The New Woman: An Original Comedy, in Four ActsGrundy, Sydney
General
The New Woman: An Original Comedy, in Four Acts
Grundy, Sydney
English drama -- 19th century; Man-woman relationships -- Drama; Married people -- Drama; Women -- Great Britain -- Drama
One moment, ladies! Stay one moment, aunt! Before you go I want to
tell you all of _my_ engagement.
LADY WARGRAVE.
Your engagement, Gerald?
GERALD.
Yes, I am going to be married.
[_Pause._
ENID [_with jealousy_].
To Agnes Syl--? Oh, I forgot; she's married.
LADY WARGRAVE.
To whom?
[_All stand expectantly._
GERALD.
To Margery.
[_All stand transfixed. Exit COLONEL, door in flat._
DOCTOR.
Mr. Cazenove, I offer you my congratulations. Having a clinical
lecture to deliver, you will excuse me if I say good afternoon.
ENID.
Wait for me, Doctor. [_Exit DR. MARY, door in flat._] You have my best
wishes.
[_Exit, door in flat._
VICTORIA.
And thank you for the plot of my next novel.
[_Exit, door in flat._
LADY WARGRAVE.
Gerald, is this a trick?
GERALD.
No, aunt; it is the truth.
LADY WARGRAVE.
And you, a Cazenove! It is out of the question! I won't permit it! I
forbid it, Gerald!
GERALD.
But, my dear aunt, you said only just now----
LADY WARGRAVE.
No matter!
GERALD.
Marry a woman----
LADY WARGRAVE.
Don't repeat my words! A Cazenove marry Margery! Ridiculous!
GERALD.
But, aunt----
LADY WARGRAVE.
Silence! You said just now, you hoped that you would never break my
heart. Well, Gerald, you have broken it. A Cazenove!
[_Exit, door in flat. MARGERY takes up the cushion, and is about to
follow._
GERALD.
Put that thing down. [_She puts it down._] You are mine now; not hers.
MARGERY.
Yes, Mr. Gerald.
GERALD [_sits, drawing her to him_].
For better, for worse, Margery.
MARGERY.
For better, for worse.
GERALD.
You are not frightened?
MARGERY.
Not now, Mr. Gerald.
GERALD.
Then call me, Gerald.
MARGERY.
Gerald!
[_Dropping on her knee by his side._
GERALD.
_You_'re not afraid to make those promises!
MARGERY.
No, Gerald!
GERALD.
To love--to honour.
MARGERY.
And obey!
[_Looking up at him._
ACT II.
_Twelve months have elapsed._
SCENE.--_Study at GERALD'S opening upon a little boudoir, through
curtains which are drawn across part of the stage at back. Doors, R.,
and L.U.E. Mantelpiece, between doors, R._
_GERALD discovered, seated at a writing table, with his back to the
curtains, writing busily. MARGERY'S head appears through the curtains,
which she holds closely round it, so that only her face is visible.
She watches GERALD for a few moments, with a broad smile on her face._
MARGERY.
Bo!
[_Withdraws her head._
GERALD [_starts and looks round_].
Margery, of course!
[_Resumes his writing. A peal of laughter behind the curtains, and
MARGERY'S head reappears, laughing. GERALD throws down his pen._
MARGERY [_running in_].
Did I startle you?
GERALD.
Not much; I'm getting used to it.
MARGERY.
Well, don't be cross!
GERALD.
I'm not cross, dear; but these repeated interludes make composition
rather difficult.
MARGERY.
Oh, bother! you've been all the morning at that stupid book, and I'm
so happy, I can't help it. Kiss me, and say that you forgive me!
GERALD.
Of course I forgive you!
MARGERY.
Public-domain text, read in full here on John Shaqi.
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