f.a.n.n.y's First Play.

by George Bernard Shaw.

PREFACE TO f.a.n.n.y'S FIRST PLAY

f.a.n.n.y's First Play, being but a potboiler, needs no preface. But its lesson is not, I am sorry to say, unneeded. Mere morality, or the subst.i.tution of custom for conscience was once accounted a shameful and cynical thing: people talked of right and wrong, of honor and dishonor, of sin and grace, of salvation and d.a.m.nation, not of morality and immorality. The word morality, if we met it in the Bible, would surprise us as much as the word telephone or motor car. Nowadays we do not seem to know that there is any other test of conduct except morality; and the result is that the young had better have their souls awakened by disgrace, capture by the police, and a month's hard labor, than drift along from their cradles to their graves doing what other people do for no other reason than that other people do it, and knowing nothing of good and evil, of courage and cowardice, or indeed anything but how to keep hunger and concupiscence and fashionable dressing within the bounds of good taste except when their excesses can be concealed. Is it any wonder that I am driven to offer to young people in our suburbs the desperate advice: Do something that will get you into trouble? But please do not suppose that I defend a state of things which makes such advice the best that can be given under the circ.u.mstances, or that I do not know how difficult it is to find out a way of getting into trouble that will combine loss of respectability with integrity of self-respect and reasonable consideration for other peoples' feelings and interests on every point except their dread of losing their own respectability.

But when there's a will there's a way. I hate to see dead people walking about: it is unnatural. And our respectable middle cla.s.s people are all as dead as mutton. Out of the mouth of Mrs Knox I have delivered on them the judgment of her G.o.d.

The critics whom I have lampooned in the induction to this play under the names of Trotter, Vaughan, and Gunn will forgive me: in fact Mr Trotter forgave me beforehand, and a.s.sisted the make-up by which Mr Claude King so successfully simulated his personal appearance. The critics whom I did not introduce were somewhat hurt, as I should have been myself under the same circ.u.mstances; but I had not room for them all; so I can only apologize and a.s.sure them that I meant no disrespect.

The concealment of the authorship, if a _secret de Polichinelle_ can be said to involve concealment, was a necessary part of the play. In so far as it was effectual, it operated as a measure of relief to those critics and playgoers who are so obsessed by my strained legendary reputation that they approach my plays in a condition which is really one of derangement, and are quite unable to conceive a play of mine as anything but a trap baited with paradoxes, and designed to compa.s.s their ethical perversion and intellectual confusion. If it were possible, I should put forward all my plays anonymously, or hire some less disturbing person, as Bacon is said to have hired Shakespear, to father my plays for me.

f.a.n.n.y's First Play was performed for the first time at the Little Theatre in the Adelphi, London, on the afternoon of Wednesday, April 19th 1911.

f.a.n.n.y'S FIRST PLAY

INDUCTION

_The end of a saloon in an old-fashioned country house (Florence Towers, the property of Count O'Dowda) has been curtained off to form a stage for a private theatrical performance. A footman in grandiose Spanish livery enters before the curtain, on its O.P. side._

FOOTMAN. [announcing] Mr Cecil Savoyard. [Cecil Savoyard comes in: a middle-aged man in evening dress and a fur-lined overcoat. He is surprised to find n.o.body to receive him. So is the Footman]. Oh, beg pardon, sir: I thought the Count was here. He was when I took up your name. He must have gone through the stage into the library. This way, sir. [He moves towards the division in the middle of the curtains].

SAVOYARD. Half a mo. [The Footman stops]. When does the play begin?

Half-past eight?

FOOTMAN. Nine, sir.

SAVOYARD. Oh, good. Well, will you telephone to my wife at the George that it's not until nine?

FOOTMAN. Right, sir. Mrs Cecil Savoyard, sir?

SAVOYARD. No: Mrs William Tinkler. Dont forget.

THE FOOTMAN. Mrs Tinkler, sir. Right, sir. [The Count comes in through the curtains]. Here is the Count, sir. [Announcing] Mr Cecil Savoyard, sir. [He withdraws].

COUNT O'DOWDA. [A handsome man of fifty, dressed with studied elegance a hundred years out of date, advancing cordially to shake hands with his visitor] Pray excuse me, Mr Savoyard. I suddenly recollected that all the bookcases in the library were locked--in fact theyve never been opened since we came from Venice--and as our literary guests will probably use the library a good deal, I just ran in to unlock everything.

SAVOYARD. Oh, you mean the dramatic critics. M'yes. I suppose theres a smoking room?

THE COUNT. My study is available. An old-fashioned house, you understand. Wont you sit down, Mr Savoyard?

SAVOYARD. Thanks. [They sit. Savoyard, looking at his host's obsolete costume, continues] I had no idea you were going to appear in the piece yourself.

THE COUNT. I am not. I wear this costume because--well, perhaps I had better explain the position, if it interests you.

SAVOYARD. Certainly.

THE COUNT. Well, you see, Mr Savoyard, I'm rather a stranger in your world. I am not, I hope, a modern man in any sense of the word. I'm not really an Englishman: my family is Irish: Ive lived all my life in Italy--in Venice mostly--my very t.i.tle is a foreign one: I am a Count of the Holy Roman Empire.

SAVOYARD. Where's that?

THE COUNT. At present, nowhere, except as a memory and an ideal.

[Savoyard inclines his head respectfully to the ideal]. But I am by no means an idealogue. I am not content with beautiful dreams: I want beautiful realities.

SAVOYARD. Hear, hear! I'm all with you there--when you can get them.

THE COUNT. Why not get them? The difficulty is not that there are no beautiful realities, Mr Savoyard: the difficulty is that so few of us know them when we see them. We have inherited from the past a vast treasure of beauty--of imperishable masterpieces of poetry, of painting, of sculpture, of architecture, of music, of exquisite fashions in dress, in furniture, in domestic decoration. We can contemplate these treasures. We can reproduce many of them. We can buy a few inimitable originals. We can shut out the nineteenth century--

SAVOYARD. [correcting him] The twentieth.

THE COUNT. To me the century I shut out will always be the nineteenth century, just as your national anthem will always be G.o.d Save the Queen, no matter how many kings may succeed. I found England befouled with industrialism: well, I did what Byron did: I simply refused to live in it. You remember Byron's words: "I am sure my bones would not rest in an English grave, or my clay mix with the earth of that country. I believe the thought would drive me mad on my deathbed could I suppose that any of my friends would be base enough to convey my carcase back to her soil. I would not even feed her worms if I could help it."

SAVOYARD. Did Byron say that?

THE COUNT. He did, sir.

SAVOYARD. It dont sound like him. I saw a good deal of him at one time.

THE COUNT. You! But how is that possible? You are too young.

SAVOYARD. I was quite a lad, of course. But I had a job in the original production of Our Boys.

THE COUNT. My dear sir, not that Byron. Lord Byron, the poet.

SAVOYARD. Oh, I beg your pardon. I thought you were talking of the Byron. So you prefer living abroad?

THE COUNT. I find England ugly and Philistine. Well, I dont live in it.

I find modern houses ugly. I dont live in them: I have a palace on the grand ca.n.a.l. I find modern clothes prosaic. I dont wear them, except, of course, in the street. My ears are offended by the c.o.c.kney tw.a.n.g: I keep out of hearing of it and speak and listen to Italian. I find Beethoven's music coa.r.s.e and restless, and Wagner's senseless and detestable. I do not listen to them. I listen to Cimarosa, to Pergolesi, to Gluck and Mozart. Nothing simpler, sir.

SAVOYARD. It's all right when you can afford it.

THE COUNT. Afford it! My dear Mr Savoyard, if you are a man with a sense of beauty you can make an earthly paradise for yourself in Venice on 1500 pounds a year, whilst our wretched vulgar industrial millionaires are spending twenty thousand on the amus.e.m.e.nts of billiard markers. I a.s.sure you I am a poor man according to modern ideas. But I have never had anything less than the very best that life has produced. It is my good fortune to have a beautiful and lovable daughter; and that girl, sir, has never seen an ugly sight or heard an ugly sound that I could spare her; and she has certainly never worn an ugly dress or tasted coa.r.s.e food or bad wine in her life. She has lived in a palace; and her perambulator was a gondola. Now you know the sort of people we are, Mr Savoyard. You can imagine how we feel here.

SAVOYARD. Rather out of it, eh?

THE COUNT. Out of it, sir! Out of what?

SAVOYARD. Well, out of everything.

THE COUNT. Out of soot and fog and mud and east wind; out of vulgarity and ugliness, hypocrisy and greed, superst.i.tion and stupidity. Out of all this, and in the sunshine, in the enchanted region of which great artists alone have had the secret, in the sacred footsteps of Byron, of Sh.e.l.ley, of the Brownings, of Turner and Ruskin. Dont you envy me, Mr Savoyard?

SAVOYARD. Some of us must live in England, you know, just to keep the place going. Besides--though, mind you, I dont say it isnt all right from the high art point of view and all that--three weeks of it would drive me melancholy mad. However, I'm glad you told me, because it explains why it is you dont seem to know your way about much in England.