_THE PLAYS OF ARTHUR W. PINERO_
Paper cover, 1s 6d; cloth, 2s 6d each
_THE TIMES_
_THE PROFLIGATE_
_THE CABINET MINISTER_
_THE HOBBY-HORSE_
_LADY BOUNTIFUL_
_THE MAGISTRATE_
_DANDY DICK_
_SWEET LAVENDER_
_THE SCHOOLMISTRESS_
_THE WEAKER SEX_
_THE AMAZONS_
[A]_THE SECOND MRS. TANQUERAY_
_THE NOTORIOUS MRS. EBBSMITH_
_THE BENEFIT OF THE DOUBT_
_THE PRINCESS AND THE BUTTERFLY_
_TRELAWNY OF THE “WELLS”_
[B]_THE GAY LORD QUEX_
_IRIS_
_LETTY_
_A WIFE WITHOUT A SMILE_
_HIS HOUSE IN ORDER_
_THE THUNDERBOLT_
_MID-CHANNEL_
_PRESERVING MR. PANMURE_
_THE “MIND THE PAINT” GIRL_
THE PINERO BIRTHDAY BOOK
Selected and Arranged by MYRA HAMILTON
With a Portrait, cloth extra, price 2s 6d.
_LONDON: WILLIAM HEINEMANN_
FOOTNOTES:
[A] This Play can be had in library form, 4to, cloth with a portrait,
5s.
[B] A Limited Edition of this play on hand-made paper, with a new
portrait, 10s net.
_THE PROFLIGATE_
_A PLAY_
_In Four Acts_
_By ARTHUR W. PINERO_
“_It is a good and soothfast saw;
Half-roasted never will be raw;
No dough is dried once more to meal,
No crock new-shapen by the wheel;
You can’t turn curds to milk again,
Nor Now, by wishing back to Then;
And having tasted stolen honey,
You can’t buy innocence for money._”
_LONDON: WILLIAM HEINEMANN_
_First Printed, 1891_
_New Impressions, 1902, 1909, 1914_
_All applications respecting amateur performances
of this play must be made to Mr. Pinero’s Agents,
Samuel French Limited, 26 Southampton Street,
Strand, London, W.C._
_Copyright_
INTRODUCTORY NOTE
IT is now more than four years since “The Profligate” was written,
and in the interval we have seen many conflicting influences at work
upon the theatre, many signs of progress; but in June 1887, although
the dramatic atmosphere was full of agitation and uncertainty, and the
clamorous plaints of the pessimists were loud, the bolt of Norwegian
naturalism had not yet fallen upon our stage, Ibsen was still, as
far as England was concerned, an exotic of the library. Mr. Pinero,
however, appears to have been an unswerving optimist in the face of
spreading pessimism; he evidently felt that the air was clearing, that
the period was approaching when the British dramatist might begin to
assert his artistic independence, and at least attempt to write plays
which should, by means of simple and reasonable dramatic deduction,
record actual experience flowing in the natural irregular rhythm of
life, which should at the same time embody lofty ideals of conduct and
of character. So he wrote “The Profligate,” wrote it as he explained,
to fit no particular theatrical company, fettered the free development
of his ideas by no exigencies of managerial expediency.
As soon as the play was completed he sought the opinion of one whose
attitude towards the drama has always been marked by keen artistic
sympathy and generous devotion--that delightful comedian, that masterly
manager, John Hare. Mr. Hare’s opinion of “The Profligate” found
expression in very practical form. He was at that time on the eve of
becoming theatrically homeless, but explaining to the author his plans
for the future, he begged Mr. Pinero to keep his play for him until
such time as he should be in a position to produce it, a request to
which Mr. Pinero gladly acceded.
Two years elapsed, during which period the battle of the _isms_ had
proceeded apace, realism clashing with conventionalism, naturalism
with romanticism. And the time now seemed ripe to gauge the practical
progress of the modern dramatic movement, as we may call it, to test
how far theatrical audiences were really prepared to accept serious
drama without “comic relief.” The opportunity was at hand, the new
Garrick Theatre was completed, and Mr. John Hare produced “The
Profligate.”
It must be admitted, however, that in doing this a question of
managerial policy prompted a concession to popular taste or custom
which Mr. Pinero had never anticipated in the composition of “The
Profligate.” He had ended his play with the suicide of the penitent
profligate at the very moment that the wife is coming to him with pity
and forgiveness in her heart, resolved to share his life again, to
bear with him the burden of his past as well as his future--a grimly
ironical trick of fate which the author considered to be the legitimate
and logical conclusion of this domestic tragedy.
But authors propose, and the “gods” dispose. Mr. Hare, as he frankly
admitted in a letter to the papers, felt somewhat timorous of braving
the popular prejudice in favour of theatrical happiness in the last
act of new plays, and he suggested to Mr. Pinero that, as a matter of
expediency, it would be well to alter his _dénouement_, so as to bring
about a reconciliation between the reformed profligate and his innocent
wife. Mr. Pinero fell in with the managerial views, determining at the
same time that, while he allowed the hero of his story to live on with
promise of future happiness upon the stage, when the play came to be
printed the terrible finality of the tragedy should be restored exactly
as it was first written.
Now, therefore, that it has become feasible to place “The Profligate”
in the hands of the reader, the author’s intention is adhered to, and
the play appears in its original form. As a matter of record, however,
and for the benefit of those readers who may possibly be interested
in comparing the two versions, I think it advisable to append below
that portion of the acted text which differs from the play as it is
now published, especially since the matter has excited some critical
discussion.
The Fourth Act, as generally performed, is entitled “On the Threshold,”
and the departure from the original occurs on p. 122, when Dunstan
Renshaw is about to drink the poison. From that point it runs thus:--
DUNSTAN.
[_He is raising the glass to his lips when he recoils with a cry
of horror._] Ah! stop, stop! This is the deepest sin of all my
life--blacker than that sin for which I suffer! No, I’ll not! I’ll
not! [_He dashes the glass to the ground._] God, take my wretched life
when You will, but till You lay Your hand upon me, I will live on!
Help me! Give me strength to live on! Help me! Oh, help me!
[_He falls on his knees, and buries his face in his hands. LESLIE
enters softly, carrying a lamp which she places on the sideboard;
she then goes to DUNSTAN._
LESLIE.
Dunstan! Dunstan!
DUNSTAN.
[_Looking wildly at her._] You! You!
LESLIE.
I have remembered. When we stood together at our prayerless marriage,
my heart made promises my lips were not allowed to utter. I will not
part from you, Dunstan.
DUNSTAN.
Not--part--from me?
LESLIE.
No.
DUNSTAN.
I don’t understand you. You--will--not--relent? You cannot forget what
I am!
LESLIE.
No. But the burden of the sin you have committed I will bear upon
my shoulders, and the little good that is in me shall enter into
your heart. We will start life anew--always seeking for the best
that we can do, always trying to repair the worst that we have done.
[_Stretching out her hand to him._] Dunstan! [_He approaches her as in
a dream._] Don’t fear me! I will be your wife, not your judge. Let us
from this moment begin the new life you spoke of.
DUNSTAN.
[_He tremblingly touches her hand as she bursts into tears._] Wife!
Ah, God bless you! God bless you, and forgive me!
[_He kneels at her side, she bows her head down to his._
LESLIE.
Oh, my husband!
This ending found many advocates, even Mr. Clement Scott and Mr.
William Archer, who may be regarded as representing the opposite poles
of dramatic criticism, agreeing in their decision that this was the
only logical conclusion. “There can be but one end to such a play,”
wrote Mr. Scott, “and Mr. Pinero has chosen the right one. To make this
wretched man whose sin has found him out a wanderer and an outcast
is bad enough; to make him a suicide would be worse.” Yet there were
others who thought differently.
Wednesday, the 24th of April, 1889, saw the opening of the Garrick
Theatre and the production of “The Profligate,” the programme of which
occasion is here appended.
_Programme._
OPENING OF THE GARRICK THEATRE.
THIS EVENING, WEDNESDAY, APRIL 24th, 1889.
WILL BE ACTED
FOR THE FIRST TIME
THE PROFLIGATE
A New and Original Play in Four Acts.
BY
A. W. PINERO.
LORD DANGARS Mr. JOHN HARE.
DUNSTAN RENSHAW Mr. FORBES ROBERTSON.
HUGH MURRAY Mr. LEWIS WALLER.
WILFRED BRUDENELL Mr. S. BROUGH.
Mr. CHEAL Mr. DODSWORTH.
EPHGRAVES Mr. R. CATHCART.
WEAVER Mr. H. KNIGHT.
Mrs. STONEHAY Mrs. GASTON MURRAY.
LESLIE BRUDENELL Miss KATE RORKE.
IRENE Miss BEATRICE LAMB.
JANET Miss OLGA NETHERSOLE.
PRISCILLA Miss CALDWELL.
“It is a good and soothfast saw;
Half-roasted never will be raw;
No dough is dried once more to meal,
No crock new-shapen by the wheel;
You can’t turn curds to milk again,
Nor Now, by wishing, back to Then;
And having tasted stolen honey,
You can’t buy innocence for money.”
ACT I.
“THIS MAN AND THIS WOMAN.”
_London; Furnival’s Inn_;
Mr. MURRAY’S _Room at_ Messrs. CHEAL & MURRAY’S.