The Black Cat by John Todhunter (uplifting books for women .TXT) đź“•
The Play produced under the direction of Mr. H. DE LANGE.
The ACTION of the play takes place in Denham's Studio inLondon, at the PRESENT DAY.
The Black Cat.
Act I.
_Scene: Denham's Studio. Large highlight window in sloping roof atback. Under it, in back wall, door to landing. L of thedoor the corner is curtained off for model's dressing-room.R of door a large Spanish leather folding screen, whichruns on castors, shuts off from the door the other corner, in whichis a "throne," pushed up against the wall. Above the "throne" hangsa large square mirror in a carved black frame. In front of the"throne" is a light couch of Greek form, without back._
_Fireplace, with chimney-breasts panelled in old oak, and highovermantel, in which are shelves and cupboards, L._
_Against R wall an old oak cabinet, with carved cornice,and inlaid panelled doors. Close beside it stands on a pedestal abust o
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Overton? I seem to have heard the name. Didn't she run away from her husband, or something?
Mrs. Denham.
Yes, poor thing! He led her an awful life.
Denham.
Oh, and then she married the co-respondent! I remember.
Mrs. Denham.
What an interest you take in these scandals!
Denham.
Of course, dear. A scandal is a typical case of the great social disease.
Mrs. Denham.
She promised to be handsome.
Denham.
I wonder whether this woman is a weak fool, or a bold experimenter in the art of life?
Mrs. Denham.
How so?
Denham.
Why, having had the courage to come down from the cross, should she go back to it again?
Mrs. Denham.
What cross?
Denham.
What is woman's cross from the foundation of the world but man, man? The cords are the bonds of marriage, her children are the nails, and love her crown of thorns.
Mrs. Denham.
Very poetical, no doubt.
Denham.
Bitter truth, as you are never tired of demonstrating to me. Do you think the unfortunate cross has not had his share of the torment?
Mrs. Denham.
Too light a share for his tyranny, cruelty, and, above all, his mean hypocrisy. May he burn in some spiritual fire for that!
Denham.
So he does; it runs in his veins. Well, something better may come of it, some day. By-the-bye, I expect some men to see my picture.
Mrs. Denham.
Brynhild?
Denham.
Yes, such as she is. (Crosses R, and looks at the picture.) Another failure, of course. (Sighs.)
Mrs. Denham.
Why will you always speak of your work so despondently?
Denham.
Because I want to do better. Vanity, I suppose. (He comes back towards the fireplace.)
Mrs. Denham.
Just move out this sofa. (They move sofa to C.) Who are coming?
Denham.
Oh, Fitzgerald, of course, and possibly Cyril Vane.
Mrs. Denham. That little creature? You know I detest him.
Denham.
Why little? Do you estimate men of genius by the pound?
Mrs. Denham.
Men of genius, indeed? The man has a second-hand intellect.
Denham.
Really, you sometimes say a good thing—that is, an ill-natured one. How you hate culture! (Enter Jane, showing in Fitzgerald.)
Jane.
Mr. Fitzgerald! (Exit Jane.)
(Fitzgerald saunters up to Mrs. Denham, stops suddenly, straddling his legs, and shakes hands loosely and absently.)
Fitzgerald.
Lovely day, eh? Have you heard the news?
Denham.
We never have heard the news.
Mrs. Denham.
You are the only gossip who comes our way.
Fitzgerald.
(good-humouredly) Gossip, eh? Oh, you needn't think I mind being denounced from your domestic altar, Mrs. Denham! I know you're dying to hear the last bit of scandal.
Mrs. Denham.
Take pity on me then.
Fitzgerald.
I know this'll interest you awfully. Pottleton Smith's wife's run away at last. Now wasn't I right? (Looks smilingly at both for sympathy.) I always said she would, you know.
Mrs. Denham.
Poor silly little flirt! I'm very sorry.
Fitzgerald.
(rubbing his hands) I'm—I'm awfully glad. It'll be the saving of poor Smith. Though he's awfully cut up about it, of course.
Denham.
Did she run away with—any one in particular?
Fitzgerald.
A Captain Crosby or Cosby, or something. He's in some horse regiment, the cavalry or something. He's—he's an awful scamp, a blackleg and all that, but an awfully nice fellow. I met him at Smith's the other day, and they—they—they were carrying on all the time under poor little Smith's nose. (He saunters absently to the easel and looks at the picture.) The picture—eh? It's—it's awfully good, you know—an advance on your last.
(During this speech Denham also goes to the easel.)
Mrs. Denham.
Don't you think so?
Fitzgerald.
Yes, it's an advance, decidedly. What is it, eh? I forget.
Denham.
Brynhild.
Fitzgerald.
Oh, Brynhild! The horse is awfully good, you know—savage and that; but the woman isn't ugly enough—at least, you haven't quite got the right kind of ugliness, eh?
Denham.
Unfortunately I meant her to be beautiful.
Mrs. Denham.
(smiling) And I gave him some sittings, Mr. Fitzgerald.
Fitzgerald.
(with a genial laugh) Did you, now? Well, he tried to improve on you—that was it. (With great conviction to Denham.) But—but surely you're wrong in that. Brynhild was an ugly, passionate woman. The passionate woman is always ugly. The passionate woman has character, and character is always ugly.
Denham.
Yes, I know what you mean. But I thought—no, the thing's a failure. Don't bother about it, but come and sit down. Have a cigarette? (Gives him a cigarette.)
Fitzgerald.
Thanks.
(They sit down, Fitzgerald lights cigarette, and puffs solemnly before he speaks again.)
Mrs. Smith (puff), you didn't know her well? Did you, Mrs. Denham? (Puff.)
Mrs. Denham.
No—not well.
Fitzgerald.
You know I painted her portrait (looks at lighted end of cigarette), portrait (leans back in his chair, replaces cigarette in his mouth, and puffs again. Then putting his hands behind his head, he stretches out his legs, and looks at the ceiling), so I knew her like my own sister. (Puff.) She was a pretty little devil (puff), awfully aristocratic, mind you, vulgar, of course, an'—an' poor refined little Smith just didn't drop his H's. (Puffs, chuckles to himself.) Yes, she was a born jade. (Puff.) I—I liked her awfully. (Puff.)
Mrs. Denham.
You seem to like every one awfully.
Fitzgerald.
(with fervour, sitting up in his chair, and flinging away his half-smoked cigarette) So I do. I enjoy the Human Comedy. Now you don't enjoy the Human Comedy a bit.
Mrs. Denham.
It comes too near me.
Denham.
A cab at the door; this may be Vane. (Crosses l to fire.)
Fitzgerald.
Vane? That's splendid! He cuts me dead now, because I reviewed his last Society Verses, with some other men's, under the head, "Our Minor Poets," in Free Lances.
Denham.
Oh, an editorial? Serves you right, you Jack-of-all-trades. How if some brother Minor Critic were to class you as a Minor Painter?
Fitzgerald.
For Heaven's sake introduce me to him.
(Enter Jane, showing in Vane.)
Jane.
Mr. Vane!
(Exit Jane.)
(Vane shakes hands languidly with Mrs. Denham and Denham, and stares at Fitzgerald, who smiles genially.)
Denham.
Ah, Vane, glad to see you.
Vane.
How d'ye do? Ah, Mrs. Denham, that tea-gown is charming.
Mrs. Denham.
Flattery from you, Mr. Vane, is more than flattery. Pray excuse me for a moment.
(Exit Mrs. Denham.)
Denham.
Fitzgerald, you know Vane, of course?
Fitzgerald.
Upon my word I scarcely know. Do we know each other, Vane?
Vane.
My dear Fitzgerald, when will you learn that you can never know me? (Crosses to picture.)
Fitzgerald.
Then, my dear Vane, I must learn to be resigned. (Fitzgerald turns away, and takes up Gyp. Vane looks at the picture.) What's this? "Autour du Marriage," eh? (Opens book, and reads, then lies on sofa, still reading.)
Vane.
Ah, the Brynhild! My dear Denham, why will you do such things?
Denham.
What have I done?
Vane.
Not what you have tried to do—to paint an epic picture.
Denham.
Is that wrong?
Vane.
Worse than wrong; it is a bĂŞtise. (Comes to fire, and stands with his back to it.) You might as well try to write a long poem. Such things are certainly long, and as certainly not poems. That huge thing is not a picture.
Denham.
Ah, you write quatrains. Should no poem exceed four lines?
Vane.
Not only should not, but in our present state of development, cannot. The quatrain is the analogue of the Greek gem, the consummate flower of the national art of the period. It will take at least a century to perfect and exhaust it. Have you seen my book, "Three Quatrains"?
Denham.
No; have you published it lately?
Vane.
My dear Denham! I never publish anything. In a wilderness of mediocrity obscurity is fame.
Denham.
Yes, a well-advertised obscurity. But surely you have published poems?
Vane.
Where have you lived, my dear fellow? I breathe a poem into the air, and the world hears. If some one prints it, can I help it? One does not print, wake, and become famous; one becomes famous, and the world awakes, cackles, and prints one.
Fitzgerald.
By-the-bye, Vane, there's a quatrain in your "In the House of Hathor" I wanted to ask you about.
Vane.
Which?
Fitzgerald.
Let me see—it begins:
"I saw a serpent in my Lady's heart"—
Vane.
Ah! spare me the torment of hearing—
Fitzgerald.
Your own lines?
Vane.
Mur-dered!
Lovely and leprous; and a violet sigh
Shook the wan, yellowing leaves of threnody,
Bruised in the holy chalice of my Art."
Fitzgerald.
Ah yes! I didn't quite catch the meaning.
Vane.
Meaning? It is a piece of mu-sic, in which I have skilfully e-lu-ded all meaning.
Fitzgerald.
Oh, I see! (Resumes his book.)
Denham.
(to Vane) Have a cigarette? (Denham offers him a cigarette; he takes one absently, then lets it drop back into the box.)
Vane.
Thanks, no—I never smoke. It has become so vulgar.
Denham.
Really? What do you do then—absinthe?
Vane.
For the purposes of art it is antiquated. (He sighs.) I have tried haschish.
Denham.
Well?
Vane.
Without distinct results—for one's style, that is.
Denham.
Oh!
Vane.
One sometimes sees oneself inventing the Narghilé. It involves the black slave, of course, and might lead to a true retrogressive progress—even to the Harîm. One pities the superfluous woman, there are so many about.
Denham.
Yet Mormonism seems to be a failure.
Vane.
It was so dreadfully upholstered!
Denham.
The Harîm would be a new field for the collector. How prices would run up!
Vane.
Ah, Denham, never touch a dream with the vulgarity of real things! (Crosses to picture.)
(Fitzgerald, who has been reading Gyp, suddenly comes forward with the book in his hand, and breaks in.)
Fitzgerald.
This Gyp's awfully good. Who is he, eh?
Vane.
(with patient scorn) A woman!
Fitzgerald.
(with conviction) To be sure! That makes it—splendid! (Chuckles to himself, sits again on sofa, and goes on reading.)
Vane.
(looking at picture) Will you never learn to be an artist, Denham? The modern picture should be a painted quatrain, with colours for words—words which say nothing, because everything has been said, but which suggest all that has been felt and dreamed. Art is the initiation into a mood, a mystery—a sphinx whose riddle every one can answer, yet no one understand.
Fitzgerald.
(shutting the book on his finger) Bravo, Vane! 'Pon my word, I begin to believe in you.
Vane.
I can endure even that.
Denham.
I am on the wrong tack then?
Vane.
My dear fellow, look at that canvas. What a method! You are like an amateur pianist who tries laboriously to obtain tone, without having mastered the keyboard. One cannot blunder into great art. Only Englishmen make the attempt. You are a nation of amateurs. (He turns away, and sees a sketch on the l wall) Did you do this?
Denham.
My brush did it somehow.
Vane.
Ah! this is exquisite—or would be if you could paint. Why, why not learn the technique of your art, and make these notes of a mood, a moment, so as to give real delight?
Denham.
Upon my word, Vane, you are right. That sketch is worth a wilderness of Brynhilds. But look here! (Crosses to picture. He opens a pocket knife, and makes a long cut across the figure of Brynhild.) There goes a year's work.
Fitzgerald.
(rising) By Jove!
Vane.
My dear fellow, I congratulate you. The year's work is not thrown away—now. (Re-enter Mrs. Denham.)
Mrs. Denham.
Oh, Mr. Vane, what have you made him do?
Vane.
My dear Mrs. Denham, I have saved your husband's reputation for a few months at least. He cannot do anything so consummately bad in less. Pray, pray, do not try to understand art! Women never can; they have not yet developed the sixth sense—the sense of Beauty. But I must really tear myself away.
(Mrs. Denham sits gloomily on throne, ignoring Vane.)
Denham.
Won't you stay and have some tea?
Vane.
Thanks, no. Lady Mayfair made me promise to go and hear her new tenor. One knows what one has to expect, but one goes.
(Enter Jane, showing in Miss Macfarlane.)
Jane.
Miss Macfarlane!
(Miss Macfarlane shakes hands with Mrs. Denham and Denham, and nods to Fitzgerald and Vane.)
Miss Macfarlane.
How d'ye do, Fitz? Ah, Vane! you here? Don't run away.
Vane.
Unfortunately I must. The wounds of our last encounter are not yet healed.
Miss Macfarlane.
Pshaw, man! I don't use poisoned weapons.
Vane.
Ah,
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