The Project Gutenberg eBook of Niobe, All Smiles, by Harry Paulton and Edward A. (Edward Antonio) Paulton

NOTICE.—The attention of those who take part in or organise dramatic representations should be called to the law on copyright. All representations of copyright dramatic works are liable to fees, if either money or consideration be taken for admission, tickets sold, a collection made, or where any theatre, hall, or other place be hired for such purpose. It is absolutely necessary that the fees for plays should be paid in advance and an authorised permission obtained, otherwise each person taking part, or causing such play to be represented, is severally liable to a penalty or damages, under 3rd and 4th William IV., c. 15, sec. 2. By means of the telegraph, injunctions can be obtained to restrain performances, which, if ignored, would lead to the imprisonment of the offenders. Agents are appointed in all parts of the kingdom, and are authorised to collect fees on behalf of the various authors or proprietors, and are empowered to exact full penalties where fees have not been paid in advance. It is not necessary to have a printed notice on a play to the effect that it is copyright, although this is done in many instances. To save useless correspondence it must be strictly understood that no reduction can be made on account of a performance taking place for the benefit of a charity, or any other cause whatever. Any information on this subject can be obtained by sending a stamped directed envelope to SAMUEL FRENCH, Ltd., 26, Southampton Street, Strand, London. Fees on the plays which S. French, Ltd., collects for must be paid by P.O.O. or cheque to the above address, or the authorised Agents.

It is advisable to ascertain the correct amount before remitting. No fees can be refunded.

A Circular respecting the liability incurred in playing copyright dramatic works without permission can be had on application.

NIOBE, ALL SMILES.

CAST OF CHARACTERS.

ACT I.—Dunn’s Drawing Room. Looking to the North. (7.15 p.m.) In the Absence of the Family.

NIOBE, ALL SMILES

ACT I.

Scene.—Dunn’s drawing-room. At the L. of front corner, a large bay window on to the street; L. C. an arched opening with portiere to stairs and entrance hall; R. door to dining-room. On the R. of entrance a four-fold screen like a box case, surrounding Statue of Niobe, in which is a Vampire opening at back. An opening also in Flat behind screen. One fold of screen opens to L. of stage towards centre opening. Two folds open to R. Small castors on the bottom of opening folds. Piano R. below door; couch in front of it; table L. C.; chairs R. and L. of it; piano stool, foot stool, chairs, etc.

At rise of curtain, Hattie R. at piano; Helen standing C., beating time to Hattie’s playing “The Maiden’s Prayer” for opening of act; Carrie seated L. of table L. C.; Beatrice seated R. of table, discovered examining album, sketches, etc.; after curtain is up, Mary enters from R. with three small cups and saucers on tray; Helen up C., takes one, drinks, Mary offers other cups to Carrie and Beatrice; Carrie offers one to Beatrice.

Mary after offering coffee to Beatrice passes front of table to L., giving coffee to Carrie.

Mary goes to fireplace L., puts tray on chair; Mary poking the fire—Helen eyes Mary severely.

Hat. (at piano R., finishes playing) Oh, Helen! That’s twice this evening I’ve played the “Maiden’s Prayer.”

Hel. (up C.; turning to Hattie fiercely) You will play the “Maiden’s Prayer” twice morning and evening until you are perfect.

Hat. (impertinently) Ugh! I’d like to catch you saying your maiden prayers twice morning and evening.

Mary. (advancing C. to Helen, tray in hand) What time shall I order the carriage round?

Hat. Well, you oughtn’t to do it. You’ll lose caste if you get to your seats without disturbing the performance.

Hel. (advancing to Beatrice, L. C.) Beatrice, you are well posted on Theatrical matters; is the play we are going to see to-night strictly proper?

Hel. (very angrily) Hattie! Take your foot off the loud pedal; we can’t hear ourselves speaking.

Bea. Papa regretted it very much, but he is sure to be here to escort us. (crosses R. to couch and sits.)

Hel. (L. C.) If you were his sister, you would not think so. He neglects us shamefully.

Hat. (R.) Quite right, too! It’s a pity if a fellow can’t stick to the girl he’s spooning. (sitting R. and laughingly hugging Bea.)

Hat. Corney uses them, and I don’t know any better way of saying it. (crosses to C.)

Bea. We can hardly consider ourselves engaged, while Corney is, so to speak, on trial. If Papa approves of him, of course we shall be married.

Hel. I’m sorry I cannot live with you and manage the household, but Carrie could not get along without me. She has no talent for management and Peter is too engrossed with outside business.

Hat. (laughingly) If you’d watched him at dinner, you’d think he did not neglect his inside business.

Car. (L.) A man of Peter’s excitable temperament has enough worry abroad, he deserves to enjoy himself at home.

Carrie goes up L. to fireplace, puts cup on mantelpiece, as if looking for something.

Hel. But he brings his worries home with him. I’m sure we didn’t want that troublesome Statue in the house, though Mr. Tompkins does think it the greatest treasure on earth. He calls it Niobe Lachrymans,—whatever that means.

Hel. For safety he says; it is insured in the Universal, of which Mr. Dunn is Manager, for quite a large sum, and as Mr. Dunn granted the policy on his own responsibility, he is anxious to guard the Statue from injury.

Hat. (on couch R.) Oh! I’ve seen it, and why not! It’s decent enough. She only shows a bit of her shoulder; it’s nothing to the display at Society balls.

Sill. How are you? (to Helen, coming down C.) Hello, Bea. (to Beatrice) Ah! Hattie! (Hattie crosses to Sillocks, C., who takes off overcoat.) and the babies, my little cherubs, Bertie and Maud.

Hel. (crossing at back to fireplace) They are in the nursery; we don’t allow them in the drawing-room.

Hel. Judging from results, no! Look what a healthy child Hattie is. Few girls have so fresh a complexion.

Beatrice goes up L. to fireplace; Hattie puts on Sillocks’ hat, goes up stage C. at back; places coat and hat on rack in hallway; Sillocks sits R. of table.

Dunn. (without R.) No! No! Everything is comparative; smoking is bad, but chewing is a precious sight worse; and have you reached the limit of comparative noxiousness then? No, sir; no! (Dunn enters with Corney R. D. Corney crosses to Beatrice L.) Hallo, Sillocks! Did you notice how Nitrates were at closing?

Sill. (coming down front in centre to Dunn) 92½, a point and a quarter rise. You’re not interested in that Electric Light Consolidation scheme, are you?

Dunn. Well, my wife——They did ask me to go once or twice; but owing to some business, I couldn’t accept; now, I never get the chance of refusing.

Sillocks goes and sits R. of table, opens album; Dunn up C., looking at his paper.

Hel. (back of table) Peter, if you wish to see the children while we are away, go up to them in the nursery. Carrie does not approve of their coming into the drawing-room.

Corn. (advancing slightly down L.) Quite right! Children up to a certain age should be kept in a room as devoid of furniture as possible; the only way to keep them out of mischief, is to chain them up to a ring in the wall——

Sill. (looking at album) Hallo, legs! (Helen turns quickly, comes down to back of table) You’ve got some choice specimens of the Ballet here, I see!

Hel. (commandingly) Stand back, Hattie! I must know before we proceed any further, how this indelicate picture happens to be placed by the side of mine, in the album?

Corn. (down L., aside) Hang it! I shall be ruined with Beatrice if Sillocks suspects me.

Corn. (crosses to Dunn C.) Yes, of course, now—what’s the good of denying it, old man? (aside, digging Dunn’s ribs as he gets R. of him) Say yes, or Sillocks won’t approve of me.

Dunn. (perplexed) Well—(Corney looks at him) Yes—I suppose I must have done.

Corn. (over Dunn’s shoulder) Thanks—one extra lie can’t press much on your conscience.

Corn. So am I. Don’t make such a fuss about it, Helen, there’s no great crime in having photos of pretty girls.

Hel. (at back of table, with a withering glance at[Pg 9] Dunn) Then we may fairly assume that those yellow-backed French novels I found in the study, are yours also?

Corn. (turns quickly, coming back to C.) Helen! You’re too prying by half! Peter never imagined for a moment that you’d rake them out.

Hat. (R.) Oh, Helen; they’re not so very dreadful! At least, the one I read wasn’t.

Corn. There’s not so much harm in these French books after all. They’re very much over-rated—I mean, exaggerated.

Dunn. I suppose Dobbin sent them up in a mistake for a bundle of circulars. (aside to Corney, with paper, his back to audience) What is it? What’s the idea?

Corn. Old Sillocks! Must stand well with the father. It’s all right, you can bear it. I cannot stand wrong——

Joins Beatrice and exits with her in earnest conversation R. U. E., after pushing Hattie out of the way.

Hel. It is fortunate the servants are ignorant of French; it is a blessing they cannot realize the enormity of your offence.

Car. (crossing to Dunn, sits L. of him) It is fortunate we detected them before the new Governess arrived.

Dunn. I can’t tell you that. She has started—I believe, but has found it agreeable to call on some friends at Leamington.

Dunn. It looks like it. She has sent her Leamington address, so she probably expects a message from us.

Dunn. There’s no occasion to put on that tragedy queen expression. Here it is—(selects and gives letter.)

Hel. (crosses L. as she reads) Madeline Mifton, care of Mrs. Miller, Barton street.

Dunn. She appeared to me an agreeable kind of person, and the people at Chester, where she was living, spoke very well of her.

Hel. You have so little discrimination—I ought to have gone to Chester myself.

Dunn. Well, nobody stopped you; and you have her references anyway. (Carrie soothes him and up to fireplace to Helen.)

Dunn. (crossing Sillocks and sitting L. of table) It’s just as well as it happens; I’ve had a letter from Tompkins, saying that he’s going to be in town for a few hours; he is sure to run in to look at his treasures.

Sill. I saw in the Telegraph that he had bought the celebrated statue “Niobe” from the Bernoldi collection; is that so?

Dunn. Oh! Mr. Tompkin’s new mansion, at Henley, isn’t ready yet; and I did not care to risk it in storage.

Dunn. No! No money in ’em! I’ve a genuine Rembrandt in the dining-room,—said to be worth £12,000.

Dunn. No! Tompkins’s! Come and have a look at it—it may be your only chance. Just as well to be able to say you’ve seen these things.

Exit Sillocks and Dunn R. D., both talking; Hattie follows to door, mimicking them; then turns to Helen.

Hat. No more so than you; only you think it clever to look as wooden as a Chinese idol.

Hat. (calling after her) You’d send me to bed without my supper too, if you could, only I have had it.

Carrie exits C. and R. up stairs; Corney and Beatrice enter from R. D., spooning.

Corn. Oh yes, Bea, if I asked you very sweetly, wouldn’t you? (Hattie gets in front of them.)

Hat. (laughing with hands behind her) Disturbed again, eh? Poor dears. Can’t you get left to yourselves anywhere?

Corn. Be off, Miss Impudence—(runs her off upstairs R. C.) That girl’s a terror. (returns to Bea, speaking as he comes down) You can’t think Beatrice—(sits on couch) You can’t think.

Hat. (returning) You can think; we haven’t much time, Bea; you’ll be late.

Corn. Will you get out—(Corney chases her round table and up stairs C. and R.; he returns) She gets worse and worse! (looking back after Hattie.)

Bea. I didn’t see anything so dreadful in the photos, Corney; if you own up to them, I don’t mind.

Corn. (seated on couch R., laughing) Yes, Peter’s appearance does rather discount him.

Corn. Oh, he doesn’t mind. We put everything on to Peter; and I’m so much afraid of your father’s displeasure; you don’t know the treasure you are Bea; and the fume a fellow gets in for fear of losing you. (with arm round Bea.)

Corn. (quickly) No! Of course I don’t, you don’t think I’m such a jay—gay—gay deceiver? (turns slightly away) If we were only married. Then I shouldn’t have to be so careful.

Corn. Of myself, yes! But then, you can take care of me; and I can be careful of you; and I shan’t have to invent stories about Art photographs, or French Novels.

Corn. No! he has no business to be away, when I want him here—that is—he isn’t away on his business. It’s business of mine.

Corn. Yes! well! pleasure more than business—when I say pleasure I mean business—I wanted a change—but I couldn’t spare the time—and Phil could—he took the change—it was really my change; for he paid the time before; you know how one fellow will take another fellow’s change. He’s a most obliging fellow.

Corn. Thank goodness—I was getting a bit mixed.[Pg 13] (goes L. as Innings enters C. from L., Hattie following.) How are you, Phil?

Hat. (C., gushing at Innings) Oh, there’s heaps of time; it’s so rude to leave Mr. Innings.

Corn. (going up to Hattie) You haven’t a minute; the carriage is at the door now; I’ll do the polite to Innings.

Inn. (taking off gloves as he sits on couch) I had more to do than I thought. You said——

Corn. (C. anxiously) Never mind what I said; what have you to say? Your news?

Corn. And you have come back, I know, but what did you do there? What have you discovered?

Corn. (goes L. and up round table) Then she’ll turn up when least expected; what a confounded fool I was! If the affair reaches old Sillocks’s ears, good bye to Beatrice; hang it! I’d have discovered something if I’d gone. (sits R. of table.)

Inn. (rises and coming C.) It wasn’t much, but I discovered something—I learnt that Ethel had a sister, a governess. Did you know Ethel had a sister, a governess?

Inn. Knew you’d think I hadn’t tried, if I didn’t find out something; so obtained the address of Sister, at a situation in Chester—went to Chester; sister had left—referred to a friend. Miss Topping; found Topping;[Pg 14] worked round stealthily to subject, but the moment I mentioned Ethel’s name, Miss T. shut up like an Oyster; no news there, except that Ethel’s sister, Madeline Mifton——

Inn. Had gone to a situation as governess, in London. Resigned a good situation, for “some ridiculous notion”—that’s what Miss T. called it—of coming to London—to look up—or hunt down—a young man to whom her sister was or had been engaged.

Corn. (delighted) Ridiculous notion! Good for Topping! She might as well search for a needle in a haystack—I’m safe enough.

Inn. I wonder she didn’t pursue you herself, instead of putting the sister on your track.

Corn. Show him in, and I’ll send Mr. Dunn to him. (Mary exits to L.; Corney goes over to door R.) Peter! Here’s Mr. Tompkins—I’m going to the Theatre Phil, so I can’t stop and entertain you. I’m immensely tickled with the idea of the Sister coming to London to hunt me down. I shall think of nothing else all the evening.

Dunn. (speaking as he enters from room R.) How de do, Tompkins, (Innings going towards Dunn) why, it’s Innings! (Dunn down to couch) I thought you said Mr. Tompkins was here.

Corney and Innings exit into dining-room R., as Tompkins enters L. C.; Dunn rises and meets him C.

Tomp. Let me thank you, Mr. Dunn, for taking such particular care of my treasure. It was most considerate of you to bring it into your own house.

Dunn. (R. C.) Not at all! I was anxious to have it unpacked, just to make sure it hadn’t suffered in shipment.

Tomp. (enthusiastically—taking off gloves) Ah! you thought of the centuries that beautiful form had retained its completeness, without damage or disfigurement, and were impressed with a tender, almost loving, care.

Dunn. Not a bit! I thought of the loss to our Company if it got chipped. There was no sentiment or friendship in the business. Sentiment’s all very well, but there’s no money in it.

Dunn crosses to window, L. C.; Sillocks enters from dining-room R.; lights begin to go slowly down.

Sill. (R. C.) How do you do, Mr. Tompkins. I congratulate you Sir, on the possession of such a gem.

Tomp. (C.) Ah, when you do! Where among your moderns is a work like it? Where among your Sculptors, the peer of Phidias, Praxiteles, Scophas or Polydorus of Rhodes?

Dunn. Sculpture’s right enough in its way—but it isn’t in it with the Telephone, or the Telegraph, or the Tape, or the Typewriter.

Dunn. Statues are all right for decorating Parks, but there’s no money in them.

Tomp. And I sigh for the Antique—(sits R. of table L. C.) I should like to have lived in the days of Homer!

Dunn. Not for me. I can’t fancy existence without cheap postage, fast steamers, and penny-in-the-slot ma[Pg 16]chines. I countenance every improvement. Move with the times I say, and get ahead of ’em if you can. (rise) I’m getting the Electric light put in now; we make our connection from the street here, just as you do with your gas.

Sill. (R.) Well for modern tastes, there isn’t always too much clothing on our remnants of that early period.

Dunn. (crosses to Sillocks) You’re right. That’s one reason the women objected to the Niobe; and it’s decent enough for anything. The dress is apparently split up a bit on one side, and shows part of the knee.

Tomp. (enthusiastically) A classic knee, Sir, which nothing in nature—Modern nature—could equal.

Dunn. (C. ) I did manage to have my own way for once, and there it is, behind that four-fold screen, which boxes it in completely. It’s nicely out of the way there too.

Swings back fold of screen, showing Statue of Niobe; Dunn is now R., holding back two folds of screen; red glow from fire.

Tomp. (L. C. behind table) Lovely! What exquisite moulding—That knee especially!

Tomp. (back of table) Weeping! You know the story of Niobe. The gods wearied of her incessant tears: turned her into stone.

Tomp. (with enthusiasm) This beautiful image was dug up in the ruins of Thebes in 1785; it passed into the hands of a Florentine gentleman; but in 1825 Count Bernoldi purchased it and it remained in his collection, till I tempted his grandson, a spendthrift youth, with an offer he could not resist. Oh, how perfectly that nose is chiselled, and that shoulder——

Mary. (who is seen busy in hall C.—quickly) Excuse me, Sir, don’t touch them; the Electric man said as you were to be very careful with the wires.

Dunn. The connection with the street is made then? (Dunn closes the screen and lights go up again)

Mary. (C. in doorway) Yes, Sir! But he hadn’t time to bury the wires under the floor to-day; so he wrapped ’em round the feet of the Statue, where they wouldn’t be likely to hurt no one.

Dunn. Who the devil gave him permission to touch the figure? Don’t you know you are expressly forbidden to touch the figures?

Ladies come down stairs to hallway; Corney and Innings from R. in hallway join them.

N. B.—After Dunn closes screen Niobe removes white wig, makes up, etc., for re-appearance in the flesh.

Tomp. Confound your modern appliances! They managed to get along without them in Attica! Bah! We might all have been killed!

Dunn. (following Tompkins, crosses to window L.) Because the lights in the street are not going yet.

Helen, Beatrice, Corney, Hattie and Innings, and Carrie advance from hallway C.

Corn. (putting on gloves) Sorry Phil, that you can’t come along with us. (Corney down L. C.)

Dunn. If you are all settled in your seats, let me introduce Mr. Tompkins, Mr. Hamilton Tompkins, my wife—(ladies get into line with Corney top; Dunn waving his hand comprehensively) My wife’s family.

All ladies in row curtsey rather marked; Carrie is R. corner, Helen next, Hattie next, Bea next to Corney.

Dunn. Oh no! I married out of my own family circle into my wife’s—I got rid of one Griffin by changing it to a Dunn, and three other Griffins sprang up in its[Pg 19] place. Takes it out of the Phenix, don’t it? (rings bell on table)

Tomp. (as if thinking, sitting on couch R.) Indeed! Unless I’m much mistaken, there was quite a scandal years ago about a Miss Griffin of Brentford, but that could not be your wife?

Dunn. No, but it might be Helen! And oh, if it were! Tompkins, if you could only find out for certain, and place me in possession of the facts——

Tomp. (on couch) I certainly can and will with pleasure. I think (bus.) she eloped with the coachman.

Enter Mary with trays, drinks, 3 glasses, Decanter, glass jug, with a little water in it, and exit R. C.

Dunn. Helen eloped! Eureka! I see the dawn of emancipation—Tompkins, do I look like a slave? (C.)

Dunn. (C.) But I am—we all are—this is Uncle Tom’s Cabin; I’m Uncle Tom, and Helen Griffin is my Legree. (crosses L. of table) But provided with such a weapon, I could rear the standard of revolt and free our beloved home.

Dunn. The few of my own people that are left, I never see, never hear of. My own dear little sister Mabel has never been asked to visit us. The Griffin has never fixed her Basilisk eye on her, and apparently doesn’t want to.

Tomp. The attendant ills of married life! Ah! The women will never victimize me.

Dunn. (sitting L. of table) Ah Tompkins! Don’t be too sure of that. You never know what it is that gives you indigestion, but you get it just the same.

Tomp. I shall never marry, if you mean that; I would not marry a modern, and I’m not likely to meet with an Antique.

Dunn. I’ve a Maiden Aunt; the one my Sister’s with, who is antique enough for anything.

Dunn. Well, past the middle ages; she’s over sixty; but it’s the rarity of her that would attract you, Tompkins!

Tomp. (indignantly rising, going R.) Sir, I’m not forming a museum of curiosities, but a gallery of Art treasures.

Dunn. Miss Mifton! Oh, the Governess’s trunk. She said it would be sent on. Leave it there, Mary. We’ll get it carried up bye and bye. I remember she said in her letter it would be sent on.

Mary places trunk near R. of C. doorway and goes to turn up lamp on stand below fireplace.

Dunn. Never mind the lamp, Mary; I’ll turn it up myself when I want it; (Mary exits C. and R.) I like to sit in the gloaming! What’s your hurry Tompkins? Sit down and take another drink.

Tomp. I am due at the Antiquarian Society. A discussion on what History owes to numismatics!

Dunn. Well, go and fix the amount and get History to settle up—Good evening! Mary! Oh! Good evening, Tompkins! (lights down low)

Mary appears C. and R., ushers Tompkins out L. C., then crosses to R. at back.

Dunn. (goes to Statue again, softly humming a tune) A pretty thing for our Company if that idiot had damaged his Statue with those infernal wires. Just like my beautiful sister-in-law, to give permission to wrap them round the figure, just to show that my wishes were of no account. I’ll get a staple and padlock to-morrow; and fasten that screen up like a packing case. (sits on[Pg 21] sofa) I suppose the Electricity can’t affect the marble; ha! it’s such a mysterious agent, one never knows what it may do. P’raps I’d better light up. I wonder what’s the matter with the Electric lamps in the street? (crosses at front of table L. C. and looks out of window) They’re generally making the gas look sickly before this—must be something wrong this evening. Ah! There it goes! (flash on electric light outside window, flooding stage, Dunn sits L. of table L. C.) Well! That’s light enough to think by. (low moan; weird music begins) What’s that? (moan) Some Psychological phenomenon! An omen of some kind! (rising, towards window; Niobe extending her arms, pushes open screen and is seen moving, as if awakening to life; Dunn slowly turns) Great Heavens! The Statue’s alive!

Niobe comes slowly down C., examining room in wonderment; goes round up R. and then deliberately to C.; Dunn, who has crouched behind or beside table, disarranges himself, tie, hair, etc.; then crawls round table up C., as Niobe turns and confronts him, he shrinks back on to knees, hands on chair. Music ceases. Niobe comes near Dunn regarding him with amazement; picture.

Nio. Hail to thee! What man art thou? How came you in this strange guise? Are you a slave?

Dunn. Yes—No—Certainly not! (aside) There’s no use in letting every stranger know I’m a cipher in my own house.

Dunn. (timidly rising) Lord and Master! (aside) I can truthfully say it while Helen is not on the premises.

Nio. How strange! (goes lower and regarding him, back to audience) How strange!

Dunn. (with wonderment) Strange! She thinks me strange! If she could only change places and regard herself, and doubt the existence of her faculties, as I do—(Niobe now moves, going up R.) When I see her move and hear her speak. No! I’ve got to believe it. It’s the Electricity. She’s there alive, Niobe herself; not a Statue. And I’m not dreaming, or drunk or demented. (staggers front of table)

Nio. (advancing C.) Who has made these changes? Where’s Amphion? Is he not yet back from Olympia?

Dunn. (getting L. of table, half frightened) I’m sure I don’t know—he’ll be some time yet; if he is staying for the Ballet.

Dunn. Very likely! But he isn’t now! I’m afraid you don’t quite realize what has happened to you. That you have just been—revived—I suppose—as it were: That you’re not in your Palace here, but mine! That we are now in Anno Domini 1896, and that the trifling events you’re thinking and speaking of, occurred about one thousand years B. C.; before you changed your mortal flesh into Parian marble.

During this speech, Niobe, her hand to her head, appears to be trying to recall the past.

Nio. (as if recollecting—coming down stage) Ah! No! The gods! Knowledge returns; alas! Phœbus and Artemis punished me—Changed! Ah fate! Oh, my unhappy fate. (kneeling, sobs bitterly)

Dunn. (L. C.) That’s a settler—I never can; I never could bear to see a woman cry—Never! There, don’t grieve, dear; you were turned into stone, but you’ve turned out all right; don’t cry! Please don’t cry.

Dunn. The hardest lot ever put up; when you con[Pg 23]sider you’ve gone all these years without so much as having your nose chipped off! Why, you’ve been buried for centuries. (Niobe looks at him in wonder) And if they hadn’t started exploring the ruins of some of those old Temples, you’d be there still. I’m aware it’s a delicate subject with a lady, but I should estimate you must be close on three thousand years old.

Nio. (L.) Three thousand years! Oh, Zeus, and now the ban, the curse of mighty Phœbus is removed.

Nio. And all is new! Is this the Hesitaterion? The Throni are strange, the Katoptron colossal.

Nio. (approaching Dunn C.) You truly say, the ages have rolled by; my husband, children, dead! In all the world, I have no one but you. (taking his hand)

Dunn. (snatching hand away—crosses to L. of her) No one but me! You’ve no claim on me;—that is—I have no claim on you!

Nio. (quickly) Ah yes! I am no ingrate; take all my love; you gave new life to me, and I am yours.

Dunn. White Elephants, what am I going to do with her? (Niobe turns him round to R. of her)

Nio. (holding him at arm’s length) You are not much to look at; (Dunn turns away) but your heart——

Dunn. (R. C.) Now don’t count upon that. And don’t indulge in expectations that can never be realized.

Nio. (gushingly) Petramos! Petramos! And I will love Petramos, as I have loved Amphion; and there will be no happier twain in Greece!

Dunn. Yes—you’re mapping it all out, but it can’t be; for a variety of reasons: In the first place, we’re not in Greece. (crosses L.)

Dunn. (returning to her) No! We’re in London, the Capital of a little Island called Great Britain, hundreds of miles from Thebes.

Dunn. (L. C.) Not much! And we’re not speaking Greek, but English—though how you picked it up is a mystery to me.

Nio. We understand each other, that’s enough. What else there is to know, I’ll learn from you, now that I’m settled here.

Dunn. (alarmed) But you’re not settled here! And it’s out of the question! (he speaks very angrily and Niobe starts to sob) No, no! You’re a very charming lady and personally I shouldn’t object to your stopping for a week or so, but I have a wife!

Dunn. Oh could I! And she has an elder sister. Perhaps you could tell me what I’m going to do with her?

Dunn. (goes L.) I should like to, but I don’t think anybody would buy Helen unless a great big life insurance policy went along with her; besides Slavery is abolished, and if you weren’t so ignorant you’d know that; and know how wrong it is to fill one with delusive hopes like these.

Nio. Ah, be not angered with me, Petramos. If you reject me, life restored is wrecked, and I shall die.

Dunn (returns again L. C.) Well, after three thousand years, you can’t complain if you have to. You’ve had a pretty good innings. She’s at it again. I can’t stand hearing a woman cry like this, and she is pretty, considering what a back number she is. Don’t cry, stop it, don’t cry, please—there’s a dear. (patting her head)

Dunn. Oh, well in a way! (Niobe suddenly crying) Don’t! don’t cry! Yes! Yes!

Nio. And we will sacrifice to Dusky Dis; and pray him to take your wife to Hades. (pose)

Dunn. But I don’t want my wife to go to—who’s Dusky Dis? Some Nigger Minstrel?

Dunn. (disgusted) Oh, he’s played out long ago; there’s no such party—you mustn’t suppose the world has been standing still while you’ve been in a state of Petrifaction; we’ve been going ahead, and the gods have had to knock under.

Dunn. Not that! You’ll have to go to school, and learn the Piano, and the Alphabet.

Dunn. (rises) Very likely! But that doesn’t get over the difficulty of what is going to be done with you; and look at it as we will you cannot remain here.

Nio. (R. C.; after slight pause) I have no friends! No home! Where can I go?

Dunn. Your case has not been altogether unprovided for; as there is a home for lost dogs, so also is there an asylum for ladies in distress.

Dunn. Oh, I don’t suppose it’s any worse than it was in your time. (Niobe sobs) You’re quite right, you can’t, and it would be brutal to send you out, at this time of night too.

Dunn. She’s at it again! No wonder the gods got[Pg 26] tired. Don’t! please don’t cry; and we’ll hit upon some plan; if I only knew what to say to my family. (stands dejectedly C.)

Dunn. Tell them what? What d’ye take me for? Some outrageous, ridiculous lie might pass muster, but the truth, a truth like this! you couldn’t ask them to believe it. George Washington would have found this too strong for his veracity.

Dunn. Oh, he was an American fighting man; you wouldn’t know him. You were before his time. (looks at watch, at window) Is that the time? (goes round table to window; Niobe meanwhile lies full length on stage, head to R. on stool) They’ll be home from the Theatre presently; what am I to do? (turning up from window, comes down centre)

Sees Niobe and covers her feet with drapery from piano and goes again anxiously to window; Mary enters L. C., going to fire; Dunn rushes her off R. C.

Dunn. I’ll ring if I require coals. I’ll ring, Mary, ring—(coming down C.) Madame! Niobe! You can’t be seen like that, you must do something with yourself—(Niobe half rises) You’d better go upstairs and put some of my wife’s clothes on!

Dunn. Yes! Yes! I see you did; go upstairs, and dress while I think out some plan.

Dunn. Oh, well, I can’t! You must try, try! up the stairs there—on the right—first door when you reach the top.

Nio. Petramos! All my will I’ll yield to thine,
Do thou but clear thy brow of fretfulness.
Thy anger, linked with fury of the gods
I could not bear! I could not bear!

Niobe exits weeping up stairs C. R., the footlights up through this scene, to assist the comedy, now low again.

Dunn. (staggered—sits end of couch—a pause) What an uncompleted idiot I am. My wife will recognize her clothes—(running to stairs, sees trunk which he secures and brings down stage) The Governess’s trunk! If my keys will only fit it, no, no! They never do—Yes—that’s lucky! (raising lid of trunk and closing it again) How clever you thought yourself, Peter Amos Dunn, when you suggested to yourself bringing that d——d Statue into the house. It isn’t there! It isn’t there! (closes screen—looks round—straightens room—picks up drapery, etc.; crosses to mirror, re-arranges himself, tie, smooths hair, goes down L. of table and pours himself a drink, hand shakes. He cannot get it to his mouth; sops his handkerchief and putting it to his brow, crosses and sits on trunk. Loud knock at door; Dunn jumping up; shoulders trunk and rushes upstairs)

Inn. (looking at watch) Oh, well, they won’t be long, it’s close upon eleven. (sits on sofa R.)

Inn. They’d have stretched a point and taken me with them, but for that confounded Helen. Perhaps they’re walking, it’s a beautiful night.

Dunn. (worried and anxious—down C.) Ah! that’s right, Mary, let’s have a light on the subject—(starts at seeing Innings) Back before them, eh Innings? But they can’t be long—it’s so hot, so late—what’s that—is not that a carriage?

Dunn. (L .C.) I said not—I said not—don’t argue, Mary; don’t argue—(has got near table, takes up empty water jug and empty glass) Why have you no water here? How can I be expected to wash—drink—if you have no water (loud knock—Mary frightened of him rushes round front of table to R.)

Dunn. I knew they’d return—(knock) They’ll have to come in, won’t they? (knock—to Mary) Go! Go! And open the door; don’t stand there like an idiot.

Hat. (entering C., comes down to back of Dunn) Peter! (Dunn starts up) It was too delightful for anything. I’m so sorry you didn’t come.

Dunn drops again in chair as Hattie goes R. taking off gloves, etc., etc.; Corney enters L. C.

Dunn. (starting up) Statue! What’s the matter with the Statue? (rushing to screen, meets Carrie, who enters L. C., coming front screen) Eh! Ha! Ha! And did you enjoy it, Carrie?

Dunn. (wild and exhausted with worry) Ah! How interesting those old legends are; how beautiful the revive—animating—of the Statue! And if you were told of such a wonder now-a-days, you—you wouldn’t believe it perhaps.

Hel. (coming down C.) Now-a-days, nor any other time. No woman of ordinary intelligence could be deceived by such a story.

Hel. (going towards chair R. of table) That she was some infamous creature whom Pygmalion had brought into his household; and that the Statue tale was made up to hoodwink his confiding wife. (sits)

Nio. (speaking as she advances C.) I have obeyed you, Petramos, and I am here—(all turn to her)

Looks at Innings and falls into chair L. of table, the others grouped, scrutinizing Niobe.

ACT II.
THE NEXT MORNING.

Scene.—Dunn’s drawing-room, the opposite end to Act I. Conservatory with steps at back C. Bay window[Pg 30] R. Plain window or blank piece above. Blank piece or Alcove L. Door above to Library. Table R. C. with chairs. Couch L. Footstool L. C. Screen is not on; is supposed to be at audience side of room. Piano against flat. Paper on table.

Helen up C. and Carrie at window R. dressed for walking; discovered interviewing Mary, up L. C.

Mary. I don’t know, ma’am—I didn’t hear her come and I didn’t let her in.

Mary. No Ma’am, for she might have got in by herself; she is the strangest person I ever met, Ma’am.

Mary. Why, the name she gives things. She asked me at breakfast to hand her the Mazas, and when I didn’t understand her, she called me Helot, and pointed to the muffins.

Hat. If you’re talking about Miss Mifton, she is a treat. She’s got a new name for sausages.

Hat. You needn’t worry about that. If you’d seen the way she wept over them, and kissed and fondled them. And called them Hippicus and Alophagos.

Hel. No doubt! They are sufficiently outlandish; the idea of a Governess, wandering about the house in an extravagant tea gown; impertinence I call it.

Car. (R.) She’s no doubt one of those highly emo[Pg 31]tional creatures, who grow hysterical at almost anything.

Hel. (coming slightly forward) Carrie, you’re so confiding; such affectation wouldn’t suit me.

Hel. (advances towards Hattie) Hattie! When you are more like me, you will have more cause for self-respect.

Car. When we return you must examine her Helen, and find out if she is competent to teach the children.

Hel. I will, but take my word for it, the Woman is a fraud. She knows nothing that is desirable. In knowledge and learning she is little better than an idiot; I could see that in her face last night.

Car. I wonder when Peter saw her at Chester that he wasn’t impressed with her appearance.

Car. She might be the advanced guard of a gang of thieves, and Peter has some such thought, perhaps, as he has not gone to the office.

Hel. Your confiding nature does you credit, Carrie, but you are too ingenuous. He may be actuated by motives far less praiseworthy.

Hel. I would not say Carrie, for I make it a rule never to stir up ill feeling between man and wife. (going up C.)

Car. He is still engaged with his breakfast. He is always late after a Theatre night.

Hel. (severely and pointedly) His indolence is a source of great inconvenience to us all.

Helen exits C. and R. Innings looking at Hattie on sofa—crosses to window, putting hat on chair R. of[Pg 32] table in recess of window, produces box of chocolates which he places ready for business later; then, half frightened, gets extreme R. at window.

Hat. (on sofa) Yes! I see they are! You didn’t intend that for information did you? It was only—only just a something to say—to—fill up a page kind of remark, wasn’t it?

Inn. (at window) That’s all—simply to call your attention to the fact that we are alone.

Hat. Oh, you needn’t have called; my attention was rivetted;—but I don’t feel in the least embarrassed; do you?

Hat. I don’t believe you’re so bold as you pretend; judging from the respectful distance you keep.

Inn. (crosses slowly to her) If I thought by coming nearer, I should be getting dearer——

Inn. (R. C.—getting closer to Hattie; Hat. bus.) So are you, Hattie. You’re pretty near and pretty far, but the nearer I am the sweeter you are. Ha! Ha!

Hat. Oh! You don’t flatter yourself much to think that your proximity makes me sweeter.

Inn. (turning away) I wonder how long Corney usually takes over his breakfast.

Inn. (pulling her back by her dress; she in mischief runs for chair, trying to sit upon his hat, which he saves) Oh, Hattie! oh my! oh I—I don’t want to know particularly.

It’s good enough to stay here and go on wondering—with you. Of course—I don’t want to wonder by myself. Oh, Hattie!

Innings, kneeling beside Hattie, embraces her; Corney sings outside; Hattie and Innings hurriedly get away from each other; Hattie goes and sits on couch L.; Innings goes extreme R. to window recess.

Corn. (entering L. and down C.; sings) “When the heart in palpitating is impressed with fear,
You’re pleased to find a being where there’s no one near
And whisper foolish nothings no one else may hear,
That is love! That is love!”

Do you know, Phil, I’ve been haunted by that song ever since you started me at it; Hattie’s crazed on it too.

Corn. Yes, but you’ve nearly mastered it I can see. (looks at Innings) I interrupted your practice, didn’t I?

Corn. (pushing her up C.) Oh, yes you do! See if you can find my cigar case in the Conservatory; I rather fancy I left it there last night.

Corney turns down stage L.; Innings gives Hattie box of chocolates quickly; as Corney turns on exclamation they separate.

Hat. Oh chocks! (to Innings) We can resume our conversation some other time, Mr. Innings.

Inn. I was going to ask you if we couldn’t, and will you please make a note of where we left off?

Hat. (sings) “And whisper foolish nothings no one else may hear. That is love! That is——” Ugh! (at Corney)

Innings stands up C. looking after Hattie, throwing kisses to her—echoes “That is love—That is——”

Corn. (after watching Innings, swings down stage near couch) Come here Phil! Never mind Hattie, she’ll keep. Anything fresh? Have you learnt anything new?

Inn. There’s nothing new to learn that I can see. Madeline Mifton’s here, and you’ve got to prepare for the worst. (lies on couch putting his legs up)

Corn. (C.) It is the most striking coincidence I ever heard of; that the sister of the girl I jilted should take the place of Governess, and come here, by the merest accident.

Inn. I do! Didn’t I tell you last evening that she was coming to London to hunt you down!

Corn. Not this morning—she’s in the nursery with the children. She’s very like her sister. There’s something weird about her, but the exact type of features. (crosses R. C.)

Corn. Yes! (crossing back to him) I’ve decided to get you to talk to her, Phil——

Corn. You can give it her straight—show her clearly that I was cajoled into proposing to her sister, that it was really Ethel’s fault, and that she’s entirely to blame for the whole business, and there you are!

Inn. I couldn’t do it; it doesn’t seem nice to throw all the blame on to the girl.

Corn. It belongs to her, Phil—besides, my boy, you know that the least thing upsets me. I cannot stand worry; now you can; (Innings rises) you have one of those oxydised-zinc constitutions.

Inn. (emphatically) No! Damn! there! I don’t see why I should. (crosses R. and round table)

Corn. Oh, well, then, Peter will have to do it. I’ll get Peter to talk to her. (goes L.)

Enter Dunn from Library L. D. with scent bottle, pale and careworn, crosses and sits on chair L. of table.

Corn. I’d rather you did it; because I shall have to disclose the whole escapade to Peter. And he hasn’t a particularly good opinion of me as it is.

Corn. (seeing Dunn) Good morning, Peter—(Dunn scowls at him) Seen you before though, haven’t I? (to Innings) Peter looks jolly, doesn’t he? Innings, you’ll find Hattie in the Conservatory looking for my cigar case, which I have in my pocket.

Inn. All right! I’ll see if we can’t resume that conversation where you broke in on it; (sings) “And whisper foolish nothings, no one else may hear, That is love! That is——” (voice cracks)

Corn. (after slight pause—looks at Dunn) Peter, old man! You don’t look well.

Dunn. I don’t feel well; I’ve been walking my room the whole of the night. I haven’t slept a wink.

Corn. Neither have I; but sleeplessness doesn’t break me up nearly so quickly as worry. I cannot stand worry; and that is why I want to speak with you about this new Governess.

Dunn. (startled) What! Why should there be any worry about the new Governess? (aside) Can he suspect——

Corn. It was hard to believe, but a good look at her face settled it; she’s the very image——

Corn. I’m pretty shrewd Peter, and I suspect I’ve summed up the whole business.

Dunn. (aside) Oh! He’s not sure, then I won’t betray myself. I’ll brazen it out. (sits on couch)

Corn. (aside, down R. C.) If I could only induce him to get rid of her, without disclosing anything.

Dunn. (on sofa) I’ve told you before Corney, how wrong it is to jump to these conclusions; you may misjudge this woman and her purpose and object entirely, and, right or wrong, Corney, I’m blameless.

Corn. (aside) Ah! Peter knows she’s unpopular with the women and that the blame of engaging her will fall upon him. (fetching chair from table) That’s all very well with me, Peter! (puts chair near couch and sits astride it, facing audience.)

Corn. But Helen and Carrie are prejudiced, and naturally perhaps. You can’t deny there is something uncanny about the woman.

Corn. Of course there’s no denying she’s beautiful. But I’ve a prejudice against these classic expressionless women; these cold blocks of marble.

Corn. (looks at Dunn quickly) I know what you ought to have known the moment you saw her, that she was not the sort of thing, that—that—it wouldn’t do to have her about the house.

Dunn. I did know it, Corney, and I have tried. I have tried to get her away, but I can’t.

Corn. (rises and puts chair back by table) What? She relents? She wavers in her purpose? Then let her go. The matter’s simple enough: pack her off!

Corn. (with foot on stool) Oh, she’s told you the whole story, eh? but remember my version will put an entirely different light on it. And yet out of cold-blooded vindictiveness she comes here to ruin me with Bea and Sillocks.

Dunn. (putting foot on stool; looks puzzled at Corney—pause) Have you met her before? Have you got that former existence theory?

Dunn. (aside) He’s on the wrong tack; Heavens! What a pitfall I nearly fell into! Ha! Ha! Ha! Ha!

Dunn. It’s too bad Corney, to let you indulge in all this unnecessary worry, but your fears are quite groundless. The new Governess, Madeline Mifton, never heard of you till last evening.

Corn. I know better, Peter! She came here in her sister’s interest, to hunt me down.

Corn. I tell you I learnt, on the best of authority, that Madeline Mifton would certainly come here for the purpose of going for me. (crosses L.)

Dunn. (dropping into chair R. E.) Great goodness! I’m forgetting she will be here. The new Governess, and what will happen then? What will happen then?

Mary. (enters from Library L. U. E.) The Locksmith is in the Library Sir, to know what is to be done.

Dunn. (looking at audience as if for screen) Oh, the lock and staple for the screen; I’ll explain it to him, myself. Tell the Governess I wish to speak to her.

Corn. Well, I’m not so sure of that; and I’ll satisfy myself. There’s some mystery connected with her. And I’ll find out why and how she came; and all about her. (crosses R.)

Dunn. No! No! Don’t you meddle or you’ll ruin everything! (aside) He must not see Niobe till I have warned her. I’ll run and see that locksmith and hurry back. You remain quiet and I’ll find out if you have any cause for fear. Don’t interfere, or you’ll spoil everything. Leave her to me. She’s a peculiar woman,[Pg 38] but I think I understand her. She’s a woman of the world undoubtedly, but a little after date. Leave her to me. Leave her to me!

Corn. He seems so particularly anxious I should leave it to him, I don’t think it good enough; I would always rather that somebody else should manage any little unpleasantness for me, but I like to feel sure that they’re not working some little purpose of their own.

Nio. (on steps, waving her hands) Hail to you! (comes down) Where is he whom they call master? The lord of this house?

Corn. (aside) Umph! A poetic blank verse kind of character—(aloud) Oh, Peter!

Corn. Yes, if you put it that way; he’ll be here in a moment, Miss Mifton. Make yourself at home; take a chair, be seated.

Flops on floor with head supported on footstool; Corney turns and sees her on floor; staggered! he puts up eye glass.

Corn. (aside) She’s a decidedly eccentric creature—I hardly know how to begin with her; (aloud—stooping down) I hope you find no trouble with the children.

Corn. (slight pause, he turns away slightly) She seems partial enough to Peter—(aloud—stooping down to her) Ahem! How—how did you come to hear of this place? Was it by accident—quite by chance you came here?

Corn. Ah yes! You had no—(bends down—hurts back—gets chair from table, sits R., and stoops) You had no purpose beyond the ostensible—one—of occupying—the situation—you had—accepted. (speech disjointed and jerky)

Corn. (after regarding her suspiciously, turns to R.) She’s frank to a degree—(aloud—stooping) Ahem! You did not expect—you had no thought of finding me here?

Nio. (after regarding Corney disdainfully—perplexed) I’d rather Petramos should tell me what to say.

Corn. (rises and goes step to R.; aside) Can she have confided the affair to Peter, and is this just simplicity, or only cunning?

Corn. (quickly recovering himself) I beg your pardon! She isn’t such a fool; (sits again, crosses legs) Excuse me. You find a great change, I suppose?

Nio. Ah yes! All things are changed, even men are not as they were. Why do you hide your legs in those loose sleeves?

Corn. (looks at his trousers, tries to hide his legs—aside) She must have lived among the savages, she’s a Highlander perhaps! I thought you belonged to Cambridge.

Corn. Oh! I beg your pardon—your husband is dead? (stooping to speak to her)

Corn. Ah! You don’t look your age. She’s trying the idiotic dodge again. (stooping) Ahem! When did you—(gets twinge again with bending, puts away chair and fetches low occasional chair from back of stage, sits close to her and stoops) When did you see your sister last?

Nio. In sorrow. She had been early plighted to a young hoplite of Ithaca, named Aulakes.

Corn. Hoplite! A dancing master I suppose. It’s the first I’ve heard of this; she may betray more of Ethel’s secrets! (aloud) And what—(trying to get lower, and sees stool, Niobe sitting up, has left room for him, he steps over stool and sits) What became of the young fellow?

Corn. (aside—surprised) Ethel can’t be the Spring chicken I believed her. (aloud) You were younger than your sister?

Corn. Ah yes—I can see a resemblance, but a difference; she might be called handsome—you’re pretty.

Enter Dunn hurriedly—he sees them, when he reaches C., falls into low chair.

Nio. (rises on one knee as she sees Peter) Ah! Here is Petramos! And I no longer wish to talk with you.

Corn. (rises) That’s straight, anyway, but what she can see in Peter beats me.

Nio. (coming towards Dunn C.) He has perplexed and frightened me with questions.

Putting her arms round Dunn’s neck as he turns; Corney, coming forward, sees them and affects to be greatly shocked, hiding face with newspaper.

Dunn. (perplexed and affecting light indifference, trying to get away from her) Of course not, there is nothing to be afraid of. (to Corney) She’s so timid, you see Corney, she—she—seems to think everyone is against her.

Dunn. No, she’s quite taken to me, and if there is anything, Corney, I’ll find out for you. She’ll tell me!

As Dunn turns from Niobe going towards Corney, she keeps him back with her arms still round his neck. He breaks away and she goes L.—Dunn R.

Corn. Well, I’ll leave her to you—(goes up L. C.) I confess I don’t know what to make of her; she doesn’t seem the kind of person to undertake such a mission; a resuscitated mummy couldn’t appear more ignorant of the world’s ways. (aloud) Peter! Peter! Hail to you!

Nio. (following him up, looks off L., then turns to Dunn) Have you resolved truth shall be told, and all disclosed, Petramos?

Nio. (going R. C. towards Dunn) As my lord says—it would be well, then, to hire some slave to murder him that’s gone! (mysteriously pointing off L.)

Dunn. Suspects the truth! Ridiculous! There may be, well there are—suspicions—but they’ll never take that form; and the only difficulty is to keep up something that’s possible of belief till we can provide for you, or hear from your friends. (R. of table)

Dunn. (L. H.) I suppose not! We might go round electrifying all the Art museums; on the off chance; there may be friends of yours in Greece, if you could[Pg 42] only go back to Greece, and burrow for them. (sits R.)

Nio. (coming back of table) Zeus! How desolate I am—(to Dunn) Your only thought is to be rid of me. (weeps on table)

Dunn. (R. of table) She’s at it again! No, I don’t wish to be rid of you; if I could only see some way to manage it—I should be glad for you to remain.

Dunn. But the law of England doesn’t; and I should consider it a dangerous experiment if it did; besides there are other interests in the concern. My wife would be sure to object; and her sister would howl with indignation. (crosses L., up stage in fear of interruption.)

Dunn. The gods don’t amount to a row of pins, or I should have put ’em on to Helen long ago! (Dunn sits on footstool C.) You’re the Governess, that’s what they’ve been told and that’s what we have to keep up; till we can make other arrangements.

Dunn. Oh! a Governess; a Governess, is one who governs, according to the orders of those who govern her; you must try to keep up an appearance of meekness and servility.

Dunn. To trot out the children, and pretend to teach, but above all cringe to Helen—say “yes Ma’am”—always—“Yes Ma’am.”

Dunn. (rising) Yes—but not in that way, mind the tone, humbly; “Yes Ma’am.” (in a nasal tone and with a bob curtsey)

Nio. (after wonderingly regarding Dunn, imitates Dunn’s manner) “Yes Ma’am!”

Dunn. That’s better, and don’t call me Petramos, but, Master, “the Master,” and above all, don’t forget to be obsequious to Helen. Agree with the old cat in[Pg 43] all things, that’s very important. (Dunn goes up L., watching)

Nio. I shall remember—(goes to window R., looks out and appears delighted) Ah see! See! The crowd! The populace are out! Why do they hurry so? There is no dignity in all this haste.

Dunn. (sitting on couch L.) They’re not out for dignity, there’s no money in it; we haven’t time for dignity now-a-days.

Dunn. Chariots? (crossing to look out) Oh! cabs! Growlers! Growlers! They are called Growlers!

Nio. (following Dunn to C.) Growlers! Growlers!! Oh, could they not be changed?

Dunn. I’ll see what can be done in the matter—(Niobe goes back to window) Go up to the nursery now, the children will be getting anxious about you.

Nio. Postman! (pleased) Ah! The Postman! (amused at the sound, repeats “Postman” as she goes to window)

Dunn. If she’s so struck on the postman, what will it be when she sees a policeman!

Nio. Oh, how they sway! Could not someone teach them how to walk? The Maidens waddle, like web-footed cranes.

Dunn. Yes! You’ve got it, that’s it (Niobe hurrying back to window, Dunn stops her) Look at ’em another time—go to the nursery now, and if the ladies, my wife or her sister, send for you, do be careful. (putting her up L. C.)

Dunn. Yes, but I never attempt to prejudice them in[Pg 44] my favour, I’ll explain to you another time, when I’m not so busy; I have to telegraph the real governess, to stop away, or we are ruined.

Dunn. Why—oh—it’s a machine—er—on which you tick, tick, tick, tick at one end, and the same tick ticks are heard at the other end, and the tick ticks tell whatever you are thinking, to the party you’re tick, tick, ticking to.

Nio. Oh Petramos! you treat me like a child. Am I so foolish that you mock my ignorance?

Weeps and falls on Dunn’s shoulder, embracing him; Carrie and Helen enter at back C.

Dunn. She’s at it again. Don’t cry—there’s no money in it. I wasn’t fooling you. Cheer up! there’s a darling. (stroking her hair) Poor little woman! (Carrie down R.; Dunn sees her, pretends not to see her) My dear young lady, you shall be treated with every kindness, my wife is gentleness itself. I’m sure if my wife were here—oh, you are there, Caroline.

Nio. Not at your bidding! If he, the Master, bids me go, I go—not else. I wait his orders.

Hel. (crossing R. C. to Carrie) You’ll find mine are the orders that are observed in this household, and you must obey them if you wish to stay with us.

Nio. You can’t suppose I wish to stay with you. (Dunn has gone up and is now L.—to Dunn) You Pet—the Master—is the ruler here.

Dunn. (crossing back of Niobe R. C.) Yes! yes! but I never interfere in domestic matters. Mrs. Dunn’s sister manages everything. (aside as he goes back L.) Don’t forget what I told you; be obsequious.

Nio. Ah, that’s well remembered. (to Helen) I had forgotten; I am to be obsequious to you; Yes Ma’am—and cringe to you—“Yes Ma’am!” It was the master’s wish—agree with the old cat in all things, yes Ma’am!

Car. (goes up C., looks after Niobe—then down C.—to Dunn, who in desperation is strumming on the piano) So Peter! you are prompting her to deceit.

Dunn. (L.) Deceit, my dear! What! Where’s the deceit? (Carrie indignant, crosses R.)

Hel. (coming C.) It’s true there was little show of confusion, in spite of the indelicacy of the situation.

Dunn. What indelicacy? The poor girl required soothing, and no wonder; you’d make a china dog homesick.

Dunn. What d’ye mean by acquiring an interest? She’s not a joint stock company!

Hel. I have too constant a reminder before me of the mistake of married life, ever to venture.

Hel. Carrie, don’t make foolish remarks you may be sorry for; to say too much is to put him on his guard. Come—(puts Carrie over) to your room—not a word—you’re excited. I’ll keep an eye on this Miss Mifton.

Dunn. (taking stage R. to L.; kicking stool away) Where will it end? What am I to do? (sitting on couch) Send off that infernal Telegram to the real governess. She must be detained where she is for the present, and bought off; I shall have to go to Leaming[Pg 46]ton, see her, and bribe her to take some other engagement, and I don’t know how I am to do it!

Dunn. (aside) Ah! Innings! Here’s the very man! (Dunn shakes Inning’s hand bringing him down on his R.) Innings, how are you—glad to see you! I don’t know that I ever met a man that I took to more readily than I did to you.

Inn. (R. C.) I don’t travel on my hands! I couldn’t go to-day. To-morrow early, if you like?

Dunn. Oh yes! I can trust you I know. I want you to go to Leamington for me, to see a Miss Mifton, who is coming here as governess.

Dunn. Eh! Oh no! This is another one, she’s not the same—that is a different one to the other. There are lots of them at this time of year; the woods are full of ’em.

Dunn. Miftons! (going across R.) I’m getting so muddled, I have to send a telegram—I’ll explain as we go. Give me your arm. (going up C. arm in arm) I’m bilious—I mean I’m weak this morning. I—oh this deception—there’s no money in it.

Dunn. Good morning, Bea. Have you stepped in to see Hattie? (calls) Hattie! Hattie! (turning round with Innings on his arm) You’ll find her in the Telegraph office—back in a jiffey! Where are you Innings? (turning) Oh, there you are. Come along!

Hat. Flourishing! You look quite serious this morning! What’s the matter, Bea?

Hat. (looking) Why, it’s three weeks old; been all over the country, misdirected! What’s in it?

Bea. She has seen something of my intended marriage with Corney in some of the Society papers, and asks for his address.

Hat. That is suspicious, isn’t it? But I dare say Corney can explain. (aside) He’s good at explaining—(aloud) I wouldn’t let it worry me.

Hat. Oh, he’ll do that! Did you find out if it’s true that Peter had a sister?

Hat. Fancy that! and I never even heard of her; that’s Helen’s doings—(Helen speaks off) Mum! She’s here.

Hat. Do tell, Bea. Helen has great interest in your papa, he’s a widower;—and Helen is “nuts” on widowers.

Hat. (L.) Don’t get excited Bea. She is pretty, but I don’t believe she’s Corney’s kind.

Car. (crossing R.) We have engaged a Miss Mifton to superintend the children’s education; but Helen has doubts as to her competency.

Hel. It will not take five minutes to satisfy ourselves; I’ll put a few questions to her, and if she cannot answer them satisfactorily a fortnight’s wages, in lieu of notice, will have to satisfy her. (sitting R. C., front of table; Carrie sits R. of Helen)

Enter Hattie C. from R., Niobe following; Hattie goes down L. to Bea.; Niobe C., top of steps.

Bea. What a lovely woman! Oh, Hattie! I believe Corney has been in love with her.

Hel. I wish to ask you a few questions, Miss Mifton, to see if you are capable of the training and instruction of the young. You write and cypher, of course? I need not ask?

Hel. (after business of looking at Niobe) What is your definition of Geography?

Nio. It matters not since I am authorized—to bow my will to yours; what you would have it—say—and that it is.

Hat. (laughing) Just the thing for you Helen; you can have it all your own way, (an educational Phonograph). You breathe in what is to be learned, and she’ll breathe it out again.

Hel. (R. C.—to Carrie) This sounds like prevarication. (to Niobe) You would not have me describe the[Pg 49] divisions of the land and sea; tell you the names of the Continents.

Hel. (re-seated) It’s not a question of what I know, Miss Mifton, I’ll undertake to say, you don’t know what a Continent is? (pause) You don’t!

Hel. If I asked you to name the Capital of Norway or the location of the Red Sea, what would you say?

Nio. (at a loss—pauses—then in imitation of Dunn’s voice, curtseying) Yes Ma’am!

Nio. (C., confidently) A quarrel which broke out, upon the rights of which I would not speak, for it was ended nearly when I was born.

Hattie laughing; Helen frowns, falls into seat; Carrie rises; enter Dunn C., endeavours to get off L., meets Corney from L. D.; Dunn comes down L. of Niobe; Corney down L. to Bea. and Hattie; Beatrice afterwards shows Corney letter, Corney protesting in pantomime.

Dunn. (L. C.) Why, of course, if you’ve been asking her things she doesn’t know!

Dunn. (crossing to Helen) Yes! On trivial modern accomplishments, perhaps, but—have you asked her anything about Ancient history?

Dunn. I thought not! Even you don’t know everything. (as Dunn turns to Niobe, she tries to embrace him; he avoids her, and crosses quickly to Corney) Corney, ask her something about Ancient history; the more Ancient the better.

Nio. (C.) Clio, Calliope, Euterpe, Erato, Melpomene, Polyhymnia, Terpsichore, Thalia, Urania.

Hel. (facing audience) What good will it do the children to know the names of the Muses?

Dunn. (R. C.) Oh, I beg your pardon! We don’t pay enough attention to Ancient history now-a-days. (Dunn crosses again to Corney, L.) Corney, speak Greek to her.

Dunn. (comes down L. C.) Well, if she can’t, the Piano is not so very desirable for young children; and she may be great on the Triangle or the Jew’s harp.

Corn. And no doubt Miss Mifton will soon learn if you insist on it. (aside) I must keep the right side of her.

Nio. (C.) It is not a necessity, for I am beautiful. It is such as you who need intelligence.

Nio. (clinging to Dunn as she recoils from Helen, to L. of Dunn) Petramos! I ask protection from this Medusa!

Nio. (L. C., rising) Helen! Ah! Like her of Troy, at whom the finger of scandal pointed. (pose, as if denouncing Helen)

Hel. (R. C.) How dare you hint at scandal against me; but such innuendos will not deter me. Peter! This woman leaves this house, or I do!

Nio. (L. C.) Then there is little doubt which of us two will go. He’d sooner fifty fold, that I should stay.

Dunn. (turning round C.) I must endorse that truism, if it ruins me. I would! Damme! there! (turns again up stage)

Car. (R. C.) Peter, after this you must see that it is absolutely necessary for this person to depart.

Hel. (R. C.) Carrie, you have been patient and long suffering, but there is a limit.

Dunn. (C.) Yes! There is a limit. And you’ve gone it. It’s my say now, and I am reckless, and may raise the devil!

Nio. (kneeling and clinging to him) Petramos, restrain! Be merciful! Invoke not now the curses of the gods!

Inn. (aside to Corney) Don’t waste your superfluous sympathies, that is not Miss Mifton at all.

Corn. What! Can it be the women are right in their suspicions? What a blackguard Peter is!

Hel. (embracing Carrie) When you have finished comforting that shameless creature, you may observe your wife needs consolation.

Corn. (L. of Niobe) Don’t try to make me a party to your vile intrigues! (goes to L. corner)

Dunn. What’s come to you? (Dunn tries to get at Corney, but turns back to Carrie) Listen to me, Carrie! I admit circumstances are——

Nio. (C.) Not at your bidding. Petramos is lord, and Petramos decrees that I abide with him! (as if going to Dunn)

Dunn. (wildly excited, coming down R. C.) In a sense, Miss Mifton is right. She came here with an irreproachable character and the highest references, and as the Master of the house, knowing nothing to her discredit, I am responsible for her. Miss Mifton is here and for the present must remain. (goes to R. of Corney)

Hat. (who has entered C. and has tried to get a word with Dunn, taking up Dunn’s tone) That’s what I tell her, but she insists it can’t be.

Niobe advances R. C. close to Miss Mifton, who turns and recognises her dress.

Niobe and Miss Mifton stand looking at each other; Niobe doing her usual action of “Hail to you!” Picture of consternation and surprise, by other characters as curtain falls.

ACT III.
Time.—The same day as Act II. A few hours later.

Scene.—Another side of the same room. The fireplace centre, the bay window cornerwise L. of fireplace; the hallway R. U.; screen below it; when open, covers a door down R.; couch and piano off; table is L. C.; chairs, etc.; low chair at a small table against scene down L.; fire in fireplace.

Helen discovered seated R. of fireplace; Carrie seated L.; Corney, back to fireplace, standing smoking.

Hel. (R. C., seated) There is nothing left us but departure. Mr. Dunn’s falsehoods, and the woman’s shamelessness, render any further stay impossible. We are decided to leave his roof.

Corn. Certainly! Leave him the entire house; you’ve raised it about his ears, you can’t do more.

Corn. Hasn’t he? Beauties! What a political future for a man who could lie like Peter!

Corn. And mad to think you never suspected him. You feel so mean at having been fooled, don’t you? Why, I positively looked up to him. Ah! It’s the same old story, scores of presumably, blameless, spotless men, only waiting to be found out.

Down to table, packing trinkets in small bag on table. Helen rises and goes to cabinet up R.

Corn. Of course not, and the only question is, who’s to quit! We can, but why shouldn’t he? There’s four of us, and only one of him.

Corn. Yes! Well, it would be far less trouble to arrange for us to remain, and let him go, and take her along with him.

Hel. How can you suggest such a breach of propriety? (back to cabinet for another small treasure)

Corn. I can’t see that it’s worse than leaving them here. Beside it would save the inconvenience of packing, and as far as I’m concerned, I don’t relish getting out of my comfortable quarters for a trifle. (sits in chair R. of fireplace, stretching himself)

Helen crossing to table L. C. with vase—Carrie packing with tissue paper, and placing in bag on table.

Corn. It’s foolish to hurry our departure in any case. Give them time, and we may find they have eloped, and left us in possession. (Corney gets L. of fireplace on Mary’s entrance)

Car. How can you hint at anything so shocking? (at table L., getting photo) If Peter can clear himself, I will give him one more opportunity.

Hel. (taking photo out of Carrie’s hand) And one more chance for new and greater falsehoods. (crosses back to cabinet R. and puts down photo. Mary enters from hallway R., front of them)

Mary. Yes Ma’am, both of them. The one, the first one, was on the point of going out, but Miss Mifton, the second, stopped her and says: “No you don’t, not in them clothes; take my frock off,” she said, and the high words they’ve been having you might have heard down here.

Hat. She has such dignity, she’s withering. She curled the new one up, I can tell you.

Inn. (entering) I say, it’s awful, you know, there’s a crowd collecting in front of the house; I think they imagine it’s a sleep-walking seance——

Hat. I don’t know, the step ladder was there, and she ran up through the skylight, she’s calling out Phœbus! Phœbus! and waving her arms about like this. (Hattie down R., and comes over again)

Corn. She must belong to some new sect that has taken up the old Pagan idolatry.

Inn. (following) If she would like to go up in a balloon, I shall be delighted——

Mift. (R. C.; speaking as she enters) I will not put up with it—you will pardon me troubling you; but if I cannot get my rights any other way, I must send for the policeman.

Mift. (indignantly, C.) My wearing apparel, Mrs. Dunn! That imposter is in possession of my trunk, and is still wearing some of my dresses.

Mift. I did more than ask; I insisted; I commanded her to take my property off her back; and she replied, by imploring Artemis, to strike me dumb. (puts her hands up a-la-Niobe)

Mift. (R. C.) The most annoying part of it is she won’t lose her temper; she simply waves me off, and says, “The audience hour is noon.”

Car. Miss Mifton, will you please be patient, and silent, too; endeavour to spare us the pain of a great scandal.

Mift. I’ll do my best, but she has set the dear pets against me. They won’t leave her side.

Hel. (following Carrie down R.) Don’t despair Carrie. Miss Mifton is, as yet, new to them; you at least will be able to lure the darlings from the pernicious influence.

Corn. (aside) If I can get a chance, I’ll have my little business out with Miss Mifton at once.

Hel. (crossing back with hand-bag) We will see to the children ourselves, Miss Mifton. (crosses R. of Carrie) Come Carrie, we must first send to a Hotel and secure rooms! The very air here seems loathsome.

Mift. (looks after Carrie and Helen—then speaks down R.—aside) He’s here! Now is my opportunity to endeavour to obtain my sister’s letters.

Corn. (L.—aside) The annoyance she’s meeting with will make her more spiteful to me. I must pacify her the first thing. (aloud) We deeply regret the vile treatment you have received. I myself am pained beyond measure at the ignominy you have suffered. (Dunn enters R. U. E., as if from street, with paper parcel, puts down hat on cabinet, up R.) And if it were not for the ties of relationship, Mr. Dunn should answer to me for his dastardly conduct.

Dunn. (coming down C.) Should he? If you will only show your authority for questioning, Mr. Dunn is prepared with unlimited replies.

Dunn. (C.) That’s rather a large order, isn’t it? and you might find your portion of it, a little more than you bargained for; as for the little inconvenience Miss Mifton has experienced——

Mift. (R. C.) It is no small matter, Mr. Dunn, to have your trunk seized and your dresses appropriated.

Dunn. How do you know? I suppose there may be other Miftons? (to Mifton) You don’t quite claim a monopoly for the name, do you Mifton?

Mift. It’s a remarkable coincidence, that I should find a person of my name, occupying my situation.

Corn. (going to Dunn C.) The fact of Miss Mifton being delayed is no excuse for the pretence.

Dunn. But it accounts for the mistake. We had engaged a Miss Mifton, and a Miss Mifton came; it was a case of first come—first serve.

Dunn. That’s your fault again for sending them on. If you had come in them, it couldn’t have happened. And there’s no desire to keep your clothes. The lady will get some made with all possible dispatch. I have here samples of materials that I have obtained for her to select from. (showing parcel)

N. B.—This parcel contains a number of small sample cuttings of dress goods, a printed measure form to fill up, tape measure and pencil.

Dunn. The interest one naturally feels for the unprotected. She is an Orphan; of long standing; she is misjudged and suffering an injustice.

Mift. (R. C.) You are strangely blind to my grievances, Mr. Dunn. You engaged me as Governess, and I came here to teach your children.

Dunn. (C.) No! No! Let us be correct. You came here to hunt down the gay deceiver—(indicating Corney, who comes quickly down to him C.) who trifled with the young affections of a confiding Mifton.

Corn. (aside to Dunn) Don’t be a fool Peter; she’ll put up the damages, a couple of thousand, on a remark like that. (aloud) What reason have you to suppose—who could have told you such was the object of the lady’s visit?

Dunn. But you meant that one. Why, the other hasn’t had a sister for years and years. And it’s the sister you had broken off with. (goes up and unties parcel at cabinet R.)

Mift. (comes down R. C.) I admit I took the engagement for the purpose, if it proved the same, of speaking with Mr. Griffin of my sister; and if he still loved her, to prepare him for the worst.

Corn. (with mock grief) What! Is she dead? My bonny Ethel, a thing of the past! Oh!

Mift. (crosses to Corney) No! No! Not that, Mr. Griffin; my sister still lives.

Corn. (rises) Oh, I see; you mean the worst if I refuse to compromise. Of course, it is to be regretted that mercenary motives should creep in, where once love reigned. And your case is not a strong one, Mr. Dunn will tell you——

Dunn. (at table, arranging his patterns under newspaper) No, Mr. Dunn won’t. Don’t drag me into your vile deceptions. I’ve enough to worry with my own.

Corn. Why can’t Ethel let by-gones be by-gones; she must know I was an impressionable young jackass; that we never could be happy together, at least I couldn’t, and she is very wrong, very wrong, to insist on marrying me.

Corn. (bus.) Married! Oh, Miss Mifton—oh—(aside) oh, this is lovely! (going to L. corner)

Mift. (C.) I came to plead to your generosity; her husband believes she was never engaged before! She[Pg 60] dreads you might disclose her deception, and expose her letters.

Corn. Ah! How she has misjudged me; I forgive her freely; she shall have her letters——

Corn. In exchange for mine, of course. It must be a sound reciprocal arrangement.

Dunn. (coming down) And as you have now thoroughly accomplished the object of your coming, Miss Mifton, there is nothing further to detain you. I wish you good day. (taking her hand) I’m sorry you had so much trouble, but compensation will of course——

Mift. (withdrawing her hand, indignantly, and going R.) You are mistaken, Mr. Dunn. I could never consent to leave the ladies in their distress.

Corn. (crosses to Miss Mifton) That sentiment does you credit, Miss Mifton! Don’t be intimidated, I will stand by you.

Mift. (excitedly) I will not! (crosses C., Dunn running L.) I will send for an officer. I will demand my clothes—I cannot pack my dress while it is on the back of that person.

Dunn. (L. C.) Do you know you’re spreading insubordination, Cornelius Griffin, and breeding contempt for me; the constituted authority of this house?

Corn. (returning C.) I can’t help that, Peter, I must stand up for the innocent and oppressed.

Dunn. (C.) Must you! How long has this wave of virtuous indignation been raging along your seaboard?

Corn. (R. C.) For several minutes! Aroused by the vile treatment of poor little Mifton; it was contemptible to seize her trunk and pick the lock. (goes R.)

Dunn. (following Corney closely) I did not. I only picked the key; and it was only by the merest chance that it fitted.

Corn. (backing Dunn to C.) But you have the nerve to utilize the contents of the said trunk to deck out your precious beauty!

Dunn. (follows Corney) What d’ye mean by deck[Pg 61] out? She’s not a shop window, and don’t call her my beauty, I have never made any special claim to comeliness.

Dunn. I wasn’t! You’re no good—you’re not solid; you’ve about as much vertebral support to you as a rubber pipe; you haven’t the pluck to stand by your own tom-fooleries, but shift the blame on to others.

Corn. (across table) You never will understand how necessary it is for me not to worry. The doctor says I cannot both worry and live.

Dunn. (across table) Then worry and die! I’ve had enough of this scapegoat business. You can allot me shares in a newer enterprise. (sits R. of table)

Corn. (crossing behind table to C.) And this is your gratitude to me for letting you down easy?

Corn. (C.) Why certainly! Being, so to say, sullied with my smaller vices has served to break your fall, hasn’t it? If you had possessed a spotless reputation, the effect of your colossal villainy now would be paralyzing.

Corn. It’s bad enough as it is. Carrie has washed her hands of you; they are preparing to depart.

Corn. (R. C.) What for? You must see that I cannot allow my sisters to remain longer under your roof. (turns from Dunn)

Dunn. Then take ’em away; you can take Helen away, and Hattie too, I can even spare Hattie, but Carrie ceased to be your sister when she became my wife; she is going to remain. (goes to low chair L., is about to sit)

Corn. (C.) There! I said you’d be agreeable to that. My argument was, that if somebody must go, it would be better for you to get out.

Corn. Yes! You have only one trunk to pack! The girls have two each, and I have another, that’s seven.

Dunn. Yes, it’s seven to one against me; but I decline to be the outsider. (sits L.)

Corn. Well, don’t be too hasty in deciding—think it over. I shall not pack my traps till I hear from you, and I rely on your good sense to show you the value of my suggestions; Peter, you nearly worried me that time.

Dunn. Why! Why didn’t I tell the truth at first, as Niobe suggested. It might not have been believed; it wouldn’t have been, but I could have stuck to it instead of floundering about, and getting up to my neck in a quicksand of equivocation. (rises, going C.) If I can only get a dress made for her to go out in, I’ll send her to my sister, Mabel—who would believe whatever I might tell her. (turns to table back to audience)

Nio. (not seeing Dunn when first entering) Ah me! I would I were a stone again! Anything were better than to suffer such indignities as now I meet. Petramos! you will remove my cares as Eos lifts the sable pall of night.

Dunn. I don’t know anything of Knight’s pall. Don’t talk undertaking business. What is it?

Nio. That daughter of Athena claims these robes, the which you gave me yester e’en.

Dunn. Oh well, for the sake of peace give them to her. Avoid war if you can. There’s no money in it. (goes L.)

Nio. (following him slightly C.) Why yield to her when we might ostracise her?

Dunn. No, no! Police—the Police—the gentlemen who guide and direct us—of whom we enquire the time—the officers of justice. They keep the peace—where nobody can find it.

Nio. Ah, the custodians of law and order? (Dunn nods affirmatively) Why, we have but to fill their hands with bribes.

Dunn. What! They were the same in the old time! We’ve trouble enough in the house without getting the police in. Of course, you couldn’t foresee the mischief you were doing, but you’ve ruined me. (Niobe starts)[Pg 63] Yes, ruined me. My wife will leave me, and my family be scattered to the fore and hind quarters of the globe.

Nio. (sees and takes paper knife from table) If I have wrecked your pleasure, let me die. You gave new life to me; ’tis yours, take it away.

Dunn. With a paper knife! You can’t remove existence in that off-handed way. You’re flesh and blood now and it would be murder. If you were only electrified back to stone now, if you were only stone dead.

Nio. (rises—throws knife up stage) I’ll rouse again the wrath of High Olympus. (crosses R.)

Dunn. (annoyed) I’ve told you the firm went to smash long ago. Do be rational. You must go and give that woman her frock. Put on your own dress—your stone dress, till we can get you one made to go out in. (gets back of table a-la-shopman) I have here samples of materials and a choice variety of colours for you to select from. (takes newspaper off patterns)

Nio. Ah, Petramos! How good you are! (takes up patterns and places them on stage, kneeling, interested, and sorting them)

Dunn. (coming down L.) I was afraid to bring the dressmaker into the house, but I have full instructions here for measuring you. (coming down L. with printed form, taking out pencil and tape measures, which he hangs about his neck)

Nio. (on stage C., spreading out samples) It will be hard to choose from such a store of prettiness.

Dunn. (placing form on table) Yes, if you’d had about two, you might have come to a decision. Don’t scatter them about, you haven’t time to play patience now. I suppose it doesn’t matter much where I begin on her, so that I fill up the form! (he measures length of back, 18, crosses to table and writes it down) 18.

Nio. This pink and grey would be the sweetest match. If this dress is the fashion it becomes me well.

Dunn. (returning to R. of Niobe) Stand up, please—(placing her arm to measure sleeve, Niobe puts arm full up, Dunn goes up to door R., returns to Niobe and places arm in position; measures, 6. 13. 24., crosses to table) 6. 13. 24.

Dunn. (coming back to R. of Niobe) Oh yes, with concertina sleeves; and harmonican puffs if you like.

Nio. As you decide. Whom have I in the world but you! (going to embrace Dunn, as he places arm to measure bust; Niobe attempts to embrace him as he puts his hand around to measure her; Dunn gets the measurement and bobbing under arm, goes to table)

Dunn. (returns to C. L. of Niobe, bringing card form with him; he goes to measure her waist—she embraces him ad lib. He falls on his knees and takes measurement) Waist 36. (Carrie enters R.; Niobe gets over on his L.; he measures skirt and sees Carrie’s foot, she having entered during business; Dunn falls flat on stage, muttering measurement and gathering up loose patterns, pushing them into his vest.)

Car. (R. C., indignantly to Niobe) I had some business with my husband, but I can wait.

Car. (R.) You’re too gracious. I came, Peter, unknown to Helen, to see if you could not remove my doubts; and I find you, as usual, in open unblushing companionship with this woman.

Nio. (crosses to Carrie) He loves you still. His heart is yours; you cannot grudge me a little corner in it.

Car. (crying R.) If you are bewitched, confess it; say you are under the spell of this fair Siren.

Nio. (crying C.) The Sirens lured Odysseus with melody and song. I have not played or sung here to Petramos.

Dunn. Now they’re both at it. Here’s a chance for the gods! Carrie, there’s no spell in the business.

Dunn. (crossing to Carrie) I did expect it. The moment I saw her, I knew you would object to her being here.

Dunn. (going to seat L. corner) Now we’re all at it. (sits) I knew it was useless to say who she was, or how she came.

Nio. (C.) He feared the truth, tho’ I advised it. Truth might have worked more mischief.

Dunn. No! truth couldn’t! But what’s the use of a truth which seemed like throwing down the gauntlet to Annanias.

Car. (crosses to Peter) Oh Peter! Confess you were beguiled and I’ll forgive you. (taking his face in her hands, turns his head towards her)

Dunn. I cannot criminate myself by owning up to what doesn’t belong to me. If you had been here when she arrived—if you had seen how she came, it would have been all right; you would understand that—(rises) that she is no more to me—than a sister I have not seen for years.

Nio. (R. C.) He was near when I first drew my breath! But him in the wide world I have no one, he is my guardian, my protector.

Car. (crosses C.) Ah, how blind I’ve been. (goes to Dunn and brings him down L. of her) Forgive me, Peter, for having doubted. Why did you not say she was your sister?

Car. (to Niobe) You, too, must forgive me, and let me call you Sister. (Dunn smiling)

Nio. Oh yes, that will be sweet. I have wanted so much to love you, but you would not let me.

Car. (arms around Niobe) I might have known you would wish to be near Peter. Though he never said so; and what a resemblance! Come, Peter dear, kiss your sister. And—Helen thought different.

Car. I was to blame for neglecting Peter’s kindred. I knew of your existence, that is all. What is your name, dear?

Dunn. (goes down L.) She conceals nothing. She’s altogether too guileless for this nineteenth century.

Car. Sister Niobe! (embracing her and putting her over C.) Helen! (crosses to Helen) We have wronged Peter; we are to blame. She is his sister.

Car. And if we had not kept her a stranger to our circle, her coming would not have caused all this anxiety.

Hat. (crosses to Niobe, R. C.) Peter’s sister. Well, you’re not a bit like him. You’re altogether too scrumptious for anything.

Nio. (C.) Though I am ignorant of what “scrumptious” means, your manner tells me it is something good.

Hat. (sharply) Don’t you interfere. We’re going to run our new sister on our own lines, aren’t we Carrie?

Nio. You have my sympathy—(pointing to Helen)—that she claims kinship with you.

Hat. Oh, you are a funny old thing. And say, Ni’, won’t you tell me how you dress your hair like that? (round to L. of Niobe)

Nio. I cannot tell you that; my tiring women dressed it. It is as it was left three thousand years ago.

Dunn. (crossing in front to C.) Ha!—Er—that’s a quotation; you know the quotation “Rode the three thousand.” (goes up C.)

Mary. (to Niobe) Miss Mifton wants to know if she’s ever goin’ to get her clothes?

Dunn. Yes, yes! Of course! (to Niobe) Go! Go! and give her dress back by all means. (goes up)

Nio. I am pleased you are so shapely. Cleophas thought that I was well nigh faultless.

Dunn. (going down, pushes Hattie away) Never mind him. He’s a fellow we met at the races. (to Niobe—aside) Be quiet and do as I tell you or you’ll spoil all. (goes over to window)

Nio. (gradually working up) Ah no! Fear not! (coming down C.) I cannot take the robes you’d kindly loan me, but I am touched no less with all your love and moved to the relief of melting tears.

Niobe exits crying, off R. C. up stairs; Carrie up C., looks after Niobe; Hattie goes up R. C., and exits after Niobe.

Dunn. (coming down L.) At it again. Kindness or cruelty, care or neglect, all melt her alike.

Hel. (down R.) Irrigating Crocodile! She’s a huge sham—mark my words, we shall live to regret her coming.

Dunn. (goes a little towards Helen) There’s no occasion for you to live here to regret it. If you feel you could bear it better somewhere else, don’t let us keep you. (goes L.)

Hat. (R. C.) Bea! What do you think? Such a surprise; Miss Mifton, the first Miss Mifton is——

Dunn. (L.) Hattie, my dear, be quiet. Miss Sillocks is not interested in our family surprises.

Bea. For all of you! Papa has always imagined, as Mr. Dunn’s sister never visited him, that there was some kind of estrangement.

Hat. Yes! And her papa was determined to get Peter’s sister over on a visit, and give them the chance to kiss and be friends.

Dunn. Niobe—Niobe Mabel Dunn—she has several names. Those are the two front ones—Miobe, Nabel, Dunn.

Dunn. (C.) Yes, she is fair now. I tried to keep her dark, but I couldn’t. (going—drops in chair extreme L.)

Hel. (C.) He, this monster of marital iniquity, has been blinding us with new and more daring falsehoods. He declared that this woman was his sister.

Hel. (crosses L. C. to table) See how he cowers, for he stands confessed. Fate, in the person of Beatrice Sillocks, has hunted him down.

Corn. Bea, in a new role. The guardian angel of innocence. (crosses L. to Dunn)

Hat. (down C.) Perhaps he has two sisters! (Dunn with a gleam of hope rises) Why not, there are two Miss Miftons! (Corney meets Dunn’s gaze)

Corn. No! no! That’s played out. Even Peter, with[Pg 69] all his impudence, wouldn’t set up that defence. (goes up to fire to Beatrice)

Corn. (bringing Beatrice down R. C.) And take Beatrice from the moral poison of his presence.

Hat. We’ll hear all about it afterwards, so it doesn’t make any difference. (Hattie exits with Beatrice R. I. E.)

Corn. (goes towards Peter in front of table L. C.) Now Peter Amos Dunn! As my sister’s brother, I am bound to bring it to your notice, that one of us, either your party or our party, must leave this house. And, I think your best course is to leave us in possession of the home you are no longer fit to occupy.

Dunn. (rises) It’s my home, and I suit it to myself. (desperately, Corney backs a little C.)

Dunn. (crossing to Carrie) I didn’t! It never occurred to me or I might. You yourself said she was my sister, and I know you hate to be contradicted.

Dunn. (R. C.) Oh, what of that! I’ve called many a girl sister before I married you.

Dunn. Well, in a sense I am. I’m responsible for her. She’s purely a matter of business. She was turned over to me to take care of, and when he’s ready for her he’ll take her away.

Corn. (advancing C.) Tompkins! Isn’t this a branch of business which ought not to be intruded on the home circle?

Dunn. (C.) Don’t I know that? But Tompkins set such store by her, I had to oblige him and bring her here. (crosses to low seat L.)

Hel. (rises) Then weak as you are to shield another person’s infamy at the cost of insulting your family, you are a spotless infant compared to Tompkins.

Hel. (putting Dunn back, he falls into chair) Let Mr. Tompkins first hear the opinion of the ladies, whose sense of delicacy he has outraged.

Hel. He must take notice, and apologize to ladies of irreproachable character—though it is scarcely to be expected from one so utterly depraved.

Tomp. I haven’t an idea what I’m supposed to have done, but few of us have past lives, wholly free from blame. Even you, Miss Griffin, may have something to regret.

Hel. What dare you insinuate? It is not true! Who could have told you? I—I——

Dunn. It’s right! It’s right! Tompkins has found it all out—Helen’s down—and I can’t triumph—I haven’t a crow left in me. (goes up L. to fire C.)

Corn. To be sure, tricks of this kind won’t help you, Tompkins, and we must ask you to take her away, if you have not the decency to apologise for her presence.

Car. (advancing to Tompkins) Mr. Dunn says she was brought here to oblige you.

Dunn. (crouching on stool by fire) Yes, I did, but it’s a lie—a whacking lie! I’m trying to break a record—I started in without thinking and Heaven only knows where I shall end.

Tomp. I fail to appreciate it, Sir; but fortunately my business with you will soon be over and our acquaintance can end with it. I have come to take away my Statue. (comes down C.)

Dunn. Care’s of no use, and a hundred men couldn’t get the Statue out! It isn’t here.

Corn. (R.) It’s here in the screen right enough, it couldn’t fly out of the window. (opening screen) Gone!

Dunn. (advancing R. C.) Didn’t I tell you so? Do you think I am incapable of ever speaking the truth?

Corn. Absurd! Make a break at something. (crossing up stage and down and sits on table)

Tomp. (C.) Stupendous misfortune! You can have[Pg 72] no conception of the awfulness of your avowal—you cannot realize my loss.

Tomp. What is filthy lucre? No money on earth can compensate me for its destruction.

Tomp. Calm! With such a treasure gone! Ah! You know nothing of the halo of romance that surrounds that figure. It was no ordinary piece of statuary. There is a legend that no mortal hand carved or chiselled it. It is believed to be the actual petrifaction of the identical once living Niobe, wife of Amphion, King of Thebes.

Dunn. (rushing at Tompkins, taking his hand) Bless you, Tompkins! Bless you! Now I can be believed! (crosses to others L. C.) The truth seemed so preposterous before, I dared not tell it. But now—oh—Tompkins! Tompkins! (embracing Tompkins)

Dunn. (going back R.) Because she, Niobe herself, from the time immediately after the Trojan war, who was there in the stone, has come to life!

Dunn. (on pedestal) The uncovered electric wires imparted some vital current to the system, which roused the dormant principle of respiration and circulation, unpetrified her limbs and she is alive; alive, oh! (goes L.)

Dunn. Your owner. The man who paid great treasure to purchase you to adorn his home.

Niobe advances C.; Tompkins to her as Dunn goes up to Carrie—reconciliation business.

Tomp. Oh filtatese gewnaikos omma kai dommas,
ekk s’aelptose, oupot opsesthai, dokone.

They turn back to audience, Tompkins half embracing her; enter Sillocks, Beatrice, Hattie and Innings R., from hallway.

Corn. (L.) Oh no! A new metamorphosis for a modern Ovid. This lady is the real article, warranted three thousand years in bottle.

Dunn. (L. of Carrie) It means that Tompkins has no longer an Antique excuse for living single.

Dunn. (R. C.) She’ll make you an excellent wife, Tompkins, combining all the charm of youth with a long worldly experience.

Niobe to Audience:[Pg 74] I know you may expect me, from the strain
Of such like plays, to turn to stone again,
But life is sweet, and faults if you’ll forgive
Sans tears, all smiling Niobe will live.

*** END OF THE PROJECT GUTENBERG EBOOK NIOBE, ALL SMILES: A FARCICAL COMEDY IN THREE ACTS ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

1 Act Pieces.	2 Acts.	3 Acts.
From 10s. 6d. to 42s.	15s. to 63s.	21s. to £5 5s.

	Prince of Wales Theatre, Liverpool, 1st Sept., 1890.	Strand Theatre, London, 16th April, 1892.
Peter Amos Dunn,	Mr. Harry Paulton,	Mr. Harry Paulton,
in Life Assurance (President of the Universal Insurance Co.).
Cornelius Griffin,	Mr. E. T. Steyne,	Mr. Forbes Dawson,
in Love with Himself (Peter’s Wife’s Brother).
Philip Innings,	Mr. Mervyn Herepath,	Mr. Herbert Ross,
in Corney’s Hands (Corney’s Friend).
Hamilton Tompkins,	Mr. Henry S. Dacre,	Mr. Geo. Hawtrey,
in the Clouds (an Art Enthusiast, a Millionaire).
Parker Sillocks,	Mr. Charles Randolph,	Mr. A. C. Mackenzie,
in Retirement (a Merchant).
Caroline Dunn,	Miss Constance Nathalie,	Miss Ina Goldsmith,
in-dispensable (Peter’s Wife).
Helen Griffin,	Miss Helen Palgrave,	Miss Carlotta Zerbini,
in Authority (Caroline’s Eldest Sister).
Hattie Griffin,	Miss Violet Lofting,	Miss Georgie Esmond,
in Open Rebellion (Caroline’s Youngest Sister).
Beatrice Sillocks,	Miss Marian Denvil,	Miss Eleanor May,
in Love with Corney (Parker’s Daughter).
Mary,	Miss Dent,	Miss Venie Bennett,
in Service (Parlor Maid).
Madeleine Mifton,	Miss Alice Drummond,	Miss Isabel Ellissen,
in the Way (New Jersey Governess).
Niobe,	Miss Jenny Beauville,	Miss Beatrice Lamb,
in the Flesh (Widow of the late Amphion, King of Thebes, a Statue).

The Project Gutenberg eBook of Niobe, All Smiles: A Farcical Comedy in Three Acts

E-text prepared by Clarity, Paul Clark,
and the Online Distributed Proofreading Team
(http://www.pgdp.net)
from page images generously made available by
Internet Archive/American Libraries
(https://archive.org/details/americana)

Niobe, All Smiles

ACTING RIGHTS.

NIOBE, ALL SMILES.

CAST OF CHARACTERS.

NIOBE, ALL SMILES

ACT I.

ACT II.
THE NEXT MORNING.

ACT III.
Time.—The same day as Act II. A few hours later.

THE FULL PROJECT GUTENBERG LICENSE

The Project Gutenberg eBook of Niobe, All Smiles: A Farcical Comedy in Three Acts

E-text prepared by Clarity, Paul Clark, and the Online Distributed Proofreading Team (http://www.pgdp.net) from page images generously made available by Internet Archive/American Libraries (https://archive.org/details/americana)

Niobe, All Smiles

ACTING RIGHTS.

NIOBE, ALL SMILES.

CAST OF CHARACTERS.

NIOBE, ALL SMILES

ACT I.

ACT II. THE NEXT MORNING.

ACT III. Time.—The same day as Act II. A few hours later.

THE FULL PROJECT GUTENBERG LICENSE

E-text prepared by Clarity, Paul Clark,
and the Online Distributed Proofreading Team
(http://www.pgdp.net)
from page images generously made available by
Internet Archive/American Libraries
(https://archive.org/details/americana)

ACT II.
THE NEXT MORNING.

ACT III.
Time.—The same day as Act II. A few hours later.