t DRAWING-ROOM PLAYS ^< c r HE CHARM AND OTHER DRAWING-ROOM PLAYS WALTER BESANT AND WALTER /pOLLOCK WITH 50 ILLUSTRATIONS BY CHRIS HAMMOND AND A. JULE GOODMAN NEW YORK FREDERICK A. STOKES COMPANY ^ PUBLISHERS ^y ^ ^ (y '"" ^ ^'' Copyright, 1895, 1896 By sir WALTER BESANT and W. H. POLLOCK Copyright, 1896 By JOHN BRISBEN WALKER Copyright, 1897 By FREDERICK A. STOKES COMPANY PREFACE In considering the Drawing-Room Comedy we ought to discuss first of all the exigencies of the stage on which such Comedy is likely to be played. For it may happen to be a small stage. Very few drawing-rooms, except those which belong to large houses, are able to provide a stage broad enough for many characters and for strong situations. The stage must not be crowded with personages whose movements may be hampered by want of space. Again, such a stage may possibly have very little depth, which is another reason for keep- ing the situations as much as possible quiet and free from overmuch movement. Next as regards the scenery. It must be con- sidered that while a room, a hall, or a simple out- side view may be easily represented, very little more can be attempted, and as a general rule there must be very little or no change of scenery. We have thus arrived at certain definite Ijrnita- vi PREFACE tions. The actors must not be too many, thus im- peding each other's movements ; therefore the situations must be comparatively simple ; while the scene must be one that is easily indicated. This simplicity does not necessarily prejudice the effect, as was shown in the case of Sir Henry Irving, then Mr. Irving, who gave TJie Merchant of Venice at Harvard College with nothing but the Shakespearian backing of curtains. The performance was a great success. As regards the period, costume is always of the greatest importance in the case of the amateur as in that of the professional. In the eight plays pre- sented here, three belong to a period before the present century. Of the remaining five, while two must belong to the present time, the other three may, with one or two slight alterations that can be left to the actors, be put into the eighteenth century. As regards the plot of a drawing-room play, we venture to think that it should present a story quite clear and intelligible, a story that is capable of grasping and holding an audience, without calling for those deeper emotions which might be out of place in the drawing-room and might possibly prove to be beyond the power of the players. We have endeavoured, therefore, to make the dialogue simply PREFACE vii fit for the occasion, relying always on the interest of the story rather than on epigram and so-called * smartness.' We desire especially to dwell upon one point, at first sight small, but really of great importance. It is, that all these plays have been written without reference to this or that particular actor or actress. It is, therefore, not only open to the stage manager, but it will also be easy for him, to alter the dialogue so as to suit members of the company, to write up certain scenes where these members are strong, and to compress others where they may be weak. Thus an actor or actress may thoroughly comprehend the gist of a speech, but may find its phraseology for some reason or other unsuited to his or her method. In this case the stage manager may, without difficulty, alter the words. In the same way a song, a dance, or any additional ' business ' that suggests itself may be introduced, so long as it is not out of keeping with the conduct of the fable. In four of these pieces there is introduced a song, or a little snatch of song. In one, at least, of the others, a song might be introduced with advantage. The authors of these pieces will be very much gratified if the plays are found on trial to suit the purpose for which they were designed. One of them — The Spy — may seem to cross the rule we have laid down, that the plot should not viil PREFACE be * violent.' It is here inserted in the hope that the exception may prove the rule. As regards the plots of these plays, two are derived from short stories already published by one of the authors. The rest are original. W. B. W. P. CONTENTS PAGB The Charm •..«.« t . t i The Voice of Love .. ••••!.• 65 Peer and Heiress . . • • • • • .99 Loved I not Honour More 135 The Shrinking Shoe , . . . . . .171 The Glove , 200 The Spy 226 The Wife's Confession , , 252 ILLUSTRATIONS PAGE The Charm i^ Enter Marquis • . . iit^ ' Bring BACK OUR BEAUTY ! ' i8.' *Let me, Madame la Duchesse, recall one inci- dent OF THAT YEAR ' 26 * Let us be philosophers ' 32 The Marquis and Chevalier Kneel .... 37^ ' Were two men ever so abused ? ' . . . . 44 1^ Duchesse follows, angrily . . . . . 53 * What have I done ? ' 61 > They are old again 63. *She is awakened' 65 * My dear child, you have every qualification FOR THE part' 67 u- *The apple blossoms were out' 69 *What do you think OF it, fair Juliet?' . . 73 He takes a fiddle and goes through a few steps WITH HER . . 79 . •Oh, daddy, it frightens me — I shall never be ABLE TO DO ALL THAT' 8l 'Pray forgive this intrusion, sir* . . . . 85^, * Look at this horrid poster ' 9x5^ Kneels and kisses her hand 93 i,- Sinks into a chair . . , , . . .98: Peer and Heiress . . , • , • • • 99 xH ILLUSTRATIONS I FAGS. Enter, by the window, Philip Ainslie and James SeVENOKE 102 She is sitting at the piano. He stands over her 107 Kisses the paper 110^ * Eleanor Ingress! we have been deceived!'. . 115 /j 'Eleanor a millionaire?' 119, ♦I MUST shake hands, Mr. SeVENOKE ' . . .121-^ * Mamie! If it isn't Mamie ! * . . . . . i2y v *NOT IN THE OPEN HALL, Mr. SeVENOKE, IF YOU please' 131 v/ 'If it pleases my lord' 133 u Loved I not Honour More! . . . . .135, «Yes, sleeping like an infant' 137 •It is very — ^VERY serious. Let me look at you ' . 142^^ She stops, confused, and turns her head . . 146 <- * Unknown, unremembered ' 149 1/ Enter Vigors, answering 152: * Forty thousand pounds ! Oh ! It is a miracle ' . 157^ *I AM sorry for you. BUT— NO ' 163^^ *lT IS ONLY A note' 1681- 'Loved we not honour more!' . . , . . 169'.' The Shrinking Shoe 171 1 'This was the waltz 1 liked the best' . , . 173 Puts on slipper with ease . . . . . .181.' Reads aloud 186/ 'See how tarnished and faded it is!' . , , 196 x The Glove 200 He raises her hand and kisses it ... . 207. - 'Here they come — the Colonel and his iosse ' . 212 ' A glove ! A gentleman's glove ! ' . . . . 216 -^ * God Save the King ' , , 224 DRAMATIS rERSON.-E Gaston, Marquis de Montserrat. Bernard, Chevalier de Saint -Aignan. Raoul, Vidame de Chatillon Cursay. The Baron Aldebaran. Colin, Valet. Isabelle, Princesse de Chalons. H^LfeNE, Duchesse de Perigord. Jeannette, Lady's-maid to the Duchesse. Place - Paris. Time - Eighteenth Century. ACT I Scene — The salon of the DucHEssE DE Perigord. Decoration^ Louis Quinze style. Portraits on walls. A card- table at back. A harpsicJiord, cJiairs, and sofa. Colin, in livery, and jEANNETTE, with a duster, discovered. COLIN {sighs) How are we this evening, Jeannette? 2 THE CHARM [ACT JEAN, {sighs) Pretty well. We rang our bell at ten. We called for our tisane at a quarter past. We had a little soup and a glass of wine at twelve. We went out to take the air at three. We dined off the wing of a chicken and an omelette. We are now dressing for the evening. And you, Colin ? COLIN We rose at noon, after a cup of chocolate. We were completely dressed by two. We were then wheeled to the Gardens of the Luxembourg. We came home, and read a chapter from a Regency novel. What a time, Jeannette, was the Regency for a young fellow with a leg ! We made a toler- able dinner, and we are now on our way, in a chair, to the salon of our beloved Duchesse. Here I await the chair's arrival, because old age sometimes suffers from such a forced march and has to be readjusted. JEAN. What lifelong devotion, Colin ! What a lesson of constancy to young men — like yourself! COLIN What severity, Jeannette ! What a warning to young women — like yourself I I] THE CHARM 3 JEAN. Yet every woman would like sixty years' devotion. COLIN Sixty-five, you may say. Yet what man, at the outset, would dare to go on if he knew that there were sixty-five years of patience before him ? JEAN. You young men are so .impatient. COLIN Fortunately, young women nowadays are not so cruel. JEAN. Sixty-five years of courtship ! COLIN Hush, Jeannette ! Bad luck to count Perhaps time has forgotten us. JEAN, {sighs) Scarcely — for we age daily. [ With slight indication of aged walk, COLIN {sighs) Indeed, we do walk more feebly. \They go through pant oinime of aged people meeting, bowing, taking snuff, 6'c, E 2 4 THE CHARM [ACT JEAN. And, alas ! we smile seldom ; except, indeed, with an effort, in the salon COLIN Yes, in the salon — there only can we forget the ravages of time. Ah, Jeannette 1 JEAN. Ah, Colin ! COLIN You are distractingly pretty this morning. Do you know \Edges closer, JEAN. Fie, Colin ! COLIN Youth, Jeannette — youth, I say {puts his arm round her waist) youth is the time for JEAN. For beginning the devotion of a lifetime, which may, perhaps, be rewarded COLIN After sixty-five years? No, Jeannette, it is thus and thus \Tries to kiss her. She ifushes him from her. Door opens. I] THE CHARM 5 Enter Raoul. COLiN runs away, JEAN, {hurriedly) i Yes, M. Raoul, Madame will be here immedi- ately. I will tell her that you are here. RAOUL Do not hurry her, child. So {chucks her under the chin) Colin was imitating the manners of his masters, was he ? JEAN. To be sure, M. Raoul ; we cannot always be with our betters without learning something. RAOUL And what have you learned, Jeannette ? JEAN. To reward my lovers, M. Raoul {edging away), after sixty-five years of service. [Exit Jean. RAOUL Ah ! well ! I suppose love was different in the days of the Regent. Sixty-five years' service ! The charming ladies on the walls do not look as if they would demand all that time ; perhaps some were content with forty years, some with twenty, and some with even a week. {Goes round, looking at the portraits^ Here is a portrait of the Duchesse her- self. A beautiful woman in those days — not quite 6 THE CHARM [act in modern taste. But this is the woman who made a slave of my grandfather. The young fellows of that time certainly had their consolations. (^Still C goes round) Here is the Princesse in her young days. One might look farther and fare worse. And here are the young bloods — the Regent himself. Why, this was the very room where he had many a supper with La Parabere and the rest. And to think that in this very salon the old, old people meet every night to talk over the past and forget the present ! Poor old folk ! They say age comes to all. Perhaps. Meantime, one is young. Enter the DuCHESSE, on Jeannette's arm {Hastening to offer his own) Madame, permit me. DUCHESSE Thanks, Raoul — my son, Raoul, since we have agreed that I may call you by that sweet name. RAOUL Madame, your kindness overpowers me. DUCHESSE My own son is — long since — Jeannette, my snuffbox {takes snuff) — long since — Ha ! — yes — dead. I was vexed, I remember, at the time. You are singularly like your grandfather, Raoul. [J THE CHARM 7 RAOUL You knew him when he was young ; but of , course that was long before your time. DUCHESSE No, boy ; that was in my time. Women have but one time. When that is over they have no other ; and when one is eighty, one can, alack ! no longer be beautiful. RAOUL Madame can never cease to be both beautiful and charming. DUCHESSE Your manners, Raoul, resemble your grand- father's. You have something of his finished style. RAOUL I am honoured, Madame, with this approba- tion. DUCHESSE Enjoy your youth, my son. Lay to heart the admonition of an old woman. RAOUL Ah ! never, never old — to her friends. DUCHESSE Yes {resolutely)^ eighty-two. Do you hear ?-— 8 THE CHARM [act eighty- two years old. Jeannette, my snuff-box J {Takes snuff ^ I was saying Yes, Raoul, enjoy your youth. RAOUL I do. What else is there to enjoy ? I DUCHESSE Do not waste it. Make love to the mosi beautiful women only ; frequent none but the best society ; avoid gambling, duels, orgies, coarse pleasures. Remember that a beautiful old age — a time of serene satisfaction — can only be obtained by the most careful conduct of youth. Ah ! what pleasures we have lost ! What possibilities do the young idly throw away ! Be wise in time, dear Raoul. RAOUL I will, dear Madame. Meantime, I am in love with half the ladies of fashion, and only just out of love with the other half. I have as yet fought only six duels, and I gamble no more than a gentleman should. DUCHESSE And do not drink too much wine, dear child. Why, but for his champagne at supper the Regent, the best and most generous of men, might have been living until now. I] THE CHARM 9 RAOUL When he would be about a hundred and ten. We might have grown a little tired of Philippe. What a delightful invention is champagne 1 DUCHESSE Your grandfather, Raoul, of sainted — I mean, of course, not sainted — saintliness is only expected of common persons — but of delightful memory, was, like the Regent, inordinately addicted to late suppers and champagne. RAOUL And to making love, Madame, I have heard, to the most beautiful woman of his time. DUCHESSE {In confusion). It was true, my child. She used him barbarously. She can never forgive herself. RAOUL She accepts, at least {kneels on one knee)^ the devotion of the grandson for the love of the grand- father. DUCHESSE Rise, Raoul. Yes, I accept the service of the 10 THE CHARM [act boy— for the— ardour {szghs) of the grandsire. Alas ! at that happy time he was your age, Raoul, and had your face. What a time ! What men ! What manners ! COLIN M. le Marquis de Montserrat ! Enter MARQUIS. He is an old man, who walks with a cane and leans upon the arm of COLIN. Ceremonious salutations. MARQUIS kisses DUCHESSE'S hands. RaOUL bows. MARQUIS Young man, you are fortunate. Had the Duchesse been as kind to me some time ago as she now is to you — I — but (takes snuff ) — let us be philo- sophers. COLIN M. le Chevalier de Saint-Aignan ! Enter the CHEVALIER. He also is a very old man. CHEVALIER Duchesse, your servant. {Bends with difficulty to kiss her hands.) You are — I need not ask — always well and — and — and youthful. THE CHARM il DUCHESSE No, Chevalier (takes snuff), not youthful. ENTER MARQUIS COLIN Madame la Princesse de Chalons. [Princesse {an old lady made-up young, and sprightly) kisses DuCHESSE, gives hand to gentlemen, sits down exhausted, and coughs. ! 12 THE CHARM [act DUCHESSE And now, Raoul, for your budget of news. \They all sit round, while Raoul stands in the middle and talks. RAOUL I have but little. The Due d'Argenson is to marry the daughter of the Marquis de Carabas. PRINCESSE I We know that. Your news, M. Raoul, is a week old. RAOUL The people are starving in Auvergne. MARQUIS {Takes snuff). The ill-conditioned people ol Auvergne are always starving. RAOUL The rustics in Picardy are in revolt CHEVALIER Shoot them down ! ( Takes snuff.) That is how, in my time, we treated revolt. Shoot and hang. It is the only remedy for the common people. RAOUL The Court goes next week to Versailles. i( I] THE CHARM 13 PRINCESSE Ah ! the Court interests us so little now. We who can remember think of the old Court — the glories of the Regency. MARQUIS There, at least, was no Madame Dubarry. PRINCESSE And you have no scandal to tell us ? RAOUL None this evening. An Ambassador is expected from China. The King's cooks are collecting birds' nests, in order that he may be entertained with the national dish. MARQUIS China is a long way off. DUCHESSE Yes ; I prefer to hear of Paris. RAOUL It is reported that our fleet has been destroyed by the English off the port of Brest. 14 THE CHARM [act CHEVALIER In my time we destroyed the English fleets. Ventre St. Gris ! Where are our captains ? MARQUIS They were used up in the process. DUCHESSE And nothing of Paris ? RAOUL Nothing. Stay ! There is the Baron Alde- baran. PRINCESSE Who is the Baron Al-de-ba-ran ? Is it an Italian name ? CHEVALIER You are talking of the quack who promises MARQUIS You mean the charlatan who pretends DUCHESSE What does he promise, Raoul ? RAOUL He is a man of middle age, who pretends to be five hundred years old. He told me a great many i: I] THE CHARM 15 anecdotes ; for instance, about my great-great- grandfather, who was Marshal of France and a friend of Henri Quatre. He also says he knows how to cure all diseases, prolong life, and — the usual things. DUCHESSE This becomes interesting. Pray go on, Raoul. RAOUL Of course I do not believe a word he says. Still, I have seen him cure a cripple, who carried away his crutches ; and he makes people fall asleep by merely waving his hand — that I have myselt witnessed. MARQUIS These impostors appear in every generation. One of them, called the Count Von Nurnberg, was about the Court fifty years ago. RAOUL The Baron Aldebaran says it was himself. CHEVALIER Another was at Malta sixty years ago. The Grand Master clapped him into prison, and we were going to burn him. Unluckily, he escaped. i6 THE CHARM [act RAOUL Aldebaran told us the story. He says he remembers your putting him in prison. DUCHESSE The Baron has bewitched you, dear son. We are, however, too old for these fancies. MARQUIS The Duchesse can never be too old. DUCHESSE Oh, Marquis ! ^ PRINCESSE And that is all you have to tell us, M. Raoul ? RAOUL That is my budget, Madame la Princesse. DUCHESSE Then, dear son, we will keep you no longer from your own world. Youth is the time for enjoyment. PRINCESSE Alas ! yes. There is no other time for happi- ness. DUCHESSE Go, then, Raoul ! Make love, laugh, sing. Leave us to our cards — and our memories. {Exit Raoul. I] THE CHARM 17 PRINCESSE {absently) Restore our youth ? If that were possible ! \Meantime COLIN arranges card-tables and cards ; places chairs. CHEVALIER And such a youth as yours, dear Princesse ! Yet with you beauty is immortal. COLIN The cards are ready, Madame. DUCHESSE Come, then. [They rise. Gentlemen lead ladies. Sit down. Marq\]1'S deals. They play. PRINCESSE Ah ! I have made a mistake. Chevalier, pardon me. DUCHESSE I have revoked. Partner, 1 am playing shock- ingly. PRINCESSE (holding her cards so that everybody can see them) Restore our youth ! Strange if it could, after all, be done. C THE CHARM [act DUCHESSE {letting her cards fall upon the table) Bring back our beauty ! My dear, if that were possible ! CHEVALIER We waste precious time in idle dreams. Princesse, you show your hand. « BRING BACK OUR BEAUTY ! ' MARQUIS Duchesse, you have dropped your cards. DUCHESSE {rising) I cannot play to-night. I am agitated. I] THE CHARM 19 MARQUIS Dear Duchesse, may I bring you a glass of wine? [Duchesse shakes her head. PRINCESSE We can play no more. Let us sit and talk of old days — the days when we were young — all young together. DUCHESSE When we loved and were loved. CHEVALIER When we made love, and danced, and fought. MARQUIS The days of suppers and gallantry, when — when - Duchesse — you remember that evening ? [CHEVALIER and MARQUIS both rise. DUCHESSE 'Twas in this very room. [Duchesse and Marquis walk up stage, CHEVALIER Isabelle, you remember that morning PRINCESSE When I drove you home after supper here. The sun had just risen when you made that c 2 20 THE CHARM [act impudent declaration. Oh, Bernard ! you looked so handsome. CHEVALIER And you, Isabelle, so bewitching. PRINCESSE Can a woman — a young woman -look aught but bewitching when the man she loves is at her feet? [ The Chevalier and Princesse retire up stage, DUCHESSE and Marquis coming down, DUCHESSE Our youth ? Oh, dear Marquis ! the young men are not what they were. Where could we find so brave and handsome a man as you were then? MARQUIS Where could we find so lovely, so brilliant a creature as you were then, Helene ? DUCHESSE You called me — Helene — on that night — before the supper. Gaston, you made me the happiest of women. I] THE CHARM 2i MARQUIS And you, Hel^ne the beautiful, made me the happiest of men. [ The PrincesSE sits before the spinet and plays. DUCHESSE We danced — in those days, Gaston — no one so well as you. MARQUIS Could any nymph move more divinely than ! you ? I \?'^\'^QYJ^^Y. plays a gavotte. TheMAV^qXilS and DuCHESSE dance part of a minuet^ then sit down exhausted. MARQUIS Come! come! let us be philosophers. {Takes smtff and shrugs shoulders?) What has been, has been — it cannot come again. We live in the present. I Let us enjoy the moment. CHEVALIER We cannot make love — we cannot fight — we cannot ride — we cannot dance — we cannot even drink ! What is there to enjoy ? [Princesse plays^ and sings in a weak^ tremulous voice. ±2 THE CHARM [ACT PRINCESSE When autumn leaves about the lawns And round the trees are drifting high ; When frosty nights bring misty dawns, Back to past days, back to past days, our memories fly. When summer loads the breath of June, And warm airs lull the lovesick brain. And maidens dream through drowsy noon. The joys of youth, of vanished youth, come back again. When April suns light up the hills, And young men woo and maidens wait, When children wreathe young daffodils, Our hopes of spring, of bygone spring, we tell too late. When to and fro the lovers go, When damsels hear with blushing cheek, When tabors play at close of day, Ah! then of love, of perished love, we sadly speak. [ While VRlNCESSEjims/iessm^-m^-A'LBEBARA'N enters, unseen by any of them. He stands in the middle of the rooin ; his dress is black. I] THE CHARM 23 ALDEBARAN Thank you, Princesse. [PRINCESSE shrieks ; they all turn round. MARQUIS Who is this ? What guest have we the honour of receiving ? ALDEBARAN I am called Aldebaran. PRINCESSE You are the man who {gasps) — restores health to the sick — and— and ALDEBARAN I am a man who knows the secrets of science. CHEVALIER Bah ! Your science — what does it do ? You sit in your laboratory and make discoveries ; mean- time we get old, and in time MARQUIS I Let us be philosophers. {Takes snuffs We ^ exist — we cease to exist ; that is all. DUCHESSE Ah ! Yet, if science could 24 THE CHARM [act ALDEEARAN Madame, there are no limits to the power of science, believe me — none. Think as much as you please, you can think of nothing that science can- not do. MARQUIS These are the usual boasts of the charlatan. Perhaps, M. Aldebaran, you will be so good as to let the Duchesse know what is your business — if you have any ? ALDEBARAN J I come here uninvited. I have nothing to gain — nothing to sell. M. le Marquis, you are, in mind, at least, unchanged since the year 1720, when I last had the pleasure of meeting you. The same in- credulity, the same MARQUIS You may add, the same unbelief in persons who call themselves five hundred years old. DUCHESSE But, Marquis, if this gentleman can do what he promises PRINCESSE If he can, by his science, perform these fpiracles ^ f I] THE CHARM 25 ALDEBARAN Ladies, you do not remember me. Yet, when I saw you last you were young, you were gay, you were worshipped. It was in the year 1720. In that same year that I had a certain altercation with the Marquis, then a fiery young man of five-and-twenty. \The Marquis looks closely at hhn. MARQUIS I seem to recollect you. You are surely the same man who then called himself the Count de Niirnberg. ALDEBARAN I did. I was then the Count de Niirnberg, as I am now the Baron Aldebaran. MARQUIS And you were then, as you seem to be now, a man of forty or fifty. Yet it is sixty years ago. Strange! Well, it matters nothing. Let us be philosophers. [ Takes snuff and shrugs shoulders. ALDEBARAN Let me, Madame la Duchesse, recall one inci- dent of that year. It is known only, I believe, to yourself and to one other person, who has — well — who has ceased to speak. I will, with your per- pission, whisper it in your ear. [ Whispers, 26 THE CHARM DUCHESSE {shrieks) Is this man a wizard ? [ACT ALDEBARAN There was also, Madame la Princesse, an event which took place in that same year connected with your own history ' LET ME, MADAME LA DUCHESSE, RECALL ONE INCIDENT OF THAT YEAR.' PRINCESSE If it is known only to myself and — and a man who is no more, I would rather not hear it. ALDEBARAN Perhaps he is still living. Listen. [ Whispers, I] THE CHARM 27 PRINCESSE Ah ! he is a wizard ! My dear Chevalier ! {holds out both hands to him). Then it was you, after all. I knew it. Oh ! could I show my gratitude ! But it is too late — too late ! [Aldebaran has whispei^ed CHEVALIER, who stares in wonder. CHEVALIER Yes, Princesse, it was I who did you that small service. I have been long repaid by your kindness — your friendship PRINCESSE Say, Chevalier, my love, though it is now too late. ALDEBARAN You see, then, that nothing is impossible. If I, who sixty years ago was forty years of age, now am still forty, and no more, why should not things still stranger happen ? DUCHESSE Baron, do not raise false hopes. PRINCESSE But if he can 28 THE CHARM [act DUCHESSE Ah ! if he can. MARQUIS Can he ? CHEVALIER A man, Marquis, who at five hundred looks forty is worth listening to. MARQUIS The Count — the Baron — will pardon me for observing that that has yet to be proved. \_Sh7'ugs shoulders and takes snuff. ALDEBARAN Ladies, I divine your thoughts, I know your wishes. You would be once more young, and — permit me the word — once more you would be : beautiful, and once more see the train of lovers following at your steps. PRINCESSE Duchesse — Helene — friend of my youth ! DUCHESSE Isabelle ! ALDEBARAN I can make you young. In five minutes, by I] THE CHARM 29 the waving of my hand, I can make the years run backwards — I can restore to you your twenty summers. PRINCESSE AND DUCHESSE {catching each other by the hand) Oh! ALDEBARAN The bloom shall return to your cheeks, the lustre to your eyes, the grace to your shape, the smile to your lips, the young strength and spring to your limbs — you shall be again in the splendour of your beauty. DUCHESSE AND PRINCESSE Oh ! Oh 1 Oh ! ALDEBARAN You shall again have gallant gentlemen- young, handsome, noble — kneeling before you. CHEVALIER Princesse, if this is true, what am I to do ? MARQUIS Duchesse, after sixty-five years of devotion, am I to see you the prize of another man ? 30 THE CHARM [act PRINCESSE Ah, Bernard ! could I be so ungrateful ? DUCHESSE Gaston, can I ever forget the past ? ALDEBARAN Be content, gentlemen. These ladies will have the honour themselves of communicating to you the same wonder. They can make you young again, if they please. That is their gift — not mine. CHEVALIER How — how can they do that ? MARQUIS Calm yourself, my friend. Let us be philo- sophers. {Takes snuff?) Nothing can make us young again. ALDEBARAN Yes, these ladies, whom you have loved so long, to whom you have devoted the suit and service of a life, they can now repay your affec- tion. ALL How } ALDEBARAN By returning your passion. Yes, by bestowing I] THE CHARM 31 their affections upon you, by returning your love, they will restore your youth. [ The ladies look at each other in delight. DUCHESSE Gaston, I love you already ! Yes, in the pre- sence of my dear Isabelle, before the Chevalier, before this illustrious, this distinguished, this generous stranger, I declare that I love you dearly. MARQUIS Helene, you are, as usual, most amiable. Your kindness gratifies and flatters me. Yet — so far — I feel no younger. [ Takes snuff. PRINCESSE Bernard, before Helene and the Marquis I swear that there is no other man in the world whom I love. Yes, by the memory of all your years of patience, by the thought that you have cheered my loneliness, made age tolerable, and beguiled my sorrows, I swear that I love you truly, deeply, with all my heart. CHEVALIER {kisses her hands^ Isabelle, best and kindest of hearts. But I feel — alas ! — no younger — as yet no younger. 32 THE CHARM [act ALDEBARAN Patience ! These generous ladies were too quick. They spoke before the time in the noble eagerness of their gratitude and love. They must 1 'LET US BE PHILOSOPHERS.' first be young themselves. Then — then, such words as these will change your eighty-five years, unbelieving Marquis, to twenty-five. THE CHARM 33 MARQUIS Let US be philosophers. \Takes snuff. [Princesse j-/^j 2« old place at harpsicJiord. Stool shifted a little^ so that she is able to see Aldebaran. He looks from one to the other. They look at each other uneasily Then they all four look at him. Signs of mesmeric influences. When they are all under influence curtain drops, ALDEBARAN DUCHESSE {seated) PRINCESSE {at the piano) MARQUIS CHEVALIER 34 THE CHARM [act ACT II {Five minutes later) Scene — All as before. Aldebaran retreating as he completes the passes. He disappears behind portiere^ afid all recover life. The ladies are young again. They look about them-. They rise. They rush into each other's arms. Isabella ! Helene ! duchesse princesse duchesse I SO hoped you would come. It seems an age since we met PRINCESSE Does it not ! But it makes the meeting all the pleasanter. What a pretty dress ! And how well you look ! DUCHESSE Thank you, dear ! II] THE CHARM 35 PRINCESSE Do tell me who is coming! Will your special adorer be here ? DUCHESSE I do not know. He left me in a huff. But no doubt he will come to his senses again. A certain Vicomte is to come, and will, of course, devote himself to you all the evening. PRINCESSE If I allow him to, which I very much doubt. He is too impetuous. [Marquis and Chevalier are gazing in wonder and admiration. chevalier {impetuously) It is our turn ! Quick ! Quick ! I want to feel once more the bounding pulse of youth. MARQUIS {inore slowly) He said— come, let us be philosophers — {takes snuff) — he said that a word from them They are young again — they are as I remember them CHEVALIER {falling on his knees) Isabelle ! divine Isabelle ! you are indeed once more what you were sixty years ago. Incompar^ able woman ! repeat the promise of your love. D2 36 THE CHARM [act MARQUIS (^falling slozvly on his knees) Helene ! lovely Helene ! Helene of Troy! Queen of beauty ! my memory recalls those charms, yet ten times as fair as when Oh ! Helene, tell me once again that you love me ! \The girls look in amazement. Then they look at each other. Then they laugh, but gently, their faces behind their fans. DUCHESSE Love you, dear sir ? Here is some strange delusion. Love you ? Have you mistaken the house? Tell me once again. Isabelle, my dear, do you know this old gentleman, who asks me, leaning on his crutch, to love him ? Sir, why should I love you ? MARQUIS (rising aside) To be sure, why ? I had not thought of that. CHEVALIER {rising) You, at least, Isabelle, are true to an old adorer. You love me still ? PRINCESSE Love you, sir ? Repeat the promise of my love ? Are you dreaming ? H61ene, did you ever hear so absurd a request? I am sure so venerable, so respectable a gentleman as yourself would not, in his right senses, put such a question to a lady the THE CHARM Z7 very first time he saw her. Sir, what answer can you expect ? [DUCHESSE ^/^^Princesse go up stage, latigh- ing. The gentlemen look at each other. CHEVALIER They have thrown us over ! Ventre St. Gris ! Could we believe it possible ? Oh, woman ! THE MARQUIS AND CHEVALIER KNEEL woman ! after sixty-five years ot courtship ! She recovers her youth, and laughs at me because I am old. Why, five minutes ago Marquis, are we mad ? Are we dreaming ? MARQUIS At my time of life I am not surprised at any- thing. {Takes snuffs Kneeling tries a man with 38 THE CHARM [act sciatica. Yet this is a disappointment which Come, Chevalier, be a philosopher. {Offers snuff- box.) After all, women are uncertain. CHEVALIER I will not endure it. [ Walks about MARQUIS Then, my dear friend, let me ask what you propose to do ? CHEVALIER 1 I will — I will ! Yet, what can I do .^ i MARQUIS Nothing. You see, Chevalier, we have for- gotten, most unfortunately, an important, an ^3 essential fact. »i CHEVALIER That is Oh! who could believe it? i What fact ? MARQUIS How should they remember us ? The young have no more memory than kittens. CHEVALIER I will remind her of my long devotion. I will tell her what I have done. I will move her heart by the tale of a lifelong love. THE CHARM 39 MARQUIS Consult the glass, Chevalier. Look at the wrinkles in your face, the stoop in your shoulders, the stoop in your knees. Where is the elastic spring of youth ? Are you, as you were, young and handsome ? Come {snuff-box)^ let us be philo- sophers. [ The ladies come down. CHEVALIER {to PRINCESSE) Pardon, Madame. PRINCESSE Mademoiselle, if you please. Monsieur. CHEVALIER {disconcerted) I beg pardon, Madame — I mean Mademoiselle. Will you permit me to relate to you a story — a little story } PRINCESSE A fairy-story 1 DUCHESSE A ghost story t CHEVALIER A story {tragically). It is of two most faithful and most unfortunate lovers. PRINCESSE Pray proceed — if it is a short story. 40 THE CHARM [act CHEVALIER No ; it is a long one. It is sixty-five years long. DUCHESSE Sixty-five years long ? Then, let us wait till we have had our ball. MARQUIS It will take less time to tell, I think. But, ladies, you do not know my friend. Permit me to introduce to you M. Bernard de Saint-Aignan, Chevalier of Malta. DUCHESSE I have heard my grandmother speak of you, sir. I am honoured in making your acquaintance. CHEVALIER Permit me, ladies, in my turn, to present my friend the Marquis de Montserrat. PRINCESSE M. le Marquis was, I believe, a friend of my grandmother's. Sir, I desire your friendship. MARQUIS Now, Chevalier, your story. II] THE CHARM 41 CHEVALIER Sixty-five years ago two young gentlemen fell in love with two ladies also young. PRINCESSE This is a most original beginning. Young men fall in love with young ladies ! Pray, sir, what better could they do ? CHEVALIER Their love was returned : they became their accepted suitors. Their courtship was continued — for sixty-five years. [^Ladies laugh. DUCHESSE Absurd ! if that is all your story, M. le Chevalier. CHEVALIER {disconcerted) Well ! — that is all the story. MARQUIS Pardon me, not quite all. The ladies were as much attached to their adorers as they were to their mistresses. Long companionship endeared them to one another. DUCHESSE Pardon me, M. le Marquis, but our guests will be arriving. 42 THE CHARM [act MARQUIS One moment more. By some sorcery the ladies at eighty recovered their youth — they be- came twenty — they scorned the love of their old suitors. Yes, Madame {fiercely). CHEVALIER It is too true, Madame {to the PrincessE, fiercely). PRINCESSE AND DUCHESSE Oh ! what terrible old men ! MARQUIS They scorned their love. CHEVALIER They laughed at their age. , MARQUIS They mocked their vows. CHEVALIER They pretended to forget the long years of ser- vice. As if they could forget 1 PRINCESSE I do not understand this story at all. Two old ladies to become young again ! Two old lovers of sixty-five years' standing ! Why I I i II] THE CHARM 43 DUCHESSE Isabelle We must not wait, gentlemen. These aged lovers should be treated with tisane. You must allow us to leave you. PRTNCESSE We shall ask for the end of this charming story, most interesting as it is (yazvns), when we shall have the pleasure of seeing you. {Exit PrinCESSE and DuCHESSE. CHEVALIER Good Heavens, Marquis ! Were two men ever so abused? If it were not for my gout I would MARQUIS And I, were it not for my sciatica, I would ■ Come, Chevalier, let us be philosophers. (^Snuffs,) What could we expect ? CHEVALIER We have spent our youth. We had no right, though the gift was dangled in our faces, to expect it back again. But this mockery, this barefaced contempt ! By Heavens ! it is too much. I will wait. I will watch. If the Princesse gives the least encouragement to any other man I will — I will 44 THE CHARM [ACT MARQUIS With what hand, my friend, and with what weapon ? The time is gone. The fellow Aldebaran has got some secret Let us bribe him. Bah ! the thing is absurd. Come, Chevalier, let us have -j a game of piquet. [Colin lays the table ; they sit down, to play 'WERE TWO MEN EVER SO ABUSED?' CHEVALIER {angrily ^ throwing down cards and rising^ Did ever man hear the like ? i Ii]. THE CHARM 45 MARQUIS My friend, patience ! The young have no memory. What are our eighty-five years to them ? The young have no memory. CHEVALIER To see her in the arms of another • MARQUIS How should the young love the old ? Once more, my friend, let me remind you that at eighty- five a few of the charms of youth have left us. CHEVALIER I have lost my Isabelle ! The image of that divine woman is shattered. MARQUIS [sadly) Alas ! it has taken me sixty-five years to learn the heart of my Helene. Now she is torn from me. CHEVALIER Let us leave this cursed salon. Let us retreat to our own rooms, where we will rail at women. MARQUIS No ; rather let us find out this devil of an Alde- baran, and bribe him — if we can — with ail our for- tune, if need be 46 THE CHARxM [AC CHEVALIER {eagerly) To give us back our youth. MARQUIS No, Chevalier ; that is impossible. To give them back their age. CHEVALIER And to take away their youth. MARQUIS Why, after all, age is the best time. [Chevalier shakes his head. MARQUIS Can youth talk of the past ? chevalier Youth can enjoy the present. MARQUIS What is the present to the past ? What could youth give us to compare with such talk as we have had — we four — within these walls ? chevalier Yes, this room is full of ghosts — the ghosts of our perished years. \ 't; II] THE CHARM 47 MARQUIS There is no present for us. As for the future {shrugs his shoulders often and takes snuff ; looks round, and shakes his head). There is certainly the past Enter Raoul. CHEVALIER {roughly) Sir, we are obliged to you — we are indeed very much obliged to you. RAOUL {bows) May I ask, M. le Chevalier, in what way ? MARQUIS It is to you, M. le Vidame, that we owe the appearance of the Baron Aldebaran. We are so much obliged to you that CHEVALIER That, upon my word, if I were sixty instead of eighty I would call you out. RAOUL Then, sir, I am heartily glad that you are not sixty. MARQUIS Your friend, sir, the Baron Aldebaran, has been 48 THE CHARM [ACT here, and has accomplished his work — his infernal work. CHEVALIER He will cool his heels before many days, if I have any influence, in the Bastille. RAOUL But what has the Baron done ? MARQUIS To you it will doubtless seem a trifle. He has restored the ladies to youth, that is all — that is all ! Our old friends have left us. They are young, but we remain old. RAOUL Youth! — the Duchesse and the Princesse ? You call that a trifle ? What is the meaning of this ? MARQUIS A very small thing — to them — because it only means the beginning over again. But to us — why, sir, we have lost the salon where we have sat every day for fifty years ! CHEVALIER And the women to whom we have made love for sixty-five years. II] THE CHARM 49 MARQUIS The most delightful of women. CHEVALIER The friends of our young days. MARQUIS The last of our friends, CHEVALIER Who could remember everything. MARQUIS They knew all the stories. CHEVALIER The best- bred ladies in the world. MARQUIS And the best possible partners at quadrille. CHEVALIER And — and — in fact, the habits of a lifetime are rudely broken up and destroyed. RAOUL I am amazed ! Young again ? so THE CHARM [act MARQUIS You shall see. Here they come ! Enter DUCHESSE «;/^Princesse, beai'ing dominoes, masks, and hoods in their hands. MARQUIS Permit me, ladies, to present to you my young friend Raoul, Vidame de Chatillon. DUCHESSE I have heard my grandmother speak of your ancestors, sir. PRINCESSE I And mine. A friend of ^ CHEVALIER Their grandmothers ! They are ashamed of their names now. > MARQUIS They have forgotten. How can girls of twenty be grandmothers ? RAOUL {Aside to the Marquis) I do not understand what you mean about youth. These young ladies have been often mentioned to me by the Duchesse. {Aloud) And the Duchesse, Mademoiselle ? i II] THE CHARM 51 DUCHESSE My dear grandmother is as well as her infirmi- ties and great age will allow. CHEVALIER {to MARQUIS) You hear ! She will brazen out anything. RAOUL {to the PRINCESSE) I last had the pleasure of seeing the Princesse here, Mademoiselle. PRINCESSE I left her at home over the fire. Dear grand- mamma, she feels the weight of years. MARQUIS {to chevalier) You hear ! They are both in a tale. DUCHESSE M. le Vidame, I hope that we shall be able to persuade you to stay this evening. Our friends will arrive immediately. [Raoul bows. PRINCESSE If that could be considered an inducement M. le Vidame, I would {shyly) offer you my hand for the first dance. 52 THE CHARM [act RAOUL Oh, Mademoiselle ! I am too much honoured. DUCHESSE {Aside) She actually throws herself at his head ! {Aloud) M. le Vidame, one must not neglect the friends of one's grandmother. I promise you the next dance ; and you may — yes, you may sit beside me at supper. PRINCESSE {Aside) Oh ! this is too bad ! {Aloud) Helene, you must not keep your friends waiting. [DuCHESSE and PRINCESSE approach Raoul, as if to take his hand to go off. The PRINCESSE reaches him first. RaouL and PRINCESSE exeunt. DuCHESSE follows, angrily. MARQUIS So they are their own granddaughters. CHEVALIER And they are in love with their old lover^s grandson. MARQUIS Philosophy brings consolation. ( Takes snuff.) Otherwise one might lament the degeneracy of the age. Jl THE' CHARM 53 CHEVALIER In our time, Marquis DUCHESSE FOLLOWS, ANGRILY MARQUIS Ladies waited to be wooed. 54 THE CHARM [act CHEVALIER And kept their lovers waiting. MARQUIS Sometimes as long as sixty-five years. CHEVALIER Now — it is incredible ! — the women of whom we thought so highly have, within a short half-hour of their change, both openly — I say openly MARQUIS Shamelessly, Chevalier. CHEVALIER Declared almost a passion. Is this the world of the young ? We have lived too long. MARQUIS That I think {takes snuff) would be im- possible. But things for the moment are dis- agreeable. Enter Aldebaran CHEVALIER {violently) You, sir — you are the cause of all this trouble ! II] THE CHARM 55 ALDEBARAN What trouble ? I converted two old ladies into two young ladies. Are they not beautiful enough ? MARQUIS They are what they were sixty-five years before. ALDEBARAN They declared their love for you before their transformation — why, then, do you still await your own change ? CHEVALIER Because — it is embarrassing and — humiliating — because, in fact, they forgot the existence of that passion directly they recovered their youth. ALDEBARAN Ah ! that was bad ; but yet, was it unexpected ? Did you, gentlemen, think to preserve, or to win, the love of young and beautiful women ? MARQUIS Answer, Chevalier. CHEVALIER We thought that two gallant gentlemen, although no longer — ahem! — quite young, had so eftectually 56 THE CHARM [act touched their hearts by long devotion that their image was fixed indehbly. ALDEBARAN So it was, by time. CHEVALIER Then ALDEBARAN But time flew back, and each year as it dropped from their heads carried with it something of the affection which they felt for you. What was left when all the years of devotion were gone ? MARQUIS Ta-ta. We waste our time in regrets. Can nothing be done, Baron ? ALDEBARAN You, too, would renew your youth, M. le Marquis ? You — a man of the world — a man of experience ! MARQUIS Not I, indeed. I have lived. Cure my sciatica and — and one or two other little things, and I envy no man. ( I It II] THE CHARM 57 CHEVALIER I would have my time over again. Age brings experience, but youth — ah ! youth. MARQUIS I want nothing but the restoration of things as they were. Baron, can that be done ? ALDEBARAN What do you ask me ? These ladies are young again— they enjoy the delirium of beauty, the triumphs of the salon, the troops of lovers. Would you deprive them of these ? CHEVALIER But they could not enjoy them — without us. MARQUIS He cannot understand, Baron, what forgetful- ness can do. They would enjoy without thinking of us. ALDEBARAN Yet you would take from them this enjoyment. MARQUIS {slowly) Youth is made up of anticipations never realised {takes snuff) — of ambitions which never satisfy — of rivalries, especially among women, 58 THE CHARM [ACT which embitter — of disappointments which sadden. Would it not be well to spare them these ? CHEVALIER Yes, let us spare the ladies what we can. MARQUIS Later on we have memories {takes snuff) ; all the disappointments are forgotten— we remem- ber only the happiness. CHEVALIER True. They would like to remember the happiness.. MARQUIS To talk of these things in a quiet salon like this, hung with pictures of ourselves when we were young, to enjoy a quiet game of cards — this con- stitutes the greatest happiness of life. ALDEBARAN You think so ? Very well. MARQUIS Therefore let us not be selfish — let us, for these dear ladies' sakes, provide thern with the means of being happy. II] THE CHARM 59 CHEVALIER We will not be selfish. MARQUIS Since we, their truest friends, cannot be young again, let them, so that we may continue to watch over them, become old once more. CHEVALIER That will certainly be best for them. MARQUIS Baron, give us back the companions of our lives, the dear delightful women who made us so unhappy when we weie young, and so happy when we became old. CHEVALIER I would rather be young with them ; but if not, then MARQUIS You will remark. Baron, that we seek nothing but the happiness of our mistresses. ALDEBARAN Gentlemen, your motives do you the greatest credit. An unselfish wish such as yours, M. le Marquis, is rare in this selfish world. It shall be as you desire. [ The ladies come in together^ masked. i 60 THE CHARM [ACT "* Enter DUCHESSE, Princesse, and Raoul RAOUL {to DUCHESSE) I assure you, Madame DUCHESSE Oh, Monsieur ! there is no need. Besides, it is not to you that I need look for assurance. RAOUL {to PRINCESSE) Pray, Madame, take no heed. PRINCESSE BeHeve me. Monsieur, I shall not — neither of you nor of others unworthy my regard. DUCHESSE If you mean that graceful speech for me, Madame RAOUL Ladies, I entreat. PRINCESSE I mean what I say — no more. DUCHESSE {with low curtsey) Madame ! PRINCESSE {same business) Madame ! II] THE CHARM DUCHESSE As for you, Monsieur PRINCESSE Yes, Monsieur, as for you 6i •what have 1 DONE?' RAOUL What have I done ? DUCHESSE Done ! My dear, he asks what he has done. PRINCESSE Did one ever hear the h'ke ? 62 THE CHARM [act RAOUL {to DUCHESSE) Madame, it is time for our minuet. DUCHESSE I shall dance no more to-night, Monsieur. RAOUL (/^ PRINCESSE) Madame, may I have the honour ? PRINCESSE Monsieur, I am too fatigued. RAOUL Cornelius Agrippa or Aldebaran must have bewitched them ! [DuCHESSE and Princesse turn from each other. ALDEBARAN {steps forward) Permit me, ladies DUCHESSE Pardon me, sir ALDEBARAN Ah ! you do not remember — how should you ? May I ask, however, that you will listen to me for a moment— one moment only ? Allow me. \^He places them at the card-table and spinet. II] THE CHARM DUCHESSE I feel as if my head were turning round. PRINCESSE The room swims before my eyes. 63 TIIEY ARE OLD AGAIN \Thev are placed exactly as at end of Act I. Aldebaran focusscs their eyes, makes passes ; same movement as before of mes- meric influence. Aldebaran steps behind curtain. A feiu moments elapse. They start — the dominoes have fallen off. They are old again. PRINCESSE sings. 64 THE CHARM [act ii PRINCESSE When April suns light up the hills, And young men woo, and maidens wait. When children wreathe fresh daffodils. Our hopes of spring, of bygone spring, we tell too late. When lovers whisper as they pass. When damsels hear with blushing cheek, When tabors play for lad and lass, Ah ! then of love, of perished love, we sadly speak. Curtain as Marquis and Chevalier advance to ladies, and stoop to kiss their hands. Music heard up to the last. ' SHE IS AWAKENED ' THE VOICE OF LOVE DRAMATIS PERSONS PAUL PERIGAL. CLAUDE FORRESTER. LILIAN TRAVERS. JANE (Servant). Morning Room. Table with breakfast laid — news- papers — playbills — over a chair Jiangs a great poster zvith i^ed letters. Lilian discovered with a book. While she speaks she walks about the room — sits down — zvalks about again — ahvays studying the zvords of the book between her own woi^ds. LILIAN I cannot get the words. They dance before my eyes. And I ought to have been word-perfect F 66 THE VOICE OF LOVE long ago. If I do get them, some of them seem such dreadful nonsense. Why, oh why, did the Professor choose such a part as Juliet for my first appearance ? [Repeating woodenly. ' Give me my Romeo, and when he shall die Take him and cut him out in little stars, (Repeats absurdly, ' Cut him out in little stars,') And he will make the face of heaven so fine That all the world will be in love with night. And pay no worship to the garish sun.' Now, how is a poor girl to say those words seriously ? The Professor is always telling me that it's the voice of Love. If it is, the voice of Love says very odd things. ' Remember, child,' dear old Daddy continually tells me, ' remember, do remember, that you are Juliet, and that you love Romeo.' Well, what of that ? I love the dear old Daddy, but goodness knows I don't want to cut him out in little stars ! Oh, dear, what curious constellations he would make ! He ought to be down to his breakfast by now, dear old Daddy ! I suppose he was late last night. Now that he no longer acts himself there is nothing he loves so much as seeing other people act. And that is very curious, because he says that nobody can act nowadays. I wish he had carried his theory into practice with regard to Juliet and poor me. THE VOICE OF LOVE 67 But he wouldn't — he was as determined as he could be. His old friend Mr. Conyers, the * MY DEAR CHILD, YOU HAVE EVERY QUALIFICATION FOR THE part' manager of the Parnassus, wanted a Juliet, and that Juliet I was to be. ' My dear child,' Daddy said, ' you have every qualification for the part,' and 68 THE VOICE OF LOVE then he added rather in an Irish fashion, 'and those qualifications you have not got, my dear, I will give you.' Well, if he can make me speak those lines and not seem a fool he will do wonders. {Looking at book agaiJi.) No, they puzzle me com- pletely. Suppose I looked at the paper for a change. {Looking through pape7\) Last Night in Parliament — The Jericho Mission — Theatre Royal, Parnassus. Oh, dear, shall I never get away from that.? 'On Wednesday, the i6th of June, this theatre will re-open with a performance of Romeo and Juliet. The merits of Mr. Godfreys Romeo are already known and are sure to command attraction. The interest of the occasion will be enhanced by the appearance of a new actress as Juliet. Miss Lilian Travers is a pupil of Mr. Paul Perigal, who has been her guardian since the death of her parents a few years ago. We hear great things of the debutantes powers. Her master's name alone will ensure for her an indulgent audi- ence.' Indulgent ! Yes, I daresay — especially if I stumble over my train in the ball-room scene. I wish I could forget it. Let me look at something else. This poster with the red letters. {Holds it up.) 'Juliet. Miss Lilian Travers.' That's a cheerful sort of thing to look at, isn't it ? Here's another paper. The War in the Soudan. Why, that is where dear old Claude has gone. THE VOICE OF LOVE 69 When was it he came to say good-bye to me ? Four years ago in this very month of May — in the orchard at my dear father's parsonage — the apple blossoms were out. Four years ago ! I was 'THE APPLE BLOSSOMS WERE OUT' fourteen — the very age of Juliet — he had just got his commission, and his regiment was going abroad. I wonder if he has remembered me— I wonder. Well, it is no use thinking or wondering about the old days. {Throzvs dozvn paper unread^ I have 70 THE VOICE OF LOVE my way to make, and my part to learn. Let me try my best to please Daddy this morning. [ Takes book and walks about, repeating lines to herself. Perigal, <3: retired actor, old-fasJiioned, courtly ; got up with wig and dressing-gown, and juvenile air, but an old man, enters as she recites. ' Good father, I beseech you on my knees Hear me with patience but to speak a word ! ' [Seeing him I needn't go on my knees to you, Daddy, need I, to say Good morning ? PERIGAL (kissing her) No, no— my dear — no. Hard at work already, I see— good child — good child. We'll have our little rehearsal directly — if, my dear, you are equal to the exertion. It is but three weeks now to the eventful night— and that is not a bit too far off. LILIAN No, dear, indeed. I only wish it was farther off still — out of sight altogether PERIGAL My child, my child ! we must not lose courage. THE VOICE OF LOVE 71 Remember we have our duties to Art — yes, and to the British Public, too. We must do our very best to fulfil them. LILIAN Yes, dear, and indeed I will do my best, though I feel my duty to you much more than I do to Art and the British Public put together. PERI GAL There are some who will tell you that the two are not always allied ; but take an old actor's word for it that the public is the best critic when all's done. LILIAN Then, I hope, Daddy, they'll be kind to me. What did you do with yourself yesterday ? PERIGAL I attended two rehearsals in the morning; I assisted at a matinee^ so called because it was given in the afternoon ; I had my modest little dinner at the club, and then, of course, I went on to the new play at the Playmarket. LILIAN Was it good ? PERIGAL Good ? Yes ; from some points of view. The 72 THE VOICE OF LOVE new school of actors possess purpose, ambition, youth, fire, talent — but LILIAN What does that ominous but mean, Daddy ? PERIGAL It means, my dear, that they are wanting in — that they have not precisely caught — that they fail to acquire — that, in short, they are LILIAN Not of the old school, eh. Daddy ? Isn't that about it ? PERIGAL Well, well, my dear — I daresay you are right. Autres temps ^ autres nioeurs — I cannot forget their predecessors. Ah — there are few of the vieille garde left now. And if I were put up in ' Richard the Third ' to-morrow LILIAN All the town would flock to see you. PERIGAL No — child — no. (^Sorrowfully^ Once, per- haps, they might. Once — long ago. But it's no use dwelling on old memories. THE VOICE OF LOVE n LILIAN {half aside) No, Daddy, it's no use. PERIGAL We must deal with the present — we must wel- come genius and talent, even if they take a shape * WHAT DO YOU THINK OF IT, FAIR JULIET ? ' new and strange to us. And that, my child, is what I hope from you. LILIAN Yes, I am to blend the old and the new, am I 74 THE VOICE OF LOVE not ? To join your experience to my inspiration. (Perigal nods?) Only, so far as I can see, the partnership is incomplete. It wants the inspiration. PERIGAL Patience ! patience ! — that will come —meanwhile let us have break fast. ( Takes poster off tlie chair and holds it up.) What do you think of it, fair Juliet } LILIAN I hate it. Put it out of my sight. [Lilian ri?igs servant brings in dishes, &c, LILIAN Oh, Daddy, I was nearly forgetting. What do you think Jane tells me? A young gentleman called this morning soon after nine, and asked to see me. PERIGAL To see you ? LILIAN Yes ; and when he was told I was engaged, he said he would come back, and it didn't matter about his name. PERIGAL A young gentleman — already ? My dear, when you have made your success you will have plenty of such impertinent calls from people who dare to THE VOICE OF LOVE 75 call themselves gentlemen, and you may as well be prepared for that. But already ! Before you have even appeared ! LILIAN I suppose it is that dreadful paragraph I have just been reading. \Gives Jiim newspaper. PERIGAL {runs over pai-agraph with delight) I suppose it maybe so— Paul Perigal's name is not forgotten yet ! But this must be put a stop to at once. {Ringing.) Jane! If the young ^^;2^/»5%j-^6 P;>ma4 PUTS ox SLIPPER WITH EASE The slipper is for the one whom it fits. [T/iej/ all gather round and pass the slipper about, looking at it curiously and laughing. CLARINE Emmeline, you are the elder of the two elder i82 THE SHRINKING SHOE [act daughters. They were bad-tempered, I believe, and ugly. Try, dear elder daughter. HORACE {sets chair) Now. Emmeline. I am quite sure beforehand that it will not fit you. EMMELINE {takes off shoe and sits down. Geoffrey brings footstool and places it before the chair. Then he presents the slipper^ kneeling on one foot. She tries vigorously) No, It is no use. I cannot get my foot into the slipper. You try next, dear second elder daughter. CLARINE (same business) No, it's no use. I can't get my foot into the slipper. Now, Katie, it is your turn. XATIE {sits downy and places her foot for the slipper. Geoffrey on one knee presents the slipper. It goes on easily. Katie stands up and shows the slipper on her foot — she laughs and blushes) \ It is mine. I wonder who sent it. [Glances at Geoffrey, who turns his head. They all look at him, GEOFFREY An odd idea, indeed. I — I — fear I must be I] THE SHRINKING SHOE 183 going. Good-bye. I shall remember last night and all that you have said. [Exit. HORACE {looking after him) He still possesses the attribute of modesty. Katie, it is a pretty slipper. KATIE I shall keep it — to remind me of my first ball — and EMMELINE And — and of what, dear child ? KATIE Of the Prince to be ! Curtain THE SHRINKING SHOE [act ACT II {Four years later.) Scene — The same. Emmeline and Clarine are now married. Katie lives on in the same house, EMMELINE {in walking dress ^ waiting) My husband promised to be here by five. It is now a quarter past. The fickleness of woman is nothing to the un punctuality of man. {fioes to tabhy turns over things^ Katie is not fickle, but she is very untidy. Always leaving things about : what is this } Why, like Mr. Wegg, she has dropped into poetry. {Reads aloud.) Oh ! tell me, willow wren and whitethroat, beating The sluggish breeze with eager homeward wing, Bear you no message for me — not a greeting From him you left behind — my Prince and King ? You come from far — from south, and cast and west : Somewhere you left him, daring some great thing : I know not what, save that it is the best : Somewhere you saw him — saw my Prince and King! II] THE SHRINKING SHOE 185 You cannot choose but know him : by the crown They place upon his head — the crown and ring : And by the loud and many voiced renown, After the footsteps of my Prince and King. He speaks ; and lo ! the listening world obeys : He leads, and all men follow ; and they cling And hang around the words, and works, and ways As of a prophet — of my Prince, my King. Her Prince and King ! Well, if she's really wait- ing for that I begin to understand why she refuses everybody. As if she could expect a man to be made on purpose for her ! Her Prince and King ! How curious a fancy ! [Lays down verses. Enter Horace Caterham and Geoffrey Armiger. HORACE Sorry to keep you waiting, dear. I was en- gaged with Armiger on some legal work. You know my wife, Geoffrey ? GEOFFREY {looks a little puzzled) I think I have had the pleasure of seeing Mrs. Caterham before. l86 THE SHRINKING SHOE [ACT EMMELINE I think you came here once with my husband. It was some time ago, Sir Geoffrey. READS ALOUD II] THE SHRINKING SHOE 187 HORACE Of course. Why, Geoffrey, there was a dance, and you fell half in love with my wife's sister, who was little more than a child then. Now she's a woman, and — well, perhaps you'll see for yourself Don't you remember the slipper business ? GEOFFREY Yes, yes. It all comes back to me — all EMMELINE I believe you sent the slipper. Sir Geoffrey. GEOFFREY I believe I did. How is your sister, Mrs. Caterham ? EMMELINE She is quite well, thank you. She lives here in the old house where our people have lived for two hundred years — and she writes poetry. GEOFFREY Poetry ? I can well imagine that, EM ELINE Here are some verses which I found on her i88 THE SHRINKING SHOE [act table just now. She is always dreaming about some one whom she calls her Prince — who is going to do something wonderful. HORACE Katie has reached the age of twenty-one, and she still believes in the man who is going to do something wonderful. GEOFFREY A robust faith. May I read the verses, Mrs. Caterham ? {She bows assent, and he takes them and reads three verses aloud. Then he breaks off, remembering^ ' Prince and King ! ' ' Many voiced renown ! ' Ah ! what has come of it ? EMMELINE Come of what, Sir Geoffrey ? GEOFFREY Oh ! I beg your pardon. I was thinking of something else — something forgotten. Forgive me. EMMELINE I will on one condition, that you dine with us to-night II] THE SHRINKING SHOE 189 HORACE Yes —do, old chap ; and look here, Emmeline and I have to go out now — duty visits — but — Ah ! there's Katie's knock at the door — I know it. Wait a few minutes, and she'll come in and give you some tea. Till to-night. GEOFFREY Till to-night, then. \Exeunt HORACE and Emmeline. GEOFFREY {takes Up verses again) Somewhere you left him, daring some great thing : I know not what, save that it is the best : Somewhere you saw him — saw my Prince and King ! I remember it all : the sweet and eager face of the girl, and my silly talk about greatness. I was to be a Poet — or a Statesman — which ? I forget. Poet ? Statesman ? And what am I ? Pleasure- hunter. I live to enjoy the fruits of the earth. Pleasure-hunter. It is not a glorious profession. Four years ago I should have scorned it. Now — it seems as if there was nothing more possible for me. What is a rich man to do ? I wonder if she thinks — No ! That was impossible. Yet I told her that when I had done something great— 190 THE SHRINKING SHOE [act Heavens ! what a fool I was ! — I would return and tell her. You cannot choose but know him : by the crown They place upon his head. I can't get the words out of my head — * My Prince and King.' I am a pretty sort of King : mine would be a pretty sort of crown. Yet four years ago I could think in that way-^and talk in that way, too. j KATIE {outside) Very well. I will write to Jier. Enter Katie I GEOFFREY I Miss de Lisle. I see you do not remember ' me. KATIE Oh ! yes ; and am so glad to see you again. GEOFFREY You are kindness itself ; but I see that if you have some memory of my face, you have forgotten my name. I am Geoffrey Armiger. I had the honour of making your acquaintance four years ago at a ball — your first ball — and was allowed to call the next day. II] THE SHRINKING SHOE . 191 KATIE Of course I remember. Now you are Sir Geoffrey Armiger. GEOFFREY Yes. I came into my cousin's title. KATIE Ah ! Yes. You have done nothing to win that title. GEOFFREY It is mine by inheritance, KATIE Have you done anything — since — to deserve that title ? GEOFFREY One does not deserve a title. One inherits it KATIE Yes. Inherited honours mean inherited responsibility. But of course you are working. You have ambitions. GEOFFREY I fear that I am not — what you would call^ working. 192 THE SHRINKING SHOE [act KATIE I remember when we met four years ago — you had great ambitions — even very great ambitions. GEOFFREY f^ I believe — I know — I had. KATIE And what have you done with them ? GEOFFREY I have dropped them. KATIE What, then, have you done, then, since I saw you last? GEOFFREY Nothing much, I fear. Followed the occupa- tion — or the pursuit — or the profession of pleasure. KATIE It sounds a poor sort of profession — for a man's profession. GEOFFREY Terribly poor, isn't it ? Wears one out, you see, with nothing to show for it. KATIE Do you mean that you have thrown away all those fine ambitions and resolutions ? t II] THE SHRINKING SHOE 193 GEOFFREY Every mortal one of them. The young man who amused you with his dreams is dead— dead and buried, I believe. KATIE What ? Have you really resolved to bury all those dreams that seemed so beautiful to me ? GEOFFREY Did they ? Did they really ? Perhaps it may yet be not too late to make them live again. KATIE Make them live ! It would be a great thing. But I fear they were only dreams. I shall never have such dreams again. GEOFFREY {takes Up paper of verses) Was it a dream about a Prince and King t KATIE Yes. But you could not understand it any more — now — even if you were to try. You had better go, Sir Geoffrey. There is Pleasure waiting outside for you with a bottle of champagne. GEOFFREY Ye§. 194 THE SHRINKING SHOE [act KATIE And a pack of cards, I believe. I wouldn't wait any longer, if I were you. GEOFFREY {takes Ms hat) No. I think I have no business here. KATIE Don't you feel lonely without your ambitions ? I GEOFFREY I never feel anything. I never want anything. f KATIE You just order everything— you can order even success. GEOFFREY I don't want success. Whatever I want I buy. KATIE Honour. Achievement. Reputation. GEOFFREY Yes. And love and happiness. Oh! it is wpnderful what money will do. II] THE SHRINKING SHOE 195 KATIE I congratulate you. Now, Sir Geoffrey, since you have become a complete stranger to me, and not the Sir Geoffrey I knew four years ago, is it not time ? [Points to door. GEOFFREY {lays down his hat again) Miss de Lisle, do you remember a certain slipper — a white satin slipper ? KATIE Yes. GEOFFREY Have you by any accident kept that slipper ? KATIE Yes. I have kept it because it reminded me of certain things — of hope — of courage — of possi- bilities. It is in this cabinet. (Opens drawer ^ takes out slipper in silver paper.) See how tarnished and faded it is. The silver buckle is black and the leather has shrunk. GEOFFREY No — let me look. No — it hasn't altered. [Takes it. KATIE {takes it back). It has altered. It has shrunk. You don't 196 THE SHRINKING SHOE [act know this kind of slipper. It is like the piece of shagreen in Balzac's story. It goes on shrinking as the original owner goes down hill. You were the original owner. I ' SEE HOW TARNISHED AND FADED IT IS ' GEOFFREY Do you think you could put it on again ? J II] THE SHRINKING SHOE 197 KATIE No, I am sure I couldn't. But I will try. {Sz'ls down ; tries.) No, you see, it won't go on. GEOFFREY Perhaps, with a little patience — a little good- will — a little coaxing. KATIE No. GEOFFREY Give me the slipper. Yes. I really think it has shrunk. It is a slipper bewitched. Miss de Lisle — Katie — do you think if one were to climb up the hill again that slipper would go back to its proper size ? KATIE You cannot climb up the hill again. I wish you could. Give me back the slipper. GEOFFREY If I were to keep it ? KATIE No, you shall not keep it. Pleasure is waiting for you with the champagne and the cards, and the love that you can buy. Go back to Pleasure. 198 THE SHRINKING SHOE [act GEOFFREY Your sister gave me these lines. And I remembered suddenly — the young man who, perhaps, after all, is not dead. I think, if I could, I should like to take up those ambitions once more. Do you think I could } KATIE It would be far, far harder now than it was four years ago. You have got to recover the noble mind, the unsullied heart. Can you hope to do that? GEOFFREY Perhaps. KATIE You have fallen. Are you strong enough to rise? GEOFFREY 1 ^<22>. Takes bundle of letters from a tray on the sideboard and lays them before three chairs. BUTLER Here's the lot, and a pretty lot it is. Glad I'm not his lordship's secretary. Answering all these letters every day would kill me in a week. Give me my pantry and the silver, and I ask no better lot. For his lordship — one, two — (r^^/;?/^)— twenty- four letters, with a parcel. ( Takes up small parcel I THE WIFE'S CONFESSION 253 tied with red tape and sealed^ looks at ity feels ity weighs it^ presses it?) Marked * Immediate.' Looks like as if it had paper inside of it. More reading — more writing. That pore young man, the secretary. Some folks are greatly to be pitied. Now my lady's letters. One, two — here's a scented one — something sweet from another lady — great ladies love each other a vast deal more than my friends in the servants' hall. Here's a tradesman's bill, I take it. Her ladyship isn't in a hurry to pay her bills ; but give her time, give her time. What's the use of being a countess if you can't get time } One, two — {counts^ — eleven letters, mostly invitations. Pleasure is a weary business. Give me my pantry and my silver. Hullo ! Here's a rummy start ! The last letter for my lady is just exactly in the same handwriting as the packet for my lord ! Odd, ain't it? {Compares them.) Great square hand — same s's ; same t's ; same — well, it doesn't matter to me. Here's the captain's letters — one — that's a woman's handwriting. Well to be sure, the captain do have a way with him. Another letter — and another — and — dash my buttons ! If this isn't the rummiest go 1 Why — this letter is written in the same handwriting as the other two. It must be a hospital letter — or a church restoring — or a per- manent incapable — well — well. {Lays down letters before Lieutenant's chair^ 254 THE WIFE'S CONFESSION Enter Charlie Vernon. VERNON Her ladyship down yet ? BUTLER Not yet, Sir. Your letters, Sir. [Puts them on tray and hands them. LlEUT. Vernon snatches the letter whose handwriting has astonished the butler., puts the rest in his pockety and tea7's this one open and reads hurriedly^ VERNON The devil ! BUTLER {mechanically) Yes, Sir ! \_He then^ with impassive face^ goes on smoothing table-cloth^ setting knives and forks in proper places^ pokes fire. Vernon walks up and down the room with vexation. BUTLER walks round the table critically. Exit. VERNON {reads the letter again) * Since you have given me no answer to my first letter and none to my second, I shall prove to you that I can bite as well as bark. I have sent all the love letters that you have written to Lady I 1 THE WIFE'S CONFESSION 255 Avenel to his lordship. You will have an oppor- tunity of explaining things to him — I understand that you are his guest. This will make the business all the pleasanter for you.' It is indeed a pleasant affair. Why the devil didn't Isabel destroy the confounded letters when we broke it off? This person is a woman, clearly ; an uneducated woman — where is Isabel ? Why doesn't she come down in good time for breakfast ? Oh ! confound the thing! What am I to say? There's no date, I know there's no date on any of the letters. He will think they were written yesterday 1 En^er Lady Avenel. LADY A. Good morning, Charlie. Have you got any letters this morning — anything from Clarice ? VERNON I haven't looked— yet. I've had something else to think about. LADY A. What is the matter, my dear boy ? You look worried. VERNON I am more than worried. Look here, Isabel — you remember two years ago when I thought that you were in love with me 256 THE WIFE'S CONFESSION LADY A. {coldly) Well ? This is hardly the place for such re- miniscences, is it ? VERNON No! — Yes! — I — know — but There were letters — that I wrote to you — a lot of letters LADY A. What about them ? I daresay there were — I remember, now, that there were. VERNON Where are they ? Did you burn them ? LADY A. Burn them ? Burn them ? I forget. No — I believe they are where they were then — in my old desk — in my boudoir. VERNON Suppose you look. LADY A. {opens davenport or desk on stage R. with key) They are gone I VERNON They are stolen. Do you know this hand- writing ? LADY A. It is a common, illiterate hand ; but I think it THE WIFE'S CONFESSION 257 is the writing of a lady's maid whom I had to send away. VERNON Read the letter. LADY A. {reads it) Charlie ! Good heavens ! What does the wretched woman mean ? VERNON None of my letters have dates. She believes, and she hopes, that Avenel will suppose that they were written yesterday. {Looks casually at Isabel s cover where her letters are lying?) See ! Here is a letter for you in the same writing. {Hands it.) LADY A. {reads) * Madam, I have sent your lover's letters to your husband for him to read. I hope you will all three be pleased.' VERNON Where is your husband ? LADY A. I suppose he will be down soon. What are we to do ? VERNON There isn't much left to do, is there ? I must S 258 THE WIFE'S CONFESSION explain the whole truth — secret engagement ; found it to be a mistake — if he will only believe it. How long is it since the last letter was written ? LADY A. Two years. A year before I was married. VERNON They were rather strongly worded letters, Isabel — I remember that I thought myself madly in love with you. It was because I had known you from childhood, I suppose. LADY A. I suppose so. Otherwise it would have been impossible, of course. VERNON Isabel ! As if I could mean that. But it was a mistake, wasn't it ? And I've been in love several times since then. LADY A. And I've been in love once — and only once — in my life — and it wasn't with you, my dear boy. VERNON And now we've got to pay the piper. Avenel is a fiery man, Isabel — and perhaps he's a jealous man. It's all very well to explain, but it's a thing that may rankle. I 1 THE WIFE'S CONFESSION 259 LADY A. I have been wrong, Charlie. It is all my fault. I ought to have explained long ago. But — I — I was ashamed. I could not bear to think that even a mistake had been made. I ought to have de- stroyed the letters and told him everything. Then if he chose — he might have — sent me away. Oh ! I was so foolish — so foolish {Sinks into chair.) VERNON It was a thousand pities, Isabel, that you did not burn those letters. LADY A. I forgot them. They were lying in my desk. I was so happy that I forgot them. I never looked at them. What do they matter to me — now ? VERNON Nothing— nothing — as you say. Yet — a thou- sand pities LADY A. And then that detestable woman found them and — and — I wonder if my husband has got those letters yet. VERNON There are his letters of the day — {turns them over) — and, Isabel, there is her handwriting. {Takes up packet) See! — the packet. There are the letters I S2 26o THE WIFE'S CONFESSION LADY A. Let me see. ( Takes the packet?) Yes - It is her handwriting. There is no doubt. This packet contains the letters. \She holds the packet in her hand. They look at each other in silence, VERNON What is in your thoughts, Isabel ? LADY A. Tell me. VERNON If this packet were dropped in the fire — if it were taken quietly away — in my pocket LADY A. Hush! Charlie. Hush! VERNON {takes the packet out of her hands) These letters are mine, really, because I wrote them. Let me have them back, Isabel ; then no harm can possibly come to you. It is for your own sake, Isabel. LADY A. No — no. VERNON They are stolen letters They were stolen from I i THE WIFE'S CONFESSION 261 your desk by that accursed woman, your maid. Put them back in your desk— and in the fire afterwards. {Offers her the packet^ LADY A. No — no. That was my temptation — those were my most unworthy thoughts. Charlie — my old friend — my old playfellow — my brother — would you help me to deceive my husband again ? VERNON You have never yet deceived him. LADY A. I have not told him of things that he ought to have known. And now he is to find out — to be told by a woman who will give the thing all the colouring that belongs to her depraved imagination. I have deceived him. But I will not deceive him any more. VERNON Take the packet, then. Put it among his letters. Then farewell to your happiness, Isabel. Think ! A revengeful woman seeks to injure you in that point which you will feel the most keenly — the point of honour. All you have to do is to put that packet in the fire. 262 THE WIFE'S CONFESSION LADY A. I will not do it. Whatever happens, I will not deceive my husband again. Enter MARTIN. BUTLER My lord have sent for his letters, my lady. By you' leave, my lady. {^Sweeps them on to a tray — looks about.) I beg your ladyship's pardon, there was a sealed packet. I noticed it among the letters. I don't see it here. LADY A. It is this packet that you are looking for. BUTLER Thank you, my lady. (^Stoops and picks it up,) {Aside) It's the packet as has the same writing as her letters and his. [Exit Martin. VERNON Well. The die is cast. He has now got the letters. LADY A. Yes. He has got the letters. He will learn for the first time that his wife has received love letters from another man. I THE WIFE'S CONFESSION 263 VERNON A pleasing discovery. What shall you do, Isabel ? LADY A. I shall tell him everything — confess all that there is to confess. VERNON Come — there isn't much, really. Boy and girl business, at the worst. We thought we were in love and we wrote burning letters — pity they were quite so burning — pity women can't burn things {pettishly). Heavens ! What a heap of mischief would be saved if women would burn things. LADY A. Since I was so foolish as not to burn these letters, I have a pleasant quarter of an hour before me. Now, Charlie, it's no good getting savage. Leave me for a few minutes with my husband. Go away. You have got a telegram to send, or a letter to post, or something. You have gone to the sta- bles. Go now. Come back in a quarter of an hour. VERNON And then ? LADY A. You will be guided by circumstances. Above 264 THE WIFE'S CONFESSION all things, remember that you have nothing to con- ceal and nothing to be ashamed of. VERNON And you, Isabel — have you nothing to be afraid of? But you know Avenel, and so I leave you. \_Exit Vernon. LADY A. Nothing to be afraid of ? Yes — everything. He will learn that the girl he thought innocent of so much as a flirtation had received love letters — written love letters — with another man — had gone through all the business before he appeared upon the scene at all. Nothing to be afraid of? Every- thing — everything. If I lose his respect, what will remain of his love ? Love dies without respect. To lose his love — to become that miserable thing, a wife unloved — it is a hard price to pay for a girl's mistake. And I might have destroyed the packet ! No — no — never ! It was a cowardly thought — a base and unworthy thought. Ah ! Here he comes. Enter LORD AvENEL. LORD A. Well, my darling, what about breakfast ? (Kisses her kindly. Throws his letters^ including the packety carelessly on the table.) Where is Vernon ? \ THE WIFE'S CONFESSION 265 LADY A. He was here five minutes ago. Gone to the stables, I believe — to see about his horse after yesterday's fall. You shall have breakfast at once. {Rings bell.) We needn't wait for Charlie. Enter Martin with dishes^ places them on table. They sit down. MARTIN takes off covers. LADY A. You need not stay, Martin. I will wait on his lordship. \_Exit Martin. LORD A. You mean, my dear, that I am to wait upon you. But why send away the faithful Martin ? LADY A. He can come back presently, perhaps. I have something to say to you, first, Avenel — in his absence. LORD A. Is it something very terrible ? You look, my dear, as grave as Rhadamanthus. LADY A. It is a confession. Every confession is terrible. LORD A. Then, my dear, don't make it. {fiets up and 266 THE WIFE'S CONFESSION leans over her.) What is the matter, Isabel ? You look quite pale and anxious. LADY A. It is the confession LORD A. Then, I say, don't make it. I don't want your confessions, dear child. LADY A. No, but you must hear me. Sit down and listen. LORD A. Well — you have your own way always. Is Vernon to hear the confession as well ? LADY A. You shall answer that question for yourself. Oh ! Avenel — how shall I begin ? LORD A. Better begin somewhere near the end — so as to get it over. That's the best way, always, with con- fessions. Come, Isabel, my dear, one would think you had committed some kind of crime. LADY A. I believe it is a crime. But you shall hear. It's the confession of a situation. THE WIFE'S CONFESSION 267 LORD A. A situation ? Well — let us have the situation. In a play, they tell me, the situation is every- thing. LADY A. There was once a boy, there was once a girl LORD A. Not uncommon. The world is very much made that way. LADY A. Oh ! Avenel, believe me — it is very, very serious. LORD A. Go on, dear — with the boy and girl. LADY A. They were very much together when they were children. When the boy went to school they wrote to each other LORD A. Dear me ! This is very rare and wonderful. LADY A. They continued to write to each other • LORD A. Did they, really ? 268 THE WIFE'S CONFESSION LADY A. Please do not mock. It is very, very serious. How can I go on ? Well, they wrote to each other after the girl had come out, when they ought not, you know. It was a secret engagement — because they thought they were in love with each other. LORD A. Lots of young people write to each other because they fancy they are in love. It is a common hallucination. It is not generally known, but half the private houses in this country are private lunatic asylums in consequence. LADY A. Avenel — I am so miserable, and you will not be serious. , LORD A. Let me have some breakfast, my dearest wife, and then I will listen. Sorry Charlie is not here while the kedgeree is hot. Will you have some ? — or an egg? Nothing? A little buttered toast — there, now — silence for a brief space. (^Eats breakfast^ (Lady A. lays her head in her hand and sighs.) THE WIFE'S CONFESSION 269 LORD A. {looks Up) Dear child — {finds and takes her hand and kisses if) — you don't look well enough to go on with the story. Suppose I finish it for you. Yes, I am sure I can finish that story. They wrote to each other, this pair of semi-attached lovers, for some time. Their letters became ardent, as becomes young lovers. As for the young gen- tleman, Romeo himself was not a more extra- vagant lover. Of course I have never seen his letters, but I can quite understand them — because, you see, my dear, this girl was the most lovely girl in the world, and the sweetest and the best — quite the best— my ^^2>x —{kisses her hand again) — quite the best, I say. {Rises and kisses her forehead.) LADY A. Guy — what do you mean ? LORD A. I am finishing the story for you. LADY A. But — but — that is my story, except that the girl was nothing of the kind. She was capable, though she didn't know it, of the vilest deception. 270 THE WIFE'S CONFESSION LORD A. Don't interrupt, if you please, Lady Avenel. Let me see. — Oh ! yes — they went on writing to each other until somehow- some day — I really don't know how, they came to the conclusion that they had only been playing at love and they didn't mean it in the least. LADY A. It was his exaggeration. He protested too much — so that the girl began to ask herself — and she found out LORD A. Yes — she found out ? Come, I've given you a good lift — now you can go on. LADY A. She found out that I — I mean she did not love the young man at all. And I — I mean she — told him she had made a great mistake and I begged his forgiveness LORD A. Well ? LADY A. And he wrote back to say that he too had made a mistake, and we — I mean — they were to remain good friends always and nothing more. — So that was all over. THE WIFE'S CONFESSION 271 LORD A. Happily. All over — else what would have happened to the other man ? LADY A. What do you mean ? LORD A. Well : there was another man, wasn't there ? LADY A. Ye — yes — there was another man. LORD A. You see — I am always right. LADY A. She was ashamed of this stupid love passage — and she told him nothing about it. LORD A. After all, a boy and girl business. What did it matter .'' LADY A. She ought to have told him. Not to tell him was cowardice. He thought the girl was fresh and innocent and had never heard any words of love. 2/2 THE WIPES CONFESSION LORD A. You think he had that opinion ? LADY A. I am sure of it LORD A. I find I must finish the story, my child, after all. It is your turn to listen. This girl did not tell her real lover that she had made a mistake. But. as it was off with the old love before it was on with the new, and as there never had been more than a boy and girl fancy, there was no reason why she should tell him anything unless she chose. Her new lover neither expected nor desired any such confession. He knew that he had the affections of the girl ; he trusted her altogether ; and if he had known this thing it would not have made him trust her the less LADY A. But she ought to have told him. LORD A. I do not think so. But that's a doubtful point We will argue it another time. Well— they were married — these two — and they lived happy ever afterwards. LADY A. No — they cannot I THE WIFE'S CONFESSION 273 LORD A. Ever afterwards, I tell you. Meantime, the girl had left some of the letters in her desk ; forgotten them, I suppose. These were found by a maid whom she dismissed, and stolen. LADY A. {springs to her feet) Avenel — you know everything, then ! LORD A. This woman took the letters and, I suppose — one knows her kind— she tried to get money on them from the man who had written them. She failed ; she then threatened to play her last card. She wrote to the girl's husband and offered to sell him the letters. When she got no answer she waited awhile ; then tried once more to extort money from the writer of the letters, and when that failed, she sent them to the girl's husband. Is that your story, Isabel ? LADY A. Yes— yes — yes ! But — how did you know about Charlie ? LORD A. My dear, do you suppose that when people in our position get engaged there are not always' other people ready to scrape up anything against either of us ? I was told of your boy-and-girl business T 274 THE WIFE'S CONFESSION before our engagement had been made known four and twenty hours. Yet you both thought it was a secret. My child, everybody knew. LADY A. Oh ! and I was always afraid to tell you. LORD A. My dear, I have known it all along, and as for these letters {takes up packet) — Yes — this is the handwriting of the creature. Could you believe, my dear, that I would stoop to read them ? Could you really think that your husband had so little respect for you that he would condescend to open such a packet ? LADY A. You are too noble ! Say only that you for- give me. LORD A. No. For that would mean that my wife had done something blameworthy. Forgive you, Isabel ? ( Takes both her hands and kisses her) Never. I can never forgive you — -believe me. (LADY A YEN EL sinks into a chair and covers her face with her hands.) Enter Vernon — looks around — hesitates. LORD A. Ah ! Charlie ! My wife and I were just talking I THE WIFE'S CONFESSION 275 about you, and wondering what you would advise in a particular matter. But the fact is, I have made up my mind VERNON As to what ? LORD A. Why, as to a certain packet of letters which some one has tried to misuse. We need not talk about them. Here they are, and [throwing them into fire) there they are. And now for breakfast. LADY A. {aside) Guy — I adore you. CURTAIN 3l^77-2 ^ Deacidified using the Bookkeeper process. 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