Arthur Pinero wrote The Second Mrs. Tanqueray in 1893 after penning several successful farces. Playing on the “woman with a past” plot that was popular in melodramas, Pinero steered it in a more serious direction, centering the play around the social consequences arising when Aubrey Tanqueray remarries in an attempt to redeem a woman with a questionable past.
The play’s structure is based on the principles of the “well-made play” popular throughout the 19th-century. But just as Wilde manipulated the conventions of the “well-made play” to produce a new form of comedy, so did Arthur Pinero manipulate it, forgoing the happy ending to produce an elevated form of tragedy.
The Second Mrs. Tanqueray was first performed in 1893, at the St. James Theatre, London, at a time when England was still resisting the growing movement in Europe towards realism and the portrayal of real social problems and human misconduct. But while it was regarded as shocking, it ran well and made a substantial profit. Theatre historian J. P. Wearing phrased it thus: “although not as avant-garde as Ibsen’s plays, Tanqueray confronted its fashionable St. James’s audiences with as forceful a social message as they could stomach.”
us last night, dear?
Paula
A bit of Schubert. Would you like to hear it again?
Lady Orreyed
You don’t know any comic songs, do you?
Paula
I’m afraid not.
Lady Orreyed
I leave it to you, then.
Paula plays. Aubrey and Cayley Drummle appear outside the window; they look into the room.
Aubrey
To Drummle. You can see her face in that mirror. Poor girl, how ill and wretched she looks.
Drummle
When are the Orreyeds going?
Aubrey
Heaven knows!
Entering the room.
Drummle
But you’re entertaining them; what’s it to do with Heaven?
Following Aubrey.
Aubrey
Do you know, Cayley, that even the Orreyeds serve a useful purpose? My wife actually speaks to me before our guests—think of that! I’ve come to rejoice at the presence of the Orreyeds!
Drummle
I daresay; we’re taught that beetles are sent for a benign end.
Aubrey
Cayley, talk to Paula again tonight.
Drummle
Certainly, if I get the chance.
Aubrey
Let’s contrive it. George is asleep; perhaps I can get that doll out of the way. As they advance into the room, Paula abruptly ceases playing and finds interest in a volume of music. Sir George is now nodding and snoring apoplectically. Lady Orreyed, whenever you feel inclined for a game of billiards I’m at your service.
Lady Orreyed
Jumping up. Charmed, I’m sure! I really thought you’d forgotten poor little me. Oh, look at Dodo!
Aubrey
No, no, don’t wake him; he’s tired.
Lady Orreyed
I must, he looks so plain. Rousing Sir George. Dodo! Dodo!
Sir George
Stupidly. ’Ullo!
Lady Orreyed
Dodo, dear, you were snoring.
Sir George
Oh, I say, you could ’a told me that by-and-by.
Aubrey
You want a cigar, George; come into the billiard room. Giving his arm to Lady Orreyed. Cayley, bring Paula.
Aubrey and Lady Orreyed go out.
Sir George
Rising. Hey, what! billiard room! Looking at his watch. How goes the—? Phew! ’Ullo, ’Ullo! Whisky and potass!
He goes rapidly after Aubrey and Lady Orreyed. Paula resumes playing.
Paula
After a pause. Don’t moon about after me, Cayley; follow the others.
Drummle
Thanks, by-and-by. Sitting. That’s pretty.
Paula
After another pause, still playing. I wish you wouldn’t stare so.
Drummle
Was I staring? I’m sorry. She plays a little longer, then stops suddenly, rises, and goes to the window, where she stands looking out. Drummle moves from the ottoman to the settee. A lovely night.
Paula
Startled. Oh! Without turning to him. Why do you hop about like a monkey?
Drummle
Hot rooms play the deuce with the nerves. Now, it would have done you good to have walked in the garden with us after dinner and made merry. Why didn’t you?
Paula
You know why.
Drummle
Ah, you’re thinking of the—difference between you and Aubrey?
Paula
Yes, I am thinking of it.
Drummle
Well, so am I. How long—?
Paula
Getting on for three weeks.
Drummle
Bless me, it must be! And this would have been such a night to have healed it! Moonlight, the stars, the scent of flowers; and yet enough darkness to enable a kind woman to rest her hand for an instant on the arm of a good fellow who loves her. Ah, ha! it’s a wonderful power, dear Mrs. Aubrey, the power of an offended woman! Only realise it! Just that one touch—the mere tips of her fingers—and, for herself and another, she changes the colour of the whole world!
Paula
Turning to him, calmly. Cayley, my dear man, you talk exactly like a very romantic old lady.
She leaves the window and sits playing with the knickknacks on the table.
Drummle
To himself. H’m, that hasn’t done it! Well—ha, ha!—I accept the suggestion. An old woman, eh?
Paula
Oh, I didn’t intend—
Drummle
But why not? I’ve every qualification—well, almost. And I confess it would have given this withered bosom a throb of grandmotherly satisfaction if I could have seen you and Aubrey at peace before I take my leave tomorrow.
Paula
Tomorrow, Cayley!
Drummle
I must.
Paula
Oh, this house is becoming unendurable.
Drummle
You’re very kind. But you’ve got the Orreyeds.
Paula
Fiercely. The Orreyeds! I—I hate the Orreyeds! I lie awake at night, hating them!
Drummle
Pardon me, I’ve understood that their visit is, in some degree, owing to—hem!—your suggestion.
Paula
Heavens! that doesn’t make me like them better. Somehow or another, I—I’ve outgrown these people. This woman—I used to think her “jolly!”—sickens me. I can’t breathe when she’s near me: the whiff of her handkerchief turns me faint! And she patronises me by the hour, until I—I feel my nails growing longer with every word she speaks!
Drummle
My dear lady, why on earth don’t you say all this to Aubrey?
Paula
Oh, I’ve been such an utter fool, Cayley!
Drummle
Soothingly. Well, well, mention it to Aubrey!
Paula
No, no, you don’t understand. What do you think I’ve done?
Drummle
Done! What, since you invited the Orreyeds?
Paula
Yes; I must tell you—
Drummle
Perhaps you’d better not.
Paula
Look here. I’ve intercepted some letters from Mrs. Cortelyon and Ellean to—him. Producing three unopened letters from the bodice of her dress. There are the accursed things! From Paris—two from the Cortelyon woman, the other from Ellean!
Drummle
But why—why?
Paula
I don’t know. Yes, I do! I saw letters coming from Ellean to her father; not a line to me—not a line. And one morning it happened I was downstairs before he was, and I spied this one lying with his heap on the breakfast-table, and I slipped it into my pocket—out of malice, Cayley, pure devilry! And a day or two afterwards I met Elwes the postman at the Lodge, and took the letters from him, and found these others amongst ’em. I felt simply fiendish when I saw them—fiendish! Returning the letters to her bodice. And now I carry them about with me, and they’re scorching me like a mustard plaster!
Drummle
Oh, this accounts for Aubrey not hearing from Paris lately!
Paula
That’s an ingenious conclusion to arrive at! Of course it does! With an hysterical laugh. Ha, ha!
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