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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..fbb43ed --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #54172 (https://www.gutenberg.org/ebooks/54172) diff --git a/old/54172-8.txt b/old/54172-8.txt deleted file mode 100644 index ba233cc..0000000 --- a/old/54172-8.txt +++ /dev/null @@ -1,1863 +0,0 @@ -The Project Gutenberg EBook of One Touch of Nature, by Benjamin Webster - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: One Touch of Nature - A Petite Drama, In One Act - -Author: Benjamin Webster - -Release Date: February 15, 2017 [EBook #54172] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK ONE TOUCH OF NATURE *** - - - - -Produced by Paul Haxo with special thanks to the University -of California, Davis. - - - - - -ONE TOUCH OF NATURE, - -A PETITE DRAMA, - -_In One Act_, - - -BY - -BENJAMIN WEBSTER, ESQ. - - -AS FIRST PERFORMED AT THE - -THEATRE ROYAL, NEW ADELPHI, - -ON SATURDAY, AUGUST 6TH, 1859. - - -CORRECTLY PRINTED FROM THE PROMPTER'S COPY, WITH THE CAST OF -CHARACTERS, SCENIC ARRANGEMENT, SIDES OF ENTRANCE AND EXIT, AND -RELATIVE POSITIONS OF THE DRAMATIS PERSON�. - -WEBSTER AND CO., 411, STRAND; W. S. JOHNSON, "NASSAU STEAM PRESS," -60, ST. MARTIN'S LANE; MESSRS. PIPER AND CO., PATERNOSTER ROW; VICKERS -AND BERGER, HOLYWELL STREET; ALLEN, WARWICK LANE; JOHN HEYWOOD, -MANCHESTER; WISEHEART, SUFFOLK STREET, DUBLIN; SUTHERLAND AND CO., -EDINBURGH; PETRIDGE, BOSTON, U.S.; AND ALL BOOKSELLERS. - - - -"Nassau Steam Press"--W. S. Johnson, 60, St. Martin's Lane, -Charing Cross, W.C. - - - -_Dramatis Person�._ - -MR. WILLIAM PENN HOLDER. Old black body } -coat, plaid vest, black trousers, gray } MR. BENJAMIN WEBSTER. -gaiters, black shoes, gray bald wig, gray } -hat with crape } - -MR. BEAUMONT FLETCHER (_a Barrister and } -Dramatic Author_). Black frock coat, fancy } MR. BILLINGTON. -waistcoat } - -MR. BELGRAVE. Light blue long great coat, } MR. W. H. EBURNE. -plaid trousers } - -JONES (_Porter, &c., to the Adelphi } -Chambers_). Livery coat (dark), white } MR. MORELAND. -vest, black trousers } - -MISS CONSTANCE BELMOUR. Modern fancy dress } MISS HENRIETTA SIMMS. - - -_Time of Representation, 45 minutes._ - - -EXPLANATION OF THE STAGE DIRECTIONS. - -L. means first entrance, left. R. first entrance, right. S. E. L. -second entrance, left. S. E. R. second entrance, right. U. E. L. upper -entrance, left. U. E. R. upper entrance, right. C. centre. L. C. left -centre. R. C. right centre. T. E. L. third entrance, left. T. E. R. -third entrance, right. Observing you are supposed to face the -audience. - - - -ONE TOUCH OF NATURE. - -ACT I. - -SCENE I.--_Mr. Beaumont Fletcher's chambers in the Adelphi, handsomely -furnished, doors R., L., and C. JONES discovered._ - -JONES (_writing_). To address the lady's-maid of a marchioness is no -trifling affair, especially in the present march of intellect, when -the maids know more than the mistresses. One's obliged not only to -mind one's stops, but one's grammar. I have been nearly three-quarters -of an hour now trying to round a period--I, who French-polish the -boots of a dramatic author. Ought I to put "I was smitten," or "I was -struck with your charms?"--it's very embarrassing--I must consult Mr. -Fletcher. In my letter I must inclose the order he promised to procure -for me; but if, with the order, I cannot conclude my letter---- - -_Enter FLETCHER, C. door._ - -FLE. The devil take the theatre, and all the actresses into the -bargain! - -JONES. Has the rehearsal been unsatisfactory, sir? - -FLE. This Miss Constance Belmour! this Miss Constance Belmour! - -JONES. Sir! - -FLE. Is it talent or is it temper? - -JONES. Sir! - -FLE. She was execrable. - -JONES. Did you think, sir-- - -FLE. Hey! what? What do you say? - -JONES. I was going to ask, sir, if you thought of the order? - -FLE. What order? - -JONES. The order, sir, that I asked you for this morning, for the -lady's-maid of a marchioness, whom I met at Cremorne. I suppose you -forgot it, sir? - -FLE. Oh! I had other matters to attend to. - -JONES. Of course, sir; of course. Then I'll go myself, sir--in your -name, sir, I'm sure to get it sir, as you write in the newspapers. -Only, sir, if you should want me, sir, you will please to recollect -that I am obliged to go out. - -FLE. Not one word of her part--not one, and the piece is to come out -on Wednesday. It's enough to drive one mad. - -JONES. I have always said, sir, that you have never been done justice -to, sir; yet you will persist in writing for these second-rate -theatres. If I was you, sir, I would not write again till government -built a legitimate theatre for scenery. - -FLE. That's your opinion, is it? - -JONES. Yes, sir, and it's the opinion of Miss Penelope, too. - -FLE. And who's Miss Penelope? - -JONES. The lady's-maid I mentioned just now, sir. When I told her your -profession, sir, she immediately asked if you _authorised_ the -legitimate drama. - -FLE. And you replied---- - -JONES. I blushed, sir, and answered that you did not, but that you -intended to do so. - -FLE. You did right, Jones. In future I will write only blank verse, -and you shall blush no more. - -JONES. If you will permit, sir, I will give you a subject. - -FLE. Well, let us see what it is. - -JONES. Would it not be something new and original to work up a servant -whose sentiments are above his situation? - -[_Bell rings._ - -FLE. Some one rang. - -JONES. I'll attend to it, sir. - -FLE. Go, then. (_aside_) What a life! what a life! - -JONES. (_returning_) Oh, sir! - -FLE. Still here? - -JONES. "I'm struck with your charms"--is it refined English? - -FLE. (_bell rings_) Attend to the bell. - -JONES. (_returning_) Is it more refined--"I am smitten with your -charms?" (_bell rings violently._) - -FLE. Devil take it, they'll pull the bell down. - -JONES. I'm going, sir! (_aside._) Shall I put smitten or struck? I -must toss up for it, heads or tails. - -[_Exit door, C._ - -FLE. If I allow this woman to play the part, she'll ruin the piece. - -_Enter BELGRAVE, C._ - -BEL. Good morning. Do you take me for a man that can be easily imposed -on? No; can't humbug me! - -FLE. What do you mean? (_coldly_) I'm delighted to see you. - -BEL. This explains the promptitude with which I was admitted. - -FLE. (_satirically_) By-the-bye, you have come most opportunely. I -have to thank you for persuading me to confide an important character -to Miss Constance Belmour--that was a grand idea of yours. - -BEL. Capital, was it not? - -FLE. (_satirically_) I was charmed with her at rehearsal just now. -Luckily I can undo what is done. I mean to take the part away from -her. - -BEL. A brilliant idea that, I must confess, and any one but me would -let you follow your bent. - -FLE. What do you say? - -BEL. It is useless to disguise matters. I know all. Can't humbug me. - -FLE. What do you know? - -BEL. All! (_showing bouquet._) Here is your bouquet, returned like a -dishonest bill--no effects. - -FLE. My bouquet? - -BEL. Do you deny that you sent these flowers to Constance? - -FLE. I'm in a nice humour to send her flowers. I am going to write to -her. - -BEL. To anyone else you please, but not to her; this rage is all -moonshine. Can't humbug me! - -FLE. Moonshine is it? - -BEL. You are in love with Constance, and you would have us believe you -intend taking this part from her and lose by the change. - -FLE. I will soon prove that. - -BEL. I am not a man to be easily imposed on. Can't humbug me! - -FLE. This is folly. It was not I who sent the bouquet. - -BEL. Not you? - -FLE. On my honour! - -BEL. Then I will find out if I go to every flower-shop in London. - -FLE. Do, my good fellow, do. - -BEL. I will, depend on it. I will not rest until I have discovered the -truth. I will know who sent this bouquet. Adieu. I am not a man to be -easily imposed on. Can't humbug me! - -[_Exit C._ - -FLE. Now there goes a man determined to make himself miserable. To win -Constance from him would be no very difficult task. The day before -yesterday I spoke to her, she was not at all coy, and when I took her -hand in mine----it is true that this act of sensibility has borne its -fruits. Till then her rehearsing was very so so. But since she -imagined I was fascinated by her coquetry, she has not rehearsed at -all. Love is evidently no friend of mine. Once a man gets his legs -entangled in the steel traps of a crinoline it's all over with him. So -I'll pluck up resolution, and inform this popular lady that I will -relieve her from the part. (_Writes._) "My dear young lady." Hum! It -is rather difficult to write disagreeably to a woman whose hand you -have pressed in yours but two days since. "My dear." (_A rap at door -C._) Come in. (_Rap repeated._) Come in. - -_Enter HOLDER with manuscript C._ - -HOL. (_at door_) It's me, sir. - -FLE. Oh! good day, Mr. Holder. - -HOL. Do I disturb you? - -FLE. No. Come in. - -HOL. Here is your manuscript. I have copied it all but the last scene, -which you did not give me. - -FLE. Here it is. I had some corrections to make. - -HOL. Shall I take it home with me and finish it? - -FLE. No, no. Copy it here; it will not take ten minutes. - -[_He looks over the MS._ - -HOL. Is it readable? - -FLE. It is beautifully clear. - -HOL. You flatter me. I know it is only good feeling induces you to -give me your manuscripts to copy. - -FLE. No, Mr. Holder, no. - -HOL. But for you I should have starved. - -FLE. Starved! Die of hunger in wealthy London! - -HOL. It is true, though; that day when you found me almost fainting -near the stage-door of the theatre. - -FLE. Ah! what the devil were you doing there? - -HOL. I was waiting. - -FLE. Waiting? For what? - -HOL. (_quickly_). Nothing. I expected nothing. I, I came there by -accident, because I had not strength to go any further. Ah! sir, I -wish I was enabled to prove to you that I am not ungrateful. - -FLE. Do not mention it. - -HOL. But I will mention it. Why yesterday I received through you a -guinea for copying a comedy--a guinea, sir, a whole guinea. I have not -been so rich for many a day. - -FLE. (_laughing._) Which you doubtless invested in stocks. - -HOL. No sir, roses. - -FLE. Roses! and you spoke of starving. - -HOL. It was for another, and I may never have the means again. -Self-denial was, in this instance, a pleasure to me. - -FLE. Well, well, privately as politically, I suppose you have a right -to do what you like with your own. - -HOL. Ah! if you only knew--no matter. Your piece is very pretty. - -FLE. You like it? - -HOL. Yes; perhaps I am presuming in giving an opinion. - -FLE. Not at all. I rather like it. - -HOL. It's very pretty. There is one part in particular that affected -me to tears. - -FLE. Which was that? - -HOL. The scene where the father finds his daughter. - -FLE. (_aside_). The very part that Miss Constance Belmour absolutely -murders. - -HOL. It's fine, very fine! The father speaks as a father should; I, if -I found myself in a similar situation, I feel I should express myself -exactly as you have written. - -FLE. The eulogium pleases me infinitely. - -HOL. I have read that scene over at least ten times. I know it by -heart. - -FLE. Indeed! - -HOL. Let me see--"My child! my child! come to my arms. It is you alone -can efface the sufferings of twenty years!" - -FLE. That's it; that's just what I mean. - -HOL. That scene requires to be well acted. - -FLE. Does it not? - -HOL. Well acted by the man, and well acted by the lady, in particular. - -FLE. (_aside_) He's quite right. - -HOL. The lady has but one word to say, but one exclamation: "My -father!" but the success entirely depends upon the manner of her -giving it. - -FLE. You are right, and I shall hesitate no longer. (_Writes._) "My -dear Miss Belmour,--It is quite impossible"---- - -HOL. Miss Belmour! Did you say Miss Constance Belmour? - -FLE. Yes, I cast her this part--I am writing to relieve her of it. - -HOL. Take the part from her? from Constance--christened during the run -of the _Love Chase._ - -FLE. Your "Father!" has decided me. - -HOL. My "Father!" decided you? In opposition to Knowles's most -beautiful creation? You shall write no such thing. - -FLE. What! - -HOL. Take this part from her, give it to another, and humiliate her. -You must not write. Why would you take it from her? - -FLE. Because she'll murder it. - -HOL. Murder it! poor child! The part contains sentiments she is a -stranger to. She does not appear to feel sufficiently strong the -expression, "My father!" Who knows? perhaps she has never known a -father, or a father's love. - -FLE. You seem quite affected. - -HOL. You will not write? If you take this part from her I shall hate -you--to know that you caused her pain through what I have said. It -would drive me mad--it would kill me! - -FLE. What did you say? - -HOL. Pay no attention to what I say--my head is a little shaky. -Promise me, only promise me, you will not take this part from her. She -will play it admirably--beautifully. - -FLE. Oh!----well, there. (_tears up letter._) - -HOL. Bless you! Bless--don't mind me--I'm an old fool. Explain it to -her. If I could speak to her, I----explain to her what you wish. -She'll play it to perfection. She has intelligence--you have not -observed it. Ah! you don't know her--she's a genius. - -FLE. You speak of Miss Belmour? (_knock and bell._) - -HOL. Hush! some one's called. It is she! - -FLE. How do you know? - -HOL. It is she, I tell you. I am not mistaken--it is she! - -FLE. Well, this is the most singular-- - -_Enter CONSTANCE, door C._ - -HOL. (_to FLETCHER_) I was right, you see. - -CON. Good morning, my dear Mr. Fletcher. What nice chambers you have -here--only a little high. - -FLE. (_coldly_) You here, Miss Belmour! - -CON. Oh, dear! what a refrigerating reception. - -FLE. I was writing to you-- - -CON. To tell me-- - -FLE. That I should not require you in my piece. - -HOL. (_aside to FLETCHER_) Oh, sir! - -CON. Very amiable of you, very amiable, indeed. (_Seeing pieces of the -letter, and picking up one._) "Belmour--it is quite impossible"--why -did you tear up the letter? - -FLE. Because I was entreated to allow you to retain the character. - -CON. By whom? - -FLE. Mr. Holder. - -CON. Mr.----I remember your face somewhere, sir. - -HOL. (_subdued and quite overpowered._) At the theatre, probably. - -CON. If I am not mistaken, I have often seen you as I entered the -theatre. - -HOL. Possibly! possibly! - -CON. What ails you? are you ill? - -HOL. No, oh dear no; it's only a----I was not prepared----it is the -first time you have spoken to me. - -CON. And that produces such an effect on you? - -HOL. Yes. I don't know how it is--but it is nothing. - -CON. Poor man! - -[_She is about to take out her purse, but on a look from HOLDER, she -arrests her hand._ - -HOL. (_to FLETCHER aside._) You see? She would not insult me by -offering me money. - -FLE. Will you finish copying the last leaf? - -HOL. Ah! yes, directly--conclude it's done. - -FLE. There is some mystery about you---- - -CON. (_R., taking of her bonnet and shawl._) Will you be kind enough -to assist me, Mr. Fletcher. What an ungallant man you are. - -FLE. I beg your pardon. - -CON. As I came here, I met Fitzcharles in her brougham with her -father. - -FLE. Was the father on the box? - -CON. No, inside. - -FLE. You astound me. - -CON. Perhaps it's his birthday. - -HOL. Oh! Lord! - -FLE. (_to HOLDER._) Can't you make it out? - -HOL. I'd come to the tag, sir; the tag! - -FLE. (_aside._) I can't make _him_ out. - -HOL. Your conversation distracts me. - -FLE. Then copy it in my study. (_pointing to door R._) - -HOL. No, I shall be more at home in the hall. (_going._) - -CON. (_to HOLDER._) Adieu, my good friend. I shall make it a point of -speaking to you whenever I see you now. I wish you to get accustomed -to my voice. - -HOL. (_aside._) Ah! Ah! she has not insulted me by offering me money. - -[_Exit, C._ - -CON. What and who is this Mr. Holder? - -FLE. A copyist; he is often here. You have produced a singular effect -upon him. - -CON. Then I am to understand that but for the intercession of this -good creature I should have received by post, stamped at its full -value, the gracious compliment. - -FLE. On second thoughts I might not have sent my letter. - -CON. The fact is that you are like Macbeth, "Letting, I dare not, wait -upon I would." My dear sir, between ourselves, you want it here -(_touching her forehead_); you do indeed! - -FLE. Confess, now, that you rehearsed to-day on purpose to turn the -whole piece into ridicule. - -CON. Well, and if I did--the piece deserves it? A father--a -daughter--the old story, old as the world. - -FLE. What matters, if the situations are new. - -CON. It's a dramatised police affair. - -FLE. What signifies if the manager is bound over to keep the piece. - -CON. Well said! Capital! Now don't put itself out of temper. I freely -admit that the story is very touching, but if I do not feel it, what -would you have? It is a sentiment I have never experienced, and, -therefore, cannot comprehend. - -FLE. (_aside_) Holder's right. - -CON. At any rate I shall _look_ the character to the life, and that's -_everything_ now-a-days. I shall have a simple white robe. Oh! I have -been very studious about my dress. - -FLE. And you don't know a word of your part yet. - -CON. Ah! that's because I have not studied that. - -FLE. That reason's conclusive. - -CON. Besides, I was out of temper. Some one sent me a bouquet this -morning, and Belgrave has been making such a fuss about it. - -FLE. He came to me, pretending that I had sent you the bouquet. - -CON. And it was not you. - -FLE. Certainly not. - -CON. Decidedly, that Belgrave is insupportable. - -FLE. He quitted me, swearing that he would find out who sent it, if he -searched every flower-shop in London. - -CON. And he is not a man to be imposed upon--at least, that's his -monomania. I was very curious to know who sent this bouquet, and he -charged himself with satisfying my curiosity. I fear he will have only -his trouble for his pains. - -FLE. Why are you so anxious to know? - -CON. Because in the present day the man who sends a bouquet -anonymously, and does not inform you what it cost, is a rare specimen -of the _genus homo_ worth knowing. - -FLE. You have a rare wit beyond a doubt, and you would be perfect if -you would study the part in my piece. - -CON. Ungrateful monster! Now can you guess why I have come here? - -FLE. No. - -CON. To go over the part with you seriously. - -FLE. Is it possible? - -CON. At the theatre, instead of rehearsing we were saying disagreeable -things to each other; as that did not appear to me to advantage the -piece, I thought an hour with you in good earnest would not be thrown -away. - -FLE. You're an angel. - -CON. That's an incontrovertible fact, for what everybody says must be -true; but since you intend this character for another---- - -FLE. I! - -CON. Have you not told me so to my face? and (_sings_) - - "My face is my fortune, sir, she said." - -FLE. A moment of irritation--I was not serious. - -CON. Did you intend to give the part to Fitzcharles? They say you are -smitten in that quarter. She'll listen to you. She delights in -literary men--but they are _not_ the wise men who _know_ themselves to -be fools. - -FLE. I did not intend to give the part to Fitzcharles, I am not -smitten with her, and you know that well. - -CON. Well, now, we must attend particularly to the scene when the -father and daughter recognize each other. I candidly confess that at -present I have no idea of it. When I exclaim "My father!" I always -feel inclined to laugh. - -FLE. Then that would damn the piece. - -CON. Hush! Let us hope that I shall find it no laughing matter on the -day of representation. - -FLE. Most fervently, I hope so. - -CON. Ah! you must send some one for my part; I have left it at home. - -FLE. You go to the rehearsal without your part, and you don't know a -word of it. - -CON. But I have the credit of knowing it, for I spoke to my cue. - -FLE. Not without a prompter; I'll send for it. Jones! Jones! Where is -he? Jones! Jones! - -_Enter HOLDER, C._ - -HOL. Jones is gone out, sir. - -FLE. There now! - -HOL. He's gone to the theatre for the order you promised him. - -FLE. Devil take him! and the order too. - -CON. You have yourself to blame--you should not break your promises. -You should not "palter with him in a _double_ sense," when the order -was doubtless for two. - -HOL. As I have finished copying, if I can be of any service-- - -CON. Yes; it's a great service you can render me with very little -trouble. - -HOL. A service--to you! - -CON. It is to go to my house, and ask my servant to give you my part. - -HOL. I fly. - -CON. Where are you going to fly? - -HOL. To your house. - -CON. Without knowing the address. - -HOL. Oh, I know it--Norfolk Street, No. 90--close by. - -CON. You know my address? - -HOL. Yes, at the theatre--heard it accidentally--the prompter told the -call-boy, the call-boy told the messenger--and I fly. - -[_Exit C._ - -CON. What a strange man! I recollect seeing him often about the -theatre. How very singular. - -FLE. When you spoke to him just now, I thought he would have fallen. - -CON. I perceived it. - -FLE. Perhaps he has fallen--in love with you. - -CON. Absurd! - -FLE. Has it never crossed your mind when the curtain fell, to think -that among those who had seen and applauded you, many perhaps loved -you who never would be enabled to declare their love---- - -CON. "But let concealment like a worm in the bud," &c. Yes, such a -vain idea has flitted through my brain. - -FLE. Without the slightest impression? - -CON. Yes, a momentary pleasure. - -FLE. You are a very woman to your fingers' ends. - -CON. Beware of them. But come to business. It will be awkward -rehearsing without Melfort, who plays the father. - -FLE. I'll send for him. - -CON. Melfort stands upon his dignity. He's a fettered lion. Send for -him. You had better go for him yourself. - -FLE. Where shall I find him? - -CON. At the theatre until four. - -FLE. (_looking at his watch._) And it's five minutes past. - -CON. You have no time to lose. - -FLE. It will not take five minutes to go to the theatre, and they -allow ten for the variation of clocks. - -CON. Do it, "nor leave the task to me." - -[_He is running off, C., when he knocks against BELGRAVE, who seizes -him by the collar._ - -BEL. A word, if you please. - -FLE. Presently, my friend; I'm in a hurry. - -BEL. Do you still persist in saying that you did not send the bouquet? -No humbug. - -FLE. I do, I do, I do! there, now let me go. - -BEL. But you did send it; I am certain of it. I have proofs. - -FLE. I shall be curious to know them, presently. - -BEL. I will show you at once, if you'll listen. - -FLE. Impossible! - -BEL. Do you think to escape me thus? I am not a man---- - -FLE. Unhand me, I say. - -[_disengages himself, and exits, C._ - -BEL. Well, that's one way of cutting short an explanation. For whom do -they take me? (_to CONSTANCE._) You here, madame? - -CON. Have you not perceived me? - -BEL. You here! What are you doing with Mr. Fletcher? - -CON. Rehearsing my new part. - -BEL. Rehearsing! what, the part he but now vowed you should not act? -At any rate, you ought at least, both of you, to recollect that I am -not a man to be _easily_ imposed upon. Can't humbug me! something -remains behind. - -CON. Then leave it in the hall. You have already made yourself -perfectly ridiculous this morning, and very little more will render -you perfectly insupportable. - -BEL. That's very easily said, madame, very easily said, but when my -mind-- - -CON. Your mind! - -BEL. Yes, madame, my mind. I beg leave to respectfully assert that I -have a mind, and when the suspicions of that mind are appeased, then, -madame, and not till then-- - -CON. What an excellent tragedian you would have made. - -BEL. Tragedian? humbug! I have my hand full of proofs--this bouquet-- - -CON. Pansies for thought--Love lies a-bleeding. Have you been walking -London with this bouquet? - -BEL. Yes, madame, I have, and have ended by finding out what I sought -to know. - -CON. And what is the great discovery you have made? One would almost -imagine it were perpetual motion. - -BEL. Mr. Fletcher sent you this bunch of flowers. - -CON. The race is not to the swift. You have discovered nothing. -Fletcher did not send me those flowers. - -BEL. I beg your pardon; this bouquet was purchased in Regent-street -this morning at 10.45 A.M. The man who bought it was old, and dressed -in a drab hat and black coat. They gave me an exact description of -him, and I recognised him immediately--the copyist who is always at -Fletcher's elbow, and who is literally his right hand. - -CON. The copyist purchased it? - -BEL. Of course. I'm not a man to be imposed on! Can't humbug me! - -CON. And that proves that Mr. Fletcher sent me these flowers. - -BEL. Unless we are to believe that this poor fellow amuses himself in -purchasing bouquets worth a sovereign each out of twopence a length. - -CON. You have a lively imagination, and make marvellous jumps at -conclusions. Has it never entered the cavity of your head that in -London there may be two men who wear a drab hat and black coat? - -BEL. Possibly! possibly! (_Enter HOLDER, C._) But talk of the old -gentleman, &c.; we can know from himself. - -HOL. Here is your part, madame. - -BEL. (_to HOLDER_) Do you know this bouquet? - -HOL. The one I purchased this morning. - -BEL. (_to CONSTANCE_) Proof positive! - -CON. Well, if Mr. Fletcher did send the flowers, what then? - -HOL. It was not Mr. Fletcher who commissioned me to purchase this -bouquet. - -BEL. Who then? - -HOL. Eh! Who? - -BEL. Yes--no humbug! - -HOL. (_confused and hesitating_) Oh! it was--hum! - -CON. (_aside_) Can Fletcher have divined? - -BEL. (_to HOLDER_) Well--go on--Ah! Fletcher is not a man to put his -light under a bushel. Fletcher is a man of imagination--a dramatic -author--an original genius; not a translator of unconsidered trifles. - -CON. What a fuss about a few roses. - -BEL. _Rose d'amour_, madame. A Fletcher by any other name--I mean, any -other rose is as sweet. Never mind. I don't understand the language of -flowers--no, all humbug--but this I know. There are men who resign -themselves to the part you require them to act, madame. There are -others who refuse to play second to any one, and who, when once they -perceive their position ridiculous, cease to remonstrate, and -respectfully offer to cancel the engagement. - -CON. Delightful! Why did you not say so before? What a world of words -it would have saved. "Stand not on the order of going, but go at -once." - -BEL. Very good, madame, very good. An angel's face, but a-- - -CON. Oh, mercy! - -BEL. You have no heart (_throws bouquet on floor_). Adieu! - -[_Exit C._ - -CON. This bouquet--you purchased it, and sent it to me? - -HOL. Yes. - -CON. These are flowers of great price. - -HOL. Yesterday, at the theatre, I was standing behind one of the -wings, and--and--I heard you say you loved them. - -CON. Oh! (_aside._) Decidedly I have made a conquest here. - -HOL. Don't be angry, I entreat of you; nor don't laugh at me. - -CON. I am neither angry with you, nor in the mood to laugh at you. But -what would you have me say to you? - -HOL. Ah! Cons--madame! - -CON. You are doubtless very unhappy. I feel for you; your sufferings -touch me nearly. - -HOL. (_making a step towards her; he stops._) My chi---- - -CON. You must leave London, and when you see me no more you will -forget me. - -HOL. You are right. I will go far, far away--but first-- - -CON. In truth it is the only advice I can give you--see me no -more--go. - -HOL. I will go--but-- - -CON. It must be! Adieu! - -HOL. Adieu! - -CON. Stay! the bouquet you have purchased for me, give it me--at least -I may keep that. - -HOL. (_picking up the bouquet, and giving it to her._) Ah! -thanks--thanks! - -CON. Poor man! - -[_Exits door, R._ - -HOL. To part without embracing her. I would have given the world for -one embrace, and have called her my----; but no, it's impossible! I -will go at once--if I look on her again, my courage will fail me; and -yet, I cannot leave her thus--one embrace, one kiss, and I depart -forever. Ah! Constance! Constance! my dear Constance! (_falls on his -knees, and covers the shawl of CONSTANCE with kisses._) - -_Enter FLETCHER, C._ - -FLE. Come, that's all right--Melfort's promised to come. (_sees -HOLDER._) Hollo! - -HOL. Constance! my own Constance! - -FLE. What are you doing there? - -HOL. Some one here! Oh! it's you, sir? I should not like to have been -surprised by any one but you. - -FLE. What's the matter with you, Mr. Holder? - -HOL. You think me a little cracked, I dare say. You shall know all. I -can confide in you. You are good. - -FLE. Speak out, man, for really I cannot comprehend. - -HOL. When I have told you, you will understand that I cannot go -without one embrace. You will assist me to find a way. After that, I -swear, by all that's good, I will leave the place for ever. - -FLE. Well! proceed. - -HOL. My story is not long: Twenty years ago I was a tailor in Long -Acre. I was not a fashionable tailor, but still I did a good trade, -and made money. I met a young girl--she was pretty--very pretty. She -lived alone with her father, an old chorus-singer, who was always -drunk, at least he was never sober--and consequently Martha was very -unhappy. I proposed marriage to her, and she accepted. For three years -I was the happiest of men. I was passionately fond of my wife. I had a -daughter whom I adored. My happiness was too great to last. About this -time a young man often came to me, and ordered a variety of clothes -which he never wore. On one occasion I observed him speak to my wife -in a manner I thought rather strange. I mentioned it to Martha, and -she said I must be mad. I loved her--and was silenced. Some few days -after, this young man came again. I hear whisperings, then bursts of -laughter. This time I asserted my position as a man and a husband. -Martha replied in most unblushing terms. Next day I went out. When I -returned, my house was empty, my home deserted. Martha had eloped with -this young man, and taken my child with her. - -FLE. The wretch! - -HOL. Little by little my wounded pride effaced the image of Martha, -but another memory clung to me; my daughter, the child I had danced on -my knee, that I taught to lisp my name, this babe whose smile was -sunshine to me, whose first word was like an angel's whisper to my -ear, she was lost to me for ever. - -FLE. Poor fellow! poor fellow! - -HOL. Fifteen years dragged its weary time away, when one day I -received a letter without an address--it was from Martha. She had -doubtless written it on her deathbed. Her seducer, after having taken -her to France and Italy, and dissipated time amidst their pleasures, -had abandoned her. She dared not return to me. "Pardon me," said she, -"I have been bitterly punished. As for your daughter--" - -FLE. Well, your daughter? - -HOL. It was the greatest blow of all, but it must be told. "As for -your daughter, I know not where she is, but you will easily recognize -her if you recall my form and features. Such as I was when you first -saw and loved me, such is your child to-day--the same face, the same -look, the same voice." I uttered a cry of joy. My child lives--I shall -see her once again. - -FLE. Why, this is stranger than fiction. - -HOL. I traversed the town in the hope of meeting her--resorted to -every public place. I was repulsed from every door--my inquiries were -laughed at; but jeers and insults could not stay me. I peered into -each coach and cab, watched at the door of every ball, waited by the -entrance of all the theatres--everywhere. I stared in every woman's -face that passed. One day I heard a voice, the voice of Martha: a -woman appeared--the form of Martha. "Constance," said some one. The -woman turned--the face of Martha. Constance--it was the name of my -child! - -FLE. She! - -HOL. Yes, I saw her again next day. Not a day passes without my seeing -her. - -FLE. And you have not thrown yourself in her arms? You have not made -yourself known to her? - -HOL. No. - -FLE. Why not? - -HOL. How might she have received my burst of affection? A word effaces -not fifteen years of indifference. The love of a father and child is -not an instinct. I can endure being unknown to her, console myself by -looking on her and loving her in secret; but to say to her, "I am your -father," and not be loved-- - -FLE. She would soon learn to love you. - -HOL. If I had been a stranger to her for fifteen years, and they said -to me, "Here is your daughter," that would not suffice to make me love -her. Now, thank heaven, I have nothing to reproach her with, poor -child! To forgive is to merit forgiveness. Besides, I am poor, old, -and without resources. When I shall have told her that I was her -father, what would she have done? Offered me bread as a duty. There -are those who would have eat of such bread. Would she have placed me -beside her in her carriage, or with her groom on the box? - -FLE. What then do you desire? - -HOL. To depart. She has advised me to do so; only before my departure -I would enfold her in my arms--press one kiss of affection on her -cheek. - -_Enter JONES, C._ - -JONES. A letter, sir. - -FLE. Oh! you are returned at last. - -JONES. I only went to the theatre--I told you, sir, what for. - -FLE. Does it take an hour to go there? - -JONES. On my way back I called on Miss Penelope, sir, and informed her -that in future, sir, you had promised to stick to blank verse. - -FLE. Give me the letter. - -JONES. Here it is, sir. - -FLE. It's from Melfort! "My dear fellow, you must excuse my coming to -your house--remember I have a character to lose, and were I to -rehearse with a girl of seventeen anywhere but in the theatre, the -world would _affich�_ me to her." A vain ass! - -[_Crushes up the letter._ - -JONES. I'm very fond of _dialect_ with _les Dames_. Is the piece -French, sir? - -FLE. Go to the devil! - -JONES. Perhaps, sir, I could adopt it to my style sufficiently---- - -FLE. Will you go? - -JONES. I'm going, sir. (_aside_) I am studying "French without a -master," that I may read the English drama in the original. - -[_Exit, L._ - -FLE. So there's an end of our intended private rehearsal. - -HOL. If I simply express to her my desire to press her to my heart, -she would laugh at me. Heaven's will be done! Would I could find some -way--can you not help me? - -FLE. Did you not say but now that you knew by heart the scene in my -piece where the father discovers his daughter? - -HOL. Yes, sir. - -FLE. Capital! You shall embrace your daughter. - -HOL. Indeed! How--when--where? - -FLE. Here--now. - -HOL. I shall embrace her--she will permit me to do so, and yet she -shall not know? - -FLE. She shall know nothing. - -_Enter CONSTANCE._ - -CON. Well! will Melfort come? - -FLE. He has written to me to say he cannot. - -CON. Then the rehearsal is a _fiasco?_ - -FLE. Decidedly, unless you rehearse without him. - -CON. Will you rehearse the father? - -FLE. No. I must see you; listen to you; if need be, prompt you. - -CON. Who will do the father, then? (_Seeing HOLDER._) You here still, -sir? - -FLE. I requested Mr. Holder to remain. He knows the scene by heart at -which you boggled to-day. - -HOL. (_aside._) Ah! I understand! - -CON. The scene of recognition--you know it by heart? - -HOL. Yes, through copying it, it fixed itself in my memory. - -CON. What a memory! I have been studying that scene more than an hour, -and I do not feel myself master of it yet. - -FLE. Now, if you please, we'll go through it with Mr. Holder. - -HOL. (_aside to FLETCHER._) God bless you! - -CON. With Mr. Holder? - -HOL. You object? - -CON. Well, really, it's the oddest circumstance---- - -HOL. (_aside to FLETCHER._) Bless you! - -FLE. Listen. (_To HOLDER._) Control your feelings. - -CON. What's our position? Oh! you there, sir--I here--presently you -cross me. By-the-bye, Fletcher, all is over between Belgrave and I. -Oh! it's such a happy release. - -FLE. Come, begin. - -CON. I am ready. - -HOL. We--we commence the scene after the young girl's story? - -FLE. Precisely. - -HOL. (_rehearsing._) "When you arrive in London repeat that to me -again; the servant who accompanied you, brought you to an old lady? - -CON. "Yes. - -HOL. "The lady at first received you unkindly, is it not so? Soon she -would not part with you? - -CON. "Yes; but how know you that? - -HOL. "I know it"---- - -CON. You are quite affected. You are perfect to a letter, and rehearse -it charmingly--much better than Melfort. You ought to have been an -actor. - -HOL. I could not act all parts like this! - -FLE. Go on! You do it much better, much better! Go on! - -HOL. "Five years passed, when one day this old lady called you to her. -'This is your home,' said she--'the moment has arrived when I must -depart.' - -CON. "Her very words! - -HOL. "And she quitted you--she exhibited no sign of affection for -you--she only announced to you, that a man would shortly present -himself to you. This man-- - -CON. "Was he to whom I offered my daily vows, though to me he was -unknown. 'That man,' said she, 'is your father.'" - -HOL. "I am he. - -CON. "You? - -HOL. "Yes--I--I!" my child! Yes, at last, my child. Yes, 'tis I--'tis -I-- - -CON. Stay--that's not it--you forget--there's nothing of that kind in -the manuscript. - -FLE. No-- - -HOL. What is it, then? - -FLE. (_reading._) "My child--my child! Yes--I--your father! Not a -minute during the twenty long years which have separated us, have I -ceased to think of the day when I should be enabled to press you to my -heart." - -HOL. I beg your pardon; I was mistaken. "Yes, your father! Not a -minute during the twenty long years which----" What comes next? - -FLE. "During the twenty long years which have separated us have I -ceased to think----" - -HOL. "Not a minute during the twenty long years which----" No father, -on finding his daughter, would make use of such an expression. - -FLE. Why, just now you said-- - -HOL. Here is a man who has not seen his daughter for twenty years--who -seeks her--who finds her--sees her--speaks to her--and you put in the -mouth of this man a long rigmarole. He could not speak it. Impossible! -tears--sobs--that's all. My child, here, come to my heart--let me gaze -on you--do not speak. My child, how sweet that name. Come, your -father, 'tis I. Not a word--you know not--you cannot know--my child! -my child! ah! (_FLETCHER writing_). - -CON. You are faint? - -HOL. No; it's nothing--nothing. That's more like what I should feel. - -CON. It's put me out completely. I don't remember a word now. - -HOL. (_writing._) He's right. His ideas are more natural than mine. -"One touch of nature----" - -CON. (_to HOLDER._) You are crying. - -HOL. Likely; it's the character of the father. Let us finish the -scene, will you. - -CON. What a splendid actor you would have made! - -HOL. Let us finish the scene. - -CON. "You say you are my father." - -HOL. "You doubt it! Happily I can invoke remembrances that will give -confidence to your heart."--(_To FLETCHER._) Here is another passage -which must be altered.--"Do you not recall your days of childhood? A -cottage surrounded with large trees--the high road passing before the -door---- - -CON. "Yes--yes! - -HOL. "On this road, in the distance, a man who, waving his -handkerchief, shouted, 'I am here.' - -CON. "I remember well. - -HOL. "He crossed the threshold--pressed you in his arms, and, kissing -you again and again, he danced for joy. Can you still doubt? - -CON. "My father!" - -FLE. That's not it, Belmour; not it at all--you never give sufficient -force to that word. - -CON. Eh! well then, let some one else do it. - -FLE. Be patient--be patient. You can do it to perfection, I am sure, -because you have it here and here (_touching his head and heart_). Why -not work yourself up to the notion that this young girl who has not -heard speak of her father for twenty years, and who suddenly finds -herself face to face with him, is yourself. - -CON. What do you say? - -HOL. Imagine yourself the girl you are representing. - -CON. There is something in your words and manner-- - -HOL. Try again. This time you will feel the words. "He pressed you in -his arms, he kissed you again and again, he danced for joy. Can you -still doubt? - -CON. "My father!" - -FLE. That's not up to the mark yet. - -CON. I know it is not, but I shall never do it better. - -HOL. (_to FLETCHER._) I suspect the fault rests with yourself. The -remembrances you invoke in this scene are very vague. A road, a man on -a road; there is nothing to lead up. Who knows, now if we were to -change some words? - -CON. Ah! yes; cut out, "My father!" - -FLE. Cut out "My father!" You had better cut me out. Why that is the -great point of the piece. - -HOL. No, no; change the details. - -FLE. To what? to what? - -HOL. Allow me. (_To CONSTANCE._) Recall to your memory my child, -bethink you will--a large room--a man seated on a -table--cross-legged--who sometimes crept towards you with his head -moving up and down, like a monkey, to make you laugh. - -CON. Ah! - -HOL. Do you remember? By the side of this man a large pair of -scissors, called shears, with which you always wanted to play--and the -man scolded you gently--very gently--told you not to touch them. - -CON. Surely that was--go on-- - -HOL. And one day when you cut yourself with these shears, your blood -flowed, you remember? - -CON. Yes-- - -HOL. You cried--the man jumped from the table pale with fright, but -when he saw it was nothing, he pretended to laugh, and beat the -scissors very hard to console you--my child, my child--that man, do -you remember him? - -CON. My father. (_She falls in his arms. They embrace and kiss each -other with strong feeling._) - -HOL. She said it right then! You heard. Said it finely, eh? suiting -the word to the action, the action to the word. She may keep the part -now. - -FLE. And are you still bent on departing? - -HOL. Departing! What do you mean, departing? - -FLE. Why, just now, you talked of-- - -HOL. Ah! just now--just now she had not said, "My father." - -CON. And do I indeed embrace my father, that best protector from the -world's assaults. Oh! I have often dream'd of this, but the bright -reality, with its vivid flashes of childhood's memories, seem to endow -me with a new existence of filial love and pleasure. - -HOL. You hear, you hear, did I not tell you she was a genius. My good -genius! One touch of nature has restored a child to a father's heart. -"One touch of nature makes the whole world kin." - - -_____ - -"Nassau Steam Press"--W. S. Johnson, 60, St. Martin's Lane, -Charing Cross, W.C. - - - -Transcriber's Note - -This transcription is based on the text printed, presumably soon after -the first production in 1859, by Webster and Co. as number 199 of -_Webster's Acting National Drama_ series. This text was made available -as a microcopy by the University of California, Davis. However, -because of the imperfections of the microcopy, the transcription was -checked against a copy of an American Samuel French edition, number -287 of _French's Minor Drama, The Acting Edition_ series. Scans of -this copy have been made available through the Internet Archive: - -https://archive.org/details/WebsterOneTouchofNature - -The Samuel French edition is essentially a reprint of the Webster -edition with minor changes to punctuation. - -The 1902 edition published in Philadelphia by the Penn Publishing -Company was also reviewed, but because of textual changes this edition -was not used. Some of these changes corrected the grammar of the -original. For example, Holder enters saying "It's me, sir" in the -Webster and French editions, but says "It's I, sir" in the Penn. Some -of the changes attempted to make the language more acceptable to -American sensibilities. For example, in the Webster and French -editions, Fletcher enters saying, "The devil take the theatre, and all -the actresses into the bargain!" In the Penn edition, he enters -saying, "The mischief with the theatre, and all the actresses into the -bargain!" Similar changes were made throughout the text. - -In general, this transcription attempts to retain the formatting, -punctuation, and spelling of the source text. Stage directions were -punctuated three different ways: with parentheses without a period, -with a period within the parentheses, and with a period immediately -following the closing parenthesis. No attempt was made to make the -punctuation of stage directions consistent. - -The following changes were made to the text: - ---Title page: Inserted a period after "AND ALL BOOKSELLERS" for -consistency. - ---p. 8: HOL. Shall I take it home with me and finish it.--Changed the -period to a question mark. - ---p. 8: HOL. Is it readable.--Changed the period to a question mark. - ---p. 9: HOL. Its fine, very fine!--For consistency, changed "Its" to -"It's". - ---p. 10: FLE. Oh!----well, there (_tears up letter._)--Inserted a -period after "there". - ---p. 11: FLE. Will you finish copying the last leaf.--Changed the -period to a question mark. - ---p. 11: HOL. Ah! yes, directly--conclude its done.--Changed "its" to -"it's". - ---p. 13: CON. But if I have the credit of knowing it, for I spoke to -my cue.--Followed the Samuel French edition and deleted "if". - ---p. 16: BEL (_to CONSTANCE_) Proof positive.--For consistency, -inserted a period after the character title abbreviation "BEL", and -following the Samuel French edition changed the period to an -exclamation mark. - ---p. 16: BEL. Who then.--Followed the Samuel French edition and -changed the period to a question mark. - ---p. 18: As for your daughter." Followed the Samuel French edition -and changed the period to an em dash. - ---p. 20: [_Enter CONSTANCE._--For consistency, deleted the opening -square bracket and in the html-based versions of this transcription -centered the stage direction for an entrance. - ---p. 22: HOL. I beg your pardon; I was mistaken. "Yes, your father not -a minute--Followed the Samuel French edition and inserted an -exclamation mark after "father" and capitalized "not". - ---p. 23: This time you will feel the words, "He pressed you in his -arms--Followed the Samuel French edition and changed the comma to a -period. - ---p. 24: FLE. And are you still bent on departing.--Changed the period -to a question mark. - - - - - - -End of the Project Gutenberg EBook of One Touch of Nature, by Benjamin Webster - -*** END OF THIS PROJECT GUTENBERG EBOOK ONE TOUCH OF NATURE *** - -***** This file should be named 54172-8.txt or 54172-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/4/1/7/54172/ - -Produced by Paul Haxo with special thanks to the University -of California, Davis. - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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- margin-bottom: 0.25em - } -li { - margin-bottom: 0.5em - } -div.tnote { - padding-bottom: 0.5em; - margin-right: 3%; - margin-left: 3%; - padding-top: 0; - padding-left: 0.5em; - padding-right: 0.5em; - margin-top: 2em; - font-size: 90%; - background: #eee; - border: solid 0.075em - } -h3.tnote { - font-style: italic; - font-size: 110%; - font-weight: bold; - padding-top: 0.5em - } -</style> -</head> -<body> - - -<pre> - -The Project Gutenberg EBook of One Touch of Nature, by Benjamin Webster - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: One Touch of Nature - A Petite Drama, In One Act - -Author: Benjamin Webster - -Release Date: February 15, 2017 [EBook #54172] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ONE TOUCH OF NATURE *** - - - - -Produced by Paul Haxo with special thanks to the University -of California, Davis. - - - - - - -</pre> - -<div class="cover"> -<img alt="Cover" src="images/cover.jpg" title="Cover" height="100%"/> -</div> - -<div class="chapter" id="Front_Matter"> -<div id="title_page"> -<p class="title">ONE TOUCH OF NATURE,</p> - -<p class="subtitle_1">A PETITE DRAMA,</p> - -<p class="subtitle_2"><i>In One Act</i>,</p> - -<p class="by"><small>BY</small></p> - -<p class="author">BENJAMIN WEBSTER, ESQ.</p> - -<p class="first"><small>AS FIRST PERFORMED AT THE</small></p> - -<p class="theatre">THEATRE ROYAL, NEW ADELPHI,</p> - -<p class="date">O<small>N</small> SATURDAY, AUGUST 6<small>TH</small>, 1859.</p> - -<hr class="small"/> - -<p class="copy"><small>CORRECTLY PRINTED FROM THE PROMPTER</small>’<small>S -COPY</small>,<small> WITH THE CAST OF CHARACTERS</small>,<small> SCENIC -ARRANGEMENT</small>,<small> SIDES OF ENTRANCE AND EXIT</small>,<small> AND RELATIVE -POSITIONS OF THE DRAMATIS PERSONÆ</small>.</p> - -<hr class="large"/> - -<p class="publisher">WEBSTER AND CO., 411, STRAND; W. S. JOHNSON, “NASSAU STEAM PRESS,” -60, ST. MARTIN’S LANE; MESSRS. PIPER AND CO., PATERNOSTER ROW; VICKERS AND BERGER, -HOLYWELL STREET; ALLEN, WARWICK LANE; JOHN HEYWOOD, MANCHESTER; WISEHEART, SUFFOLK STREET, -DUBLIN; SUTHERLAND AND CO., EDINBURGH; PETRIDGE, BOSTON, U.S.; AND ALL BOOKSELLERS.</p> -</div> - -<div class="pagebreak"></div> - -<p><br /> -<br /> -<br /> -<br /></p> - -<hr /> - -<p class="center smallerfont">“Nassau Steam Press”—W. S. Johnson, 60, St. Martin’s Lane, -Charing Cross, W.C.</p> - -<hr /> - -<div class="pagebreak"></div> - -<h3 class="cast">Dramatis Personæ.</h3> - -<hr class="med"/> - -<table class="pad_bottom_half_em pad_top_one_em" border="0" cellpadding="0" -cellspacing="0" summary="cast"> -<tbody> -<tr> -<td class="tdl_role">MR. WILLIAM PENN HOLDER. Old black body coat, plaid vest, black -trousers, gray gaiters, black shoes, gray bald wig, gray hat with crape</td> - -<td class="brace">}</td> - -<td -class="tdl_actor">M<small>R</small>. B<small>ENJAMIN</small> W<small>EBSTER</small>.</td> -</tr> - -<tr> -<td class="tdl_role">MR. BEAUMONT FLETCHER (<i>a Barrister and Dramatic Author</i>). Black -frock coat, fancy waistcoat</td> - -<td class="brace">}</td> - -<td class="tdl_actor">M<small>R</small>. B<small>ILLINGTON</small>.</td> -</tr> - -<tr> -<td class="tdl_role">MR. BELGRAVE. Light blue long great coat, plaid trousers</td> - -<td class="brace">}</td> - -<td class="tdl_actor">M<small>R</small>. W. H. E<small>BURNE</small>.</td> -</tr> - -<tr> -<td class="tdl_role">JONES (<i>Porter, &c., to the Adelphi Chambers</i>). Livery coat -(dark), white vest, black trousers</td> - -<td class="brace">}</td> - -<td class="tdl_actor">M<small>R</small>. M<small>ORELAND</small>.</td> -</tr> - -<tr> -<td class="tdl_role">MISS CONSTANCE BELMOUR. Modern fancy dress</td> - -<td class="brace">}</td> - -<td -class="tdl_actor">M<small>ISS</small> H<small>ENRIETTA</small> S<small>IMMS</small>.</td> -</tr> -</tbody> -</table> - -<hr class="small no_pagebreak"/> - -<p class="center no_bottom no_top no_pagebreak"><i>Time of Representation</i>, 45 -<i>minutes.</i></p> - -<hr class="small"/> - -<p class="pad_top_two_em smallishfont center no_pagebreak">EXPLANATION OF THE STAGE -DIRECTIONS.</p> - -<p class="smallishfont"><small>L</small>. means first entrance, left. <small>R</small>. -first entrance, right. <small>S</small>. <small>E</small>. <small>L</small>. second -entrance, left. <small>S</small>. <small>E</small>. <small>R</small>. second entrance, -right. <small>U</small>. <small>E</small>. <small>L</small>. upper entrance, left. -<small>U</small>. <small>E</small>. <small>R</small>. upper entrance, right. -<small>C</small>. centre. <small>L</small>. <small>C</small>. left centre. -<small>R</small>. <small>C</small>. right centre. <small>T</small>. <small>E</small>. -<small>L</small>. third entrance, left. <small>T</small>. <small>E</small>. -<small>R</small>. third entrance, right. Observing you are supposed to face the -audience.</p> -</div> - -<div class="chapter" id="Script"> -<p><span class="pagenum"><a class="newpage" id="page-5">[Pg 5]</a></span></p> - -<h3 class="title" id="One_Touch">ONE TOUCH OF NATURE.</h3> - -<hr class="small"/> - -<p class="center pad_top_half_em pad_bottom_half_em slightlybigfont">ACT I.</p> - -<p class="scene">SCENE I.—<i>Mr. Beaumont Fletcher’s chambers in the Adelphi, handsomely -furnished, doors</i> <small>R</small>., <small>L</small>., <i>and</i> <small>C</small>. -J<small>ONES</small> <i>discovered.</i></p> - -<p><i>Jones</i> (<i>writing</i>). To address the lady’s-maid of a marchioness is no -trifling affair, especially in the present march of intellect, when the maids know more -than the mistresses. One’s obliged not only to mind one’s stops, but one’s grammar. I have -been nearly three-quarters of an hour now trying to round a period—I, who French-polish -the boots of a dramatic author. Ought I to put “I was smitten,” or “I was struck with your -charms?”—it’s very embarrassing—I must consult Mr. Fletcher. In my letter I must inclose -the order he promised to procure for me; but if, with the order, I cannot conclude my -letter——</p> - -<p class="entrance"><i>Enter</i> F<small>LETCHER</small>, <small>C</small>. -<i>door.</i></p> - -<p><i>Fle</i>. The devil take the theatre, and all the actresses into the bargain!</p> - -<p><i>Jones</i>. Has the rehearsal been unsatisfactory, sir?</p> - -<p><i>Fle</i>. This Miss Constance Belmour! this Miss Constance Belmour!</p> - -<p><i>Jones</i>. Sir!</p> - -<p><i>Fle</i>. Is it talent or is it temper?</p> - -<p><i>Jones</i>. Sir!</p> - -<p><i>Fle</i>. She was execrable.</p> - -<p><i>Jones</i>. Did you think, sir—</p> - -<p><i>Fle</i>. Hey! what? What do you say?</p> - -<p><i>Jones</i>. I was going to ask, sir, if you thought of the order?</p> - -<p><i>Fle</i>. What order?</p> - -<p><i>Jones</i>. The order, sir, that I asked you for this morning, for the lady’s-maid of -a marchioness, whom I met at Cremorne. I suppose you forgot it, sir?</p> - -<p><i>Fle</i>. Oh! I had other matters to attend to.</p> - -<p><i>Jones</i>. Of course, sir; of course. Then I’ll go myself, sir—in your name, sir, -I’m sure to get it sir, as you write in the newspapers.<span class="pagenum"><a -class="newpage" id="page-6">[Pg 6]</a></span> Only, sir, if you should want me, sir, you -will please to recollect that I am obliged to go out.</p> - -<p><i>Fle</i>. Not one word of her part—not one, and the piece is to come out on -Wednesday. It’s enough to drive one mad.</p> - -<p><i>Jones</i>. I have always said, sir, that you have never been done justice to, sir; -yet you will persist in writing for these second-rate theatres. If I was you, sir, I would -not write again till government built a legitimate theatre for scenery.</p> - -<p><i>Fle</i>. That’s your opinion, is it?</p> - -<p><i>Jones</i>. Yes, sir, and it’s the opinion of Miss Penelope, too.</p> - -<p><i>Fle</i>. And who’s Miss Penelope?</p> - -<p><i>Jones</i>. The lady’s-maid I mentioned just now, sir. When I told her your -profession, sir, she immediately asked if you <i>authorised</i> the legitimate drama.</p> - -<p><i>Fle</i>. And you replied——</p> - -<p><i>Jones</i>. I blushed, sir, and answered that you did not, but that you intended to -do so.</p> - -<p><i>Fle</i>. You did right, Jones. In future I will write only blank verse, and you -shall blush no more.</p> - -<p><i>Jones</i>. If you will permit, sir, I will give you a subject.</p> - -<p><i>Fle</i>. Well, let us see what it is.</p> - -<p><i>Jones</i>. Would it not be something new and original to work up a servant whose -sentiments are above his situation?</p> - -<p class="direction_r">[<i>Bell rings.</i></p> - -<p><i>Fle</i>. Some one rang.</p> - -<p><i>Jones</i>. I’ll attend to it, sir.</p> - -<p><i>Fle</i>. Go, then. (<i>aside</i>) What a life! what a life!</p> - -<p><i>Jones</i>. (<i>returning</i>) Oh, sir!</p> - -<p><i>Fle</i>. Still here?</p> - -<p><i>Jones</i>. “I’m struck with your charms”—is it refined English?</p> - -<p><i>Fle</i>. (<i>bell rings</i>) Attend to the bell.</p> - -<p><i>Jones</i>. (<i>returning</i>) Is it more refined—“I am smitten with your charms?” -(<i>bell rings violently.</i>)</p> - -<p><i>Fle</i>. Devil take it, they’ll pull the bell down.</p> - -<p><i>Jones</i>. I’m going, sir! (<i>aside.</i>) Shall I put smitten or struck? I must -toss up for it, heads or tails.</p> - -<p class="direction_r">[<i>Exit door</i>, <small>C</small>.</p> - -<p><i>Fle</i>. If I allow this woman to play the part, she’ll ruin the piece.</p> - -<p class="entrance"><i>Enter</i> B<small>ELGRAVE</small>, <small>C</small>.</p> - -<p><i>Bel</i>. Good morning. Do you take me for a man that can be easily imposed on? No; -can’t humbug me!</p> - -<p><i>Fle</i>. What do you mean? (<i>coldly</i>) I’m delighted to see you.</p> - -<p><i>Bel</i>. This explains the promptitude with which I was admitted.</p> - -<p><i>Fle</i>. (<i>satirically</i>) By-the-bye, you have come most opportunely. I have to -thank you for persuading me to confide an important<span class="pagenum"><a -class="newpage" id="page-7">[Pg 7]</a></span> character to Miss Constance Belmour—that was -a grand idea of yours.</p> - -<p><i>Bel</i>. Capital, was it not?</p> - -<p><i>Fle</i>. (<i>satirically</i>) I was charmed with her at rehearsal just now. Luckily -I can undo what is done. I mean to take the part away from her.</p> - -<p><i>Bel</i>. A brilliant idea that, I must confess, and any one but me would let you -follow your bent.</p> - -<p><i>Fle</i>. What do you say?</p> - -<p><i>Bel</i>. It is useless to disguise matters. I know all. Can’t humbug me.</p> - -<p><i>Fle</i>. What do you know?</p> - -<p><i>Bel</i>. All! (<i>showing bouquet.</i>) Here is your bouquet, returned like a -dishonest bill—no effects.</p> - -<p><i>Fle</i>. My bouquet?</p> - -<p><i>Bel</i>. Do you deny that you sent these flowers to Constance?</p> - -<p><i>Fle</i>. I’m in a nice humour to send her flowers. I am going to write to her.</p> - -<p><i>Bel</i>. To anyone else you please, but not to her; this rage is all moonshine. -Can’t humbug me!</p> - -<p><i>Fle</i>. Moonshine is it?</p> - -<p><i>Bel</i>. You are in love with Constance, and you would have us believe you intend -taking this part from her and lose by the change.</p> - -<p><i>Fle</i>. I will soon prove that.</p> - -<p><i>Bel</i>. I am not a man to be easily imposed on. Can’t humbug me!</p> - -<p><i>Fle</i>. This is folly. It was not I who sent the bouquet.</p> - -<p><i>Bel</i>. Not you?</p> - -<p><i>Fle</i>. On my honour!</p> - -<p><i>Bel</i>. Then I will find out if I go to every flower-shop in London.</p> - -<p><i>Fle</i>. Do, my good fellow, do.</p> - -<p><i>Bel</i>. I will, depend on it. I will not rest until I have discovered the truth. I -will know who sent this bouquet. Adieu. I am not a man to be easily imposed on. Can’t -humbug me!</p> - -<p class="direction_r">[<i>Exit</i> <small>C</small>.</p> - -<p><i>Fle</i>. Now there goes a man determined to make himself miserable. To win Constance -from him would be no very difficult task. The day before yesterday I spoke to her, she was -not at all coy, and when I took her hand in mine——it is true that this act of sensibility -has borne its fruits. Till then her rehearsing was very so so. But since she imagined I -was fascinated by her coquetry, she has not rehearsed at all. Love is evidently no<span -class="pagenum"><a class="newpage" id="page-8">[Pg 8]</a></span> friend of mine. Once a -man gets his legs entangled in the steel traps of a crinoline it’s all over with him. So -I’ll pluck up resolution, and inform this popular lady that I will relieve her from the -part. (<i>Writes.</i>) “My dear young lady.” Hum! It is rather difficult to write -disagreeably to a woman whose hand you have pressed in yours but two days since. “My -dear.” (<i>A rap at door</i> <small>C</small>.) Come in. (<i>Rap repeated.</i>) Come -in.</p> - -<p class="entrance"><i>Enter</i> H<small>OLDER</small> <i>with manuscript</i> -<small>C</small>.</p> - -<p><i>Hol</i>. (<i>at door</i>) It’s me, sir.</p> - -<p><i>Fle</i>. Oh! good day, Mr. Holder.</p> - -<p><i>Hol</i>. Do I disturb you?</p> - -<p><i>Fle</i>. No. Come in.</p> - -<p><i>Hol</i>. Here is your manuscript. I have copied it all but the last scene, which you -did not give me.</p> - -<p><i>Fle</i>. Here it is. I had some corrections to make.</p> - -<p><i>Hol</i>. Shall I take it home with me and finish it?</p> - -<p><i>Fle</i>. No, no. Copy it here; it will not take ten minutes.</p> - -<p class="direction_r">[<i>He looks over the MS.</i></p> - -<p><i>Hol</i>. Is it readable?</p> - -<p><i>Fle</i>. It is beautifully clear.</p> - -<p><i>Hol</i>. You flatter me. I know it is only good feeling induces you to give me your -manuscripts to copy.</p> - -<p><i>Fle</i>. No, Mr. Holder, no.</p> - -<p><i>Hol</i>. But for you I should have starved.</p> - -<p><i>Fle</i>. Starved! Die of hunger in wealthy London!</p> - -<p><i>Hol</i>. It is true, though; that day when you found me almost fainting near the -stage-door of the theatre.</p> - -<p><i>Fle</i>. Ah! what the devil were you doing there?</p> - -<p><i>Hol</i>. I was waiting.</p> - -<p><i>Fle</i>. Waiting? For what?</p> - -<p><i>Hol</i>. (<i>quickly</i>). Nothing. I expected nothing. I, I came there by accident, -because I had not strength to go any further. Ah! sir, I wish I was enabled to prove to -you that I am not ungrateful.</p> - -<p><i>Fle</i>. Do not mention it.</p> - -<p><i>Hol</i>. But I will mention it. Why yesterday I received through you a guinea for -copying a comedy—a guinea, sir, a whole guinea. I have not been so rich for many a -day.</p> - -<p><i>Fle</i>. (<i>laughing.</i>) Which you doubtless invested in stocks.</p> - -<p><i>Hol</i>. No sir, roses.</p> - -<p><i>Fle</i>. Roses! and you spoke of starving.</p> - -<p><i>Hol</i>. It was for another, and I may never have the means again. Self-denial was, -in this instance, a pleasure to me.</p> - -<p><span class="pagenum"><a class="newpage" id="page-9">[Pg 9]</a></span></p> - -<p><i>Fle</i>. Well, well, privately as politically, I suppose you have a right to do what -you like with your own.</p> - -<p><i>Hol</i>. Ah! if you only knew—no matter. Your piece is very pretty.</p> - -<p><i>Fle</i>. You like it?</p> - -<p><i>Hol</i>. Yes; perhaps I am presuming in giving an opinion.</p> - -<p><i>Fle</i>. Not at all. I rather like it.</p> - -<p><i>Hol</i>. It’s very pretty. There is one part in particular that affected me to -tears.</p> - -<p><i>Fle</i>. Which was that?</p> - -<p><i>Hol</i>. The scene where the father finds his daughter.</p> - -<p><i>Fle</i>. (<i>aside</i>). The very part that Miss Constance Belmour absolutely -murders.</p> - -<p><i>Hol</i>. It’s fine, very fine! The father speaks as a father should; I, if I found -myself in a similar situation, I feel I should express myself exactly as you have -written.</p> - -<p><i>Fle</i>. The eulogium pleases me infinitely.</p> - -<p><i>Hol</i>. I have read that scene over at least ten times. I know it by heart.</p> - -<p><i>Fle</i>. Indeed!</p> - -<p><i>Hol</i>. Let me see—“My child! my child! come to my arms. It is you alone can efface -the sufferings of twenty years!”</p> - -<p><i>Fle</i>. That’s it; that’s just what I mean.</p> - -<p><i>Hol</i>. That scene requires to be well acted.</p> - -<p><i>Fle</i>. Does it not?</p> - -<p><i>Hol</i>. Well acted by the man, and well acted by the lady, in particular.</p> - -<p><i>Fle</i>. (<i>aside</i>) He’s quite right.</p> - -<p><i>Hol</i>. The lady has but one word to say, but one exclamation: “My father!” but the -success entirely depends upon the manner of her giving it.</p> - -<p><i>Fle</i>. You are right, and I shall hesitate no longer. (<i>Writes.</i>) “My dear -Miss Belmour,—It is quite impossible”——</p> - -<p><i>Hol</i>. Miss Belmour! Did you say Miss Constance Belmour?</p> - -<p><i>Fle</i>. Yes, I cast her this part—I am writing to relieve her of it.</p> - -<p><i>Hol</i>. Take the part from her? from Constance—christened during the run of the -<i>Love Chase.</i></p> - -<p><i>Fle</i>. Your “Father!” has decided me.</p> - -<p><i>Hol</i>. My “Father!” decided you? In opposition to Knowles’s most beautiful -creation? You shall write no such thing.</p> - -<p><i>Fle</i>. What!</p> - -<p><i>Hol</i>. Take this part from her, give it to another, and humiliate her. You must -not write. Why would you take it from her?</p> - -<p><i>Fle</i>. Because she’ll murder it.</p> - -<p><span class="pagenum"><a class="newpage" id="page-10">[Pg 10]</a></span></p> - -<p><i>Hol</i>. Murder it! poor child! The part contains sentiments she is a stranger to. -She does not appear to feel sufficiently strong the expression, “My father!” Who knows? -perhaps she has never known a father, or a father’s love.</p> - -<p><i>Fle</i>. You seem quite affected.</p> - -<p><i>Hol</i>. You will not write? If you take this part from her I shall hate you—to know -that you caused her pain through what I have said. It would drive me mad—it would kill -me!</p> - -<p><i>Fle</i>. What did you say?</p> - -<p><i>Hol</i>. Pay no attention to what I say—my head is a little shaky. Promise me, only -promise me, you will not take this part from her. She will play it -admirably—beautifully.</p> - -<p><i>Fle</i>. Oh!——well, there. (<i>tears up letter.</i>)</p> - -<p><i>Hol</i>. Bless you! Bless—don’t mind me—I’m an old fool. Explain it to her. If I -could speak to her, I——explain to her what you wish. She’ll play it to perfection. She has -intelligence—you have not observed it. Ah! you don’t know her—she’s a genius.</p> - -<p><i>Fle</i>. You speak of Miss Belmour? (<i>knock and bell.</i>)</p> - -<p><i>Hol</i>. Hush! some one’s called. It is she!</p> - -<p><i>Fle</i>. How do you know?</p> - -<p><i>Hol</i>. It is she, I tell you. I am not mistaken—it is she!</p> - -<p><i>Fle</i>. Well, this is the most singular—</p> - -<p class="entrance"><i>Enter</i> C<small>ONSTANCE</small>, <i>door</i> -<small>C</small>.</p> - -<p><i>Hol</i>. (<i>to</i> F<small>LETCHER</small>) I was right, you see.</p> - -<p><i>Con</i>. Good morning, my dear Mr. Fletcher. What nice chambers you have here—only a -little high.</p> - -<p><i>Fle</i>. (<i>coldly</i>) You here, Miss Belmour!</p> - -<p><i>Con</i>. Oh, dear! what a refrigerating reception.</p> - -<p><i>Fle</i>. I was writing to you—</p> - -<p><i>Con</i>. To tell me—</p> - -<p><i>Fle</i>. That I should not require you in my piece.</p> - -<p><i>Hol</i>. (<i>aside to</i> F<small>LETCHER</small>) Oh, sir!</p> - -<p><i>Con</i>. Very amiable of you, very amiable, indeed. (<i>Seeing pieces of the letter, -and picking up one.</i>) “Belmour—it is quite impossible”—why did you tear up the -letter?</p> - -<p><i>Fle</i>. Because I was entreated to allow you to retain the character.</p> - -<p><i>Con</i>. By whom?</p> - -<p><i>Fle</i>. Mr. Holder.</p> - -<p><i>Con</i>. Mr.——I remember your face somewhere, sir.</p> - -<p><i>Hol</i>. (<i>subdued and quite overpowered.</i>) At the theatre, probably.</p> - -<p><i>Con</i>. If I am not mistaken, I have often seen you as I entered the theatre.</p> - -<p><span class="pagenum"><a class="newpage" id="page-11">[Pg 11]</a></span></p> - -<p><i>Hol</i>. Possibly! possibly!</p> - -<p><i>Con</i>. What ails you? are you ill?</p> - -<p><i>Hol</i>. No, oh dear no; it’s only a——I was not prepared——it is the first time you -have spoken to me.</p> - -<p><i>Con</i>. And that produces such an effect on you?</p> - -<p><i>Hol</i>. Yes. I don’t know how it is—but it is nothing.</p> - -<p><i>Con</i>. Poor man!</p> - -<p class="direction_hang">[<i>She is about to take out her purse, but on a look from</i> -H<small>OLDER</small>, <i>she arrests her hand.</i></p> - -<p><i>Hol</i>. (<i>to</i> F<small>LETCHER</small> <i>aside.</i>) You see? She would not -insult me by offering me money.</p> - -<p><i>Fle</i>. Will you finish copying the last leaf?</p> - -<p><i>Hol</i>. Ah! yes, directly—conclude it’s done.</p> - -<p><i>Fle</i>. There is some mystery about you——</p> - -<p><i>Con</i>. (<small>R</small>., <i>taking of her bonnet and shawl.</i>) Will you be -kind enough to assist me, Mr. Fletcher. What an ungallant man you are.</p> - -<p><i>Fle</i>. I beg your pardon.</p> - -<p><i>Con</i>. As I came here, I met Fitzcharles in her brougham with her father.</p> - -<p><i>Fle</i>. Was the father on the box?</p> - -<p><i>Con</i>. No, inside.</p> - -<p><i>Fle</i>. You astound me.</p> - -<p><i>Con</i>. Perhaps it’s his birthday.</p> - -<p><i>Hol</i>. Oh! Lord!</p> - -<p><i>Fle</i>. (<i>to</i> H<small>OLDER</small>.) Can’t you make it out?</p> - -<p><i>Hol</i>. I’d come to the tag, sir; the tag!</p> - -<p><i>Fle</i>. (<i>aside.</i>) I can’t make <i>him</i> out.</p> - -<p><i>Hol</i>. Your conversation distracts me.</p> - -<p><i>Fle</i>. Then copy it in my study. (<i>pointing to door</i> <small>R</small>.)</p> - -<p><i>Hol</i>. No, I shall be more at home in the hall. (<i>going.</i>)</p> - -<p><i>Con</i>. (<i>to</i> H<small>OLDER</small>.) Adieu, my good friend. I shall make it a -point of speaking to you whenever I see you now. I wish you to get accustomed to my -voice.</p> - -<p><i>Hol</i>. (<i>aside.</i>) Ah! Ah! she has not insulted me by offering me money.</p> - -<p class="direction_r">[<i>Exit</i>, <small>C</small>.</p> - -<p><i>Con</i>. What and who is this Mr. Holder?</p> - -<p><i>Fle</i>. A copyist; he is often here. You have produced a singular effect upon -him.</p> - -<p><i>Con</i>. Then I am to understand that but for the intercession of this good creature -I should have received by post, stamped at its full value, the gracious compliment.</p> - -<p><i>Fle</i>. On second thoughts I might not have sent my letter.</p> - -<p><i>Con</i>. The fact is that you are like Macbeth, “Letting, I dare<span -class="pagenum"><a class="newpage" id="page-12">[Pg 12]</a></span> not, wait upon I -would.” My dear sir, between ourselves, you want it here (<i>touching her forehead</i>); -you do indeed!</p> - -<p><i>Fle</i>. Confess, now, that you rehearsed to-day on purpose to turn the whole piece -into ridicule.</p> - -<p><i>Con</i>. Well, and if I did—the piece deserves it? A father—a daughter—the old -story, old as the world.</p> - -<p><i>Fle</i>. What matters, if the situations are new.</p> - -<p><i>Con</i>. It’s a dramatised police affair.</p> - -<p><i>Fle</i>. What signifies if the manager is bound over to keep the piece.</p> - -<p><i>Con</i>. Well said! Capital! Now don’t put itself out of temper. I freely admit that -the story is very touching, but if I do not feel it, what would you have? It is a -sentiment I have never experienced, and, therefore, cannot comprehend.</p> - -<p><i>Fle</i>. (<i>aside</i>) Holder’s right.</p> - -<p><i>Con</i>. At any rate I shall <i>look</i> the character to the life, and that’s -<i>everything</i> now-a-days. I shall have a simple white robe. Oh! I have been very -studious about my dress.</p> - -<p><i>Fle</i>. And you don’t know a word of your part yet.</p> - -<p><i>Con</i>. Ah! that’s because I have not studied that.</p> - -<p><i>Fle</i>. That reason’s conclusive.</p> - -<p><i>Con</i>. Besides, I was out of temper. Some one sent me a bouquet this morning, and -Belgrave has been making such a fuss about it.</p> - -<p><i>Fle</i>. He came to me, pretending that I had sent you the bouquet.</p> - -<p><i>Con</i>. And it was not you.</p> - -<p><i>Fle</i>. Certainly not.</p> - -<p><i>Con</i>. Decidedly, that Belgrave is insupportable.</p> - -<p><i>Fle</i>. He quitted me, swearing that he would find out who sent it, if he searched -every flower-shop in London.</p> - -<p><i>Con</i>. And he is not a man to be imposed upon—at least, that’s his monomania. I -was very curious to know who sent this bouquet, and he charged himself with satisfying my -curiosity. I fear he will have only his trouble for his pains.</p> - -<p><i>Fle</i>. Why are you so anxious to know?</p> - -<p><i>Con</i>. Because in the present day the man who sends a bouquet anonymously, and -does not inform you what it cost, is a rare specimen of the <i>genus homo</i> worth -knowing.</p> - -<p><i>Fle</i>. You have a rare wit beyond a doubt, and you would be perfect if you would -study the part in my piece.</p> - -<p><i>Con</i>. Ungrateful monster! Now can you guess why I have come here?</p> - -<p><i>Fle</i>. No.</p> - -<p><i>Con</i>. To go over the part with you seriously.</p> - -<p><i>Fle</i>. Is it possible?</p> - -<p><span class="pagenum"><a class="newpage" id="page-13">[Pg 13]</a></span></p> - -<p><i>Con</i>. At the theatre, instead of rehearsing we were saying disagreeable things to -each other; as that did not appear to me to advantage the piece, I thought an hour with -you in good earnest would not be thrown away.</p> - -<p><i>Fle</i>. You’re an angel.</p> - -<p><i>Con</i>. That’s an incontrovertible fact, for what everybody says must be true; but -since you intend this character for another——</p> - -<p><i>Fle</i>. I!</p> - -<p><i>Con</i>. Have you not told me so to my face? and (<i>sings</i>)</p> - -<p class="verse">“My face is my fortune, sir, she said.”</p> - -<p><i>Fle</i>. A moment of irritation—I was not serious.</p> - -<p><i>Con</i>. Did you intend to give the part to Fitzcharles? They say you are smitten in -that quarter. She’ll listen to you. She delights in literary men—but they are <i>not</i> -the wise men who <i>know</i> themselves to be fools.</p> - -<p><i>Fle</i>. I did not intend to give the part to Fitzcharles, I am not smitten with -her, and you know that well.</p> - -<p><i>Con</i>. Well, now, we must attend particularly to the scene when the father and -daughter recognize each other. I candidly confess that at present I have no idea of it. -When I exclaim “My father!” I always feel inclined to laugh.</p> - -<p><i>Fle</i>. Then that would damn the piece.</p> - -<p><i>Con</i>. Hush! Let us hope that I shall find it no laughing matter on the day of -representation.</p> - -<p><i>Fle</i>. Most fervently, I hope so.</p> - -<p><i>Con</i>. Ah! you must send some one for my part; I have left it at home.</p> - -<p><i>Fle</i>. You go to the rehearsal without your part, and you don’t know a word of -it.</p> - -<p><i>Con</i>. But I have the credit of knowing it, for I spoke to my cue.</p> - -<p><i>Fle</i>. Not without a prompter; I’ll send for it. Jones! Jones! Where is he? Jones! -Jones!</p> - -<p class="entrance"><i>Enter</i> H<small>OLDER</small>, <small>C</small>.</p> - -<p><i>Hol</i>. Jones is gone out, sir.</p> - -<p><i>Fle</i>. There now!</p> - -<p><i>Hol</i>. He’s gone to the theatre for the order you promised him.</p> - -<p><i>Fle</i>. Devil take him! and the order too.</p> - -<p><i>Con</i>. You have yourself to blame—you should not break your promises. You should -not “palter with him in a <i>double</i> sense,” when the order was doubtless for two.</p> - -<p><i>Hol</i>. As I have finished copying, if I can be of any service—</p> - -<p><i>Con</i>. Yes; it’s a great service you can render me with very little trouble.</p> - -<p><span class="pagenum"><a class="newpage" id="page-14">[Pg 14]</a></span></p> - -<p><i>Hol</i>. A service—to you!</p> - -<p><i>Con</i>. It is to go to my house, and ask my servant to give you my part.</p> - -<p><i>Hol</i>. I fly.</p> - -<p><i>Con</i>. Where are you going to fly?</p> - -<p><i>Hol</i>. To your house.</p> - -<p><i>Con</i>. Without knowing the address.</p> - -<p><i>Hol</i>. Oh, I know it—Norfolk Street, No. 90—close by.</p> - -<p><i>Con</i>. You know my address?</p> - -<p><i>Hol</i>. Yes, at the theatre—heard it accidentally—the prompter told the call-boy, -the call-boy told the messenger—and I fly.</p> - -<p class="direction_r">[<i>Exit</i> <small>C</small>.</p> - -<p><i>Con</i>. What a strange man! I recollect seeing him often about the theatre. How -very singular.</p> - -<p><i>Fle</i>. When you spoke to him just now, I thought he would have fallen.</p> - -<p><i>Con</i>. I perceived it.</p> - -<p><i>Fle</i>. Perhaps he has fallen—in love with you.</p> - -<p><i>Con</i>. Absurd!</p> - -<p><i>Fle</i>. Has it never crossed your mind when the curtain fell, to think that among -those who had seen and applauded you, many perhaps loved you who never would be enabled to -declare their love——</p> - -<p><i>Con</i>. “But let concealment like a worm in the bud,” &c. Yes, such a vain idea -has flitted through my brain.</p> - -<p><i>Fle</i>. Without the slightest impression?</p> - -<p><i>Con</i>. Yes, a momentary pleasure.</p> - -<p><i>Fle</i>. You are a very woman to your fingers’ ends.</p> - -<p><i>Con</i>. Beware of them. But come to business. It will be awkward rehearsing without -Melfort, who plays the father.</p> - -<p><i>Fle</i>. I’ll send for him.</p> - -<p><i>Con</i>. Melfort stands upon his dignity. He’s a fettered lion. Send for him. You -had better go for him yourself.</p> - -<p><i>Fle</i>. Where shall I find him?</p> - -<p><i>Con</i>. At the theatre until four.</p> - -<p><i>Fle</i>. (<i>looking at his watch.</i>) And it’s five minutes past.</p> - -<p><i>Con</i>. You have no time to lose.</p> - -<p><i>Fle</i>. It will not take five minutes to go to the theatre, and they allow ten for -the variation of clocks.</p> - -<p><i>Con</i>. Do it, “nor leave the task to me.”</p> - -<p class="direction_hang">[<i>He is running off</i>, <small>C</small>., <i>when he knocks -against</i> B<small>ELGRAVE</small>, <i>who seizes him by the collar.</i></p> - -<p><i>Bel</i>. A word, if you please.</p> - -<p><i>Fle</i>. Presently, my friend; I’m in a hurry.</p> - -<p><span class="pagenum"><a class="newpage" id="page-15">[Pg 15]</a></span></p> - -<p><i>Bel</i>. Do you still persist in saying that you did not send the bouquet? No -humbug.</p> - -<p><i>Fle</i>. I do, I do, I do! there, now let me go.</p> - -<p><i>Bel</i>. But you did send it; I am certain of it. I have proofs.</p> - -<p><i>Fle</i>. I shall be curious to know them, presently.</p> - -<p><i>Bel</i>. I will show you at once, if you’ll listen.</p> - -<p><i>Fle</i>. Impossible!</p> - -<p><i>Bel</i>. Do you think to escape me thus? I am not a man——</p> - -<p><i>Fle</i>. Unhand me, I say.</p> - -<p class="direction_r">[<i>disengages himself</i>, <i>and exits</i>, <small>C</small>.</p> - -<p><i>Bel</i>. Well, that’s one way of cutting short an explanation. For whom do they take -me? (<i>to</i> C<small>ONSTANCE</small>.) You here, madame?</p> - -<p><i>Con</i>. Have you not perceived me?</p> - -<p><i>Bel</i>. You here! What are you doing with Mr. Fletcher?</p> - -<p><i>Con</i>. Rehearsing my new part.</p> - -<p><i>Bel</i>. Rehearsing! what, the part he but now vowed you should not act? At any -rate, you ought at least, both of you, to recollect that I am not a man to be -<i>easily</i> imposed upon. Can’t humbug me! something remains behind.</p> - -<p><i>Con</i>. Then leave it in the hall. You have already made yourself perfectly -ridiculous this morning, and very little more will render you perfectly insupportable.</p> - -<p><i>Bel</i>. That’s very easily said, madame, very easily said, but when my mind—</p> - -<p><i>Con</i>. Your mind!</p> - -<p><i>Bel</i>. Yes, madame, my mind. I beg leave to respectfully assert that I have a -mind, and when the suspicions of that mind are appeased, then, madame, and not till -then—</p> - -<p><i>Con</i>. What an excellent tragedian you would have made.</p> - -<p><i>Bel</i>. Tragedian? humbug! I have my hand full of proofs—this bouquet—</p> - -<p><i>Con</i>. Pansies for thought—Love lies a-bleeding. Have you been walking London with -this bouquet?</p> - -<p><i>Bel</i>. Yes, madame, I have, and have ended by finding out what I sought to -know.</p> - -<p><i>Con</i>. And what is the great discovery you have made? One would almost imagine it -were perpetual motion.</p> - -<p><i>Bel</i>. Mr. Fletcher sent you this bunch of flowers.</p> - -<p><i>Con</i>. The race is not to the swift. You have discovered nothing. Fletcher did not -send me those flowers.</p> - -<p><i>Bel</i>. I beg your pardon; this bouquet was purchased in Regent-street this morning -at 10.45 <small>A</small>.<small>M</small>. The man who bought it was old, and dressed in -a drab hat and black coat. They gave me an exact description of him, and I recognised him -immediately—the copyist who is always at Fletcher’s elbow, and who is literally his right -hand.</p> - -<p><span class="pagenum"><a class="newpage" id="page-16">[Pg 16]</a></span></p> - -<p><i>Con</i>. The copyist purchased it?</p> - -<p><i>Bel</i>. Of course. I’m not a man to be imposed on! Can’t humbug me!</p> - -<p><i>Con</i>. And that proves that Mr. Fletcher sent me these flowers.</p> - -<p><i>Bel</i>. Unless we are to believe that this poor fellow amuses himself in purchasing -bouquets worth a sovereign each out of twopence a length.</p> - -<p><i>Con</i>. You have a lively imagination, and make marvellous jumps at conclusions. -Has it never entered the cavity of your head that in London there may be two men who wear -a drab hat and black coat?</p> - -<p><i>Bel</i>. Possibly! possibly! (<i>Enter</i> H<small>OLDER</small>, <small>C</small>.) -But talk of the old gentleman, &c.; we can know from himself.</p> - -<p><i>Hol</i>. Here is your part, madame.</p> - -<p><i>Bel</i>. (<i>to</i> H<small>OLDER</small>) Do you know this bouquet?</p> - -<p><i>Hol</i>. The one I purchased this morning.</p> - -<p><i>Bel</i>. (<i>to</i> C<small>ONSTANCE</small>) Proof positive!</p> - -<p><i>Con</i>. Well, if Mr. Fletcher did send the flowers, what then?</p> - -<p><i>Hol</i>. It was not Mr. Fletcher who commissioned me to purchase this bouquet.</p> - -<p><i>Bel</i>. Who then?</p> - -<p><i>Hol</i>. Eh! Who?</p> - -<p><i>Bel</i>. Yes—no humbug!</p> - -<p><i>Hol</i>. (<i>confused and hesitating</i>) Oh! it was—hum!</p> - -<p><i>Con</i>. (<i>aside</i>) Can Fletcher have divined?</p> - -<p><i>Bel</i>. (<i>to</i> H<small>OLDER</small>) Well—go on—Ah! Fletcher is not a man to -put his light under a bushel. Fletcher is a man of imagination—a dramatic author—an -original genius; not a translator of unconsidered trifles.</p> - -<p><i>Con</i>. What a fuss about a few roses.</p> - -<p><i>Bel</i>. <i>Rose d’amour</i>, madame. A Fletcher by any other name—I mean, any other -rose is as sweet. Never mind. I don’t understand the language of flowers—no, all -humbug—but this I know. There are men who resign themselves to the part you require them -to act, madame. There are others who refuse to play second to any one, and who, when once -they perceive their position ridiculous, cease to remonstrate, and respectfully offer to -cancel the engagement.</p> - -<p><i>Con</i>. Delightful! Why did you not say so before? What a world of words it would -have saved. “Stand not on the order of going, but go at once.”</p> - -<p><i>Bel</i>. Very good, madame, very good. An angel’s face, but a—</p> - -<p><i>Con</i>. Oh, mercy!</p> - -<p><i>Bel</i>. You have no heart (<i>throws bouquet on floor</i>). Adieu!</p> - -<p class="direction_r">[<i>Exit</i> <small>C</small>.</p> - -<p><span class="pagenum"><a class="newpage" id="page-17">[Pg 17]</a></span></p> - -<p><i>Con</i>. This bouquet—you purchased it, and sent it to me?</p> - -<p><i>Hol</i>. Yes.</p> - -<p><i>Con</i>. These are flowers of great price.</p> - -<p><i>Hol</i>. Yesterday, at the theatre, I was standing behind one of the wings, -and—and—I heard you say you loved them.</p> - -<p><i>Con</i>. Oh! (<i>aside.</i>) Decidedly I have made a conquest here.</p> - -<p><i>Hol</i>. Don’t be angry, I entreat of you; nor don’t laugh at me.</p> - -<p><i>Con</i>. I am neither angry with you, nor in the mood to laugh at you. But what -would you have me say to you?</p> - -<p><i>Hol</i>. Ah! Cons—madame!</p> - -<p><i>Con</i>. You are doubtless very unhappy. I feel for you; your sufferings touch me -nearly.</p> - -<p><i>Hol</i>. (<i>making a step towards her; he stops.</i>) My chi——</p> - -<p><i>Con</i>. You must leave London, and when you see me no more you will forget me.</p> - -<p><i>Hol</i>. You are right. I will go far, far away—but first—</p> - -<p><i>Con</i>. In truth it is the only advice I can give you—see me no more—go.</p> - -<p><i>Hol</i>. I will go—but—</p> - -<p><i>Con</i>. It must be! Adieu!</p> - -<p><i>Hol</i>. Adieu!</p> - -<p><i>Con</i>. Stay! the bouquet you have purchased for me, give it me—at least I may keep -that.</p> - -<p><i>Hol</i>. (<i>picking up the bouquet, and giving it to her.</i>) Ah! -thanks—thanks!</p> - -<p><i>Con</i>. Poor man!</p> - -<p class="direction_r">[<i>Exits door</i>, <small>R</small>.</p> - -<p><i>Hol</i>. To part without embracing her. I would have given the world for one -embrace, and have called her my——; but no, it’s impossible! I will go at once—if I look on -her again, my courage will fail me; and yet, I cannot leave her thus—one embrace, one -kiss, and I depart forever. Ah! Constance! Constance! my dear Constance! (<i>falls on his -knees, and covers the shawl of</i> C<small>ONSTANCE</small> <i>with kisses.</i>)</p> - -<p class="entrance"><i>Enter</i> F<small>LETCHER</small>, <small>C</small>.</p> - -<p><i>Fle</i>. Come, that’s all right—Melfort’s promised to come. (<i>sees</i> -H<small>OLDER</small>.) Hollo!</p> - -<p><i>Hol</i>. Constance! my own Constance!</p> - -<p><i>Fle</i>. What are you doing there?</p> - -<p><i>Hol</i>. Some one here! Oh! it’s you, sir? I should not like to have been surprised -by any one but you.</p> - -<p><i>Fle</i>. What’s the matter with you, Mr. Holder?</p> - -<p><i>Hol</i>. You think me a little cracked, I dare say. You shall know all. I can -confide in you. You are good.</p> - -<p><i>Fle</i>. Speak out, man, for really I cannot comprehend.</p> - -<p><span class="pagenum"><a class="newpage" id="page-18">[Pg 18]</a></span></p> - -<p><i>Hol</i>. When I have told you, you will understand that I cannot go without one -embrace. You will assist me to find a way. After that, I swear, by all that’s good, I will -leave the place for ever.</p> - -<p><i>Fle</i>. Well! proceed.</p> - -<p><i>Hol</i>. My story is not long: Twenty years ago I was a tailor in Long Acre. I was -not a fashionable tailor, but still I did a good trade, and made money. I met a young -girl—she was pretty—very pretty. She lived alone with her father, an old chorus-singer, -who was always drunk, at least he was never sober—and consequently Martha was very -unhappy. I proposed marriage to her, and she accepted. For three years I was the happiest -of men. I was passionately fond of my wife. I had a daughter whom I adored. My happiness -was too great to last. About this time a young man often came to me, and ordered a variety -of clothes which he never wore. On one occasion I observed him speak to my wife in a -manner I thought rather strange. I mentioned it to Martha, and she said I must be mad. I -loved her—and was silenced. Some few days after, this young man came again. I hear -whisperings, then bursts of laughter. This time I asserted my position as a man and a -husband. Martha replied in most unblushing terms. Next day I went out. When I returned, my -house was empty, my home deserted. Martha had eloped with this young man, and taken my -child with her.</p> - -<p><i>Fle</i>. The wretch!</p> - -<p><i>Hol</i>. Little by little my wounded pride effaced the image of Martha, but another -memory clung to me; my daughter, the child I had danced on my knee, that I taught to lisp -my name, this babe whose smile was sunshine to me, whose first word was like an angel’s -whisper to my ear, she was lost to me for ever.</p> - -<p><i>Fle</i>. Poor fellow! poor fellow!</p> - -<p><i>Hol</i>. Fifteen years dragged its weary time away, when one day I received a letter -without an address—it was from Martha. She had doubtless written it on her deathbed. Her -seducer, after having taken her to France and Italy, and dissipated time amidst their -pleasures, had abandoned her. She dared not return to me. “Pardon me,” said she, “I have -been bitterly punished. As for your daughter—”</p> - -<p><i>Fle</i>. Well, your daughter?</p> - -<p><i>Hol</i>. It was the greatest blow of all, but it must be told. “As for your -daughter, I know not where she is, but you will easily recognize her if you recall my form -and features. Such as I was when you first saw and loved me, such is your child to-day—the -same face, the same look, the same voice.” I uttered a cry of joy. My child lives—I shall -see her once again.</p> - -<p><span class="pagenum"><a class="newpage" id="page-19">[Pg 19]</a></span></p> - -<p><i>Fle</i>. Why, this is stranger than fiction.</p> - -<p><i>Hol</i>. I traversed the town in the hope of meeting her—resorted to every public -place. I was repulsed from every door—my inquiries were laughed at; but jeers and insults -could not stay me. I peered into each coach and cab, watched at the door of every ball, -waited by the entrance of all the theatres—everywhere. I stared in every woman’s face that -passed. One day I heard a voice, the voice of Martha: a woman appeared—the form of Martha. -“Constance,” said some one. The woman turned—the face of Martha. Constance—it was the name -of my child!</p> - -<p><i>Fle</i>. She!</p> - -<p><i>Hol</i>. Yes, I saw her again next day. Not a day passes without my seeing her.</p> - -<p><i>Fle</i>. And you have not thrown yourself in her arms? You have not made yourself -known to her?</p> - -<p><i>Hol</i>. No.</p> - -<p><i>Fle</i>. Why not?</p> - -<p><i>Hol</i>. How might she have received my burst of affection? A word effaces not -fifteen years of indifference. The love of a father and child is not an instinct. I can -endure being unknown to her, console myself by looking on her and loving her in secret; -but to say to her, “I am your father,” and not be loved—</p> - -<p><i>Fle</i>. She would soon learn to love you.</p> - -<p><i>Hol</i>. If I had been a stranger to her for fifteen years, and they said to me, -“Here is your daughter,” that would not suffice to make me love her. Now, thank heaven, I -have nothing to reproach her with, poor child! To forgive is to merit forgiveness. -Besides, I am poor, old, and without resources. When I shall have told her that I was her -father, what would she have done? Offered me bread as a duty. There are those who would -have eat of such bread. Would she have placed me beside her in her carriage, or with her -groom on the box?</p> - -<p><i>Fle</i>. What then do you desire?</p> - -<p><i>Hol</i>. To depart. She has advised me to do so; only before my departure I would -enfold her in my arms—press one kiss of affection on her cheek.</p> - -<p class="entrance"><i>Enter</i> J<small>ONES</small>, <small>C</small>.</p> - -<p><i>Jones</i>. A letter, sir.</p> - -<p><i>Fle</i>. Oh! you are returned at last.</p> - -<p><i>Jones</i>. I only went to the theatre—I told you, sir, what for.</p> - -<p><i>Fle</i>. Does it take an hour to go there?</p> - -<p><i>Jones</i>. On my way back I called on Miss Penelope, sir, and informed her that in -future, sir, you had promised to stick to blank verse.</p> - -<p><span class="pagenum"><a class="newpage" id="page-20">[Pg 20]</a></span></p> - -<p><i>Fle</i>. Give me the letter.</p> - -<p><i>Jones</i>. Here it is, sir.</p> - -<p><i>Fle</i>. It’s from Melfort! “My dear fellow, you must excuse my coming to your -house—remember I have a character to lose, and were I to rehearse with a girl of seventeen -anywhere but in the theatre, the world would <i>affiché</i> me to her.” A vain ass!</p> - -<p class="direction_r">[<i>Crushes up the letter.</i></p> - -<p><i>Jones</i>. I’m very fond of <i>dialect</i> with <i>les Dames.</i> Is the piece -French, sir?</p> - -<p><i>Fle</i>. Go to the devil!</p> - -<p><i>Jones</i>. Perhaps, sir, I could adopt it to my style sufficiently——</p> - -<p><i>Fle</i>. Will you go?</p> - -<p><i>Jones</i>. I’m going, sir. (<i>aside</i>) I am studying “French without a master,” -that I may read the English drama in the original.</p> - -<p class="direction_r">[<i>Exit</i>, <small>L</small>.</p> - -<p><i>Fle</i>. So there’s an end of our intended private rehearsal.</p> - -<p><i>Hol</i>. If I simply express to her my desire to press her to my heart, she would -laugh at me. Heaven’s will be done! Would I could find some way—can you not help me?</p> - -<p><i>Fle</i>. Did you not say but now that you knew by heart the scene in my piece where -the father discovers his daughter?</p> - -<p><i>Hol</i>. Yes, sir.</p> - -<p><i>Fle</i>. Capital! You shall embrace your daughter.</p> - -<p><i>Hol</i>. Indeed! How—when—where?</p> - -<p><i>Fle</i>. Here—now.</p> - -<p><i>Hol</i>. I shall embrace her—she will permit me to do so, and yet she shall not -know?</p> - -<p><i>Fle</i>. She shall know nothing.</p> - -<p class="entrance"><i>Enter</i> C<small>ONSTANCE</small>.</p> - -<p><i>Con</i>. Well! will Melfort come?</p> - -<p><i>Fle</i>. He has written to me to say he cannot.</p> - -<p><i>Con</i>. Then the rehearsal is a <i>fiasco?</i></p> - -<p><i>Fle</i>. Decidedly, unless you rehearse without him.</p> - -<p><i>Con</i>. Will you rehearse the father?</p> - -<p><i>Fle</i>. No. I must see you; listen to you; if need be, prompt you.</p> - -<p><i>Con</i>. Who will do the father, then? (<i>Seeing</i> H<small>OLDER</small>.) You -here still, sir?</p> - -<p><i>Fle</i>. I requested Mr. Holder to remain. He knows the scene by heart at which you -boggled to-day.</p> - -<p><i>Hol</i>. (<i>aside.</i>) Ah! I understand!</p> - -<p><i>Con</i>. The scene of recognition—you know it by heart?</p> - -<p><i>Hol</i>. Yes, through copying it, it fixed itself in my memory.</p> - -<p><i>Con</i>. What a memory! I have been studying that scene more than an hour, and I do -not feel myself master of it yet.</p> - -<p><i>Fle</i>. Now, if you please, we’ll go through it with Mr. Holder.</p> - -<p><span class="pagenum"><a class="newpage" id="page-21">[Pg 21]</a></span></p> - -<p><i>Hol</i>. (<i>aside to</i> F<small>LETCHER</small>.) God bless you!</p> - -<p><i>Con</i>. With Mr. Holder?</p> - -<p><i>Hol</i>. You object?</p> - -<p><i>Con</i>. Well, really, it’s the oddest circumstance——</p> - -<p><i>Hol</i>. (<i>aside to</i> F<small>LETCHER</small>.) Bless you!</p> - -<p><i>Fle</i>. Listen. (<i>To</i> H<small>OLDER</small>.) Control your feelings.</p> - -<p><i>Con</i>. What’s our position? Oh! you there, sir—I here—presently you cross me. -By-the-bye, Fletcher, all is over between Belgrave and I. Oh! it’s such a happy -release.</p> - -<p><i>Fle</i>. Come, begin.</p> - -<p><i>Con</i>. I am ready.</p> - -<p><i>Hol</i>. We—we commence the scene after the young girl’s story?</p> - -<p><i>Fle</i>. Precisely.</p> - -<p><i>Hol</i>. (<i>rehearsing.</i>) “When you arrive in London repeat that to me again; -the servant who accompanied you, brought you to an old lady?</p> - -<p><i>Con</i>. “Yes.</p> - -<p><i>Hol</i>. “The lady at first received you unkindly, is it not so? Soon she would not -part with you?</p> - -<p><i>Con</i>. “Yes; but how know you that?</p> - -<p><i>Hol</i>. “I know it”——</p> - -<p><i>Con</i>. You are quite affected. You are perfect to a letter, and rehearse it -charmingly—much better than Melfort. You ought to have been an actor.</p> - -<p><i>Hol</i>. I could not act all parts like this!</p> - -<p><i>Fle</i>. Go on! You do it much better, much better! Go on!</p> - -<p><i>Hol</i>. “Five years passed, when one day this old lady called you to her. ‘This is -your home,’ said she—‘the moment has arrived when I must depart.’</p> - -<p><i>Con</i>. “Her very words!</p> - -<p><i>Hol</i>. “And she quitted you—she exhibited no sign of affection for you—she only -announced to you, that a man would shortly present himself to you. This man—</p> - -<p><i>Con</i>. “Was he to whom I offered my daily vows, though to me he was unknown. ‘That -man,’ said she, ‘is your father.’”</p> - -<p><i>Hol</i>. “I am he.</p> - -<p><i>Con</i>. “You?</p> - -<p><i>Hol</i>. “Yes—I—I!” my child! Yes, at last, my child. Yes, ’tis I—’tis I—</p> - -<p><i>Con</i>. Stay—that’s not it—you forget—there’s nothing of that kind in the -manuscript.</p> - -<p><i>Fle</i>. No—</p> - -<p><i>Hol</i>. What is it, then?</p> - -<p><i>Fle</i>. (<i>reading.</i>) “My child—my child! Yes—I—your father!<span -class="pagenum"><a class="newpage" id="page-22">[Pg 22]</a></span> Not a minute during the -twenty long years which have separated us, have I ceased to think of the day when I should -be enabled to press you to my heart.”</p> - -<p><i>Hol</i>. I beg your pardon; I was mistaken. “Yes, your father! Not a minute during -the twenty long years which——” What comes next?</p> - -<p><i>Fle</i>. “During the twenty long years which have separated us have I ceased to -think——”</p> - -<p><i>Hol</i>. “Not a minute during the twenty long years which——” No father, on finding -his daughter, would make use of such an expression.</p> - -<p><i>Fle</i>. Why, just now you said—</p> - -<p><i>Hol</i>. Here is a man who has not seen his daughter for twenty years—who seeks -her—who finds her—sees her—speaks to her—and you put in the mouth of this man a long -rigmarole. He could not speak it. Impossible! tears—sobs—that’s all. My child, here, come -to my heart—let me gaze on you—do not speak. My child, how sweet that name. Come, your -father, ’tis I. Not a word—you know not—you cannot know—my child! my child! ah! -(F<small>LETCHER</small> <i>writing</i>).</p> - -<p><i>Con</i>. You are faint?</p> - -<p><i>Hol</i>. No; it’s nothing—nothing. That’s more like what I should feel.</p> - -<p><i>Con</i>. It’s put me out completely. I don’t remember a word now.</p> - -<p><i>Hol</i>. (<i>writing.</i>) He’s right. His ideas are more natural than mine. “One -touch of nature——”</p> - -<p><i>Con</i>. (<i>to</i> H<small>OLDER</small>.) You are crying.</p> - -<p><i>Hol</i>. Likely; it’s the character of the father. Let us finish the scene, will -you.</p> - -<p><i>Con</i>. What a splendid actor you would have made!</p> - -<p><i>Hol</i>. Let us finish the scene.</p> - -<p><i>Con</i>. “You say you are my father.”</p> - -<p><i>Hol</i>. “You doubt it! Happily I can invoke remembrances that will give confidence -to your heart.”—(<i>To</i> F<small>LETCHER</small>.) Here is another passage which must be -altered.—“Do you not recall your days of childhood? A cottage surrounded with large -trees—the high road passing before the door——</p> - -<p><i>Con</i>. “Yes—yes!</p> - -<p><i>Hol</i>. “On this road, in the distance, a man who, waving his handkerchief, -shouted, ‘I am here.’</p> - -<p><i>Con</i>. “I remember well.</p> - -<p><i>Hol</i>. “He crossed the threshold—pressed you in his arms, and, kissing you again -and again, he danced for joy. Can you still doubt?</p> - -<p><i>Con</i>. “My father!”</p> - -<p><span class="pagenum"><a class="newpage" id="page-23">[Pg 23]</a></span></p> - -<p><i>Fle</i>. That’s not it, Belmour; not it at all—you never give sufficient force to -that word.</p> - -<p><i>Con</i>. Eh! well then, let some one else do it.</p> - -<p><i>Fle</i>. Be patient—be patient. You can do it to perfection, I am sure, because you -have it here and here (<i>touching his head and heart</i>). Why not work yourself up to -the notion that this young girl who has not heard speak of her father for twenty years, -and who suddenly finds herself face to face with him, is yourself.</p> - -<p><i>Con</i>. What do you say?</p> - -<p><i>Hol</i>. Imagine yourself the girl you are representing.</p> - -<p><i>Con</i>. There is something in your words and manner—</p> - -<p><i>Hol</i>. Try again. This time you will feel the words. “He pressed you in his arms, -he kissed you again and again, he danced for joy. Can you still doubt?</p> - -<p><i>Con</i>. “My father!”</p> - -<p><i>Fle</i>. That’s not up to the mark yet.</p> - -<p><i>Con</i>. I know it is not, but I shall never do it better.</p> - -<p><i>Hol</i>. (<i>to</i> F<small>LETCHER</small>.) I suspect the fault rests with -yourself. The remembrances you invoke in this scene are very vague. A road, a man on a -road; there is nothing to lead up. Who knows, now if we were to change some words?</p> - -<p><i>Con</i>. Ah! yes; cut out, “My father!”</p> - -<p><i>Fle</i>. Cut out “My father!” You had better cut me out. Why that is the great point -of the piece.</p> - -<p><i>Hol</i>. No, no; change the details.</p> - -<p><i>Fle</i>. To what? to what?</p> - -<p><i>Hol</i>. Allow me. (<i>To</i> C<small>ONSTANCE</small>.) Recall to your memory my -child, bethink you will—a large room—a man seated on a table—cross-legged—who sometimes -crept towards you with his head moving up and down, like a monkey, to make you laugh.</p> - -<p><i>Con</i>. Ah!</p> - -<p><i>Hol</i>. Do you remember? By the side of this man a large pair of scissors, called -shears, with which you always wanted to play—and the man scolded you gently—very -gently—told you not to touch them.</p> - -<p><i>Con</i>. Surely that was—go on—</p> - -<p><i>Hol</i>. And one day when you cut yourself with these shears, your blood flowed, you -remember?</p> - -<p><i>Con</i>. Yes—</p> - -<p><i>Hol</i>. You cried—the man jumped from the table pale with fright, but when he saw -it was nothing, he pretended to laugh, and beat the scissors very hard to console you—my -child, my child—that man, do you remember him?</p> - -<p><i>Con</i>. My father. (<i>She falls in his arms. They embrace and kiss each other with -strong feeling.</i>)</p> - -<p><i>Hol</i>. She said it right then! You heard. Said it finely, eh?<span -class="pagenum"><a class="newpage" id="page-24">[Pg 24]</a></span> suiting the word to the -action, the action to the word. She may keep the part now.</p> - -<p><i>Fle</i>. And are you still bent on departing?</p> - -<p><i>Hol</i>. Departing! What do you mean, departing?</p> - -<p><i>Fle</i>. Why, just now, you talked of—</p> - -<p><i>Hol</i>. Ah! just now—just now she had not said, “My father.”</p> - -<p><i>Con</i>. And do I indeed embrace my father, that best protector from the world’s -assaults. Oh! I have often dream’d of this, but the bright reality, with its vivid flashes -of childhood’s memories, seem to endow me with a new existence of filial love and -pleasure.</p> - -<p><i>Hol</i>. You hear, you hear, did I not tell you she was a genius. My good genius! -One touch of nature has restored a child to a father’s heart. “One touch of nature makes -the whole world kin.”</p> - -<hr class="margin_top_five_em"/> - -<p class="center"><small>“Nassau Steam Press”—W. S. Johnson, 60, St. Martin’s Lane, -Charing Cross, W.C.</small></p> -</div> - -<div class="chapter tnote" id="tnote_div"> -<h3 class="tnote" id="tnote">Transcriber’s Note</h3> - -<p>This transcription is based on the text printed, presumably soon after the first -production in 1859, by Webster and Co. as number 199 of <i>Webster’s Acting National -Drama</i> series. This text was made available as a microcopy by the University of -California, Davis. However, because of the imperfections of the microcopy, the -transcription was checked against a copy of an American Samuel French edition, number 287 -of <i>French’s Minor Drama, The Acting Edition</i> series. Scans of this copy have -been made available through the Internet Archive:</p> - -<p class="center pad_top_half_em pad_bottom_half_em"><a -href="https://archive.org/details/WebsterOneTouchofNature"> -archive.org/details/WebsterOneTouchofNature</a></p> - -<p class="noindent">The Samuel French edition is essentially a reprint of the Webster -edition with minor changes to punctuation.</p> - -<p>The 1902 edition published in Philadelphia by the Penn Publishing Company was also -reviewed, but because of textual changes this edition was not used. Some of these changes -corrected the grammar of the original. For example, Holder enters saying “It’s me, sir” in -the Webster and French editions, but says “It’s I, sir” in the Penn. Some of the changes -attempted to make the language more acceptable to American sensibilities. For example, in -the Webster and French editions, Fletcher enters saying, “The devil take the theatre, and -all the actresses into the bargain!” In the Penn edition, he enters saying, “The mischief -with the theatre, and all the actresses into the bargain!” Similar changes were made -throughout the text.</p> - -<p>In general, this transcription attempts to retain the formatting, punctuation, and -spelling of the source text. Stage directions were punctuated three different ways: with -parentheses without a period, with a period within the parentheses, and with a period -immediately following the closing parenthesis. No attempt was made to make the punctuation -of stage directions consistent.</p> - -<p>The following changes were made to the text:</p> - -<ul> -<li>Title page: Inserted a period after “AND ALL BOOKSELLERS” for consistency.</li> - -<li>p. 8: <i>Hol</i>. Shall I take it home with me and finish it.—Changed the period to a -question mark.</li> - -<li>p. 8: <i>Hol</i>. Is it readable.—Changed the period to a question mark.</li> - -<li>p. 9: <i>Hol</i>. Its fine, very fine!—For consistency, changed “Its” to “It’s”.</li> - -<li>p. 10: <i>Fle</i>. Oh!——well, there (<i>tears up letter.</i>)—Inserted a period after -“there”.</li> - -<li>p. 11: <i>Fle</i>. Will you finish copying the last leaf.—Changed the period to a -question mark.</li> - -<li>p. 11: <i>Hol</i>. Ah! yes, directly—conclude its done.—Changed “its” to “it’s”.</li> - -<li>p. 13: <i>Con</i>. But if I have the credit of knowing it, for I spoke to my -cue.—Followed the Samuel French edition and deleted “if”.</li> - -<li>p. 16: <i>Bel</i> (<i>to</i> C<small>ONSTANCE</small>) Proof positive.—For -consistency, inserted a period after the character title abbreviation “<i>Bel</i>”, and -following the Samuel French edition changed the period to an exclamation mark.</li> - -<li>p. 16: <i>Bel</i>. Who then.—Followed the Samuel French edition and changed the -period to a question mark.</li> - -<li>p. 18: As for your daughter.” Followed the Samuel French edition and changed the -period to an em dash.</li> - -<li>p. 20: [<i>Enter</i> C<small>ONSTANCE</small>.—For consistency, deleted the opening -square bracket and in the html-based versions of this transcription centered the stage -direction for an entrance.</li> - -<li>p. 22: <i>Hol</i>. I beg your pardon; I was mistaken. “Yes, your father not a -minute—Followed the Samuel French edition and inserted an exclamation mark after “father” -and capitalized “not”.</li> - -<li>p. 23: This time you will feel the words, “He pressed you in his arms—Followed the -Samuel French edition and changed the comma to a period.</li> - -<li>p. 24: <i>Fle</i>. And are you still bent on departing.—Changed the period to a -question mark.</li> -</ul> -</div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of One Touch of Nature, by Benjamin Webster - -*** END OF THIS PROJECT GUTENBERG EBOOK ONE TOUCH OF NATURE *** - -***** This file should be named 54172-h.htm or 54172-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/4/1/7/54172/ - -Produced by Paul Haxo with special thanks to the University -of California, Davis. - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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