The Silver Box

The Silver Box, A comedy In Three Acts by John Galsworthy

John Galsworthy was born at Kingston Upon Thames in Surrey, England, on August 14
th
1867 to a wealthy and well established family.  His schooling was at Harrow and New College, Oxford before training as a barrister and being called to the bar in 1890.  However, Law was not attractive to him and he travelled abroad becoming great friends with the novelist Joseph Conrad, then a first mate on a sailing ship.

In 1895 Galsworthy began an affair with Ada Nemesis Pearson Cooper, the wife of his cousin Major Arthur Galsworthy. The affair was kept a secret for 10 years till she at last divorced and they married on 23 September 1905.

Galsworthy first published in 1897 with a collection of short stories entitled “The Four Winds”.  For the next 7 years he published these and all works under his pen name John Sinjohn.  It was only upon the death of his father and the publication of “The Island Pharisees” in 1904 that he published as John Galsworthy. 

His first play, which we publish here, was The Silver Box, an immediate success when it debuted in 1906 and was followed by “The Man of Property" later that same year and was the first in the Forsyte trilogy.   Whilst today he is far more well know as a Nobel Prize winning novelist then he was considered a playwright dealing with social issues and the class system. 

He is now far better known for his novels, particularly The Forsyte Saga, his trilogy about the eponymous family of the same name. These books, as with many of his other works, deal with social class, upper-middle class lives in particular. Although always sympathetic to his characters, he reveals their insular, snobbish, and somewhat greedy attitudes and suffocating moral codes. He is now viewed as one of the first from the Edwardian era to challenge some of the ideals of society depicted in the literature of Victorian England.

In his writings he campaigns for a variety of causes, including prison reform, women's rights, animal welfare, and the opposition of censorship as well as a recurring theme of an unhappy marriage from the women’s side. During World War I he worked in a hospital in France as an orderly after being passed over for military service.

He was appointed to the Order of Merit in 1929, after earlier turning down a knighthood, and awarded the Nobel Prize in 1932 though he was too ill to attend.

John Galsworthy died from a brain tumour at his London home, Grove Lodge, Hampstead on January 31
st
1933. In accordance with his will he was cremated at Woking with his ashes then being scattered over the South Downs from an aeroplane.

Index Of Contents

Persons Of The Play

ACT I - SCENE I. Rockingham Gate. John Barthwick's dining-room.

ACT I - SCENE II. The same.

ACT I - SCENE III. The same.

ACT II - SCENE I. The Jones's lodgings, Merthyr Street.

ACT II - SCENE II. John Barthwick's dining-room.

ACT III. A London police court.

John Galsworthy – His Life And Times

PERSONS OF THE PLAY

JOHN BARTHWICK, M.P., a wealthy Liberal

MRS. BARTHWICK, his wife

JACK BARTHWICK, their son

ROPER, their solicitor

MRS. JONES, their charwoman

MARLOW, their manservant

WHEELER, their maidservant

JONES, the stranger within their gates

MRS. SEDDON, a landlady

SNOW, a detective

A POLICE MAGISTRATE

AN UNKNOWN LADY, from beyond

TWO LITTLE GIRLS, homeless

LIVENS, their father

A RELIEVING OFFICER

A MAGISTRATE'S CLERK

AN USHER POLICEMEN, CLERKS, AND OTHERS

TIME: The present. The action of the first two Acts takes place on Easter Tuesday; the action of the third on Easter Wednesday week.

ACT I

SCENE I

The curtain rises on the BARTHWICK'S dining-room, large, modern, and well furnished; the window curtains drawn. Electric light is burning. On the large round dining-table is set out a tray with whisky, a syphon, and a silver cigarette-box. It is past midnight. A fumbling is heard outside the door. It is opened suddenly; JACK BARTHWICK seems to fall into the room. He stands holding by the door knob, staring before him, with a beatific smile. He is in evening dress and opera hat, and carries in his hand a sky-blue velvet lady's reticule. His boyish face is freshly coloured and clean-shaven. An overcoat is hanging on his arm.

JACK. Hello! I've got home all ri— [Defiantly.] Who says I sh'd never 've opened th' door without 'sistance. [He staggers in, fumbling with the reticule. A lady's handkerchief and purse of crimson silk fall out.] Serve her joll' well right—everything droppin' out. Th' cat. I 've scored her off—I 've got her bag. [He swings the reticule.] Serves her joly' well right. [He takes a cigarette out of the silver box and puts it in his mouth.] Never gave tha' fellow anything! [He hunts through all his pockets and pulls a shilling out; it drops and rolls away. He looks for it.] Beastly shilling! [He looks again.] Base ingratitude! Absolutely nothing. [He laughs.] Mus' tell him I've got absolutely nothing.

[He lurches through the door and down a corridor, and presently returns, followed by JONES, who is advanced in liquor. JONES, about thirty years of age, has hollow cheeks, black circles round his eyes, and rusty clothes: He looks as though he might be unemployed, and enters in a hang-dog manner.]

JACK. Sh! sh! sh! Don't you make a noise, whatever you do. Shu' the door, an' have a drink. [Very solemnly.] You helped me to open the door—I've got nothin, for you. This is my house. My father's name's Barthwick; he's Member of Parliament—Liberal Member of Parliament: I've told you that before. Have a drink! [He pours out whisky and drinks it up.] I'm not drunk [Subsiding on a sofa.] Tha's all right. Wha's your name? My name's Barthwick, so's my father's; I'm a Liberal too—wha're you?

JONES. [In a thick, sardonic voice.] I'm a bloomin' Conservative. My name's Jones! My wife works 'ere; she's the char; she works 'ere.

JACK. Jones? [He laughs.] There's 'nother Jones at College with me. I'm not a Socialist myself; I'm a Liberal—there's ve—lill difference, because of the principles of the Lib—Liberal Party. We're all equal before the law—tha's rot, tha's silly. [Laughs.] Wha' was I about to say? Give me some whisky.

[JONES gives him the whisky he desires, together with a squirt of syphon.]

Wha' I was goin' tell you was—I've had a row with her. [He waves the reticule.] Have a drink, Jonessh 'd never have got in without you—tha's why I 'm giving you a drink. Don' care who knows I've scored her off. Th' cat! [He throws his feet up on the sofa.] Don' you make a noise, whatever you do. You pour out a drink—you make yourself good long, long drink—you take cigarette—you take anything you like. Sh'd never have got in without you. [Closing his eyes.] You're a Tory—you're a Tory Socialist. I'm Liberal myself—have a drink—I'm an excel'nt chap.

[His head drops back. He, smiling, falls asleep, and JONES stands looking at him; then, snatching up JACK's glass, he drinks it off. He picks the reticule from off JACK'S shirt-front, holds it to the light, and smells at it.]

JONES. Been on the tiles and brought 'ome some of yer cat's fur. [He stuffs it into JACK's breast pocket.]

JACK. [Murmuring.] I've scored you off! You cat!

[JONES looks around him furtively; he pours out whisky and drinks it. From the silver box he takes a cigarette, puffs at it, and drinks more whisky. There is no sobriety left in him.]

JONES. Fat lot o' things they've got 'ere! [He sees the crimson purse lying on the floor.] More cat's fur. Puss, puss! [He fingers it, drops it on the tray, and looks at JACK.] Calf! Fat calf! [He sees his own presentment in a mirror. Lifting his hands, with fingers spread, he stares at it; then looks again at JACK, clenching his fist as if to batter in his sleeping, smiling face. Suddenly he tilts the rest o f the whisky into the glass and drinks it. With cunning glee he takes the silver box and purse and pockets them.] I 'll score you off too, that 's wot I 'll do!

[He gives a little snarling laugh and lurches to the door. His shoulder rubs against the switch; the light goes out. There is a sound as of a closing outer door.]

The curtain falls.

The curtain rises again at once.

SCENE II

In the BARTHWICK'S dining-room. JACK is still asleep; the morning light is coming through the curtains. The time is half-past eight. WHEELER, brisk person enters with a dust-pan, and MRS. JONES more slowly with a scuttle.

WHEELER. [Drawing the curtains.] That precious husband of yours was round for you after you'd gone yesterday, Mrs. Jones. Wanted your money for drink, I suppose. He hangs about the corner here half the time. I saw him outside the "Goat and Bells" when I went to the post last night. If I were you I wouldn't live with him. I wouldn't live with a man that raised his hand to me. I wouldn't put up with it. Why don't you take your children and leave him? If you put up with 'im it'll only make him worse. I never can see why, because a man's married you, he should knock you about.

MRS. JONES. [Slim, dark-eyed, and dark-haired; oval-faced, and with a smooth, soft, even voice; her manner patient, her way of talking quite impersonal; she wears a blue linen dress, and boots with holes.] It was nearly two last night before he come home, and he wasn't himself. He made me get up, and he knocked me about; he didn't seem to know what he was saying or doing. Of course I would leave him, but I'm really afraid of what he'd do to me. He's such a violent man when he's not himself.

WHEELER. Why don't you get him locked up? You'll never have any peace until you get him locked up. If I were you I'd go to the police court tomorrow. That's what I would do.

MRS. JONES. Of course I ought to go, because he does treat me so badly when he's not himself. But you see, Bettina, he has a very hard time—he's been out of work two months, and it preys upon his mind. When he's in work he behaves himself much better. It's when he's out of work that he's so violent.

WHEELER. Well, if you won't take any steps you 'll never get rid of him.

MRS. JONES. Of course it's very wearing to me; I don't get my sleep at nights. And it's not as if I were getting help from him, because I have to do for the children and all of us. And he throws such dreadful things up at me, talks of my having men to follow me about. Such a thing never happens; no man ever speaks to me. And of course, it's just the other way. It's what he does that's wrong and makes me so unhappy. And then he's always threatenin' to cut my throat if I leave him. It's all the drink, and things preying on his mind; he's not a bad man really. Sometimes he'll speak quite kind to me, but I've stood so much from him, I don't feel it in me to speak kind back, but just keep myself to myself. And he's all right with the children too, except when he's not himself.

WHEELER. You mean when he's drunk, the beauty.

MRS. JONES. Yes. [Without change of voice] There's the young gentleman asleep on the sofa.

[They both look silently at Jack.]

MRS. JONES. [At last, in her soft voice.] He doesn't look quite himself.

WHEELER. He's a young limb, that's what he is. It 's my belief he was tipsy last night, like your husband. It 's another kind of bein' out of work that sets him to drink. I'll go and tell Marlow. This is his job.

[She goes.] [Mrs. Jones, upon her knees, begins a gentle sweeping.]

JACK. [Waking.] Who's there? What is it?

MRS. JONES. It's me, sir, Mrs. Jones.

JACK. [Sitting up and looking round.] Where is it—what—what time is it?

MRS. JONES. It's getting on for nine o'clock, sir.

JACK. For nine! Why—what! [Rising, and loosening his tongue; putting hands to his head, and staring hard at Mrs. Jones.] Look here, you, Mrs.—Mrs. Jones—don't you say you caught me asleep here.

MRS. JONES. No, sir, of course I won't sir.

JACK. It's quite an accident; I don't know how it happened. I must have forgotten to go to bed. It's a queer thing. I've got a most beastly headache. Mind you don't say anything, Mrs. Jones.

[Goes out and passes MARLOW in the doorway. MARLOW is young and quiet; he is cleanshaven, and his hair is brushed high from his forehead in a coxcomb. Incidentally a butler, he is first a man. He looks at MRS. JONES, and smiles a private smile.]

MARLOW. Not the first time, and won't be the last. Looked a bit dicky, eh, Mrs. Jones?

MRS. JONES. He didn't look quite himself. Of course I didn't take notice.

MARLOW. You're used to them. How's your old man?

MRS. JONES. [Softly as throughout.] Well, he was very bad last night; he didn't seem to know what he was about. He was very late, and he was most abusive. But now, of course, he's asleep.

MARLOW. That's his way of finding a job, eh?

MRS. JONES. As a rule, Mr. Marlow, he goes out early every morning looking for work, and sometimes he comes in fit to drop—and of course I can't say he doesn't try to get it, because he does. Trade's very bad. [She stands quite still, her fan and brush before her, at the beginning and the end of long vistas of experience, traversing them with her impersonal eye.] But he's not a good husband to me—last night he hit me, and he was so dreadfully abusive.