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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 PERSONĘ. - -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 Personę._ - -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 _affiché_ 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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