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.”
of it as well as I. It would soothe me; it would make me less horribly restless; it would take this—this—mischievous feeling from me. Coaxingly. Aubrey!
Aubrey
Have patience; everything will come right.
Paula
Yes, if you help me.
Aubrey
In the meantime you will tear up your letter to Lady Orreyed, won’t you?
Paula
Kissing his hand. Of course I will—anything!
Aubrey
Ah, thank you, dearest! Laughing. Why, good gracious!—ha, ha!—just imagine “Saint Ellean” and that woman side by side!
Paula
Going back with a cry. Ah!
Aubrey
What?
Paula
Passionately. It’s Ellean you’re considering, not me? It’s all Ellean with you! Ellean! Ellean!
Ellean re-enters.
Ellean
Did you call me, Paula? Clenching his hands, Aubrey turns away and goes out. Is papa angry?
Paula
I drive him distracted sometimes. There, I confess it!
Ellean
Do you? Oh, why do you?
Paula
Because I—because I’m jealous.
Ellean
Jealous?
Paula
Yes—of you. Ellean is silent. Well, what do you think of that?
Ellean
I knew it; I’ve seen it. It hurts me dreadfully. What do you wish me to do? Go away?
Paula
Leave us! Beckoning her with a motion of the head. Look here! Ellean goes to Paula slowly and unresponsively. You could cure me of my jealousy very easily. Why don’t you—like me?
Ellean
What do you mean by—like you? I don’t understand.
Paula
Love me.
Ellean
Love is not a feeling that is under one’s control. I shall alter as time goes on, perhaps. I didn’t begin to love my father deeply till a few months ago, and then I obeyed my mother.
Paula
Ah, yes, you dream things, don’t you—see them in your sleep? You fancy your mother speaks to you?
Ellean
When you have lost your mother it is a comfort to believe that she is dead only to this life, that she still watches over her child. I do believe that of my mother.
Paula
Well, and so you haven’t been bidden to love me?
Ellean
After a pause, almost inaudibly. No.
Paula
Dreams are only a hash-up of one’s day-thoughts, I suppose you know. Think intently of anything, and it’s bound to come back to you at night. I don’t cultivate dreams myself.
Ellean
Ah, I knew you would only sneer!
Paula
I’m not sneering; I’m speaking the truth. I say that if you cared for me in the daytime I should soon make friends with those nightmares of yours. Ellean, why don’t you try to look on me as your second mother? Of course there are not many years between us, but I’m ever so much older than you—in experience. I shall have no children of my own, I know that; it would be a real comfort to me if you would make me feel we belonged to each other. Won’t you? Perhaps you think I’m odd—not nice. Well, the fact is I’ve two sides to my nature, and I’ve let the one almost smother the other. A few years ago I went through some trouble, and since then I haven’t shed a tear. I believe if you put your arms round me just once I should run upstairs and have a good cry. There, I’ve talked to you as I’ve never talked to a woman in my life. Ellean, you seem to fear me. Don’t! Kiss me!
With a cry, almost of despair, Ellean turns from Paula and sinks on to the settee, covering her face with her hands.
Paula
Indignantly. Oh! Why is it! How dare you treat me like this? What do you mean by it? What do you mean?
A Servant enters.
Servant
Mr. Drummle, ma’am.
Cayley Drummle, in riding dress, enters briskly.
The Servant retires.
Paula
Recovering herself. Well, Cayley!
Drummle
Shaking hands with her cordially. How are you? Shaking hands with Ellean, who rises. I saw you in the distance an hour ago, in the gorse near Stapleton’s.
Ellean
I didn’t see you, Mr. Drummle.
Drummle
My dear Ellean, it is my experience that no charming young lady of nineteen ever does see a man of forty-five. Laughing. Ha, Ha!
Ellean
Going to the door. Paula, papa wishes me to drive down to the village with you this morning. Do you care to take me?
Paula
Coldly. Oh, by all means. Pray tell Watts to balance the cart for three.
Ellean goes out.
Drummle
How’s Aubrey?
Paula
Very well—when Ellean’s about the house.
Drummle
And you? I needn’t ask.
Paula
Walking away to the window. Oh, a dog’s life, my dear Cayley, mine.
Drummle
Eh?
Paula
Doesn’t that define a happy marriage? I’m sleek, well-kept, well-fed, never without a bone to gnaw and fresh straw to lie upon. Gazing out of the window. Oh, dear me!
Drummle
H’m! Well, I heartily congratulate you on your kennel. The view from the terrace here is superb.
Paula
Yes, I can see London.
Drummle
London! Not quite so far, surely?
Paula
I can. Also the Mediterranean, on a fine day. I wonder what Algiers looks like this morning from the sea! Impulsively. Oh, Cayley, do you remember those jolly times on board Peter Jarman’s yacht when we lay off—? Stopping suddenly, seeing Drummle staring at her. Good gracious! What are we talking about!
Aubrey enters.
Aubrey
To Drummle. Dear old chap! Has Paula asked you?
Paula
Not yet.
Aubrey
We want you to come to us, now that you’re leaving Mrs. Cortelyon—at once, today. Stay a month, as long as you please—eh, Paula?
Paula
As long as you can possibly endure it—do, Cayley.
Drummle
Looking at Aubrey. Delighted. To Paula. Charming of you to have me.
Paula
My dear man, you’re a blessing. I must telegraph to London for more fish! A strange appetite to cater for! Something to do, to do, to do!
She goes out in a mood of almost childish delight.
Drummle
Eyeing Aubrey. Well?
Aubrey
With a wearied, anxious look. Well, Cayley?
Drummle
How are you getting on?
Aubrey
My position doesn’t grow less difficult. I told you, when I met you last week, of this feverish, jealous
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