Delphi Complete Works of Oscar Wilde (Illustrated) (48 page)

HEROD
She is monstrous, thy daughter; I tell thee she is monstrous. In truth, what she has done is a great crime. I am sure that it is a crime against some unknown God.

HERODIAS
I am well pleased with my daughter. She has done well. And I would stay here now.

HEROD
(Rising.)
Ah! There speaks my brother’s wife! Come! I will not stay in this place. Come, I tell thee. Surely some terrible thing will befall. Manasseh, Issachar, Ozias, put out the torches. I will not look at things, I will not suffer things to look at me. Put out the torches! Hide the moon! Hide the stars! Let us hide ourselves in our palace, Herodias. I begin to be afraid.
(The slaves put out the torches. The stars disappear. A great cloud crosses the moon and conceals it completely. The stage becomes quite dark. The Tetrarch begins to climb the staircase.)

THE VOICE OF SALOMÉ
Ah! I have kissed thy mouth, Iokanaan, I have kissed thy mouth. There was a bitter taste on thy lips. Was it the taste of blood? . . . Nay; but perchance it was the taste of love. . .They say that love hath a bitter taste. But what matter? what matter? I have kissed thy mouth, Iokanaan, I have kissed thy mouth.
(A ray of moonlight falls on Salomé and illumines her.)

HEROD
(Turning round and seeing Salomé.)
Kill that woman!
(The soldiers rush forward and crush beneath their shields, Salomé, daughter of Herodias, Princess of Judæa.)

(CURTAIN.)

In 1893 Wilde began writing this comedy at Goring-on-Thames, after which he named the character Lord Goring, and finished writing the drama at St. James Place. He initially sent the completed play to the Garrick Theatre, where the manager rejected it, but it was soon accepted by the Haymarket, where Lewis Waller had temporarily taken control. Waller was an excellent actor and cast himself as Sir Robert Chiltern, with
An Ideal Husband
giving the Haymarket the success it desperately needed.

After opening on 3 January 1895, it continued for 124 performances. In April of that year, Wilde was arrested for ‘gross indecency’ and his name was publicly taken off the play. On 6 April, soon after Wilde’s arrest, the play moved to the Criterion Theatre where it ran from 13 to 27 April. When the play was published in 1899, Wilde was not listed as the author.

The drama opens at a dinner party in the home of Sir Robert Chiltern in London’s fashionable Grosvenor Square. Sir Robert, a prestigious member of the House of Commons, and his wife, Lady Chiltern, are hosting a gathering that includes his friend Lord Goring, a dandified bachelor and close friend to the Chilterns, his sister Mabel Chiltern, and other genteel guests. During the party, Mrs. Cheveley, an enemy of Lady Chiltern’s from their school days, attempts to blackmail Sir Robert into supporting a fraudulent scheme to build a canal in Argentina.

Lewis Waller (1860-1915), the actor and theatre manager who first played the part of Sir Robert Chiltern

An original illustration

CONTENTS

THE PERSONS OF THE PLAY

ACT ONE

SECOND ACT

THIRD ACT

FOURTH ACT

The 1947 film adaptation

The 1999 film adaptation

THE PERSONS OF THE PLA
Y

THE EARL OF CAVERSHAM, K.G.

VISCOUNT GORING, his Son

SIR ROBERT CHILTERN, Bart., Under-Secretary for Foreign Affairs

VICOMTE DE NANJAC, Attaché at the French Embassy in London

MR. MONTFORD

MASON, Butler to Sir Robert Chiltern

PHIPPS, Lord Goring’s Servant

JAMES  

HAROLD 
 
Footmen

LADY CHILTERN

LADY MARKBY

THE COUNTESS OF BASILDON

MRS. MARCHMONT

MISS MABEL CHILTERN, Sir Robert Chiltern’s Sister

MRS. CHEVELEY

Time
:
The Present

Place
:
London
.

The action of the play is completed within twenty-four hours.

ACT ON
E

The octagon room at Sir Robert Chiltern’s house in Grosvenor Square
.

[
The room is brilliantly lighted and full of guests
.
At the top of the staircase stands
LADY CHILTERN,
a woman of grave Greek beauty
,
about twenty-seven years of age
.
She receives the guests as they come up
.
Over the well of the staircase hangs a great chandelier with wax lights
,
which illumine a large eighteenth-century French tapestry — representing the Triumph of Love
,
from a design by Boucher — that is stretched on the staircase wall
.
On the right is the entrance to the music-room
.
The sound of a string quartette is faintly heard
.
The entrance on the left leads to other reception-rooms
. MRS. MARCHMONT
and
LADY BASILDON,
two very pretty women
,
are seated together on a Louis Seize sofa
.
They are types of exquisite fragility
.
Their affectation of manner has a delicate charm
.
Watteau would have loved to paint them
.]

MRS. MARCHMONT. Going on to the Hartlocks’ to-night, Margaret?

LADY BASILDON. I suppose so. Are you?

MRS. MARCHMONT. Yes. Horribly tedious parties they give, don’t they?

LADY BASILDON. Horribly tedious! Never know why I go. Never know why I go anywhere.

MRS. MARCHMONT. I come here to be educated.

LADY BASILDON. Ah! I hate being educated!

MRS. MARCHMONT. So do I. It puts one almost on a level with the commercial classes, doesn’t it? But dear Gertrude Chiltern is always telling me that I should have some serious purpose in life. So I come here to try to find one.

LADY BASILDON.
[Looking round through her lorgnette.]
I don’t see anybody here to-night whom one could possibly call a serious purpose. The man who took me in to dinner talked to me about his wife the whole time.

MRS. MARCHMONT. How very trivial of him!

LADY BASILDON. Terribly trivial! What did your man talk about?

MRS. MARCHMONT. About myself.

LADY BASILDON.
[Languidly.]
And were you interested?

MRS. MARCHMONT.
[Shaking her head.]
Not in the smallest degree.

LADY BASILDON. What martyrs we are, dear Margaret!

MRS. MARCHMONT.
[Rising.]
And how well it becomes us, Olivia!

[They rise and go towards the music-room. The VICOMTE DE NANJAC, a young attaché known for his neckties and his Anglomania, approaches with a low bow, and enters into conversation.]

MASON.
[Announcing guests from the top of the staircase.]
Mr. and Lady Jane Barford. Lord Caversham.

[Enter LORD CAVERSHAM, an old gentleman of seventy, wearing the riband and star of the Garter. A fine Whig type. Rather like a portrait by Lawrence.]

LORD CAVERSHAM. Good evening, Lady Chiltern! Has my good-for-nothing young son been here?

LADY CHILTERN.
[Smiling.]
I don’t think Lord Goring has arrived yet.

MABEL CHILTERN.
[Coming up to LORD CAVERSHAM.]
Why do you call Lord Goring good-for-nothing?

[MABEL CHILTERN
is a perfect example of the English type of prettiness
,
the apple-blossom type
.
She has all the fragrance and freedom of a flower
.
There is ripple after ripple of sunlight in her hair
,
and the little mouth
,
with its parted lips
,
is expectant
,
like the mouth of a child
.
She has the fascinating tyranny of youth
,
and the astonishing courage of innocence
.
To sane people she is not reminiscent of any work of art
.
But she is really like a Tanagra statuette
,
and would be rather annoyed if she were told so
.]

LORD CAVERSHAM. Because he leads such an idle life.

MABEL CHILTERN. How can you say such a thing? Why, he rides in the Row at ten o’clock in the morning, goes to the Opera three times a week, changes his clothes at least five times a day, and dines out every night of the season. You don’t call that leading an idle life, do you?

LORD CAVERSHAM.
[Looking at her with a kindly twinkle in his eyes.]
You are a very charming young lady!

MABEL CHILTERN. How sweet of you to say that, Lord Caversham! Do come to us more often. You know we are always at home on Wednesdays, and you look so well with your star!

LORD CAVERSHAM. Never go anywhere now. Sick of London Society. Shouldn’t mind being introduced to my own tailor; he always votes on the right side. But object strongly to being sent down to dinner with my wife’s milliner. Never could stand Lady Caversham’s bonnets.

MABEL CHILTERN. Oh, I love London Society! I think it has immensely improved. It is entirely composed now of beautiful idiots and brilliant lunatics. Just what Society should be.

LORD CAVERSHAM. Hum! Which is Goring? Beautiful idiot, or the other thing?

MABEL CHILTERN.
[Gravely.]
I have been obliged for the present to put Lord Goring into a class quite by himself. But he is developing charmingly!

LORD CAVERSHAM. Into what?

MABEL CHILTERN.
[With a little curtsey.]
I hope to let you know very soon, Lord Caversham!

MASON.
[Announcing guests.]
Lady Markby. Mrs. Cheveley.

[
Enter
LADY MARKBY
and
MRS. CHEVELEY. LADY MARKBY
is a pleasant
,
kindly
,
popular woman
,
with gray hair à la marquise and good lace
. MRS. CHEVELEY,
who accompanies her
,
is tall and rather slight
.
Lips very thin and highly-coloured
,
a line of scarlet on a pallid face
.
Venetian red hair
,
aquiline nose
,
and long throat
.
Rouge accentuates the natural paleness of her complexion
.
Gray-green eyes that move restlessly
.
She is in heliotrope
,
with diamonds
.
She looks rather like an orchid
,
and makes great demands on one’s curiosity
.
In all her movements she is extremely graceful
.
A work of art
,
on the whole
,
but showing the influence of too many schools
.]

LADY MARKBY. Good evening, dear Gertrude! So kind of you to let me bring my friend, Mrs. Cheveley. Two such charming women should know each other!

LADY CHILTERN.
[Advances towards MRS. CHEVELEY with a sweet smile. Then suddenly stops, and bows rather distantly.]
I think Mrs. Cheveley and I have met before. I did not know she had married a second time.

LADY MARKBY.
[Genially.]
Ah, nowadays people marry as often as they can, don’t they? It is most fashionable.
[To DUCHESS OF MARYBOROUGH.]
Dear Duchess, and how is the Duke? Brain still weak, I suppose? Well, that is only to be expected, is it not? His good father was just the same. There is nothing like race, is there?

MRS. CHEVELEY.
[Playing with her fan.]
But have we really met before, Lady Chiltern? I can’t remember where. I have been out of England for so long.

LADY CHILTERN. We were at school together, Mrs. Cheveley.

MRS. CHEVELEY
[Superciliously.]
Indeed? I have forgotten all about my schooldays. I have a vague impression that they were detestable.

LADY CHILTERN.
[Coldly.]
I am not surprised!

MRS. CHEVELEY.
[In her sweetest manner.]
Do you know, I am quite looking forward to meeting your clever husband, Lady Chiltern. Since he has been at the Foreign Office, he has been so much talked of in Vienna. They actually succeed in spelling his name right in the newspapers. That in itself is fame, on the continent.

LADY CHILTERN. I hardly think there will be much in common between you and my husband, Mrs. Cheveley!
[Moves away.]

VICOMTE DE NANJAC. Ah! chère Madame, queue surprise! I have not seen you since Berlin!

MRS. CHEVELEY. Not since Berlin, Vicomte. Five years ago!

VICOMTE DE NANJAC. And you are younger and more beautiful than ever. How do you manage it?

MRS. CHEVELEY. By making it a rule only to talk to perfectly charming people like yourself.

VICOMTE DE NANJAC. Ah! you flatter me. You butter me, as they say here.

MRS. CHEVELEY. Do they say that here? How dreadful of them!

VICOMTE DE NANJAC. Yes, they have a wonderful language. It should be more widely known.

[SIR ROBERT CHILTERN
enters
.
A man of forty
,
but looking somewhat younger
.
Clean-shaven
,
with finely-cut features
,
dark-haired and dark-eyed
.
A personality of mark
.
Not popular — few personalities are
.
But intensely admired by the few
,
and deeply respected by the many
.
The note of his manner is that of perfect distinction
,
with a slight touch of pride
.
One feels that he is conscious of the success he has made in life
.
A nervous temperament
,
with a tired look
.
The firmly-chiselled mouth and chin contrast strikingly with the romantic expression in the deep-set eyes
.
The variance is suggestive of an almost complete separation of passion and intellect
,
as though thought and emotion were each isolated in its own sphere through some violence of will-power
.
There is nervousness in the nostrils
,
and in the pale
,
thin
,
pointed hands
.
It would be inaccurate to call him picturesque
.
Picturesqueness cannot survive the House of Commons
.
But Vandyck would have liked to have painted his head
.]

SIR ROBERT CHILTERN. Good evening, Lady Markby! I hope you have brought Sir John with you?

LADY MARKBY. Oh! I have brought a much more charming person than Sir John. Sir John’s temper since he has taken seriously to politics has become quite unbearable. Really, now that the House of Commons is trying to become useful, it does a great deal of harm.

SIR ROBERT CHILTERN. I hope not, Lady Markby. At any rate we do our best to waste the public time, don’t we? But who is this charming person you have been kind enough to bring to us?

LADY MARKBY. Her name is Mrs. Cheveley! One of the Dorsetshire Cheveleys, I suppose. But I really don’t know. Families are so mixed nowadays. Indeed, as a rule, everybody turns out to be somebody else.

SIR ROBERT CHILTERN. Mrs. Cheveley? I seem to know the name.

LADY MARKBY. She has just arrived from Vienna.

SIR ROBERT CHILTERN. Ah! yes. I think I know whom you mean.

LADY MARKBY. Oh! she goes everywhere there, and has such pleasant scandals about all her friends. I really must go to Vienna next winter. I hope there is a good chef at the Embassy.

SIR ROBERT CHILTERN. If there is not, the Ambassador will certainly have to be recalled. Pray point out Mrs. Cheveley to me. I should like to see her.

LADY MARKBY. Let me introduce you.
[To MRS. CHEVELEY.]
My dear, Sir Robert Chiltern is dying to know you!

SIR ROBERT CHILTERN.
[Bowing.]
Every one is dying to know the brilliant Mrs. Cheveley. Our attachés at Vienna write to us about nothing else.

MRS. CHEVELEY. Thank you, Sir Robert. An acquaintance that begins with a compliment is sure to develop into a real friendship. It starts in the right manner. And I find that I know Lady Chiltern already.