that?

TROTTER.  May I remind you that the dinner-bell will ring presently?

FANNY.  What does it matter?  We're both ready.  I havnt told you yet
what I want you to do for me.

TROTTER.  Nor have you particularly predisposed me to do it, except
out of pure magnanimity.  What is it?

FANNY.  I dont mind this play shocking my father morally.  It's good
for him to be shocked morally.  It's all that the young can do for the
old, to shock them and keep them up to date.  But I know that this
play will shock him artistically; and that terrifies me.  No moral
consideration could make a breach between us:  he would forgive me for
anything of that kind sooner or later; but he never gives way on a
point of art.  I darent let him know that I love Beethoven and Wagner;
and as to Strauss, if he heard three bars of Elektra, it'd part us for
ever.  Now what I want you to do is this.  If hes very angry--if he
hates the play, because it's a modern play--will you tell him that
it's not my fault; that its style and construction, and so forth, are
considered the very highest art nowadays; that the author wrote it in
the proper way for repertory theatres of the most superior kind--you
know the kind of plays I mean?

TROTTER.  [emphatically]  I think I know the sort of entertainments
you mean.  But please do not beg a vital question by calling them
plays.  I dont pretend to be an authority; but I have at least
established the fact that these productions, whatever else they may
be, are certainly not plays.

FANNY.  The authors dont say they are.

TROTTER.  [warmly]  I am aware that one author, who is, I blush to
say, a personal friend of mine, resorts freely to the dastardly
subterfuge of calling them conversations, discussions, and so forth,
with the express object of evading criticism.  But I'm not to be
disarmed by such tricks.  I say they are not plays.  Dialogues, if you
will.  Exhibitions of character, perhaps:  especially the character of
the author.  Fictions, possibly, though a little decent reticence as
to introducing actual persons, and thus violating the sanctity of
private life, might not be amiss.  But plays, no.  I say NO.  Not
plays.  If you will not concede this point I cant continue our
conversation.  I take this seriously.  It's a matter of principle.  I
must ask you, Miss O'Dowda, before we go a step further, Do you or do
you not claim that these works are plays?

FANNY.  I assure you I dont.

TROTTER.  Not in any sense of the word?

FANNY.  Not in any sense of the word.  I loathe plays.

TROTTER.  [disappointed]  That last remark destroys all the value of
your admission.  You admire these--these theatrical nondescripts?  You
enjoy them?

FANNY.  Dont you?

TROTTER.  Of course I do.  Do you take me for a fool?  Do you suppose
I prefer popular melodramas?  Have I not written most appreciative
notices of them?  But I say theyre not plays.  Theyre not plays.  I
cant consent to remain in this house another minute if anything
remotely resembling them is to be foisted on me as a play.

FANNY.  I fully admit that theyre not plays.  I only want you to tell
my father that plays are not plays nowadays--not in your sense of the
word.

TROTTER.  Ah, there you go again!  In my sense of the word!  You
believe that my criticism is merely a personal impression; that--

FANNY.  You always said it was.

TROTTER.  Pardon me:  not on this point.  If you had been classically
educated--

FANNY.  But I have.

TROTTER.  Pooh!  Cambridge!  If you had been educated at Oxford, you
would know that the definition of a play has been settled exactly and
scientifically for two thousand two hundred and sixty years.  When I
say that these entertainments are not plays, I dont mean in my sense
of the word, but in the sense given to it for all time by the immortal
Stagirite.

FANNY.  Who is the Stagirite?

TROTTER.  [shocked]  You dont know who the Stagirite was?

FANNY.  Sorry.  Never heard of him.

TROTTER.  And this is Cambridge education!  Well, my dear young lady,
I'm delighted to find theres something you don't know; and I shant
spoil you by dispelling an ignorance which, in my opinion, is highly
becoming to your age and sex.  So we'll leave it at that.

FANNY.  But you will promise to tell my father that lots of people
write plays just like this one--that I havnt selected it out of mere
heartlessness?

TROTTER.  I cant possibly tell you what I shall say to your father
about the play until Ive seen the play.  But I'll tell you what I
shall say to him about you.  I shall say that youre a very foolish
young lady; that youve got into a very questionable set; and that the
sooner he takes you away from Cambridge and its Fabian Society, the
better.

FANNY.  It's so funny to hear you pretending to be a heavy father.  In
Cambridge we regard you as a _bel esprit_, a wit, an Irresponsible, a
Parisian Immoralist, _tres chic_.

TROTTER.  I!

FANNY.  Theres quite a Trotter set.

TROTTER.  Well, upon my word!

FANNY.  They go in for adventures and call you Aramis.

TROTTER.  They wouldnt dare!

FANNY.  You always make such delicious fun of the serious people.
Your _insouciance_--

TROTTER.  [frantic]  Stop talking French to me:  it's not a proper
language for a young girl.  Great heavens! how is it possible that a
few innocent pleasantries should be so frightfully misunderstood?  Ive
tried all my life to be sincere and simple, to be unassuming and
kindly.  Ive lived a blameless life.  Ive supported the Censorship in
the face of ridicule and insult.  And now I'm told that I'm a centre
of Immoralism! of Modern Minxism! a trifler with the most sacred
subjects! a Nietzschean!! perhaps a Shavian!!!

FANNY.  Do you mean you are really on the serious side, Mr Trotter?

TROTTER.  Of course I'm on the serious side.  How dare you ask me such
a question?

FANNY.  Then why dont you play for it?

TROTTER.  I do play for it--short, of course, of making myself
ridiculous.

FANNY.  What! not make yourself ridiculous for the sake of a good
cause!  Oh, Mr Trotter.  Thats _vieux jeu_.

TROTTER.  [shouting at her]  Dont talk French.  I will not allow it.

FANNY.  But this dread of ridicule is so frightfully out of date.  The
Cambridge Fabian Society--

TROTTER.  I forbid you to mention the Fabian Society to me.

FANNY.  Its motto is "You cannot learn to skate without making
yourself ridiculous."

TROTTER.  Skate!  What has that to do with it?

FANNY.  Thats not all.  It goes on, "The ice of life is slippery."

TROTTER.  Ice of life indeed!  You should be eating penny ices and
enjoying yourself.  I wont hear another word.

_The Count returns._

THE COUNT.  We're all waiting in the drawing-room, my dear.  Have you
been detaining Mr Trotter all this time?

TROTTER.  I'm so sorry.  I must have just a little brush up:  I [He
hurries out].

THE COUNT.  My dear, you should be in the drawing-room.  You should
not have kept him here.

FANNY.  I know.  Dont scold me:  I had something important to say to
him.

THE COUNT.  I shall ask him to take you in to dinner.

FANNY.  Yes, papa.  Oh, I hope it will go off well.

THE COUNT.  Yes, love, of course it will.  Come along.

FANNY.  Just one thing, papa, whilst we're alone.  Who was the
Stagirite?

THE COUNT.  The Stagirite?  Do you mean to say you dont know?

FANNY.  Havnt the least notion.

THE COUNT.  The Stagirite was Aristotle.  By the way, dont mention him
to Mr Trotter.

_They go to the dining-room._




THE PLAY



ACT I

_In the dining-room of a house in Denmark Hill, an elderly lady sits
at breakfast reading the newspaper.  Her chair is at the end of the
oblong dining-table furthest from the fire.  There is an empty chair
at the other end.  The fireplace is behind this chair; and the door is
next the fireplace, between it and the corner.  An arm-chair stands
beside the coal-scuttle.  In the middle of the back wall is the
sideboard, parallel to the table.  The rest of the furniture is mostly
dining-room chairs, ranged against the walls, and including a baby
rocking-chair on the lady's side of the room.  The lady is a placid
person.  Her husband, Mr Robin Gilbey, not at all placid, bursts
violently into the room with a letter in his hand._

GILBEY.  [grinding his teeth]  This is a nice thing.  This is a b--

MRS GILBEY.  [cutting him short]  Leave it at that, please.
Whatever it is, bad language wont make it better.

GILBEY.  [bitterly]  Yes, put me in the wrong as usual.  Take your
boy's part against me.  [He flings himself into the empty chair
opposite her].

MRS GILBEY.  When he does anything right, hes your son.  When he does
anything wrong hes mine.  Have you any news of him?

GILBEY.  Ive a good mind not to tell you.

MRS GILBEY.  Then dont.  I suppose hes been found.  Thats a comfort,
at all events.

GILBEY.  No, he hasnt been found.  The boy may be at the bottom of the
river for all you care.  [Too agitated to sit quietly, he rises and
paces the room distractedly].

MRS GILBEY.  Then what have you got in your hand?

GILBEY.  Ive a letter from the Monsignor Grenfell.  From New York.
Dropping us.  Cutting us.  [Turning fiercely on her]  Thats a nice
thing, isnt it?

MRS GILBEY.  What for?

GILBEY.  [flinging away towards his chair]  How do _I_ know what
for?

MRS GILBEY.  What does he say?

GILBEY.  [sitting down and grumblingly adjusting his spectacles]
This is what he says.  "My dear Mr Gilbey:  The news about Bobby had
to follow me across the Atlantic:  it did not reach me until to-day.
I am afraid he is incorrigible.  My brother, as you may imagine, feels
that this last escapade has gone beyond the bounds; and I think,
myself, that Bobby ought to be made to feel that such scrapes involve
a certain degree of reprobation."  "As you may imagine"!  And we know
no more about it than the babe unborn.

MRS GILBEY.  What else does he say?

GILBEY.  "I think my brother must have been just a little to blame
himself; so, between ourselves, I shall, with due and impressive
formality, forgive Bobby later on; but for the present I think it had
better be understood that he is in disgrace, and that we are no longer
on visiting terms.  As ever, yours sincerely."  [His agitation
masters him again]  Thats a nice slap in the face to get from a man
in his position!  This is what your son has brought on me.

MRS GILBEY.  Well, I think it's rather a nice letter.  He as good as
tells you hes only letting on to be offended for Bobby's good.

GILBEY.  Oh, very well:  have the letter framed and hang it up over
the mantelpiece as a testimonial.

MRS GILBEY.  Dont talk nonsense, Rob.  You ought to be thankful to
know that the boy is alive after his disappearing like that for nearly
a week.

GILBEY.  Nearly a week!  A fortnight, you mean.  Wheres your feelings,
woman?  It was fourteen days yesterday.

MRS GILBEY.  Oh, dont call it fourteen days, Rob, as if the boy was in
prison.

GILBEY.  How do you know hes not in prison?  It's got on my nerves so,
that I'd believe even that.

MRS GILBEY.  Dont talk silly, Rob.  Bobby might get into a scrape like
any other lad; but he'd never do anything low.

_Juggins, the footman, comes in with a card on a salver.  He is a
rather low-spirited man of thirty-five or more, of good appearance and
address, and iron self-command._

JUGGINS.  [presenting the salver to Mr Gilbey]  Lady wishes to see
Mr Bobby's parents, sir.

GILBEY.  [pointing to Mrs Gilbey]  Theres Mr Bobby's parent.  I
disown him.

JUGGINS.  Yes, sir.  [He presents the salver to Mrs Gilbey].

MRS GILBEY.  You mustnt mind what your master says, Juggins:  he
doesnt mean it.  [She takes the card and reads it].  Well, I never!

GILBEY.  Whats up now?

MRS GILBEY.  [reading]  "Miss D. Delaney.  Darling Dora."  Just like
that--in brackets.  What sort of person, Juggins?

GILBEY.  Whats her address?

MRS GILBEY.  The West Circular Road.  Is that a respectable address,
Juggins?

JUGGINS.  A great many most respectable people live in the West
Circular Road, madam; but the address is not a guarantee of
respectability.

GILBEY.  So it's come to that with him, has it?

MRS GILBEY.  Dont jump to conclusions, Rob.  How do you know?  [To
Juggins]  Is she a lady, Juggins?  You know what I mean.

JUGGINS.  In the sense in which you are using the word, no, madam.

MRS GILBEY.  I'd better try what I can get out of her.  [To Juggins]
Shew her up.  You dont mind, do you, Rob?

GILBEY.  So long as you dont flounce out and leave me alone with her.
[He rises and plants himself on the hearth-rug].

_Juggins goes out._

MRS GILBEY.  I wonder what she wants, Rob?

GILBEY.  If she wants money, she shant have it.  Not a farthing.  A
nice thing, everybody seeing her on our doorstep!  If it wasnt that
she may tell us something about the lad, I'd have Juggins put the
hussy into the street.

JUGGINS.  [returning and announcing]  Miss Delaney.  [He waits for
express orders before placing a chair for this visitor].

_Miss Delaney comes in.  She is a young lady of hilarious disposition,
very tolerable good looks, and killing clothes.  She is so affable and
confidential that it is very difficult to keep her at a distance by
any process short of flinging her out of the house._

DORA.  [plunging at once into privileged intimacy and into the middle
of the room]  How d'ye do, both.  I'm a friend of Bobby's.  He told
me all about you once, in a moment of confidence.  Of course he never
let on who he was at the police court.

GILBEY.  Police court!

MRS GILBEY.  [looking apprehensively at Juggins]  Tch--!  Juggins:
a chair.

DORA.  Oh, Ive let it out, have I!  [Contemplating Juggins
approvingly as he places a chair for her between the table and the
sideboard]  But hes the right sort:  I can see that.  [Buttonholing
him]  You wont let on downstairs, old man, will you?

JUGGINS.  The family can rely on my absolute discretion.  [He
withdraws].

DORA.  [sitting down genteelly]  I dont know what youll say to me:
you know I really have no right to come here; but then what was I to
do?  You know Holy Joe, Bobby's tutor, dont you?  But of course you
do.

GILBEY.  [with dignity]  I know Mr Joseph Grenfell, the brother of
Monsignor Grenfell, if it is of him you are speaking.

DORA.  [wide-eyed and much amused]  No!!!  You dont tell me that old
geezer has a brother a Monsignor!  And youre Catholics!  And I never
knew it, though Ive known Bobby ever so long!  But of course the last
thing you find out about a person is their religion, isnt it?

MRS GILBEY.  We're not Catholics.  But when the Samuelses got an
Archdeacon's son to form their boy's mind, Mr Gilbey thought Bobby
ought to have a chance too.  And the Monsignor is a customer.  Mr
Gilbey consulted him about Bobby; and he recommended a brother of his
that was more sinned against than sinning.

GILBEY.  [on tenderhooks]  She dont want to hear about that, Maria.
[To Dora]  Whats your business?

DORA.  I'm afraid it was all my fault.

GILBEY.  What was all your fault?  I'm half distracted.  I dont know
what has happened to the boy:  hes been lost these fourteen days--

MRS GILBEY.  A fortnight, Rob.

GILBEY.  --and not a word have we heard of him since.

MRS GILBEY.  Dont fuss, Rob.

GILBEY.  [yelling]  I will fuss.  Youve no feeling.  You dont care
what becomes of the lad.  [He sits down savagely].

DORA.  [soothingly]  Youve been anxious about him.  Of course.  How
thoughtless of me not to begin by telling you hes quite safe.  Indeed
hes in the safest place in the world, as one may say:  safe under lock
and key.

GILBEY.  [horrified, pitiable]  Oh my-- [his breath fails him].
Do you mean that when he was in the police court he was in the dock?
Oh, Maria!  Oh, great Lord!  What has he done?  What has he got for
it?  [Desperate]  Will you tell me or will you see me go mad on my
own carpet?

DORA.  [sweetly]  Yes, old dear--

MRS GILBEY.  [starting at the familiarity]  Well!

DORA.  [continuing]  I'll tell you:  but dont you worry:  hes all
right.  I came out myself this morning:  there was such a crowd! and a
band! they thought I was a suffragette:  only fancy!  You see it was
like this.  Holy Joe got talking about how he'd been a champion
sprinter at college.

MRS GILBEY.  A what?

DORA.  A sprinter.  He said he was the fastest hundred yards runner in
England.  We were all in the old cowshed that night.

MRS GILBEY.  What old cowshed?

GILBEY.  [groaning]  Oh, get on.  Get on.

DORA.  Oh, of course you wouldnt know.  How silly of me!  It's a
rather go-ahead sort of music hall in Stepney.  We call it the old
cowshed.

MRS GILBEY.  Does Mr Grenfell take Bobby to music halls?

DORA.  No.  Bobby takes him.  But Holy Joe likes it:  fairly laps it
up like a kitten, poor old dear.  Well, Bobby says to me, "Darling--"

MRS GILBEY.  [placidly]  Why does he call you Darling?

DORA.  Oh, everybody calls me Darling:  it's a sort of name Ive got.
Darling Dora, you know.  Well, he says, "Darling, if you can get Holy
Joe to sprint a hundred yards, I'll stand you that squiffer with the
gold keys."

MRS GILBEY.  Does he call his tutor Holy Joe to his face [Gilbey
clutches at his hair in his impatience].

DORA.  Well, what would he call him?  After all, Holy Joe is Holy Joe;
and boys will be boys.

MRS GILBEY.  Whats a squiffer?

DORA.  Oh, of course:  excuse my vulgarity:  a concertina.  Theres one
in a shop in Green Street, ivory inlaid, with gold keys and Russia
leather bellows; and Bobby knew I hankered after it; but he couldnt
afford it, poor lad, though I knew he just longed to give it to me.

GILBEY.  Maria:  if you keep interrupting with silly questions, I
shall go out of my senses.  Heres the boy in gaol and me disgraced for
ever; and all you care to know is what a squiffer is.

DORA.  Well, remember it has gold keys.  The man wouldnt take a penny
less than 15 pounds for it.  It was a presentation one.

GILBEY.  [shouting at her]  Wheres my son?  Whats happened to my
son?  Will you tell me that, and stop cackling about your squiffer?

DORA.  Oh, aint we impatient!  Well, it does you credit, old dear.
And you neednt fuss:  theres no disgrace.  Bobby behaved like a
perfect gentleman.  Besides, it was all my fault.  I'll own it:  I
took too much champagne.  I was not what you might call drunk; but I
was bright, and a little beyond myself; and--I'll confess it--I wanted
to shew off before Bobby, because he was a bit taken by a woman on the
stage; and she was pretending to be game for anything.  You see youve
brought Bobby up too strict; and when he gets loose theres no holding
him.  He does enjoy life more than any lad I ever met.

GILBEY.  Never you mind how hes been brought up:  thats my business.
Tell me how hes been brought down:  thats yours.

MRS GILBEY.  Oh, dont be rude to the lady, Rob.

DORA.  I'm coming to it, old dear:  dont you be so headstrong.  Well,
it was a beautiful moonlight night; and we couldnt get a cab on the
nod; so we started to walk, very jolly, you know:  arm in arm, and
dancing along, singing and all that.  When we came into Jamaica
Square, there was a young copper on point duty at the corner.  I says
to Bob:  "Dearie boy: is it a bargain about the squiffer if I make Joe
sprint for you?"  "Anything you like, darling," says he:  "I love
you."  I put on my best company manners and stepped up to the copper.
"If you please, sir," says I, "can you direct me to Carrickmines
Square?"  I was so genteel, and talked so sweet, that he fell to it
like a bird.  "I never heard of any such Square in these parts," he
says.  "Then," says I, "what a very silly little officer you must
be!"; and I gave his helmet a chuck behind that knocked it over his
eyes, and did a bunk.

MRS GILBEY.  Did a what?

DORA.  A bunk.  Holy Joe did one too all right:  he sprinted faster
than he ever did in college, I bet, the old dear.  He got clean off,
too.  Just as he was overtaking me half-way down the square, we heard
the whistle; and at the sound of it he drew away like a streak of
lightning; and that was the last I saw of him.  I was copped in the
Dock Road myself:  rotten luck, wasn't it?  I tried the innocent and
genteel and all the rest; but Bobby's hat done me in.

GILBEY.  And what happened to the boy?

DORA.  Only fancy! he stopped to laugh at the copper!  He thought the
copper would see the joke, poor lamb.  He was arguing about it when
the two that took me came along to find out what the whistle was for,
and brought me with them.  Of course I swore I'd never seen him before
in my life; but there he was in my hat and I in his.  The cops were
very spiteful and laid it on for all they were worth:  drunk and
disorderly and assaulting the police and all that.  I got fourteen
days without the option, because you see--well, the fact is, I'd done
it before, and been warned.  Bobby was a first offender and had the
option; but the dear boy had no money left and wouldnt give you away
by telling his name; and anyhow he couldnt have brought himself to buy
himself off and leave me there; so hes doing his time.  Well, it was
two forty shillingses; and Ive only twenty-eight shillings in the
world.  If I pawn my clothes I shant be able to earn any more.  So I
cant pay the fine and get him out; but if youll stand 3 pounds I'll
stand one; and thatll do it.  If youd like to be very kind and nice
you could pay the lot; but I cant deny that it was my fault; so I wont
press you.

GILBEY.  [heart-broken]  My son in gaol!

DORA.  Oh, cheer up, old dear:  it wont hurt him:  look at me after
fourteen days of it; I'm all the better for being kept a bit quiet.
You mustnt let it prey on your mind.

GILBEY.  The disgrace of it will kill me.  And it will leave a mark on
him to the end of his life.

DORA.  Not a bit of it.  Dont you be afraid:  Ive educated Bobby a
bit:  hes not the mollycoddle he was when you had him in hand.

MRS GILBEY.  Indeed Bobby is not a mollycoddle.  They wanted him to go
in for singlestick at the Young Men's Christian Association; but, of
course, I couldnt allow that:  he might have had his eye knocked out.

GILBEY.  [to Dora, angrily]  Listen here, you.

DORA.  Oh, aint we cross!

GILBEY.  I want none of your gaiety here.  This is a respectable
household.  Youve gone and got my poor innocent boy into trouble.
It's the like of you thats the ruin of the like of him.

DORA.  So you always say, you old dears.  But you know better.  Bobby
came to me:  I didnt come to him.

GILBEY.  Would he have gone if you hadnt been there for him to go to?
Tell me that.  You know why he went to you, I suppose?

DORA.  [charitably]  It was dull for him at home, poor lad, wasnt
it?

MRS GILBEY.  Oh no.  I'm at home on first Thursdays.  And we have the
Knoxes to dinner every Friday.  Margaret Knox and Bobby are as good as
engaged.  Mr Knox is my husband's partner.  Mrs Knox is very
religious; but shes quite cheerful.  We dine with them on Tuesdays.
So thats two evenings pleasure every week.

GILBEY.  [almost in tears]  We done what we could for the boy.
Short of letting him go into temptations of all sorts, he can do what
he likes.  What more does he want?

DORA.  Well, old dear, he wants me; and thats about the long and short
of it.  And I must say youre not very nice to me about it.  Ive talked
to him like a mother, and tried my best to keep him straight; but I
dont deny I like a bit of fun myself; and we both get a bit giddy when
we're lighthearted.  Him and me is a pair, I'm afraid.

GILBEY.  Dont talk foolishness, girl.  How could you and he be a pair,
you being what you are, and he brought up as he has been, with the
example of a religious woman like Mrs Knox before his eyes?  I cant
understand how he could bring himself to be seen in the street with
you.  [Pitying himself]  I havnt deserved this.  Ive done my duty as
a father.  Ive kept him sheltered.  [Angry with her]  Creatures like
you that take advantage of a child's innocence ought to be whipped
through the streets.

DORA.  Well, whatever I may be, I'm too much the lady to lose my
temper; and I dont think Bobby would like me to tell you what I think
of you; for when I start giving people a bit of my mind I sometimes
use language thats beneath me.  But I tell you once for all I must
have the money to get Bobby out; and if you wont fork out, I'll hunt
up Holy Joe.  He might get it off his brother, the Monsignor.

GILBEY.  You mind your own concerns.  My solicitor will do what is
right.  I'll not have you paying my son's fine as if you were anything
to him.

DORA.  Thats right.  Youll get him out today, wont you?

GILBEY.  It's likely I'd leave my boy in prison, isnt it?

DORA.  I'd like to know when theyll let him out.

GILBEY.  You would, would you?  Youre going to meet him at the prison
door.

DORA.  Well, dont you think any woman would that had the feelings of a
lady?

GILBEY.  [bitterly]  Oh yes:  I know.  Here!  I must buy the lad's
salvation, I suppose.  How much will you take to clear out and let him
go?

DORA.  [pitying him:  quite nice about it]  What good would that do,
old dear?  There are others, you know.

GILBEY.  Thats true.  I must send the boy himself away.

DORA.  Where to?

GILBEY.  Anywhere, so long as hes out of the reach of you and your
like.

DORA.  Then I'm afraid youll have to send him out of the world, old
dear.  I'm sorry for you:  I really am, though you mightnt believe it;
and I think your feelings do you real credit.  But I cant give him up
just to let him fall into the hands of people I couldnt trust, can I?

GILBEY.  [beside himself, rising]  Wheres the police?  Wheres the
Government?  Wheres the Church?  Wheres respectability and right
reason?  Whats the good of them if I have to stand here and see you
put my son in your pocket as if he was a chattel slave, and you hardly
out of gaol as a common drunk and disorderly?  Whats the world coming
to?

DORA.  It is a lottery, isnt it, old dear?

_Mr Gilbey rushes from the room, distracted._

MRS GILBEY.  [unruffled]  Where did you buy that white lace?  I want
some to match a collaret of my own; and I cant get it at Perry and
John's.

DORA.  Knagg and Pantle's:  one and fourpence.  It's machine
hand-made.

MRS GILBEY.  I never give more than one and tuppence.  But I suppose
youre extravagant by nature.  My sister Martha was just like that.
Pay anything she was asked.

DORA.  Whats tuppence to you, Mrs Bobby, after all?

MRS GILBEY.  [correcting her]  Mrs Gilbey.

DORA.  Of course, Mrs Gilbey.  I am silly.

MRS GILBEY.  Bobby must have looked funny in your hat.  Why did you
change hats with him?

DORA.  I dont know.  One does, you know.

MRS GILBEY.  I never did.  The things people do!  I cant understand
them.  Bobby never told me he was keeping company with you.  His own
mother!

DORA.  [overcome]  Excuse me:  I cant help smiling.

_Juggins enters._

JUGGINS.  Mr Gilbey has gone to Wormwood Scrubbs, madam.

MRS GILBEY.  Have you ever been in a police court, Juggins?

JUGGINS.  Yes, madam.

MRS GILBEY [rather shocked]  I hope you had not been exceeding,
Juggins.

JUGGINS.  Yes, madam, I had.  I exceeded the legal limit.

MRS GILBEY.  Oh, that!  Why do they give a woman a fortnight for
wearing a man's hat, and a man a month for wearing hers?

JUGGINS.  I didnt know that they did, madam.

MRS GILBEY.  It doesnt seem justice, does it, Juggins?

JUGGINS.  No, madam.

MRS GILBEY [to Dora, rising]  Well, good-bye.  [Shaking her hand]
So pleased to have made your acquaintance.

DORA.  [standing up]  Dont mention it.  I'm sure it's most kind of
you to receive me at all.

MRS GILBEY.  I must go off now and order lunch.  [She trots to the
door].  What was it you called the concertina?

DORA.  A squiffer, dear.

MRS GILBEY.  [thoughtfully]  A squiffer, of course.  How funny!
[She goes out].

DORA.  [exploding into ecstasies of mirth]  Oh my! isnt she an old
love?  How do you keep your face straight?

JUGGINS.  It is what I am paid for.

DORA.  [confidentially]  Listen here, dear boy.  Your name isnt
Juggins.  Nobody's name is Juggins.

JUGGINS.  My orders are, Miss Delaney, that you are not to be here
when Mr Gilbey returns from Wormwood Scrubbs.

DORA.  That means telling me to mind my own business, doesnt it?
Well, I'm off.  Tootle Loo, Charlie Darling.  [She kisses her hand to
him and goes].



ACT II

_On the afternoon of the same day, Mrs Knox is writing notes in her
drawing-room, at a writing-table which stands against the wall.
Anyone placed so as to see Mrs Knox's left profile, will have the door
on the right and the window an the left, both further away than Mrs
Knox, whose back is presented to an obsolete upright piano at the
opposite side of the room.  The sofa is near the piano.  There is a
small table in the middle of the room, with some gilt-edged books and
albums on it, and chairs near it._

_Mr Knox comes in almost furtively, a troubled man of fifty, thinner,
harder, and uglier than his partner, Gilbey, Gilbey being a soft
stoutish man with white hair and thin smooth skin, whilst Knox has
coarse black hair, and blue jaws which no diligence in shaving can
whiten.  Mrs Knox is a plain woman, dressed without regard to fashion,
with thoughtful eyes and thoughtful ways that make an atmosphere of
peace and some solemnity.  She is surprised to see her husband at home
during business hours._

MRS KNOX.  What brings you home at this hour?  Have you heard
anything?

KNOX.  No.  Have you?

MRS KNOX.  No.  Whats the matter?

KNOX.  [sitting down on the sofa]  I believe Gilbey has found out.

MRS KNOX.  What makes you think that?

KNOX.  Well, I dont know:  I didnt like to tell you:  you have enough
to worry you without that; but Gilbey's been very queer ever since it
happened.  I cant keep my mind on business as I ought; and I was
depending on him.  But hes worse than me.  Hes not looking after
anything; and he keeps out of my way.  His manner's not natural.  He
hasnt asked us to dinner; and hes never said a word about our not
asking him to dinner, after all these years when weve dined every week
as regular as clockwork.  It looks to me as if Gilbey's trying to drop
me socially.  Well, why should he do that if he hasnt heard?

MRS KNOX.  I wonder!  Bobby hasnt been near us either:  thats what I
cant make out.

KNOX.  Oh, thats nothing.  I told him Margaret was down in Cornwall
with her aunt.

MRS KNOX.  [reproachfully]  Jo!  [She takes her handkerchief from
the writing-table and cries a little].

KNOX.  Well, I got to tell lies, aint I?  You wont.  Somebody's got to
tell em.

MRS KNOX.  [putting away her handkerchief]  It only ends in our not
knowing what to believe.  Mrs Gilbey told me Bobby was in Brighton for
the sea air.  Theres something queer about that.  Gilbey would never
let the boy loose by himself among the temptations of a gay place like
Brighton without his tutor; and I saw the tutor in Kensington High
Street the very day she told me.

KNOX.  If the Gilbeys have found out, it's all over between Bobby and
Margaret, and all over between us and them.

MRS KNOX.  It's all over between us and everybody.  When a girl runs
away from home like that, people know what to think of her and her
parents.

KNOX.  She had a happy, respectable home--everything--

MRS KNOX.  [interrupting him]  Theres no use going over it all
again, Jo.  If a girl hasnt happiness in herself, she wont be happy
anywhere.  Youd better go back to the shop and try to keep your mind
off it.

KNOX.  [rising restlessly]  I cant.  I keep fancying everybody knows
it and is sniggering about it.  I'm at peace nowhere but here.  It's a
comfort to be with you.  It's a torment to be with other people.

MRS KNOX.  [going to him and drawing her arm through his]  There,
Jo, there!  I'm sure I'd have you here always if I could.  But it cant
be.  God's work must go on from day to day, no matter what comes.  We
must face our trouble and bear it.

KNOX.  [wandering to the window arm in arm with her]  Just look at
the people in the street, going up and down as if nothing had
happened.  It seems unnatural, as if they all knew and didnt care.

MRS KNOX.  If they knew, Jo, thered be a crowd round the house looking
up at us.  You shouldnt keep thinking about it.

KNOX.  I know I shouldnt.  You have your religion, Amelia; and I'm
sure I'm glad it comforts you.  But it doesnt come to me that way.
Ive worked hard to get a position and be respectable.  Ive turned many
a girl out of the shop for being half an hour late at night; and heres
my own daughter gone for a fortnight without word or sign, except a
telegram to say shes not dead and that we're not to worry about her.

MRS KNOX.  [suddenly pointing to the street]  Jo, look!

KNOX.  Margaret!  With a man!

MRS KNOX.  Run down, Jo, quick.  Catch her:  save her.

KNOX.  [lingering]  Shes shaking bands with him:  shes coming across
to the door.

MRS KNOX.  [energetically]  Do as I tell you.  Catch the man before
hes out of sight.

_Knox rushes from the room.  Mrs Knox looks anxiously and excitedly
from the window.  Then she throws up the sash and leans out.  Margaret
Knox comes in, flustered and annoyed.  She is a strong, springy girl
of eighteen, with large nostrils, an audacious chin, and a gaily
resolute manner, even peremptory on occasions like the present, when
she is annoyed._

MARGARET.  Mother.  Mother.

_Mrs Knox draws in her head and confronts her daughter._

MRS KNOX.  [sternly]  Well, miss?

MARGARET.  Oh, mother, do go out and stop father making a scene in the
street.  He rushed at him and said "Youre the man who took away my
daughter" loud enough for all the people to hear.  Everybody stopped.
We shall have a crowd round the house.  Do do something to stop him.

_Knox returns with a good-looking young marine officer._

MARGARET.  Oh, Monsieur Duvallet, I'm so sorry--so ashamed.  Mother:
this is Monsieur Duvallet, who has been extremely kind to me.
Monsieur Duvallet:  my mother.  [Duvallet bows].

KNOX.  A Frenchman!  It only needed this.

MARGARET.  [much annoyed]  Father:  do please be commonly civil to a
gentleman who has been of the greatest service to me.  What will he
think of us?

DUVALLET.  [debonair]  But it's very natural.  I understand Mr
Knox's feelings perfectly.  [He speaks English better than Knox,
having learnt it on both sides of the Atlantic].

KNOX.  If Ive made any mistake I'm ready to apologize.  But I want to
know where my daughter has been for the last fortnight.

DUVALLET.  She has been, I assure you, in a particularly safe place.

KNOX.  Will you tell me what place?  I can judge for myself how safe
it was.

MARGARET.  Holloway Gaol.  Was that safe enough?

KNOX AND MRS KNOX.  Holloway Gaol!

KNOX.  Youve joined the Suffragets!

MARGARET.  No.  I wish I had.  I could have had the same experience in
better company.  Please sit down, Monsieur Duvallet.  [She sits
between the table and the sofa.  Mrs Knox, overwhelmed, sits at the
other side of the table.  Knox remains standing in the middle of the
room].

DUVALLET.  [sitting down on the sofa]  It was nothing.  An
adventure.  Nothing.

MARGARET.  [obdurately]  Drunk and assaulting the police!  Forty
shillings or a month!

MRS KNOX.  Margaret!  Who accused you of such a thing?

MARGARET.  The policeman I assaulted.

KNOX.  You mean to say that you did it!

MARGARET.  I did.  I had that satisfaction at all events.  I knocked
two of his teeth out.

KNOX.  And you sit there coolly and tell me this!

MARGARET.  Well, where do you want me to sit?  Whats the use of saying
things like that?

KNOX.  My daughter in Holloway Gaol!

MARGARET.  All the women in Holloway are somebody's daughters.
Really, father, you must make up your mind to it.  If you had sat in
that cell for fourteen days making up your mind to it, you would
understand that I'm not in the humor to be gaped at while youre trying
to persuade yourself that it cant be real.  These things really do
happen to real people every day; and you read about them in the papers
and think it's all right.  Well, theyve happened to me:  thats all.

KNOX.  [feeble-forcible]  But they shouldnt have happened to you.
Dont you know that?

MARGARET.  They shouldnt happen to anybody, I suppose.  But they do.
[Rising impatiently]  And really I'd rather go out and assault
another policeman and go back to Holloway than keep talking round and
round it like this.  If youre going to turn me out of the house, turn
me out:  the sooner I go the better.

DUVALLET.  [rising quickly]  That is impossible, mademoiselle.  Your
father has his position to consider.  To turn his daughter out of
doors would ruin him socially.

KNOX.  Oh, youve put her up to that, have you?  And where did you come
in, may I ask?

DUVALLET.  I came in at your invitation--at your amiable insistence,
in fact, not at my own.  But you need have no anxiety on my account.
I was concerned in the regrettable incident which led to your
daughter's incarceration.  I got a fortnight without the option of a
fine on the ridiculous ground that I ought to have struck the
policeman with my fist.  I should have done so with pleasure had I
known; but, as it was, I struck him on the ear with my boot--a
magnificent _moulinet_, I must say--and was informed that I had been
guilty of an act of cowardice, but that for the sake of the _entente
cordiale_ I should be dealt with leniently.  Yet Miss Knox, who used
her fist, got a month, but with the option of a fine.  I did not know
this until I was released, when my first act was to pay the fine.  And
here we are.

MRS KNOX.  You ought to pay the gentleman the fine, Jo.

KNOX.  [reddening]  Oh, certainly.  [He takes out some money].

DUVALLET.  Oh please! it does not matter.  [Knox hands him two
sovereigns].  If you insist--  [he pockets them]  Thank you.

MARGARET.  I'm ever so much obliged to you, Monsieur Duvallet.

DUVALLET.  Can I be of any further assistance, mademoiselle?

MARGARET.  I think you had better leave us to fight it out, if you
dont mind.

DUVALLET.  Perfectly.  Madame [bow]--Mademoiselle [bow]--Monsieur
[bow]--[He goes out].

MRS KNOX.  Dont ring, Jo.  See the gentleman out yourself.

_Knox hastily sees Duvallet out.  Mother and daughter sit looking
forlornly at one another without saying a word.  Mrs Knox slowly sits
down.  Margaret follows her example.  They look at one another again.
Mr Knox returns._

KNOX.  [shortly and sternly]  Amelia:  this is your job.  [To
Margaret]  I leave you to your mother.  I shall have my own say in
the matter when I hear what you have to say to her.  [He goes out,
solemn and offended].

MARGARET.  [with a bitter little laugh]  Just what the Suffraget
said to me in Holloway.  He throws the job on you.

MRS KNOX.  [reproachfully]  Margaret!

MARGARET.  You know it's true.

MRS KNOX.  Margaret:  if youre going to be hardened about it, theres
no use my saying anything.

MARGARET.  I'm not hardened, mother.  But I cant talk nonsense about
it.  You see, it's all real to me.  Ive suffered it.  Ive been shoved
and bullied.  Ive had my arms twisted.  Ive been made scream with pain
in other ways.  Ive been flung into a filthy cell with a lot of other
poor wretches as if I were a sack of coals being emptied into a
cellar.  And the only difference between me and the others was that I
hit back.  Yes I did.  And I did worse.  I wasnt ladylike.  I cursed.
I called names.  I heard words that I didnt even know that I knew,
coming out of my mouth just as if somebody else had spoken them.  The
policeman repeated them in court.  The magistrate said he could hardly
believe it.  The policeman held out his hand with his two teeth in it
that I knocked out.  I said it was all right; that I had heard myself
using those words quite distinctly; and that I had taken the good
conduct prize for three years running at school.  The poor old
gentleman put me back for the missionary to find out who I was, and to
ascertain the state of my mind.  I wouldnt tell, of course, for your
sakes at home here; and I wouldnt say I was sorry, or apologize to the
policeman, or compensate him or anything of that sort.  I wasnt sorry.
The one thing that gave me any satisfaction was getting in that smack
on his mouth; and I said so.  So the missionary reported that I seemed
hardened and that no doubt I would tell who I was after a day in
prison.  Then I was sentenced.  So now you see I'm not a bit the sort
of girl you thought me.  I'm not a bit the sort of girl I thought
myself.  And I dont know what sort of person you really are, or what
sort of person father really is.  I wonder what he would say or do if
he had an angry brute of a policeman twisting his arm with one hand
and rushing him along by the nape of his neck with the other.  He
couldnt whirl his leg like a windmill and knock a policeman down by a
glorious kick on the helmet.  Oh, if theyd all fought as we two fought
we'd have beaten them.

MRS KNOX.  But how did it all begin?

MARGARET.  Oh, I dont know.  It was boat-race night, they said.

MRS KNOX.  Boat-race night!  But what had you to do with the boat
race?  You went to the great Salvation Festival at the Albert Hall
with your aunt.  She put you into the bus that passes the door.  What
made you get out of the bus?

MARGARET.  I dont know.  The meeting got on my nerves, somehow.  It
was the singing, I suppose:  you know I love singing a good swinging
hymn; and I felt it was ridiculous to go home in the bus after we had
been singing so wonderfully about climbing up the golden stairs to
heaven.  I wanted more music--more happiness--more life.  I wanted
some comrade who felt as I did.  I felt exalted:  it seemed mean to be
afraid of anything:  after all, what could anyone do to me against my
will?  I suppose I was a little mad:  at all events, I got out of the
bus at Piccadilly Circus, because there was a lot of light and
excitement there.  I walked to Leicester Square; and went into a great
theatre.

MRS KNOX.  [horrified]  A theatre!

MARGARET.  Yes.  Lots of other women were going in alone.  I had to
pay five shillings.

MRS KNOX.  [aghast]  Five shillings!

MARGARET.  [apologetically]  It was a lot.  It was very stuffy; and
I didnt like the people much, because they didnt seem to be enjoying
themselves; but the stage was splendid and the music lovely.  I saw
that Frenchman, Monsieur Duvallet, standing against a barrier, smoking
a cigarette.  He seemed quite happy; and he was nice and sailorlike.
I went and stood beside him, hoping he would speak to me.

MRS KNOX.  [gasps]  Margaret!

MARGARET.  [continuing]  He did, just as if he had known me for
years.  We got on together like old friends.  He asked me would I have
some champagne; and I said it would cost too much, but that I would
give anything for a dance.  I longed to join the people on the stage
and dance with them:  one of them was the most beautiful dancer I ever
saw.  He told me he had come there to see her, and that when it was
over we could go somewhere where there was dancing.  So we went to a
place where there was a band in a gallery and the floor cleared for
dancing.  Very few people danced:  the women only wanted to shew off
their dresses; but we danced and danced until a lot of them joined in.
We got quite reckless; and we had champagne after all.  I never
enjoyed anything so much.  But at last it got spoilt by the Oxford and
Cambridge students up for the boat race.  They got drunk; and they
began to smash things; and the police came in.  Then it was quite
horrible.  The students fought with the police; and the police
suddenly got quite brutal, and began to throw everybody downstairs.
They attacked the women, who were not doing anything, and treated them
just as roughly as they had treated the students.  Duvallet got
indignant and remonstrated with a policeman, who was shoving a woman
though she was going quietly as fast as she could.  The policeman
flung the woman through the door and then turned on Duvallet.  It was
then that Duvallet swung his leg like a windmill and knocked the
policeman down.  And then three policemen rushed at him and carried
him out by the arms and legs face downwards.  Two more attacked me and
gave me a shove to the door.  That quite maddened me.  I just got in
one good bang on the mouth of one of them.  All the rest was dreadful.
I was rushed through the streets to the police station.  They kicked
me with their knees; they twisted my arms; they taunted and insulted
me; they called me vile names; and I told them what I thought of them,
and provoked them to do their worst.  Theres one good thing about
being hard hurt:  it makes you sleep.  I slept in that filthy cell
with all the other drunks sounder than I should have slept at home.  I
cant describe how I felt next morning:  it was hideous; but the police
were quite jolly; and everybody said it was a bit of English fun, and
talked about last year's boat-race night when it had been a great deal
worse.  I was black and blue and sick and wretched.  But the strange
thing was that I wasnt sorry; and I'm not sorry.  And I dont feel that
I did anything wrong, really.  [She rises and stretches her arms with
a large liberating breath]  Now that it's all over I'm rather proud
of it; though I know now that I'm not a lady; but whether thats
because we're only shopkeepers, or because nobody's really a lady
except when theyre treated like ladies, I dont know.  [She throws
herself into a corner of the sofa].

MRS KNOX.  [lost in wonder]  But how could you bring yourself to do
it, Margaret?  I'm not blaming you:  I only want to know.  How could
you bring yourself to do it?

MARGARET.  I cant tell you.  I dont understand it myself.  The prayer
meeting set me free, somehow.  I should never have done it if it were
not for the prayer meeting.

MRS KNOX.  [deeply horrified]  Oh, dont say such a thing as that.  I
know that prayer can set us free; though you could never understand me
when I told you so; but it sets us free for good, not for evil.

MARGARET.  Then I suppose what I did was not evil; or else I was set
free for evil as well as good.  As father says, you cant have anything
both ways at once.  When I was at home and at school I was what you
call good; but I wasnt free.  And when I got free I was what most
people would call not good.  But I see no harm in what I did; though I
see plenty in what other people did to me.

MRS KNOX.  I hope you dont think yourself a heroine of romance.

MARGARET.  Oh no.  [She sits down again at the table].  I'm a
heroine of reality, if you can call me a heroine at all.  And reality
is pretty brutal, pretty filthy, when you come to grips with it.  Yet
it's glorious all the same.  It's so real and satisfactory.

MRS KNOX.  I dont like this spirit in you, Margaret.  I dont like your
talking to me in that tone.

MARGARET.  It's no use, mother.  I dont care for you and Papa any the
less; but I shall never get back to the old way of talking again.  Ive
made a sort of descent into hell--

MRS KNOX.  Margaret!  Such a word!

MARGARET.  You should have heard all the words that were flying round
that night.  You should mix a little with people who dont know any
other words.  But when I said that about a descent into hell I was not
swearing.  I was in earnest, like a preacher.

MRS KNOX.  A preacher utters them in a reverent tone of voice.

MARGARET.  I know:  the tone that shews they dont mean anything real
to him.  They usent to mean anything real to me.  Now hell is as real
to me as a turnip; and I suppose I shall always speak of it like that.
Anyhow, Ive been there; and it seems to me now that nothing is worth
doing but redeeming people from it.

MRS KNOX.  They are redeemed already if they choose to believe it.

MARGARET.  Whats the use of that if they dont choose to believe it?
You dont believe it yourself, or you wouldnt pay policemen to twist
their arms.  Whats the good of pretending?  Thats all our
respectability is, pretending, pretending, pretending.  Thank heaven
Ive had it knocked out of me once for all!

MRS KNOX.  [greatly agitated]  Margaret:  dont talk like that.  I
cant bear to hear you talking wickedly.  I can bear to hear the
children of this world talking vainly and foolishly in the language of
this world.  But when I hear you justifying your wickedness in the
words of grace, it's too horrible:  it sounds like the devil making
fun of religion.  Ive tried to bring you up to learn the happiness of
religion.  Ive waited for you to find out that happiness is within
ourselves and doesnt come from outward pleasures.  Ive prayed oftener
than you think that you might be enlightened.  But if all my hopes and
all my prayers are to come to this, that you mix up my very words and
thoughts with the promptings of the devil, then I dont know what I
shall do:  I dont indeed:  itll kill me.

MARGARET.  You shouldnt have prayed for me to be enlightened if you
didnt want me to be enlightened.  If the truth were known, I suspect
we all want our prayers to be answered only by halves:  the agreeable
halves.  Your prayer didnt get answered by halves, mother.  Youve got
more than you bargained for in the way of enlightenment.  I shall
never be the same again.  I shall never speak in the old way again.
Ive been set free from this silly little hole of a house and all its
pretences.  I know now that I am stronger than you and Papa.  I havnt
found that happiness of yours that is within yourself; but Ive found
strength.  For good or evil I am set free; and none of the things that
used to hold me can hold me now.

_Knox comes back, unable to bear his suspense._

KNOX.  How long more are you going to keep me waiting, Amelia?  Do you
think I'm made of iron?  Whats the girl done?  What are we going to
do?

MRS KNOX.  Shes beyond my control, Jo, and beyond yours.  I cant even
pray for her now; for I dont know rightly what to pray for.

KNOX.  Dont talk nonsense, woman:  is this a time for praying?  Does
anybody know?  Thats what we have to consider now.  If only we can
keep it dark, I don't care for anything else.

MARGARET.  Dont hope for that, father.  Mind:  I'll tell everybody.
It ought to be told.  It must be told.

KNOX.  Hold your tongue, you young hussy; or go out of my house this
instant.

MARGARET.  I'm quite ready.  [She takes her hat and turns to the
door].

KNOX.  [throwing himself in front of it]  Here! where are you going?

MRS KNOX.  [rising]  You mustnt turn her out, Jo!  I'll go with her
if she goes.

KNOX.  Who wants to turn her out?  But is she going to ruin us?  To
let everybody know of her disgrace and shame?  To tear me down from
the position Ive made for myself and you by forty years hard
struggling?

MARGARET.  Yes:  I'm going to tear it all down.  It stands between us
and everything.  I'll tell everybody.

KNOX.  Magsy, my child:  dont bring down your father's hairs with
sorrow to the grave.  Theres only one thing I care about in the world:
to keep this dark.  I'm your father.  I ask you here on my knees--in
the dust, so to speak--not to let it out.

MARGARET.  I'll tell everybody.

_Knox collapses in despair.  Mrs Knox tries to pray and cannot.
Margaret stands inflexible._




ACT III

_Again in the Gilbeys' dining-room.  Afternoon.  The table is not
laid:  it is draped in its ordinary cloth, with pen and ink, an
exercise-book, and school-books on it.  Bobby Gilbey is in the
arm-chair, crouching over the fire, reading an illustrated paper.  He
is a pretty youth, of very suburban gentility, strong and manly enough
by nature, but untrained and unsatisfactory, his parents having
imagined that domestic restriction is what they call "bringing up."
He has learnt nothing from it except a habit of evading it by deceit._

_He gets up to ring the bell; then resumes his crouch.  Juggins
answers the bell._

BOBBY.  Juggins.

JUGGINS.  Sir?

BOBBY.  [morosely sarcastic]  Sir be blowed!

JUGGINS.  [cheerfully]  Not at all, sir.

BOBBY.  I'm a gaol-bird:  youre a respectable man.

JUGGINS.  That doesnt matter, sir.  Your father pays me to call you
sir; and as I take the money, I keep my part of the bargain.

BOBBY.  Would you call me sir if you wernt paid to do it?

JUGGINS.  No, sir.

BOBBY.  Ive been talking to Dora about you.

JUGGINS.  Indeed, sir?

BOBBY.  Yes.  Dora says your name cant be Juggins, and that you have
the manners of a gentleman.  I always thought you hadnt any manners.
Anyhow, your manners are different from the manners of a gentleman in
my set.

JUGGINS.  They would be, sir.

BOBBY.  You dont feel disposed to be communicative on the subject of
Dora's notion, I suppose.

JUGGINS.  No, sir.

BOBBY.  [throwing his paper on the floor and lifting his knees over
the arm of the chair so as to turn towards the footman]  It was part
of your bargain that you were to valet me a bit, wasnt it?

JUGGINS.  Yes, sir.

BOBBY.  Well, can you tell me the proper way to get out of an
engagement to a girl without getting into a row for breach of promise
or behaving like a regular cad?

JUGGINS.  No, sir.  You cant get out of an engagement without behaving
like a cad if the lady wishes to hold you to it.

BOBBY.  But it wouldnt be for her happiness to marry me when I dont
really care for her.

JUGGINS.  Women dont always marry for happiness, sir.  They often
marry because they wish to be married women and not old maids.

BOBBY.  Then what am I to do?

JUGGINS.  Marry her, sir, or behave like a cad.

BOBBY.  [Jumping up]  Well, I wont marry her:  thats flat.  What
would you do if you were in my place?

JUGGINS.  I should tell the young lady that I found I couldnt fulfil
my engagement.

BOBBY.  But youd have to make some excuse, you know.  I want to give
it a gentlemanly turn:  to say I'm not worthy of her, or something
like that.

JUGGINS.  That is not a gentlemanly turn, sir.  Quite the contrary.

BOBBY.  I dont see that at all.  Do you mean that it's not exactly
true?

JUGGINS.  Not at all, sir.

BOBBY.  I can say that no other girl can ever be to me what shes been.
That would be quite true, because our circumstances have been rather
exceptional; and she'll imagine I mean I'm fonder of her than I can
ever be of anyone else.  You see, Juggins, a gentleman has to think of
a girl's feelings.

JUGGINS.  If you wish to spare her feelings, sir, you can marry her.
If you hurt her feelings by refusing, you had better not try to get
credit for considerateness at the same time by pretending to spare
them.  She wont like it.  And it will start an argument, of which you
will get the worse.

BOBBY.  But, you know, I'm not really worthy of her.

JUGGINS.  Probably she never supposed you were, sir.

BOBBY.  Oh, I say, Juggins, you are a pessimist.

JUGGINS.  [preparing to go]  Anything else, sir?

BOBBY.  [querulously]  You havnt been much use.  [He wanders
disconsolately across the room].  You generally put me up to the
correct way of doing things.

JUGGINS.  I assure you, sir, theres no correct way of jilting.  It's
not correct in itself.

BOBBY.  [hopefully]  I'll tell you what.  I'll say I cant hold her
to an engagement with a man whos been in quod.  Thatll do it.  [He
seats himself on the table, relieved and confident].

JUGGINS.  Very dangerous, sir.  No woman will deny herself the
romantic luxury of self-sacrifice and forgiveness when they take the
form of doing something agreeable.  Shes almost sure to say that your
misfortune will draw her closer to you.

BOBBY.  What a nuisance!  I dont know what to do.  You know, Juggins,
your cool simple-minded way of doing it wouldnt go down in Denmark
Hill.

JUGGINS.  I daresay not, sir.  No doubt youd prefer to make it look
like an act of self-sacrifice for her sake on your part, or provoke
her to break the engagement herself.  Both plans have been tried
repeatedly, but never with success, as far as my knowledge goes.

BOBBY.  You have a devilish cool way of laying down the law.  You
know, in my class you have to wrap up things a bit.  Denmark Hill
isn't Camberwell, you know.

JUGGINS.  I have noticed, sir, that Denmark Hill thinks that the
higher you go in the social scale, the less sincerity is allowed; and
that only tramps and riff-raff are quite sincere.  Thats a mistake.
Tramps are often shameless; but theyre never sincere.  Swells--if I
may use that convenient name for the upper classes--play much more
with their cards on the table.  If you tell the young lady that you
want to jilt her, and she calls you a pig, the tone of the transaction
may leave much to be desired; but itll be less Camberwellian than if
you say youre not worthy.

BOBBY.  Oh, I cant make you understand, Juggins.  The girl isnt a
scullery-maid.  I want to do it delicately.

JUGGINS.  A mistake, sir, believe me, if you are not a born artist in
that line.--Beg pardon, sir, I think I heard the bell.  [He goes
out].

_Bobby, much perplexed, shoves his hands into his pockets, and comes
off the table, staring disconsolately straight before him; then goes
reluctantly to his books, and sits down to write.  Juggins returns._

JUGGINS.  [announcing]  Miss Knox.

_Margaret comes in.  Juggins withdraws._

MARGARET.  Still grinding away for that Society of Arts examination,
Bobby?  Youll never pass.

BOBBY.  [rising]  No:  I was just writing to you.

MARGARET.  What about?

BOBBY.  Oh, nothing.  At least--  How are you?

MARGARET.  [passing round the other end of the table and putting down
on it a copy of Lloyd's Weekly and her purse-bag]  Quite well, thank
you.  How did you enjoy Brighton?

BOBBY.  Brighton!  I wasnt at--  Oh yes, of course.  Oh, pretty well.
Is your aunt all right?

MARGARET.  My aunt!  I suppose so.  I havent seen her for a month.

BOBBY.  I thought you were down staying with her.

MARGARET.  Oh! was that what they told you?

BOBBY.  Yes.  Why?  Werent you really?

MARGARET.  No.  Ive something to tell you.  Sit down and lets be
comfortable.

_She sits on the edge of the table.  He sits beside her, and puts his
arm wearily round her waist._

MARGARET.  You neednt do that if you dont like, Bobby.  Suppose we get
off duty for the day, just to see what it's like.

BOBBY.  Off duty?  What do you mean?

MARGARET.  You know very well what I mean.  Bobby:  did you ever care
one little scrap for me in that sort of way?  Dont funk answering:
_I_ dont care a bit for you--that way.

BOBBY.  [removing his arm rather huffily]  I beg your pardon, I'm
sure.  I thought you did.

MARGARET.  Well, did you?  Come!  Dont be mean.  Ive owned up.  You
can put it all on me if you like; but I dont believe you care any more
than I do.

BOBBY.  You mean weve been shoved into it rather by the pars and mars.

MARGARET.  Yes.

BOBBY.  Well, it's not that I dont care for you:  in fact, no girl can
ever be to me exactly what you are; but weve been brought up so much
together that it feels more like brother and sister than--well, than
the other thing, doesnt it?

MARGARET.  Just so.  How did you find out the difference?

BOBBY.  [blushing]  Oh, I say!

MARGARET.  I found out from a Frenchman.

BOBBY.  Oh, I say!  [He comes off the table in his consternation].

MARGARET.  Did you learn it from a Frenchwoman?  You know you must
have learnt it from somebody.

BOBBY.  Not a Frenchwoman.  Shes quite a nice woman.  But shes been
rather unfortunate.  The daughter of a clergyman.

MARGARET.  [startled]  Oh, Bobby!  That sort of woman!

BOBBY.  What sort of woman?

MARGARET.  You dont believe shes really a clergyman's daughter, do
you, you silly boy?  It's a stock joke.

BOBBY.  Do you mean to say you dont believe me?

MARGARET.  No:  I mean to say I dont believe her.

BOBBY.  [curious and interested, resuming his seat on the table
beside her].  What do you know about her?  What do you know about all
this sort of thing?

MARGARET.  What sort of thing, Bobby?

BOBBY.  Well, about life.

MARGARET.  Ive lived a lot since I saw you last.  I wasnt at my
aunt's.  All that time that you were in Brighton, I mean.

BOBBY.  I wasnt at Brighton, Meg.  I'd better tell you:  youre bound
to find out sooner or later.  [He begins his confession humbly,
avoiding her gaze].  Meg:  it's rather awful:  youll think me no end
of a beast.  Ive been in prison.

MARGARET.  You!

BOBBY.  Yes, me.  For being drunk and assaulting the police.

MARGARET.  Do you mean to say that you--oh! this is a let-down for me.
[She comes off the table and drops, disconsolate, into a chair at the
end of it furthest from the hearth].

BOBBY.  Of course I couldnt hold you to our engagement after that.  I
was writing to you to break it off.  [He also descends from the table
and makes slowly for the hearth].  You must think me an utter rotter.

MARGARET.  Oh, has everybody been in prison for being drunk and
assaulting the police?  How long were you in?

BOBBY.  A fortnight.

MARGARET.  Thats what I was in for.

BOBBY.  What are you talking about?  In where?

MARGARET.  In quod.

BOBBY.  But I'm serious:  I'm not rotting.  Really and truly--

MARGARET.  What did you do to the copper?

BOBBY.  Nothing, absolutely nothing.  He exaggerated grossly.  I only
laughed at him.

MARGARET.  [jumping up, triumphant]  Ive beaten you hollow.  I
knocked out two of his teeth.  Ive got one of them.  He sold it to me
for ten shillings.

BOBBY.  Now please do stop fooling, Meg.  I tell you I'm not rotting.
[He sits down in the armchair, rather sulkily].

MARGARET.  [taking up the copy of Lloyd's Weekly and going to him]
And I tell you I'm not either.  Look!  Heres a report of it.  The
daily papers are no good; but the Sunday papers are splendid.  [She
sits on the arm of the chair].  See!  [Reading]:  "Hardened at
Eighteen.  A quietly dressed, respectable-looking girl who refuses her
name"--thats me.

BOBBY.  [pausing a moment in his perusal]  Do you mean to say that
you went on the loose out of pure devilment?

MARGARET.  I did no harm.  I went to see a lovely dance.  I picked up
a nice man and went to have a dance myself.  I cant imagine anything
more innocent and more happy.  All the bad part was done by other
people:  they did it out of pure devilment if you like.  Anyhow, here
we are, two gaolbirds, Bobby, disgraced forever.  Isnt it a relief?

BOBBY.  [rising stiffly]  But you know, it's not the same for a
girl.  A man may do things a woman maynt.  [He stands on the
hearthrug with his back to the fire].

MARGARET.  Are you scandalized, Bobby?

BOBBY.  Well, you cant expect me to approve of it, can you, Meg?  I
never thought you were that sort of girl.

MARGARET.  [rising indignantly]  I'm not.  You mustnt pretend to
think that _I_'m a clergyman's daughter, Bobby.

BOBBY.  I wish you wouldnt chaff about that.  Dont forget the row you
got into for letting out that you admired Juggins [she turns her back
on him quickly]--a footman!  And what about the Frenchman?

MARGARET.  [facing him again]  I know nothing about the Frenchman
except that hes a very nice fellow and can swing his leg round like
the hand of a clock and knock a policeman down with it.  He was in
Wormwood Scrubbs with you.  I was in Holloway.

BOBBY.  It's all very well to make light of it, Meg; but this is a bit
thick, you know.

MARGARET.  Do you feel you couldnt marry a woman whos been in prison?

BOBBY.  [hastily]  No.  I never said that.  It might even give a
woman a greater claim on a man.  Any girl, if she were thoughtless and
a bit on, perhaps, might get into a scrape.  Anyone who really
understood her character could see there was no harm in it.  But youre
not the larky sort.  At least you usent to be.

MARGARET.  I'm not; and I never will be.  [She walks straight up to
him].  I didnt do it for a lark, Bob:  I did it out of the very
depths of my nature.  I did it because I'm that sort of person.  I did
it in one of my religious fits.  I'm hardened at eighteen, as they
say.  So what about the match, now?

BOBBY.  Well, I dont think you can fairly hold me to it, Meg.  Of
course it would be ridiculous for me to set up to be shocked, or
anything of that sort.  I cant afford to throw stones at anybody; and
I dont pretend to.  I can understand a lark; I can forgive a slip; as
long as it is understood that it is only a lark or a slip.  But to go
on the loose on principle; to talk about religion in connection with
it; to--to--well, Meg, I do find that a bit thick, I must say.  I hope
youre not in earnest when you talk that way.

MARGARET.  Bobby:  youre no good.  No good to me, anyhow.

BOBBY.  [huffed]  I'm sorry, Miss Knox.

MARGARET.  Goodbye, Mr Gilbey.  [She turns on her heel and goes to
the other end of the table].  I suppose you wont introduce me to the
clergyman's daughter.

BOBBY.  I dont think she'd like it.  There are limits, after all.
[He sits down at the table, as if to to resume work at his books:  a
hint to her to go].

MARGARET.  [on her way to the door]  Ring the bell, Bobby; and tell
Juggins to shew me out.

BOBBY.  [reddening]  I'm not a cad, Meg.

MARGARET.  [coming to the table]  Then do something nice to prevent
us feeling mean about this afterwards.  Youd better kiss me.  You
neednt ever do it again.

BOBBY.  If I'm no good, I dont see what fun it would be for you.

MARGARET.  Oh, it'd be no fun.  If I wanted what you call fun, I
should ask the Frenchman to kiss me--or Juggins.

BOBBY.  [rising and retreating to the hearth]  Oh, dont be
disgusting, Meg.  Dont be low.

MARGARET.  [determinedly, preparing to use force]  Now, I'll make
you kiss me, just to punish you.  [She seizes his wrist; pulls him
off his balance; and gets her arm round his neck].

BOBBY.  No.  Stop.  Leave go, will you.

_Juggins appears at the door._

JUGGINS.  Miss Delaney, Sir.  [Dora comes in.  Juggins goes out.
Margaret hastily releases Bobby, and goes to the other side of the
room.]

DORA.  [through the door, to the departing Juggins]  Well, you are a
Juggins to shew me up when theres company.  [To Margaret and Bobby]
It's all right, dear:  all right, old man:  I'll wait in Juggins's
pantry til youre disengaged.

MARGARET.  Dont you know me?

DORA.  [coming to the middle of the room and looking at her very
attentively]  Why, it's never No. 406!

MARGARET.  Yes it is.

DORA.  Well, I should never have known you out of the uniform.  How
did you get out?  You were doing a month, wernt you?

MARGARET.  My bloke paid the fine the day he got out himself.

DORA.  A real gentleman!  [Pointing to Bobby, who is staring
open-mouthed]  Look at him.  He cant take it in.

BOBBY.  I suppose you made her acquaintance in prison, Meg.  But when
it comes to talking about blokes and all that--well!

MARGARET.  Oh, Ive learnt the language; and I like it.  It's another
barrier broken down.

BOBBY.  It's not so much the language, Meg.  But I think [he looks at
Dora and stops].

MARGARET.  [suddenly dangerous]  What do you think, Bobby?

DORA.  He thinks you oughtnt to be so free with me, dearie.  It does
him credit:  he always was a gentleman, you know.

MARGARET.  Does him credit!  To insult you like that!  Bobby:  say
that that wasnt what you meant.

BOBBY.  I didnt say it was.

MARGARET.  Well, deny that it was.

BOBBY.  No.  I wouldnt have said it in front of Dora; but I do think
it's not quite the same thing my knowing her and you knowing her.

DORA.  Of course it isnt, old man.  [To Margaret]  I'll just trot
off and come back in half an hour.  You two can make it up together.
I'm really not fit company for you, dearie:  I couldnt live up to you.
[She turns to go].

MARGARET.  Stop.  Do you believe he could live up to me?

DORA.  Well, I'll never say anything to stand between a girl and a
respectable marriage, or to stop a decent lad from settling himself.
I have a conscience; though I maynt be as particular as some.

MARGARET.  You seem to me to be a very decent sort; and Bobby's
behaving like a skunk.

BOBBY.  [much ruffled]  Nice language that!

DORA.  Well, dearie, men have to do some awfully mean things to keep
up their respectability.  But you cant blame them for that, can you?
Ive met Bobby walking with his mother; and of course he cut me dead.
I wont pretend I liked it; but what could he do, poor dear?

MARGARET.  And now he wants me to cut you dead to keep him in
countenance.  Well, I shant:  not if my whole family were there.  But
I'll cut him dead if he doesnt treat you properly.  [To Bobby, with a
threatening move in his direction]  I'll educate you, you young
beast.

BOBBY.  [furious, meeting her half way]  Who are you calling a young
beast?

MARGARET.  You.

DORA.  [peacemaking]  Now, dearies!

BOBBY.  If you dont take care, youll get your fat head jolly well
clouted.

MARGARET.  If you dont take care, the policeman's tooth will only be
the beginning of a collection.

DORA.  Now, loveys, be good.

_Bobby, lost to all sense of adult dignity, puts out his tongue at
Margaret.  Margaret, equally furious, catches his protended
countenance a box on the cheek.  He hurls himself her.  They wrestle._

BOBBY.  Cat!  I'll teach you.

MARGARET.  Pig!  Beast!  [She forces him backwards on the table].
Now where are you?

DORA.  [calling]  Juggins, Juggins.  Theyll murder one another.

JUGGINS.  [throwing open the door, and announcing]  Monsieur
Duvallet.

_Duvallet enters.  Sudden cessation of hostilities, and dead silence.
The combatants separate by the whole width of the room.  Juggins
withdraws._

DUVALLET.  I fear I derange you.

MARGARET.  Not at all.  Bobby:  you really are a beast:  Monsieur
Duvallet will think I'm always fighting.

DUVALLET.  Practising jujitsu or the new Iceland wrestling.
Admirable, Miss Knox.  The athletic young Englishwoman is an example
to all Europe.  [Indicating Bobby]  Your instructor, no doubt.
Monsieur--  [he bows].

BOBBY.  [bowing awkwardly]  How d'y' do?

MARGARET.  [to Bobby]  I'm so sorry, Bobby:  I asked Monsieur
Duvallet to call for me here; and I forgot to tell you.
[Introducing]  Monsieur Duvallet:  Miss Four hundred and seven.  Mr
Bobby Gilbey.  [Duvallet bows].  I really dont know how to explain
our relationships.  Bobby and I are like brother and sister.

DUVALLET.  Perfectly.  I noticed it.

MARGARET.  Bobby and Miss--Miss-

DORA.  Delaney, dear.  [To Duvallet, bewitchingly] Darling Dora, to
real friends.

MARGARET.  Bobby and Dora are--are--well, not brother and sister.

DUVALLET. [with redoubled comprehension]  Perfectly.

MARGARET.  Bobby has spent the last fortnight in prison.  You dont
mind, do you?

DUVALLET.  No, naturally.  _I_ have spent the last fortnight in
prison.

_The conversation drops.  Margaret renews it with an effort._

MARGARET.  Dora has spent the last fortnight in prison.

DUVALLET.  Quite so.  I felicitate Mademoiselle on her enlargement.

DORA.  _Trop merci_, as they say in Boulogne.  No call to be stiff
with one another, have we?

_Juggins comes in._

JUGGINS.  Beg pardon, sir.  Mr and Mrs Gilbey are coming up the
street.

DORA.  Let me absquatulate [making for the door].

JUGGINS.  If you wish to leave without being seen, you had better step
into my pantry and leave afterwards.

DORA.  Right oh!  [She bursts into song]
Hide me in the meat safe til the cop goes by.
Hum the dear old music as his step draws nigh.
[She goes out on tiptoe].

MARGARET.  I wont stay here if she has to hide.  I'll keep her company
in the pantry.  [She follows Dora].

BOBBY.  Lets all go.  We cant have any fun with the Mar here.  I say,
Juggins:  you can give us tea in the pantry, cant you?

JUGGINS.  Certainly, sir.

BOBBY.  Right.  Say nothing to my mother.  You dont mind, Mr.
Doovalley, do you?

DUVALLET.  I shall be charmed.

BOBBY.  Right you are.  Come along.  [At the door]  Oh, by the way,
Juggins, fetch down that concertina from my room, will you?

JUGGINS.  Yes, sir.  [Bobby goes out.  Duvallet follows him to the
door].  You understand, sir, that Miss Knox is a lady absolutely
_comme il faut_?

DUVALLET.  Perfectly.  But the other?

JUGGINS.  The other, sir, may be both charitably and accurately
described in your native idiom as a daughter of joy.

DUVALLET.  It is what I thought.  These English domestic interiors are
very interesting.  [He goes out, followed by Juggins].

_Presently Mr and Mrs Gilbey come in.  They take their accustomed
places:  he on the hearthrug, she at the colder end of the table._

MRS GILBEY.  Did you smell scent in the hall, Rob?

GILBEY.  No, I didnt.  And I dont want to smell it.  Dont you go
looking for trouble, Maria.

MRS GILBEY.  [snuffing up the perfumed atmosphere]  Shes been here.
[Gilbey rings the bell].  What are you ringing for?  Are you going
to ask?

GILBEY.  No, I'm not going to ask.  Juggins said this morning he
wanted to speak to me.  If he likes to tell me, let him; but I'm not
going to ask; and dont you either.  [Juggins appears at the door].
You said you wanted to say something to me.

JUGGINS.  When it would be convenient to you, sir.

GILBEY.  Well, what is it?

MRS GILBEY.  Oh, Juggins, we're expecting Mr and Mrs Knox to tea.

GILBEY.  He knows that.  [He sits down.  Then, to Juggins]  What is
it?

JUGGINS.  [advancing to the middle of the table]  Would it
inconvenience you, sir, if I was to give you a month's notice?

GILBEY.  [taken aback]  What!  Why?  Aint you satisfied?

JUGGINS.  Perfectly, sir.  It is not that I want to better myself, I
assure you.

GILBEY.  Well, what do you want to leave for, then?  Do you want to
worse yourself?

JUGGINS.  No, sir.  Ive been well treated in your most comfortable
establishment; and I should be greatly distressed if you or Mrs Gilbey
were to interpret my notice as an expression of dissatisfaction.

GILBEY.  [paternally]  Now you listen to me, Juggins.  I'm an older
man than you.  Dont you throw out dirty water til you get in fresh.
Dont get too big for your boots.  Youre like all servants nowadays:
you think youve only to hold up your finger to get the pick of half a
dozen jobs.  But you wont be treated everywhere as youre treated here.
In bed every night before eleven; hardly a ring at the door except on
Mrs Gilbey's day once a month; and no other manservant to interfere
with you.  It may be a bit quiet perhaps; but youre past the age of
adventure.  Take my advice:  think over it.  You suit me; and I'm
prepared to make it suit you if youre dissatisfied--in reason, you
know.

JUGGINS.  I realize my advantages, sir; but Ive private reasons--

GILBEY.  [cutting him short angrily and retiring to the hearthrug in
dudgeon]  Oh, I know.  Very well:  go.  The sooner the better.

MRS GILBEY.  Oh, not until we're suited.  He must stay his month.

GILBEY.  [sarcastic]  Do you want to lose him his character, Maria?
Do you think I dont see what it is?  We're prison folk now.  Weve been
in the police court.  [To Juggins]  Well, I suppose you know your
own business best.  I take your notice:  you can go when your month is
up, or sooner, if you like.

JUGGINS.  Believe me, sir--

GILBEY.  Thats enough:  I dont want any excuses.  I dont blame you.
You can go downstairs now, if youve nothing else to trouble me about.

JUGGINS.  I really cant leave it at that, sir.  I assure you Ive no
objection to young Mr Gilbey's going to prison.  You may do six months
yourself, sir, and welcome, without a word of remonstrance from me.
I'm leaving solely because my brother, who has suffered a bereavement,
and feels lonely, begs me to spend a few months with him until he gets
over it.

GILBEY.  And is he to keep you all that time? or are you to spend your
savings in comforting him?  Have some sense, man:  how can you afford
such things?

JUGGINS.  My brother can afford to keep me, sir.  The truth is, he
objects to my being in service.

GILBEY.  Is that any reason why you should be dependent on him?  Dont
do it, Juggins:  pay your own way like an honest lad; and dont eat
your brother's bread while youre able to earn your own.

JUGGINS.  There is sound sense in that, sir.  But unfortunately it is
a tradition in my family that the younger brothers should spunge to a
considerable extent on the eldest.

GILBEY.  Then the sooner that tradition is broken, the better, my man.

JUGGINS.  A Radical sentiment, sir.  But an excellent one.

GILBEY.  Radical!  What do you mean?  Dont you begin to take
liberties, Juggins, now that you know we're loth to part with you.
Your brother isnt a duke, you know.

JUGGINS.  Unfortunately, he is, sir.

GILBEY.     |   What!    |
            |            | _together_
            |            |
MRS GILBEY. |   Juggins! |

JUGGINS.  Excuse me, sir:  the bell.  [He goes out].

GILBEY.  [overwhelmed]  Maria:  did you understand him to say his
brother was a duke?

MRS GILBEY.  Fancy his condescending!  Perhaps if youd offer to raise
his wages and treat him as one of the family, he'd stay.

GILBEY.  And have my own servant above me!  Not me.  Whats the world
coming to?  Heres Bobby and--

JUGGINS.  [entering and announcing]  Mr and Mrs Knox.

_The Knoxes come in.  Juggins takes two chairs from the wall and
places them at the table, between the host and hostess.  Then he
withdraws._

MRS GILBEY.  [to Mrs Knox]  How are you, dear?

MRS KNOX.  Nicely, thank you.  Good evening, Mr Gilbey.  [They shake
hands; and she takes the chair nearest Mrs Gilbey.  Mr Knox takes the
other chair].

GILBEY.  [sitting down]  I was just saying, Knox, What is the world
coming to?

KNOX.  [appealing to his wife]  What was I saying myself only this
morning?

MRS KNOX.  This is a strange time.  I was never one to talk about the
end of the world; but look at the things that have happened!

KNOX.  Earthquakes!

GILBEY.  San Francisco!

MRS GILBEY.  Jamaica!

KNOX.  Martinique!

GILBEY.  Messina!

MRS GILBEY.  The plague in China!

MRS KNOX.  The floods in France!

GILBEY.  My Bobby in Wormwood Scrubbs!

KNOX.  Margaret in Holloway!

GILBEY.  And now my footman tells me his brother's a duke!

KNOX.       |   No!
            |
MRS KNOX.   | Whats that?

GILBEY.  Just before he let you in.  A duke!  Here has everything been
respectable from the beginning of the world, as you may say, to the
present day; and all of a sudden everything is turned upside down.

MRS KNOX.  It's like in the book of Revelations.  But I do say that
unless people have happiness within themselves, all the earthquakes,
all the floods, and all the prisons in the world cant make them really
happy.

KNOX.  It isnt alone the curious things that are happening, but the
unnatural way people are taking them.  Why, theres Margaret been in
prison, and she hasnt time to go to all the invitations shes had from
people that never asked her before.

GILBEY.  I never knew we could live without being respectable.

MRS GILBEY.  Oh, Rob, what a thing to say!  Who says we're not
respectable?

GILBEY.  Well, it's not what I call respectable to have your children
in and out of gaol.

KNOX.  Oh come, Gilbey! we're not tramps because weve had, as it were,
an accident.

GILBEY.  It's no use, Knox:  look it in the face.  Did I ever tell you
my father drank?

KNOX.  No.  But I knew it.  Simmons told me.

GILBEY.  Yes:  he never could keep his mouth quiet:  he told me your
aunt was a kleptomaniac.

MRS KNOX.  It wasnt true, Mr Gilbey.  She used to pick up
handkerchiefs if she saw them lying about; but you might trust her
with untold silver.

GILBEY.  My Uncle Phil was a teetotaller.  My father used to say to
me:  Rob, he says, dont you ever have a weakness.  If you find one
getting a hold on you, make a merit of it, he says.  Your Uncle Phil
doesnt like spirits; and he makes a merit of it, and is chairman of
the Blue Ribbon Committee.  I do like spirits; and I make a merit of
it, and I'm the King Cockatoo of the Convivial Cockatoos.  Never put
yourself in the wrong, he says.  I used to boast about what a good boy
Bobby was.  Now I swank about what a dog he is; and it pleases people
just as well.  What a world it is!

KNOX.  It turned my blood cold at first to hear Margaret telling
people about Holloway; but it goes down better than her singing used
to.

MRS KNOX.  I never thought she sang right after all those lessons we
paid for.

GILBEY.  Lord, Knox, it was lucky you and me got let in together.  I
tell you straight, if it hadnt been for Bobby's disgrace, I'd have
broke up the firm.

KNOX.  I shouldnt have blamed you:  I'd have done the same only for
Margaret.  Too much straightlacedness narrows a man's mind.  Talking
of that, what about those hygienic corset advertisements that Vines &
Jackson want us to put in the window?  I told Vines they werent decent
and we couldnt shew them in our shop.  I was pretty high with him.
But what am I to say to him now if he comes and throws this business
in our teeth?

GILBEY.  Oh, put em in.  We may as well go it a bit now.

MRS GILBEY.  Youve been going it quite far enough, Rob.  [To Mrs
Knox]  He wont get up in the mornings now:  he that was always out of
bed at seven to the tick!

MRS KNOX.  You hear that, Jo?  [To Mrs Gilbey]  Hes taken to whisky
and soda.  A pint a week!  And the beer the same as before!

KNOX.  Oh, dont preach, old girl.

MRS KNOX.  [To Mrs Gilbey]  Thats a new name hes got for me.  [to
Knox]  I tell you, Jo, this doesnt sit well on you.  You may call it
preaching if you like; but it's the truth for all that.  I say that if
youve happiness within yourself, you dont need to seek it outside,
spending money on drink and theatres and bad company, and being
miserable after all.  You can sit at home and be happy; and you can
work and be happy.  If you have that in you, the spirit will set you
free to do what you want and guide you to do right.  But if you havent
got it, then youd best be respectable and stick to the ways that are
marked out for you; for youve nothing else to keep you straight.

KNOX.  [angrily]  And is a man never to have a bit of fun?  See
whats come of it with your daughter!  She was to be content with your
happiness that youre always talking about; and how did the spirit
guide her?  To a month's hard for being drunk and assaulting the
police.  Did _I_ ever assault the police?

MRS KNOX.  You wouldnt have the courage.  I dont blame the girl.

MRS GILBEY.     |   Oh, Maria!  What are you saying?
                |

GILBEY.         |   What!  And you so pious!

MRS KNOX.  She went where the spirit guided her.  And what harm there
was in it she knew nothing about.

GILBEY.  Oh, come, Mrs Knox!  Girls are not so innocent as all that.

MRS KNOX.  I dont say she was ignorant.  But I do say that she didnt
know what we know:  I mean the way certain temptations get a sudden
hold that no goodness nor self-control is any use against.  She was
saved from that, and had a rough lesson too; and I say it was no
earthly protection that did that.  But dont think, you two men, that
youll be protected if you make what she did an excuse to go and do as
youd like to do if it wasnt for fear of losing your characters.  The
spirit wont guide you, because it isnt in you; and it never had been:
not in either of you.

GILBEY.  [with ironic humility]  I'm sure I'm obliged to you for
your good opinion, Mrs Knox.

MRS KNOX.  Well, I will say for you, Mr Gilbey, that youre better than
my man here.  Hes a bitter hard heathen, is my Jo, God help me!  [She
begins to cry quietly].

KNOX.  Now, dont take on like that, Amelia.  You know I always give in
to you that you were right about religion.  But one of us had to think
of other things, or we'd have starved, we and the child.

MRS KNOX.  How do you know youd have starved?  All the other things
might have been added unto you.

GILBEY.  Come, Mrs Knox, dont tell me Knox is a sinner.  I know
better.  I'm sure youd be the first to be sorry if anything was to
happen to him.

KNOX.  [bitterly to his wife]  Youve always had some grudge against
me; and nobody but yourself can understand what it is.

MRS KNOX.  I wanted a man who had that happiness within himself.  You
made me think you had it; but it was nothing but being in love with
me.

MRS GILBEY.  And do you blame him for that?

MRS KNOX.  I blame nobody.  But let him not think he can walk by his
own light.  I tell him that if he gives up being respectable he'll go
right down to the bottom of the hill.  He has no powers inside himself
to keep him steady; so let him cling to the powers outside him.

KNOX.  [rising angrily]  Who wants to give up being respectable?
All this for a pint of whisky that lasted a week!  How long would it
have lasted Simmons, I wonder?

MRS KNOX.  [gently]  Oh, well, say no more, Jo.  I wont plague you
about it.  [He sits down].  You never did understand; and you never
will.  Hardly anybody understands:  even Margaret didnt til she went
to prison.  She does now; and I shall have a companion in the house
after all these lonely years.

KNOX.  [beginning to cry]  I did all I could to make you happy.  I
never said a harsh word to you.

GILBEY.  [rising indignantly]  What right have you to treat a man
like that? an honest respectable husband? as if he were dirt under
your feet?

KNOX.  Let her alone, Gilbey.  [Gilbey sits down, but mutinously].

MRS KNOX.  Well, you gave me all you could, Jo; and if it wasnt what I
wanted, that wasnt your fault.  But I'd rather have you as you were
than since you took to whisky and soda.

KNOX.  I dont want any whisky and soda.  I'll take the pledge if you
like.

MRS KNOX.  No:  you shall have your beer because you like it.  The
whisky was only brag.  And if you and me are to remain friends, Mr
Gilbey, youll get up to-morrow morning at seven.

GILBEY.  [defiantly]  Damme if I will!  There!

MRS KNOX.  [with gentle pity]  How do you know, Mr Gilbey, what
youll do to-morrow morning?

GILBEY.  Why shouldnt I know?  Are we children not to be let do what
we like, and our own sons and daughters kicking their heels all over
the place?  [To Knox]  I was never one to interfere between man and
wife, Knox; but if Maria started ordering me about like that--

MRS GILBEY.  Now dont be naughty, Rob.  You know you mustnt set
yourself up against religion?

GILBEY.  Whos setting himself up against religion?

MRS KNOX.  It doesnt matter whether you set yourself up against it or
not, Mr. Gilbey.  If it sets itself up against you, youll have to go
the appointed way:  it's no use quarrelling about it with me that am
as great a sinner as yourself.

GILBEY.  Oh, indeed!  And who told you I was a sinner?

MRS GILBEY.  Now, Rob, you know we are all sinners.  What else is
religion?

GILBEY.  I say nothing against religion.  I suppose were all sinners,
in a manner of speaking; but I dont like to have it thrown at me as if
I'd really done anything.

MRS GILBEY.  Mrs Knox is speaking for your good, Rob.

GILBEY.  Well, I dont like to be spoken to for my good.  Would anybody
like it?

MRS KNOX.  Dont take offence where none is meant, Mr Gilbey.  Talk
about something else.  No good ever comes of arguing about such things
among the like of us.

KNOX.  The like of us!  Are you throwing it in our teeth that your
people were in the wholesale and thought Knox and Gilbey wasnt good
enough for you?

MRS KNOX.  No, Jo:  you know I'm not.  What better were my people than
yours, for all their pride?  But Ive noticed it all my life:  we're
ignorant.  We dont really know whats right and whats wrong.  We're all
right as long as things go on the way they always did.  We bring our
children up just as we were brought up; and we go to church or chapel
just as our parents did; and we say what everybody says; and it goes
on all right until something out of the way happens:  theres a family
quarrel, or one of the children goes wrong, or a father takes to
drink, or an aunt goes mad, or one of us finds ourselves doing
something we never thought we'd want to do.  And then you know what
happens:  complaints and quarrels and huff and offence and bad
language and bad temper and regular bewilderment as if Satan possessed
us all.  We find out then that with all our respectability and piety,
weve no real religion and no way of telling right from wrong.  Weve
nothing but our habits; and when theyre upset, where are we?  Just
like Peter in the storm trying to walk on the water and finding he
couldnt.

MRS GILBEY.  [piously]  Aye!  He found out, didnt he?

GILBEY.  [reverently]  I never denied that youve a great intellect,
Mrs Knox--

MRS KNOX.  Oh get along with you, Gilbey, if you begin talking about
my intellect.  Give us some tea, Maria.  Ive said my say; and Im sure
I beg the company's pardon for being so long about it, and so
disagreeable.

MRS GILBEY.  Ring, Rob.  [Gilbey rings].  Stop.  Juggins will think
we're ringing for him.

GILBEY.  [appalled]  It's too late.  I rang before I thought of it.

MRS GILBEY.  Step down and apologize, Rob.

KNOX.  Is it him that you said was brother to a--

_Juggins comes in with the tea-tray.  All rise.  He takes the tray to
Mrs. Gilbey._

GILBEY.  I didnt mean to ask you to do this, Mr Juggins.  I wasnt
thinking when I rang.

MRS GILBEY.  [trying to take the tray from him]  Let me, Juggins.

JUGGINS.  Please sit down, madam.  Allow me to discharge my duties
just as usual, sir.  I assure you that is the correct thing.  [They
sit down, ill at ease, whilst he places the tray on the table.  He
then goes out for the curate].

KNOX.  [lowering his voice]  Is this all right, Gilbey?  Anybody may
be the son of a duke, you know.  Is he legitimate?

GILBEY.  Good lord!  I never thought of that.

_Juggins returns with the cakes.  They regard him with suspicion._

GILBEY.  [whispering to Knox]  You ask him.

KNOX.  [to Juggins]  Just a word with you, my man.  Was your mother
married to your father?

JUGGINS.  I believe so, sir.  I cant say from personal knowledge.  It
was before my time.

GILBEY.  Well, but look here you know--[he hesitates].

JUGGINS.  Yes, sir?

KNOX.  I know whatll clinch it, Gilbey.  You leave it to me.  [To
Juggins]  Was your mother the duchess?

JUGGINS.  Yes, sir.  Quite correct, sir, I assure you.  [To Mrs
Gilbey]  That is the milk, madam.  [She has mistaken the jugs].
This is the water.

_They stare at him in pitiable embarrassment._

MRS KNOX.  What did I tell you?  Heres something out of the common
happening with a servant; and we none of us know how to behave.

JUGGINS.  It's quite simple, madam.  I'm a footman, and should be
treated as a footman.  [He proceeds calmly with his duties, handing
round cups of tea as Mrs Knox fills them].

_Shrieks of laughter from below stairs reach the ears of the company._

MRS GILBEY.  Whats that noise?  Is Master Bobby at home?  I heard his
laugh.

MRS KNOX.  I'm sure I heard Margaret's.

GILBEY.  Not a bit of it.  It was that woman.

JUGGINS.  I can explain, sir.  I must ask you to excuse the liberty;
but I'm entertaining a small party to tea in my pantry.

MRS GILBEY.  But youre not entertaining Master Bobby?

JUGGINS.  Yes, madam.

GILBEY.  Who's with him?

JUGGINS.  Miss Knox, sir.

GILBEY.  Miss Knox!  Are you sure?  Is there anyone else?

JUGGINS.  Only a French marine officer, sir, and--er--Miss Delaney.
[He places Gilbey's tea on the table before him].  The lady that
called about Master Bobby, sir.

KNOX.  Do you mean to say theyre having a party all to themselves
downstairs, and we having a party up here and knowing nothing about
it?

JUGGINS.  Yes, sir.  I have to do a good deal of entertaining in the
pantry for Master Bobby, sir.

GILBEY.  Well, this is a nice state of things!

KNOX.  Whats the meaning of it?  What do they do it for?

JUGGINS.  To enjoy themselves, sir, I should think.

MRS GILBEY.  Enjoy themselves!  Did ever anybody hear of such a thing?

GILBEY.  Knox's daughter shewn into my pantry!

KNOX.  Margaret mixing with a Frenchman and a footman--  [Suddenly
realizing that the footman is offering him cake.]  She doesnt know
about--about His Grace, you know.

MRS GILBEY.  Perhaps she does.  Does she, Mr Juggins?

JUGGINS.  The other lady suspects me, madam.  They call me Rudolph, or
the Long Lost Heir.

MRS GILBEY.  It's a much nicer name than Juggins.  I think I'll call
you by it, if you dont mind.

JUGGINS.  Not at all, madam.

_Roars of merriment from below._

GILBEY.  Go and tell them to stop laughing.  What right have they to
make a noise like that?

JUGGINS.  I asked them not to laugh so loudly, sir.  But the French
gentleman always sets them off again.

KNOX.  Do you mean to tell me that my daughter laughs at a Frenchman's
jokes?

GILBEY.  We all know what French jokes are.

JUGGINS.  Believe me:  you do not, sir.  The noise this afternoon has
all been because the Frenchman said that the cat had whooping cough.

MRS GILBEY.  [laughing heartily]  Well, I never!

GILBEY.  Dont be a fool, Maria.  Look here, Knox:  we cant let this go
on.  People cant be allowed to behave like this.

KNOX.  Just what I say.

_A concertina adds its music to the revelry._

MRS GILBEY.  [excited]  Thats the squiffer.  Hes bought it for her.

GILBEY.  Well, of all the scandalous--  [Redoubled laughter from
below].

KNOX.  I'll put a stop to this.  [He goes out to the landing and
shouts]  Margaret!  [Sudden dead silence].  Margaret, I say!

MARGARET'S VOICE.  Yes, father.  Shall we all come up?  We're dying
to.

KNOX.  Come up and be ashamed of yourselves, behaving like wild
Indians.

DORA'S VOICE [screaming]  Oh! oh! oh!  Dont Bobby.  Now--oh!  [In
headlong flight she dashes into and right across the room, breathless,
and slightly abashed by the company].  I beg your pardon, Mrs Gilbey,
for coming in like that; but whenever I go upstairs in front of Bobby,
he pretends it's a cat biting my ankles; and I just must scream.

_Bobby and Margaret enter rather more shyly, but evidently in high
spirits.  Bobby places himself near his father, on the hearthrug, and
presently slips down into the arm-chair._

MARGARET.  How do you do, Mrs. Gilbey?  [She posts herself behind her
mother].

_Duvallet comes in behaving himself perfectly.  Knox follows._

MARGARET.  Oh--let me introduce.  My friend Lieutenant Duvallet.  Mrs
Gilbey.  Mr Gilbey.  [Duvallet bows and sits down on Mr Knox's left,
Juggins placing a chair for him].

DORA.  Now, Bobby:  introduce me:  theres a dear.

BOBBY.  [a little nervous about it; but trying to keep up his
spirits]  Miss Delaney:  Mr and Mrs Knox.  [Knox, as he resumes his
seat, acknowledges the introduction suspiciously.  Mrs Knox bows
gravely, looking keenly at Dora and taking her measure without
prejudice].

DORA.  Pleased to meet you.  [Juggins places the baby rocking-chair
for her on Mrs Gilbey's right, opposite Mrs Knox].  Thank you.  [She
sits and turns to Mrs Gilbey]  Bobby's given me the squiffer.  [To
the company generally]  Do you know what theyve been doing
downstairs?  [She goes off into ecstasies of mirth].  Youd never
guess.  Theyve been trying to teach me table manners.  The Lieutenant
and Rudolph say I'm a regular pig.  I'm sure I never knew there was
anything wrong with me.  But live and learn [to Gilbey] eh, old
dear?

JUGGINS.  Old dear is not correct, Miss Delaney.  [He retires to the
end of the sideboard nearest the door].

DORA.  Oh get out!  I must call a man something.  He doesnt mind:  do
you, Charlie?

MRS GILBEY.  His name isnt Charlie.

DORA.  Excuse me.  I call everybody Charlie.

JUGGINS.  You mustnt.

DORA.  Oh, if I were to mind you, I should have to hold my tongue
altogether; and then how sorry youd be!  Lord, how I do run on!  Dont
mind me, Mrs Gilbey.

KNOX.  What I want to know is, whats to be the end of this?  It's not
for me to interfere between you and your son, Gilbey:  he knows his
own intentions best, no doubt, and perhaps has told them to you.  But
Ive my daughter to look after; and it's my duty as a parent to have a
clear understanding about her.  No good is ever done by beating about
the bush.  I ask Lieutenant--well, I dont speak French; and I cant
pronounce the name--

MARGARET.  Mr Duvallet, father.

KNOX.  I ask Mr Doovalley what his intentions are.

MARGARET.  Oh father:  how can you?

DUVALLET.  I'm afraid my knowledge of English is not enough to
understand.  Intentions?  How?

MARGARET.  He wants to know will you marry me.

MRS GILBEY. |   What a thing to say!
            |

KNOX.       |   Silence, miss.
            |

DORA.       |   Well, thats straight, aint it?

DUVALLET.  But I am married already.  I have two daughters.

KNOX.  [rising, virtuously indignant]  You sit there after carrying
on with my daughter, and tell me coolly youre married.

MARGARET.  Papa:  you really must not tell people that they sit there.
[He sits down again sulkily].

DUVALLET.  Pardon.  Carrying on?  What does that mean?

MARGARET.  It means--

KNOX.  [violently]  Hold your tongue, you shameless young hussy.
Dont you dare say what it means.

DUVALLET.  [shrugging his shoulders]  What does it mean, Rudolph?

MRS KNOX.  If it's not proper for her to say, it's not proper for a
man to say, either.  Mr Doovalley:  youre a married man with
daughters.  Would you let them go about with a stranger, as you are to
us, without wanting to know whether he intended to behave honorably?

DUVALLET.  Ah, madam, my daughters are French girls.  That is very
different.  It would not be correct for a French girl to go about
alone and speak to men as English and American girls do.  That is why
I so immensely admire the English people.  You are so free--so
unprejudiced--your women are so brave and frank--their minds are
so--how do you say?--wholesome.  I intend to have my daughters
educated in England.  Nowhere else in the world but in England could I
have met at a Variety Theatre a charming young lady of perfect
respectability, and enjoyed a dance with her at a public dancing
saloon.  And where else are women trained to box and knock out the
teeth of policemen as a protest against injustice and violence?
[Rising, with immense elan]  Your daughter, madam, is superb.  Your
country is a model to the rest of Europe.  If you were a Frenchman,
stifled with prudery, hypocrisy and the tyranny of the family and the
home, you would understand how an enlightened Frenchman admires and
envies your freedom, your broadmindedness, and the fact that home life
can hardly be said to exist in England.  You have made an end of the
despotism of the parent; the family council is unknown to you;
everywhere in these islands one can enjoy the exhilarating, the
soul-liberating spectacle of men quarrelling with their brothers,
defying their fathers, refusing to speak to their mothers.  In France
we are not men:  we are only sons--grown-up children.  Here one is a
human being--an end in himself.  Oh, Mrs Knox, if only your military
genius were equal to your moral genius--if that conquest of Europe by
France which inaugurated the new age after the Revolution had only
been an English conquest, how much more enlightened the world would
have been now!  We, alas, can only fight.  France is unconquerable.
We impose our narrow ideas, our prejudices, our obsolete institutions,
our insufferable pedantry on the world by brute force--by that stupid
quality of military heroism which shews how little we have evolved
from the savage:  nay, from the beast.  We can charge like bulls; we
can spring on our foes like gamecocks; when we are overpowered by
reason, we can die fighting like rats.  And we are foolish enough to
be proud of it!  Why should we be?  Does the bull progress?  Can you
civilize the gamecock?  Is there any future for the rat?  We cant even
fight intelligently:  when we lose battles, it is because we have not
sense enough to know when we are beaten.  At Waterloo, had we known
when we were beaten, we should have retreated; tried another plan; and
won the battle.  But no:  we were too pigheaded to admit that there is
anything impossible to a Frenchman:  we were quite satisfied when our
Marshals had six horses shot under them, and our stupid old grognards
died fighting rather than surrender like reasonable beings.  Think of
your great Wellington:  think of his inspiring words, when the lady
asked him whether British soldiers ever ran away.  "All soldiers run
away, madam," he said; "but if there are supports for them to fall
back on it does not matter."  Think of your illustrious Nelson, always
beaten on land, always victorious at sea, where his men could not run
away.  You are not dazzled and misled by false ideals of patriotic
enthusiasm:  your honest and sensible statesmen demand for England a
two-power standard, even a three-power standard, frankly admitting
that it is wise to fight three to one:  whilst we, fools and braggarts
as we are, declare that every Frenchman is a host in himself, and that
when one Frenchman attacks three Englishmen he is guilty of an act of
cowardice comparable to that of the man who strikes a woman.  It is
folly:  it is nonsense:  a Frenchman is not really stronger than a
German, than an Italian, even than an Englishman.  Sir:  if all
Frenchwomen were like your daughter--if all Frenchmen had the good
sense, the power of seeing things as they really are, the calm
judgment, the open mind, the philosophic grasp, the foresight and true
courage, which are so natural to you as an Englishman that you are
hardly conscious of possessing them, France would become the greatest
nation in the world.

MARGARET.  Three cheers for old England!  [She shakes hands with him
warmly].

BOBBY.  Hurra-a-ay!  And so say all of us.

_Duvallet, having responded to Margaret's handshake with enthusiasm,
kisses Juggins on both cheeks, and sinks into his chair, wiping his
perspiring brow._

GILBEY.  Well, this sort of talk is above me.  Can you make anything
out of it, Knox?

KNOX.  The long and short of it seems to be that he cant lawfully
marry my daughter, as he ought after going to prison with her.

DORA.  I'm ready to marry Bobby, if that will be any satisfaction.

GILBEY.  No you dont.  Not if I know it.

MRS KNOX.  He ought to, Mr Gilbey.

GILBEY.  Well, if thats your religion, Amelia Knox, I want no more of
it.  Would you invite them to your house if he married her?

MRS KNOX.  He ought to marry her whether or no.

BOBBY.  I feel I ought to, Mrs Knox.

GILBEY.  Hold your tongue.  Mind your own business.

BOBBY.  [wildly]  If I'm not let marry her, I'll do something
downright disgraceful.  I'll enlist as a soldier.

JUGGINS.  That is not a disgrace, sir.

BOBBY.  Not for you, perhaps.  But youre only a footman.  I'm a
gentleman.

MRS GILBEY.  Dont dare to speak disrespectfully to Mr Rudolph, Bobby.
For shame!

JUGGINS.  [coming forward to the middle of the table]  It is not
gentlemanly to regard the service of your country as disgraceful.  It
is gentlemanly to marry the lady you make love to.

GILBEY.  [aghast]  My boy is to marry this woman and be a social
outcast!

JUGGINS.  Your boy and Miss Delaney will be inexorably condemned by
respectable society to spend the rest of their days in precisely the
sort of company they seem to like best and be most at home in.

KNOX.  And my daughter?  Whos to marry my daughter?

JUGGINS.  Your daughter, sir, will probably marry whoever she makes up
her mind to marry.  She is a lady of very determined character.

KNOX.  Yes:  if he'd have her with her character gone.  But who would?
Youre the brother of a duke.  Would--

BOBBY.      |   Whats that?
            |
MARGARET.   |   Juggins a duke?
            |
DUVALLET.   |   _Comment!_
            |
DORA.       |   What did I tell you?

KNOX.  Yes:  the brother of a duke:  thats what he is.  [To Juggins]
Well, would you marry her?

JUGGINS.  I was about to propose that solution of your problem, Mr
Knox.

MRS GILBEY. |   Well I never!
            |
KNOX.       |   D'ye mean it?
            |
MRS KNOX.   |   Marry Margaret!

JUGGINS.  [continuing]  As an idle younger son, unable to support
myself, or even to remain in the Guards in competition with the
grandsons of American millionaires, I could not have aspired to Miss
Knox's hand.  But as a sober, honest, and industrious domestic
servant, who has, I trust, given satisfaction to his employer [he
bows to Mr Gilbey] I feel I am a man with a character.  It is for
Miss Knox to decide.

MARGARET.  I got into a frightful row once for admiring you, Rudolph.

JUGGINS.  I should have got into an equally frightful row myself,
Miss, had I betrayed my admiration for you.  I looked forward to those
weekly dinners.

MRS KNOX.  But why did a gentleman like you stoop to be a footman?

DORA.  He stooped to conquer.

MARGARET.  Shut up, Dora:  I want to hear.

JUGGINS.  I will explain; but only Mrs Knox will understand.  I once
insulted a servant--rashly; for he was a sincere Christian.  He
rebuked me for trifling with a girl of his own class.  I told him to
remember what he was, and to whom he was speaking.  He said God would
remember.  I discharged him on the spot.

GILBEY.  Very properly.

KNOX.  What right had he to mention such a thing to you?

MRS GILBEY.  What are servants coming to?

MRS KNOX.  Did it come true, what he said?

JUGGINS.  It stuck like a poisoned arrow.  It rankled for months.
Then I gave in.  I apprenticed myself to an old butler of ours who
kept a hotel.  He taught me my present business, and got me a place as
footman with Mr Gilbey.  If ever I meet that man again I shall be able
to look him in the face.

MRS KNOX.  Margaret:  it's not on account of the duke:  dukes are
vanities.  But take my advice and take him.

MARGARET.  [slipping her arm through his]  I have loved Juggins
since the first day I beheld him.  I felt instinctively he had been in
the Guards.  May he walk out with me, Mr Gilbey?

KNOX.  Dont be vulgar, girl.  Remember your new position.  [To
Juggins]  I suppose youre serious about this, Mr--Mr Rudolph?

JUGGINS.  I propose, with your permission, to begin keeping company
this afternoon, if Mrs Gilbey can spare me.

GILBEY.  [in a gust of envy, to Bobby]  Itll be long enough before
youll marry the sister of a duke, you young good-for-nothing.

DORA.  Dont fret, old dear.  Rudolph will teach me high-class manners.
I call it quite a happy ending:  dont you, lieutenant?

DUVALLET.  In France it would be impossible.  But here--ah!  [kissing
his hand] la belle Angleterre!



EPILOGUE

_Before the curtain.  The Count, dazed and agitated, hurries to the 4
critics, as they rise, bored and weary, from their seats._

THE COUNT.  Gentlemen:  do not speak to me.  I implore you to withhold
your opinion.  I am not strong enough to bear it.  I could never have
believed it.  Is this a play?  Is this in any sense of the word, Art?
Is it agreeable?  Can it conceivably do good to any human being?  Is
it delicate?  Do such people really exist?  Excuse me, gentlemen:  I
speak from a wounded heart.  There are private reasons for my
discomposure.  This play implies obscure, unjust, unkind reproaches
and menaces to all of us who are parents.

TROTTER.  Pooh! you take it too seriously.  After all, the thing has
amusing passages.  Dismiss the rest as impertinence.

THE COUNT.  Mr Trotter:  it is easy for you to play the pococurantist.
[Trotter, amazed, repeats the first three syllables in his throat,
making a noise like a pheasant].  You see hundreds of plays every
year.  But to me, who have never seen anything of this kind before,
the effect of this play is terribly disquieting.  Sir:  if it had been
what people call an immoral play, I shouldnt have minded a bit.
[Vaughan is shocked].  Love beautifies every romance and justifies
every audacity.  [Bannal assents gravely].  But there are reticences
which everybody should respect.  There are decencies too subtle to be
put into words, without which human society would be unbearable.
People could not talk to one another as those people talk.  No child
could speak to its parent--no girl could speak to a youth--no human
creature could tear down the veils--  [Appealing to Vaughan, who is
on his left flank, with Gunn between them]  Could they, sir?

VAUGHAN.  Well, I dont see that.

THE COUNT.  You dont see it! dont feel it!  [To Gunn]  Sir:  I
appeal to you.

GUNN.  [with studied weariness]  It seems to me the most ordinary
sort of old-fashioned Ibsenite drivel.

THE COUNT [turning to Trotter, who is on his right, between him and
Bannal]  Mr Trotter:  will you tell me that you are not amazed,
outraged, revolted, wounded in your deepest and holiest feelings by
every word of this play, every tone, every implication; that you did
not sit there shrinking in every fibre at the thought of what might
come next?

TROTTER.  Not a bit.  Any clever modern girl could turn out that kind
of thing by the yard.

THE COUNT.  Then, sir, tomorrow I start for Venice, never to return.
I must believe what you tell me.  I perceive that you are not
agitated, not surprised, not concerned; that my own horror (yes,
gentlemen, horror--horror of the very soul) appears unaccountable to
you, ludicrous, absurd, even to you, Mr Trotter, who are little
younger than myself.  Sir:  if young people spoke to me like that, I
should die of shame:  I could not face it.  I must go back.  The world
has passed me by and left me.  Accept the apologies of an elderly and
no doubt ridiculous admirer of the art of a bygone day, when there was
still some beauty in the world and some delicate grace in family life.
But I promised my daughter your opinion; and I must keep my word.
Gentlemen:  you are the choice and master spirits of this age:  you
walk through it without bewilderment and face its strange products
without dismay.  Pray deliver your verdict.  Mr Bannal:  you know that
it is the custom at a Court Martial for the youngest officer present
to deliver his judgment first; so that he may not be influenced by the
authority of his elders.  You are the youngest.  What is your opinion
of the play?

BANNAL.  Well, whos it by?

THE COUNT.  That is a secret for the present.

BANNAL.  You dont expect me to know what to say about a play when I
dont know who the author is, do you?

THE COUNT.  Why not?

BANNAL.  Why not!  Why not!!  Suppose you had to write about a play by
Pinero and one by Jones!  Would you say exactly the same thing about
them?

THE COUNT.  I presume not.

BANNAL.  Then how could you write about them until you knew which was
Pinero and which was Jones?  Besides, what sort of play is this? thats
what I want to know.  Is it a comedy or a tragedy?  Is it a farce or a
melodrama?  Is it repertory theatre tosh, or really straight paying
stuff?

GUNN.  Cant you tell from seeing it?

BANNAL.  I can see it all right enough; but how am I to know how to
take it?  Is it serious, or is it spoof?  If the author knows what his
play is, let him tell us what it is.  If he doesnt, he cant complain
if I dont know either.  _I_'m not the author.

THE COUNT.  But is it a good play, Mr Bannal?  Thats a simple
question.

BANNAL.  Simple enough when you know.  If it's by a good author, it's
a good play, naturally.  That stands to reason.  Who is the author?
Tell me that; and I'll place the play for you to a hair's breadth.

THE COUNT.  I'm sorry I'm not at liberty to divulge the author's name.
The author desires that the play should be judged on its merits.

BANNAL.  But what merits can it have except the author's merits?  Who
would you say it's by, Gunn?

GUNN.  Well, who do you think?  Here you have a rotten old-fashioned
domestic melodrama acted by the usual stage puppets.  The hero's a
naval lieutenant.  All melodramatic heroes are naval lieutenants.  The
heroine gets into trouble by defying the law (if she didnt get into
trouble, thered be no drama) and plays for sympathy all the time as
hard as she can.  Her good old pious mother turns on her cruel father
when hes going to put her out of the house, and says she'll go too.
Then theres the comic relief:  the comic shopkeeper, the comic
shopkeeper's wife, the comic footman who turns out to be a duke in
disguise, and the young scapegrace who gives the author his excuse for
dragging in a fast young woman.  All as old and stale as a fried fish
shop on a winter morning.

THE COUNT.  But--

GUNN [interrupting him]  I know what youre going to say, Count.
Youre going to say that the whole thing seems to you to be quite new
and unusual and original.  The naval lieutenant is a Frenchman who
cracks up the English and runs down the French:  the hackneyed old
Shaw touch.  The characters are second-rate middle class, instead of
being dukes and millionaires.  The heroine gets kicked through the
mud:  real mud.  Theres no plot.  All the old stage conventions and
puppets without the old ingenuity and the old enjoyment.  And a feeble
air of intellectual pretentiousness kept up all through to persuade
you that if the author hasnt written a good play it's because hes too
clever to stoop to anything so commonplace.  And you three experienced
men have sat through all this, and cant tell me who wrote it!  Why,
the play bears the author's signature in every line.

BANNAL.  Who?

GUNN.  Granville Barker, of course.  Why, old Gilbey is straight out
of The Madras House.

BANNAL.  Poor old Barker!

VAUGHAN.  Utter nonsense!  Cant you see the difference in style?

BANNAL.  No.

VAUGHAN.  [contemptuously]  Do you know what style is?

BANNAL.  Well, I suppose youd call Trotter's uniform style.  But it's
not my style--since you ask me.

VAUGHAN.  To me it's perfectly plain who wrote that play.  To begin
with, it's intensely disagreeable.  Therefore it's not by Barrie, in
spite of the footman, who's cribbed from The Admirable Crichton.  He
was an earl, you may remember.  You notice, too, the author's
offensive habit of saying silly things that have no real sense in them
when you come to examine them, just to set all the fools in the house
giggling.  Then what does it all come to?  An attempt to expose the
supposed hypocrisy of the Puritan middle class in England:  people
just as good as the author, anyhow.  With, of course, the inevitable
improper female:  the Mrs Tanqueray, Iris, and so forth.  Well, if you
cant recognize the author of that, youve mistaken your professions:
thats all I have to say.

BANNAL.  Why are you so down on Pinero?  And what about that touch
that Gunn spotted? the Frenchman's long speech.  I believe it's Shaw.

GUNN.  Rubbish!

VAUGHAN.  Rot!  You may put that idea out of your head, Bannal.  Poor
as this play is, theres the note of passion in it.  You feel somehow
that beneath all the assumed levity of that poor waif and stray, she
really loves Bobby and will be a good wife to him.  Now Ive repeatedly
proved that Shaw is physiologically incapable of the note of passion.

BANNAL.  Yes, I know.  Intellect without emotion.  Thats right.  I
always say that myself.  A giant brain, if you ask me; but no heart.

GUNN.  Oh, shut up, Bannal.  This crude medieval psychology of heart
and brain--Shakespear would have called it liver and wits--is really
schoolboyish.  Surely weve had enough of second-hand Schopenhauer.
Even such a played-out old back number as Ibsen would have been
ashamed of it.  Heart and brain, indeed!

VAUGHAN.  You have neither one nor the other, Gunn.  Youre decadent.

GUNN.  Decadent!  How I love that early Victorian word!

VAUGHAN.  Well, at all events, you cant deny that the characters in
this play were quite distinguishable from one another.  That proves
it's not by Shaw, because all Shaw's characters are himself:  mere
puppets stuck up to spout Shaw.  It's only the actors that make them
seem different.

BANNAL.  There can be no doubt of that:  everybody knows it.  But Shaw
doesnt write his plays as plays.  All he wants to do is to insult
everybody all round and set us talking about him.

TROTTER.  [wearily]  And naturally, here we are all talking about
him.  For heaven's sake, let us change the subject

VAUGHAN.  Still, my articles about Shaw--

GUNN.  Oh, stow it, Vaughan.  Drop it.  What Ive always told you about
Shaw is--

BANNAL.  There you go, Shaw, Shaw, Shaw!  Do chuck it.  If you want to
know my opinion about Shaw--

TROTTER.    |   No, please, we dont.    |
            |                           |
VAUGHAN.    |   Shut your head, Bannal. | [yelling]
            |                           |
GUNN.       |   Oh, do drop it.         |

_The deafened Count puts his fingers in his ears and flies from the
centre of the group to its outskirts, behind Vaughan._

BANNAL.  [sulkily]  Oh, very well.  Sorry I spoke, I'm sure.

TROTTER.    |   Shaw--  |
            |           | [beginning again
VAUGHAN.    |   Shaw--  | simultaneously]
            |           |
GUNN.       |   Shaw--  |

_They are cut short by the entry of Fanny through the curtains.  She
is almost in tears._

FANNY.  [coming between Trotter and Gunn]  I'm so sorry, gentlemen.
And it was such a success when I read it to the Cambridge Fabian
Society!

TROTTER.  Miss O'Dowda:  I was about to tell these gentlemen what I
guessed before the curtain rose:  that you are the author of the play.
[General amazement and consternation].

FANNY.  And you all think it beastly.  You hate it.  You think I'm a
conceited idiot, and that I shall never be able to write anything
decent.

_She is almost weeping.  A wave of sympathy carries away the critics._

VAUGHAN.  No, no.  Why, I was just saying that it must have been
written by Pinero.  Didnt I, Gunn?

FANNY.  [enormously flattered]  Really?

TROTTER.  I thought Pinero was much too popular for the Cambridge
Fabian Society.

FANNY.  Oh yes, of course; but still--Oh, did you really say that, Mr
Vaughan?

GUNN.  I owe you an apology, Miss O'Dowda.  I said it was by Barker.

FANNY.  [radiant]  Granville Barker!  Oh, you couldnt really have
thought it so fine as that.

BANNAL.  _I_ said Bernard Shaw.

FANNY.  Oh, of course it would be a little like Bernard Shaw.  The
Fabian touch, you know.

BANNAL.  [coming to her encouragingly]  A jolly good little play,
Miss O'Dowda.  Mind:  I dont say it's like one of Shakespear's--Hamlet
or The Lady of Lyons, you know--but still, a firstrate little bit of
work.  [He shakes her hand].

GUNN.  [following Bannal's example]  I also, Miss O'Dowda.  Capital.
Charming.  [He shakes hands].

VAUGHAN [with maudlin solemnity]  Only be true to yourself, Miss
O'Dowda.  Keep serious.  Give up making silly jokes.  Sustain the note
of passion.  And youll do great things.

FANNY.  You think I have a future?

TROTTER.  You have a past, Miss O'Dowda.

FANNY.  [looking apprehensively at her father]  Sh-sh-sh!

THE COUNT.  A past!  What do you mean, Mr Trotter?

TROTTER.  [to Fanny]  You cant deceive me.  That bit about the
police was real.  Youre a Suffraget, Miss O'Dowda.  You were on that
Deputation.

THE COUNT.  Fanny:  is this true?

FANNY.  It is.  I did a month with Lady Constance Lytton; and I'm
prouder of it than I ever was of anything or ever shall be again.

TROTTER.  Is that any reason why you should stuff naughty plays down
my throat?

FANNY.  Yes:  itll teach you what it feels like to be forcibly fed.

THE COUNT.  She will never return to Venice.  I feel now as I felt
when the Campanile fell.

_Savoyard comes in through the curtains._

SAVOYARD.  [to the Count]  Would you mind coming to say a word of
congratulation to the company?  Theyre rather upset at having had no
curtain call.

THE COUNT.  Certainly, certainly.  I'm afraid Ive been rather remiss.
Let us go on the stage, gentlemen.

_The curtains are drawn, revealing the last scene of the play and the
actors on the stage.  The Count, Savoyard, the critics, and Fanny join
them, shaking hands and congratulating._

THE COUNT.  Whatever we may think of the play, gentlemen, I'm sure you
will agree with me that there can be only one opinion about the
acting.

THE CRITICS.  Hear, hear!  [They start the applause].




AYOT ST. LAWRENCE, March 1911.







End of Project Gutenberg's Fanny's First Play, by George Bernard Shaw

*** END OF THE PROJECT GUTENBERG EBOOK FANNY'S FIRST PLAY ***

This file should be named fnfsp10.txt or fnfsp10.zip
Corrected EDITIONS of our eBooks get a new NUMBER, fnfsp11.txt
VERSIONS based on separate sources get new LETTER, fnfsp10a.txt

Scanned and proofed by Ron Burkey (rburkey@heads-up.com) and Amy Thomte.

Project Gutenberg eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the US
unless a copyright notice is included.  Thus, we usually do not
keep eBooks in compliance with any particular paper edition.

We are now trying to release all our eBooks one year in advance
of the official release dates, leaving time for better editing.
Please be encouraged to tell us about any error or corrections,
even years after the official publication date.

Please note neither this listing nor its contents are final til
midnight of the last day of the month of any such announcement.
The official release date of all Project Gutenberg eBooks is at
Midnight, Central Time, of the last day of the stated month.  A
preliminary version may often be posted for suggestion, comment
and editing by those who wish to do so.

Most people start at our Web sites at:
http://gutenberg.net or
http://promo.net/pg

These Web sites include award-winning information about Project
Gutenberg, including how to donate, how to help produce our new
eBooks, and how to subscribe to our email newsletter (free!).


Those of you who want to download any eBook before announcement
can get to them as follows, and just download by date.  This is
also a good way to get them instantly upon announcement, as the
indexes our cataloguers produce obviously take a while after an
announcement goes out in the Project Gutenberg Newsletter.

http://www.ibiblio.org/gutenberg/etext03 or
ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03

Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90

Just search by the first five letters of the filename you want,
as it appears in our Newsletters.


Information about Project Gutenberg (one page)

We produce about two million dollars for each hour we work.  The
time it takes us, a rather conservative estimate, is fifty hours
to get any eBook selected, entered, proofread, edited, copyright
searched and analyzed, the copyright letters written, etc.   Our
projected audience is one hundred million readers.  If the value
per text is nominally estimated at one dollar then we produce $2
million dollars per hour in 2002 as we release over 100 new text
files per month:  1240 more eBooks in 2001 for a total of 4000+
We are already on our way to trying for 2000 more eBooks in 2002
If they reach just 1-2% of the world's population then the total
will reach over half a trillion eBooks given away by year's end.

The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks!
This is ten thousand titles each to one hundred million readers,
which is only about 4% of the present number of computer users.

Here is the briefest record of our progress (* means estimated):

eBooks Year Month

    1  1971 July
   10  1991 January
  100  1994 January
 1000  1997 August
 1500  1998 October
 2000  1999 December
 2500  2000 December
 3000  2001 November
 4000  2001 October/November
 6000  2002 December*
 9000  2003 November*
10000  2004 January*


The Project Gutenberg Literary Archive Foundation has been created
to secure a future for Project Gutenberg into the next millennium.

We need your donations more than ever!

As of February, 2002, contributions are being solicited from people
and organizations in: Alabama, Alaska, Arkansas, Connecticut,
Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois,
Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts,
Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New
Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio,
Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South
Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West
Virginia, Wisconsin, and Wyoming.

We have filed in all 50 states now, but these are the only ones
that have responded.

As the requirements for other states are met, additions to this list
will be made and fund raising will begin in the additional states.
Please feel free to ask to check the status of your state.

In answer to various questions we have received on this:

We are constantly working on finishing the paperwork to legally
request donations in all 50 states.  If your state is not listed and
you would like to know if we have added it since the list you have,
just ask.

While we cannot solicit donations from people in states where we are
not yet registered, we know of no prohibition against accepting
donations from donors in these states who approach us with an offer to
donate.

International donations are accepted, but we don't know ANYTHING about
how to make them tax-deductible, or even if they CAN be made
deductible, and don't have the staff to handle it even if there are
ways.

Donations by check or money order may be sent to:

Project Gutenberg Literary Archive Foundation
PMB 113
1739 University Ave.
Oxford, MS 38655-4109

Contact us if you want to arrange for a wire transfer or payment
method other than by check or money order.

The Project Gutenberg Literary Archive Foundation has been approved by
the US Internal Revenue Service as a 501(c)(3) organization with EIN
[Employee Identification Number] 64-622154.  Donations are
tax-deductible to the maximum extent permitted by law.  As fund-raising
requirements for other states are met, additions to this list will be
made and fund-raising will begin in the additional states.

We need your donations more than ever!

You can get up to date donation information online at:

http://www.gutenberg.net/donation.html


***

If you can't reach Project Gutenberg,
you can always email directly to:

Michael S. Hart <hart@pobox.com>

Prof. Hart will answer or forward your message.

We would prefer to send you information by email.


**The Legal Small Print**


(Three Pages)

***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN EBOOKS**START***
Why is this "Small Print!" statement here? You know: lawyers.
They tell us you might sue us if there is something wrong with
your copy of this eBook, even if you got it for free from
someone other than us, and even if what's wrong is not our
fault. So, among other things, this "Small Print!" statement
disclaims most of our liability to you. It also tells you how
you may distribute copies of this eBook if you want to.

*BEFORE!* YOU USE OR READ THIS EBOOK
By using or reading any part of this PROJECT GUTENBERG-tm
eBook, you indicate that you understand, agree to and accept
this "Small Print!" statement. If you do not, you can receive
a refund of the money (if any) you paid for this eBook by
sending a request within 30 days of receiving it to the person
you got it from. If you received this eBook on a physical
medium (such as a disk), you must return it with your request.

ABOUT PROJECT GUTENBERG-TM EBOOKS
This PROJECT GUTENBERG-tm eBook, like most PROJECT GUTENBERG-tm eBooks,
is a "public domain" work distributed by Professor Michael S. Hart
through the Project Gutenberg Association (the "Project").
Among other things, this means that no one owns a United States copyright
on or for this work, so the Project (and you!) can copy and
distribute it in the United States without permission and
without paying copyright royalties. Special rules, set forth
below, apply if you wish to copy and distribute this eBook
under the "PROJECT GUTENBERG" trademark.

Please do not use the "PROJECT GUTENBERG" trademark to market
any commercial products without permission.

To create these eBooks, the Project expends considerable
efforts to identify, transcribe and proofread public domain
works. Despite these efforts, the Project's eBooks and any
medium they may be on may contain "Defects". Among other
things, Defects may take the form of incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged
disk or other eBook medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

LIMITED WARRANTY; DISCLAIMER OF DAMAGES
But for the "Right of Replacement or Refund" described below,
[1] Michael Hart and the Foundation (and any other party you may
receive this eBook from as a PROJECT GUTENBERG-tm eBook) disclaims
all liability to you for damages, costs and expenses, including
legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR
UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT,
INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE
OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE
POSSIBILITY OF SUCH DAMAGES.

If you discover a Defect in this eBook within 90 days of
receiving it, you can receive a refund of the money (if any)
you paid for it by sending an explanatory note within that
time to the person you received it from. If you received it
on a physical medium, you must return it with your note, and
such person may choose to alternatively give you a replacement
copy. If you received it electronically, such person may
choose to alternatively give you a second opportunity to
receive it electronically.

THIS EBOOK IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS
TO THE EBOOK OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A
PARTICULAR PURPOSE.

Some states do not allow disclaimers of implied warranties or
the exclusion or limitation of consequential damages, so the
above disclaimers and exclusions may not apply to you, and you
may have other legal rights.

INDEMNITY
You will indemnify and hold Michael Hart, the Foundation,
and its trustees and agents, and any volunteers associated
with the production and distribution of Project Gutenberg-tm
texts harmless, from all liability, cost and expense, including
legal fees, that arise directly or indirectly from any of the
following that you do or cause:  [1] distribution of this eBook,
[2] alteration, modification, or addition to the eBook,
or [3] any Defect.

DISTRIBUTION UNDER "PROJECT GUTENBERG-tm"
You may distribute copies of this eBook electronically, or by
disk, book or any other medium if you either delete this
"Small Print!" and all other references to Project Gutenberg,
or:

[1]  Only give exact copies of it.  Among other things, this
     requires that you do not remove, alter or modify the
     eBook or this "small print!" statement.  You may however,
     if you wish, distribute this eBook in machine readable
     binary, compressed, mark-up, or proprietary form,
     including any form resulting from conversion by word
     processing or hypertext software, but only so long as
     *EITHER*:

     [*]  The eBook, when displayed, is clearly readable, and
          does *not* contain characters other than those
          intended by the author of the work, although tilde
          (~), asterisk (*) and underline (_) characters may
          be used to convey punctuation intended by the
          author, and additional characters may be used to
          indicate hypertext links; OR

     [*]  The eBook may be readily converted by the reader at
          no expense into plain ASCII, EBCDIC or equivalent
          form by the program that displays the eBook (as is
          the case, for instance, with most word processors);
          OR

     [*]  You provide, or agree to also provide on request at
          no additional cost, fee or expense, a copy of the
          eBook in its original plain ASCII form (or in EBCDIC
          or other equivalent proprietary form).

[2]  Honor the eBook refund and replacement provisions of this
     "Small Print!" statement.

[3]  Pay a trademark license fee to the Foundation of 20% of the
     gross profits you derive calculated using the method you
     already use to calculate your applicable taxes.  If you
     don't derive profits, no royalty is due.  Royalties are
     payable to "Project Gutenberg Literary Archive Foundation"
     the 60 days following each date you prepare (or were
     legally required to prepare) your annual (or equivalent
     periodic) tax return.  Please contact us beforehand to
     let us know your plans and to work out the details.

WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO?
Project Gutenberg is dedicated to increasing the number of
public domain and licensed works that can be freely distributed
in machine readable form.

The Project gratefully accepts contributions of money, time,
public domain materials, or royalty free copyright licenses.
Money should be paid to the:
"Project Gutenberg Literary Archive Foundation."

If you are interested in contributing scanning equipment or
software or other items, please contact Michael Hart at:
hart@pobox.com

[Portions of this eBook's header and trailer may be reprinted only
when distributed free of all fees.  Copyright (C) 2001, 2002 by
Michael S. Hart.  Project Gutenberg is a TradeMark and may not be
used in any sales of Project Gutenberg eBooks or other materials be
they hardware or software or any other related product without
express permission.]

*END THE SMALL PRINT! FOR PUBLIC DOMAIN EBOOKS*Ver.02/11/02*END*