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<teiHeader creator="Margaret Lantry" status="update" date.created="1997-12-15"  date.updated="2008-07-30">
<fileDesc>
<titleStmt>
<title type="uniform">The Importance of Being Earnest</title>
<title type="uniform">A trivial comedy for serious people</title>
<title type="gmd">An electronic edition</title>
<author>Oscar Wilde</author>
<respStmt>
<resp>Electronic edition compiled by</resp>
<name>Margaret Lantry</name>
</respStmt>
<funder>University College, Cork</funder>
</titleStmt>
<editionStmt>
<edition n="2">Second draft.</edition>
<respStmt>
<resp>Proof corrections by</resp>
<name>Margaret Lantry</name>
</respStmt>
</editionStmt>
<extent><measure type="words">23410</measure></extent>
<publicationStmt>
<publisher>CELT: Corpus of Electronic Texts: a project of University College, Cork</publisher>
<address>
<addrLine>College Road, Cork, Ireland&mdash;http://www.ucc.ie/celt</addrLine>
</address>
<date>1997</date>
<date>2008</date>
<distributor>CELT online at University College, Cork, Ireland.</distributor>
<idno type="celt">E850003-002</idno>
<availability status="restricted">
<p>Available with prior consent of the CELT programme for purposes of academic research and teaching only.</p>
</availability>
</publicationStmt>
      <notesStmt>
	<note>There is not as yet an authoritative edition of Wilde's works.</note>
      </notesStmt>
      <sourceDesc>
	<listBibl>
	  <head>Select editions</head>
	  <bibl n="1">The writings of Oscar Wilde (London; New York:
	    A. R. Keller &amp; Co. 1907) 15 vols.</bibl>
	  <bibl n="2">Robert Ross (ed), The First Collected Edition of
	    the Works of Oscar Wilde (London: Methuen &amp; Co. 1908).
	    15 vols. Reprinted Dawsons: Pall Mall 1969.</bibl>
	  <bibl n="3">Complete works of Oscar Wilde (Glasgow:
	    HarperCollins, 1994).</bibl>
	</listBibl>
	<listBibl>
	  <head>Select bibliography</head>
<bibl n="1">'Notes for a bibliography of Oscar Wilde', Books and
	    book-plates (A quarterly for collectors) 5, no. 3 (April
	    1905), 170-183.</bibl>
<bibl n="2">Karl E. Beckson, The Oscar Wilde encyclopedia (New
	    York: AMS Press 1998). AMS Studies in the nineteenth
	    century 18.</bibl>
<bibl n="3">Richard Ellmann (ed), The Artist as Critic: Critical
	    Writings of Oscar Wilde (Chicago 1982).</bibl>
<bibl n="4">Richard Ellmann; John Espey, Oscar Wilde: two
	    approaches: papers read at a Clark Library seminar, April
	    17, 1976 (Los Angeles: William Andrews Clark Memorial
	    Library, University of California 1977).</bibl>
<bibl n="5">Richard Ellmann, Oscar Wilde at Oxford: a lecture
	    delivered at the Library of Congress on March 1, 1983
	    (Washington, DC: Library of Congress 1984).</bibl>
<bibl n="6">Richard Ellmann, Oscar Wilde: a biography (London:
	    Hamilton 1987).</bibl>
<bibl n="7">Juliet Gardiner, Oscar Wilde: a life in letters,
	    writings and wit (Dublin: Gill &amp; Macmillan
	    1995).</bibl>
<bibl n="8">Frank Harris, Oscar Wilde, including My memories of
	    Oscar Wilde, by George Bernard Shaw and an introductory
	    note by Lyle Blair (London: Robinson, 1992).</bibl>
<bibl n="9">Rupert Hart-Davis (ed), Selected letters of Oscar
	    Wilde (Oxford: Oxford University Press 1979).</bibl>
<bibl n="10">Rupert Hart-Davis (ed), More letters of Oscar Wilde
	    (London: Murray 1985).</bibl>
<bibl n="11">Vyvyan Beresford Holland, Oscar Wilde: a pictorial
	    biography (London: Thames &amp; Hudson 1960).</bibl>
<bibl n="12">H. Montgomery Hyde, Oscar Wilde: a biography (London:
	    Methuen 1977).</bibl>
<bibl n="13">Andrew McDonnell, Oscar Wilde at Oxford: an annotated
	    catalogue of Wilde manuscripts and related items at the
	    Bodleian Library, Oxford, including many hitherto
	    unpublished letters, photographs and illustrations (A.
	    McDonnell 1996). Limited edition of 170 copies.</bibl>
<bibl n="14">Stuart Mason, Bibliography of Oscar Wilde (London: E.
	    G. Richards 1907). Also pubd. New York 1908, London 1914
	    in 2 vols. Repr. of 1914 edition: New York: Haskell House
	    1972.</bibl>
<bibl n="15">E. H. Mikhail, Oscar Wilde: an annotated bibliography
	    of criticism (London: Macmillan 1978). Also pubd. Totowa
	    NJ: Rowman &amp; Littlefield 1978.</bibl>
<bibl n="16">Thomas A. Mikolyzk, Oscar Wilde: an annotated
	    bibliography (Westport CT: Greenwood Press 1993).
	    Bibliographies and indexes in world literature, 38.</bibl>
<bibl n="17">Norman Page, An Oscar Wilde chronology (London:
	    Macmillan 1991).</bibl>
<bibl n="18">Hesketh Pearson, A Life of Oscar Wilde (London
	    1946).</bibl>
<bibl n="19">Richard Pine, The thief of reason: Oscar Wilde and
	    modern Ireland (Dublin: Gill &amp; Macmillan 1996).</bibl>
<bibl n="20">Horst Schroeder, Additions and corrections to Richard
	    Ellmann's Oscar Wilde (Braunschweig: H. Schroeder
	    1989)</bibl>
	</listBibl>
	<listBibl>
	  <head>The edition used in the digital edition</head>
	  <biblStruct>
	    <analytic>
	      <author>Oscar Wilde</author>
	      <title level="a">The Importance of Being Earnest</title>
	    </analytic>
	    <monogr>
	      <title level="m">Plays, Prose Writings and Poems</title>
	      <imprint>
		<pubPlace>London</pubPlace>
		<publisher>Everyman</publisher>
		<date>1930</date>
		<biblScope type="pages">450&ndash;509</biblScope>
	      </imprint>
	    </monogr>
	  </biblStruct>
	</listBibl>
      </sourceDesc>
    </fileDesc>
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      <projectDesc>
	<p>CELT: Corpus of Electronic Texts</p>
      </projectDesc>
      <samplingDecl>
	<p>All the editorial text with the corrections of the editor has been retained.</p>
      </samplingDecl>
      <editorialDecl>
	<correction status="medium">
	  <p>Text has been checked, proof-read and parsed using NSGMLS.</p>
	</correction>
	<normalization>
	  <p>The electronic text represents the edited text.</p>
	</normalization>
	<quotation>
	  <p>Direct speech is marked <emph>q</emph>.</p>
	</quotation>
	<hyphenation>
	  <p>The editorial practice of the hard-copy editor has been
	    retained.</p>
	</hyphenation>
	<segmentation>
	  <p><emph>div0</emph>=the whole text.</p>
	</segmentation>
	<interpretation>
	  <p>Names of persons (given names), and places are not
	    tagged. Terms for cultural and social roles are not
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      <refsDecl>
	<state gi="div1" attr="n" freq="1" label="act" unit="act">
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      <refsDecl>
	<p>The <emph>n</emph> attribute of each text in this corpus
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	<p>The title of the text is held as the first
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	<p><emph>div0</emph> is reserved for the text (whether in one
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<profileDesc>
<creation>By Oscar Wilde (1854&ndash;1900).
<date>1895</date></creation>
<langUsage> 
<language id="en">The text is in English.</language>
<language id="fr">One word occurring twice in Anglo-French.</language>
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<revisionDesc>
<change>
<date>2008-07-30</date>
<respStmt>
<name>Beatrix F&auml;rber</name>
<resp>ed.</resp>
</respStmt>
<item>Keywords added; file validated; new wordcount made. Minor changes made to header.</item>
</change>
<change>
<date>2005-08-25</date>
<respStmt>
<name>Julianne Nyhan</name>
<resp>ed.</resp>
</respStmt>
<item>Normalised language codes and edited langUsage for XML conversion</item>
</change>
      <change>
	<date>2005-08-04T14:24:34+0100</date>
	<respStmt>
	  <name>Peter Flynn</name>
	  <resp>conversion</resp>
	</respStmt>
	<item>Converted to XML</item>
      </change>
      <change>
	<date>1998-01-06</date>
	<respStmt>
	  <name>Margaret Lantry</name>
	  <resp>ed.</resp>
	</respStmt>
	<item>Text parsed using NSGMLS.</item>
      </change>
      <change>
	<date>1998-01-06</date>
	<respStmt>
	  <name>Margaret Lantry</name>
	  <resp>ed.</resp>
	</respStmt>
	<item>Proof corrections entered and mark-up corrected; text
	  spell-checked.</item>
      </change>
      <change>
	<date>1997-11-16</date>
	<respStmt>
	  <name>Margaret Lantry</name>
	  <resp>ed.</resp>
	</respStmt>
	<item>Text proofed.</item>
      </change>
      <change>
	<date>1997-12-15</date>
	<respStmt>
	  <name>Margaret Lantry</name>
	  <resp>ed.</resp>
	</respStmt>
	<item>Header created; structural mark-up inserted.</item>
      </change>
      <change>
	<date>1997-09-04</date>
	<respStmt>
	  <name>Margaret Lantry</name>
	  <resp>ed.</resp>
	</respStmt>
	<item>Text captured by scanning.</item>
      </change>
    </revisionDesc>
  </teiHeader>
  <text n="E850003-002">
    <front>
      <pb n="450">
      <div type="dramatis personae">
	<head>THE PERSONS OF THE PLAY:</head>
	<list type="male parts">
	  <item>John Worthing, J.P.</item>
	  <item>Algernon Moncrieff</item>
	  <item>Rev. Canon Chasuble, D.D.</item>
	  <item>Merriman, <emph>Butler</emph></item>
	  <item>Lane, <emph>Manservant</emph></item>
	</list>
	<list type="female parts">
	  <item>Lady Bracknell</item>
	  <item>Hon. Gwendolen Fairfax</item>
	  <item>Cecily Cardew</item>
	  <item>Miss Prism, <emph>Governess</emph></item>
	</list>
      </div>
      <div type="scene list">
	<head>THE SCENES OF THE PLAY:</head>
	<stage><list>
	    <item>Act I. Algernon Moncrieff's Flat in Half-Moon
	      Street, W.</item>
	    <item>Act II. The Garden at the Manor House,
	      Woolton.</item>
	    <item>Act III. Drawing-room at the Manor House,
	      Woolton.</item>
	  </list></stage>
	<stage type="time">TIME: <emph>The Present</emph></stage>
      </div>
    </front>
    <body>
      <div0 type="play" lang="en">
	<head>The Importance of Being Earnest</head>
	<pb n="451">
	<div1 n="1" type="act">
	  <head>FIRST ACT</head>
	  <stage type="setting">Scene <view><emph>Morning-room in
		Algernon's flat in Half-Moon Street. The room is
		luxuriously and artistically furnished. The sound of a
		piano is heard in the adjoining room.</emph>
	      <emph>Lane is arranging afternoon tea on the table, and
		after the music has ceased, Algernon
		enters.</emph></view></stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Did you hear what I was playing, Lane?</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>I didn't think it polite to listen, sir.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I'm sorry for that, for your sake. I don't play
	      accurately&mdash;anyone can play accurately&mdash;but I
	      play with wonderful expression. As far as the piano is
	      concerned sentiment is my <frn lang="fr">forte</frn>. I
	      keep science for Life.</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>Yes, sir.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>And, speaking of the science of Life, have you got the
	      cucumber sandwiches cut for Lady Bracknell?</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>Yes, sir.</p>
	    <stage>[<emph>Hands them on a salver.</emph>]</stage>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Inspects them, takes two, and sits down
		  on the sofa.</emph>]</stage> Oh! &hellip; by the
	      way, Lane, I see from your book that on Thursday night,
	      when Lord Shoreman and Mr. Worthing were dining with me,
	      eight bottles of champagne are entered as having been
	      consumed.</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>Yes, sir; eight bottles and a pint.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Why is it that at a bachelor's establishment the
	      servants invariably drink the champagne? I ask merely
	      for information.</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>I attribute it to the superior quality of the wine,
	      sir. I have often observed that in married households
	      the champagne is rarely of a first-rate brand.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Good Heavens! Is marriage so demoralizing as that?</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>I believe it <emph>is</emph> a very pleasant state,
	      sir. I have had very little experience of it myself up
	      to the present. I have only been married once. That was
	      in consequence of a misunderstanding between myself and
	      a young person.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Languidly.</emph>]</stage> I don't know
	      that I am much interested in your family life, Lane.</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>No, sir; it is not a very interesting subject. I never
	      think of it myself.</p>
	  </sp>
	  <pb n="452">
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Very natural, I am sure. That will do, Lane, thank
	      you.</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>Thank you, sir.</p>
	  </sp>
	  <stage type="exit">[<emph>Lane goes out.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Lane's views on marriage seem somewhat lax. Really, if
	      the lower orders don't set us a good example, what on
	      earth is the use of them? They seem, as a class, to have
	      absolutely no sense of moral responsibility.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Lane.</emph></stage>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>Mr. Ernest Worthing.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Jack.</emph></stage>
	  <stage type="exit">[<emph>Lane goes out.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>How are you, my dear Ernest? What brings you up to
	      town?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, pleasure, pleasure! What else should bring one
	      anywhere? Eating as usual, I see, Algy!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Stiffly.</emph>]</stage> I believe it is
	      customary in good society to take some slight
	      refreshment at five o'clock. Where have you been since
	      last Thursday?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Sitting down on the sofa.</emph>]</stage>
	      In the country.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>What on earth do you do there?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Pulling off his gloves.</emph>]</stage>
	      When one is in town one amuses oneself. When one is in
	      the country one amuses other people. It is excessively
	      boring.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>And who are the people you amuse?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Airily.</emph>]</stage></p>
	    <p>Oh, neighbours, neighbours.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Got nice neighbours in your part of Shropshire?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Perfectly horrid! Never speak to one of them.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>How immensely you must amuse them!</p>
	    <stage>[<emph>Goes over and takes
		sandwich.</emph>]</stage>
	    <p>By the way, Shropshire is your county, is it not?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Eh? Shropshire? Yes, of course. Hallo! Why all these
	      cups? Why cucumber sandwiches? Why such reckless
	      extravagance in one so young? Who is coming to tea?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Oh! merely Aunt Augusta and Gwendolen.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>How perfectly delightful!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes, that is all very well; but I am afraid Aunt
	      Augusta won't quite approve of your being here.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>May I ask why?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>My dear fellow, the way you flirt with Gwendolen is <pb
		n="453"> perfectly disgraceful. It is almost as bad
	      as the way Gwendolen flirts with you.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I am in love with Gwendolen. I have come up to town
	      expressly to propose to her.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I thought you had come up for pleasure? &hellip; I call
	      that business.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>How utterly unromantic you are!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I really don't see anything romantic about proposing.
	      It is very romantic to be in love. But there is nothing
	      romantic about a definite proposal. Why, one may be
	      accepted. One usually is, I believe. Then the excitement
	      is all over. The very essence of romance is uncertainty.
	      If ever I get married, I'll certainly try to forget the
	      fact.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I have no doubt about that, dear Algy. The Divorce
	      Court was specially invented for people whose memories
	      are so curiously  constituted.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Oh! there is no use speculating on that subject.
	      Divorces are made in Heaven&mdash; <stage>[<emph>Jack
		  puts out his hand to take a sandwich. Algernon at
		  once interferes.</emph>]</stage> Please don't touch
	      the cucumber sandwiches. They are ordered specially for
	      Aunt Augusta.</p>
	  </sp>
	  <stage>[<emph>Takes one and eats it.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, you have been eating them all the time.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>That is quite a different matter. She is my aunt.
	      <stage>[<emph>Takes plate from below.</emph>]</stage>
	      Have some bread and butter. The bread and butter is for
	      Gwendolen. Gwendolen is devoted to bread and butter.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Advancing to table and helping
		  himself.</emph>]</stage> And very good bread and
	      butter it is too.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, my dear fellow, you need not eat as if you were
	      going to eat it all. You behave as if you were married
	      to her already. You are not married to her already, and
	      I don't think you ever will be.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Why on earth do you say that?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, in the first place girls never marry the men they
	      flirt with. Girls don't think it right.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, that is nonsense!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>It isn't. It is a great truth. It accounts for the
	      extraordinary number of bachelors that one sees all over
	      the place. In the second place, I don't give my
	      consent.</p>
	  </sp>
	  <pb n="454">
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Your consent!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>My dear fellow, Gwendolen is my first cousin. And
	      before I allow you to marry her, you will have to clear
	      up the whole question of Cecily.</p>
	  </sp>
	  <stage>[<emph>Rings bell.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Cecily! What on earth do you mean? What do you mean,
	      Algy, by Cecily! I don't know anyone by the name of
	      Cecily.</p>
	  </sp>
	  <stage type="entrance">[<emph>Enter Lane.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Bring me that cigarette case Mr. Worthing left in the
	      smoking-room the last time he dined here.</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>Yes, sir.</p>
	  </sp>
	  <stage type="exit">[<emph>Lane goes out.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Do you mean to say you have had my cigarette case all
	      this time? I wish to goodness you had let me know. I
	      have been writing frantic letters to Scotland Yard about
	      it. I was very nearly offering a large reward.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, I wish you would offer one. I happen to be more
	      than usually hard up.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>There is no good offering a large reward now that the
	      thing is found.</p>
	  </sp>
	  <stage type="entrance">[<emph>Enter Lane with the cigarette
	      case on a salver. Algernon takes it at once. Lane goes
	      out.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I think that is rather mean of you, Ernest, I must say.
	      <stage>[<emph>Opens case and examines
		  it.</emph>]</stage> However, it makes no matter,
	      for, now that I look at the inscription inside, I find
	      that the thing isn't yours after all.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Of course it's mine. <stage>[<emph>Moving to
		  him.</emph>]</stage> You have seen me with it a
	      hundred times, and you have no right whatsoever to read
	      what is written inside. It is a very ungentlemanly thing
	      to read a private cigarette case.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Oh! it is absurd to have a hard-and-fast rule about
	      what one should read and what one shouldn't. More than
	      half of modern culture depends on what one shouldn't
	      read.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I am quite aware of the fact, and I don't propose to
	      discuss modern culture. It isn't the sort of thing one
	      should talk of in private. I simply want my cigarette
	      case back.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes; but this isn't your cigarette case. This cigarette
	      case is a present from someone of the name of Cecily,
	      and you said you didn't know anyone of that name.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, if you want to know, Cecily happens to be my
	      aunt.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Your aunt!</p>
	  </sp>
	  <pb n="455">
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Yes. Charming old lady she is, too. Lives at Tunbridge
	      Wells. Just give it back to me, Algy.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Retreating to back of
		  sofa.</emph>]</stage> But why does she call herself
	      Cecily if she is your aunt and lives at Tunbridge Wells?
	      <stage>[<emph>Reading.</emph>]</stage> <q>From little
		Cecily with her fondest love.</q></p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Moving to sofa and kneeling upon
		  it.</emph>]</stage> My dear fellow, what on earth is
	      there in that? Some aunts are tall, some aunts are not
	      tall. That is a matter that surely an aunt may be
	      allowed to decide for herself. You seem to think that
	      every aunt should be exactly like your aunt! That is
	      absurd! For Heaven's sake give me back my cigarette
	      case.</p>
	  </sp>
	  <stage>[<emph>Follows Algernon round the
	      room.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes. But why does your aunt call you her uncle? <q>From
		little Cecily, with her fondest love to her dear Uncle
		Jack.</q> There is no objection, I admit, to an aunt
	      being a small aunt, but why an aunt, no matter what her
	      size may be, should call her own nephew her uncle, I
	      can't quite make out. Besides, your name isn't Jack at
	      all; it is Ernest.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>It isn't Ernest; it's Jack.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>You have always told me it was Ernest. I have
	      introduced you to everyone as Ernest. You answer to the
	      name of Ernest. You look as if your name was Ernest. You
	      are the most earnest looking person I ever saw in my
	      life. It is perfectly absurd your saying that your name
	      isn't Ernest. It's on your cards. Here is one of them.
	      <stage>[<emph>Taking it from case.</emph>]</stage>
	      <q>Mr. Ernest Worthing, B. 4, The Albany.</q> I'll keep
	      this as a proof that your name is Ernest if ever you
	      attempt to deny it to me, or to Gwendolen, or to anyone
	      else.</p>
	  </sp>
	  <stage>[<emph>Puts the card in his pocket.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, my name is Ernest in town and Jack in the
	      country, and the cigarette case was given to me in the
	      country.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes, but that does not account for the fact that your
	      small Aunt Cecily, who lives at Tunbridge Wells, calls
	      you her dear uncle. Come, old boy, You had much better
	      have the thing out at once.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>My dear Algy, you talk exactly as if you were a
	      dentist. It is very vulgar to talk like a dentist when
	      one isn't a dentist. It produces a false impression.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, that is exactly what dentists always do. Now, go
	      on! Tell me the whole thing. I may mention that I have
	      always <pb n="456">
	      suspected you of being a confirmed and secret
	      Bunburyist; and I am quite sure of it now.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Bunburyist? What on earth do you mean by a
	      Bunburyist?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I'll reveal to you the meaning of that incomparable
	      expression as soon as you are kind enough to inform me
	      why you are Ernest in town and Jack in the country.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, produce my cigarette case first.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Here it is. <stage>[<emph>Hands cigarette
		  case.</emph>]</stage> Now produce your explanation,
	      and pray make it improbable.</p>
	  </sp>
	  <stage>[<emph>Sits on sofa.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>My dear fellow, there is nothing improbable about my
	      explanation at all. In fact, it's perfectly ordinary.
	      Old Mr. Thomas Cardew, who adopted me when I was a
	      little boy, made me in his will guardian to his
	      granddaughter, Miss Cecily Cardew. Cecily, who addresses
	      me as her uncle from motives of respect that you could
	      not possible appreciate, lives at my place in the
	      country under the charge of her admirable governess,
	      Miss Prism.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Where is that place in the country, by the way?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>That is nothing to you, dear boy. You are not going to
	      be invited. &hellip; I may tell you candidly that the
	      place is not in Shropshire.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I suspected that, my dear fellow! I have Bunburyed all
	      over Shropshire on two separate occasions. Now, go on.
	      Why are you Ernest in town and Jack in the country?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>My dear Algy, I don't know whether you will be able to
	      understand my real motives. You are hardly serious
	      enough. When one is placed in the position of guardian,
	      one has to adopt a very high moral tone on all subjects.
	      It's one's duty to do so. And as a high moral tone can
	      hardly be said to conduce very much to either one's
	      health or one's happiness, in order to get up to town I
	      have always pretended to have a younger brother of the
	      name of Ernest, who lives in the Albany, and gets into
	      the most dreadful scrapes. That, my dear Algy, is the
	      whole truth pure and simple.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>The truth is rarely pure and never simple. Modern life
	      would be very tedious if it were either, and modern
	      literature a complete impossibility!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>That wouldn't be at all a bad thing.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Literary criticism is not your <frn
		lang="fr">forte</frn>, my dear fellow. <pb n="457">
	      Don't try it. You should leave that to people who
	      haven't been at a University. They do it so well in the
	      daily papers. What you really are is a Bunburyist. I was
	      quite right in saying you were a Bunburyist. You are one
	      of the most advanced Bunburyists I know.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>What on earth do you mean?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>You have invented a very useful younger brother called
	      Ernest, in order that you may be able to come up to town
	      as often as you like. I have invented an invaluable
	      permanent invalid called Bunbury, in order that I may be
	      able to go down into the country whenever I choose.
	      Bunbury is perfectly invaluable. If it wasn't for
	      Bunbury's extraordinary bad health, for instance, I
	      wouldn't be able to dine with you at Willis's to-night,
	      for I have been really engaged to Aunt Augusta for more
	      than a week.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I haven't asked you to dine with me anywhere
	      to-night.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I know. You are absurdly careless about sending out
	      invitations. It is very foolish of you. Nothing annoys
	      people so much as not receiving invitations.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>You had much better dine with your Aunt Augusta.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I haven't the smallest intention of doing anything of
	      the kind. To begin with, I dined there on Monday, and
	      once a week is quite enough to dine with one's own
	      relations. In the second place, whenever I do dine there
	      I am always treated as a member of the family, and sent
	      down with either no woman at all, or two. In the third
	      place, I know perfectly well whom she will place me next
	      to, to-night. She will place me next Mary Farquhar, who
	      always flirts with her own husband across the
	      dinner-table. That is not very pleasant. Indeed, it is
	      not even decent &hellip; and that sort of thing is
	      enormously on the increase. The amount of women in
	      London who flirt with their own husbands is perfectly
	      scandalous. It looks so bad. It is simply washing one's
	      clean linen in public. Besides, now that I know you to
	      be a confirmed Bunburyist, I naturally want to talk to
	      you about Bunburying. I want to tell you the rules.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I'm not a Bunburyist at all. If Gwendolen accepts me, I
	      am going to kill my brother, indeed I think I'll kill
	      him in any case. Cecily is a little too much interested
	      in him. It is rather a bore. So I am going to get rid of
	      Ernest. And I strongly advise you to <pb n="458"> do
	      the same with Mr. &hellip; with your invalid friend who
	      has the absurd name.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Nothing will induce me to part with Bunbury, and if you
	      ever get married, which seems to me extremely
	      problematic, you will be very glad to know Bunbury. A
	      man who marries without knowing Bunbury has a very
	      tedious time of it.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>That is nonsense. If I marry a charming girl like
	      Gwendolen, and she is the only girl I ever saw in my
	      life that I would marry, I certainly won't want to know
	      Bunbury.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Then your wife will. You don't seem to realize, that in
	      married life three is company and two is none.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Sententiously</emph>]</stage>  That, my
	      dear young friend, is the theory that the corrupt French
	      Drama has been propounding for the last fifty years.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes; and that the happy English home has proved in half
	      the time.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>For heaven's sake, don't try to be cynical. It's
	      perfectly easy to be cynical.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>My dear fellow, it isn't easy to be anything nowadays.
	      There's such a lot of beastly competition about.</p>
	    <stage>[<emph>The sound of an electric bell is
		heard.</emph>]</stage>
	    <p>Ah! that must be Aunt Augusta. Only relatives, or
	      creditors, ever ring in that Wagnerian manner. Now, if I
	      get her out of the way for ten minutes, so that you can
	      have an opportunity for proposing to Gwendolen, may I
	      dine with you to-night at Willis's?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I suppose so, if you want to.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes, but you must be serious about it. I hate people
	      who are not serious about meals. It is so shallow of
	      them.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Lane.</emph></stage>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>Lady Bracknell and Miss Fairfax.</p>
	  </sp>
	  <stage type="entrance">[<emph>Algernon goes forward to meet
	      them. Enter Lady Bracknell and
	      Gwendolen.</emph>]</stage>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Good afternoon, dear Algernon, I hope you are behaving
	      very well.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I'm feeling very well, Aunt Augusta.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>That's not quite the same thing. In fact the two things
	      rarely go together.</p>
	  </sp>
	  <stage>[<emph>Sees Jack and bows to him with icy
	      coldness.</emph>]</stage>
	  <pb n="459">
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>To Gwendolen.</emph>]</stage> Dear me,
	      you are smart!</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>I am always smart! Aren't I, Mr. Worthing?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>You're quite perfect, Miss Fairfax.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Oh! I hope I am not that. It would leave no room for
	      developments, and I intend to develop in many
	      directions.</p>
	  </sp>
	  <stage>[<emph>Gwendolen and Jack sit down together in the
	      corner.</emph>]</stage>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>I'm sorry if we are a little late, Algernon, but I was
	      obliged to call on dear Lady Harbury. I hadn't been
	      there since her poor husband's death. I never saw a
	      woman so altered; she looks quite twenty years younger.
	      And now I'll have a cup of tea, and one of those nice
	      cucumber sandwiches you promised me.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Certainly, Aunt Augusta.</p>
	  </sp>
	  <stage>[<emph>Goes over to tea-table.</emph>]</stage>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Won't you come and sit here, Gwendolen?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Thanks, Mamma, I'm quite comfortable where I am.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Picking up empty plate in
		  horror.</emph>]</stage> Good heavens! Lane! Why are
	      there no cucumber sandwiches? I ordered them
	      specially.</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p><stage>[<emph>Gravely.</emph>]</stage> There were no
	      cucumbers in the market this morning, sir. I went down
	      twice.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>No cucumbers!</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>No, sir. Not even for ready money.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>That will do, Lane, thank you.</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>Thank you, sir.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I am greatly distressed, Aunt Augusta, about there
	      being no cucumbers, not even for ready money.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>It really makes no matter, Algernon. I had some
	      crumpets with Lady Harbury, who seems to me to be living
	      entirely for pleasure now.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I hear her hair has turned quite gold from grief.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>It certainly has changed its colour. From what cause I,
	      of course, cannot say. <stage>[<emph>Algernon crosses
		  and hands tea.</emph>]</stage> Thank you. I've quite
	      a treat for you to-night, Algernon. I am going to send
	      you down with Mary Farquhar. She is such a nice woman,
	      and so attentive to her husband. It's delightful to
	      watch them.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I am afraid, Aunt Augusta, I shall have to give up the
	      pleasure of dining with you to-night after all.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>Frowning.</emph>]</stage> I hope not,
	      Algernon. It would put my <pb n="460"> table completely
	      out. Your uncle would have to dine upstairs. Fortunately
	      he is accustomed to that.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>It is a great bore, and, I need hardly say, a terrible
	      disappointment to me, but the fact is I have just had a
	      telegram to say that my poor friend Bunbury is very ill
	      again. <stage>[<emph>Exchanges glances with
		  Jack.</emph>]</stage> They seem to think I should be
	      with him.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>It is very strange. This Mr. Bunbury seems to suffer
	      from curiously bad health.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes; poor Bunbury is a dreadful invalid.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Well, I must say, Algernon, that I think it is high
	      time that Mr. Bunbury made up his mind whether he was
	      going to live or to die. This shilly-shallying with the
	      question is absurd. Nor do I in any way approve of the
	      modern sympathy with invalids. I consider it morbid.
	      Illness of any kind is hardly a thing to be encouraged
	      in others. Health is the primary duty of life. I am
	      always telling that to your poor uncle, but he never
	      seems to take much notice &hellip; as far as any
	      improvement in his ailments goes. I should be obliged if
	      you would ask Mr. Bunbury, from me, to be kind enough
	      not to have a relapse on Saturday, for I rely on you to
	      arrange my music for me. It is my last reception, and
	      one wants something that will encourage conversation,
	      particularly at the end of the season when everyone has
	      practically said whatever they had to say, which, in
	      most cases, was probably not much.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I'll speak to Bunbury, Aunt Augusta, if he is still
	      conscious, and I think I can promise you he'll be all
	      right by Saturday. Of course the music is a great
	      difficulty. You see, if one plays good music, people
	      don't listen, and if one plays bad music, people don't
	      talk. But I'll run over the programme I've drawn out, if
	      you will kindly come into the next room for a
	      moment.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Thank you, Algernon. It is very thoughtful of you.
	      <stage>[<emph>Rising, and following
		  Algernon.</emph>]</stage> I'm sure the programme
	      will be delightful, after a few expurgations. French
	      songs I cannot possibly allow. People always seem to
	      think that they are improper, and either look shocked,
	      which is vulgar, or laugh, which is worse. But German
	      sounds a thoroughly respectable language, and indeed, I
	      believe it is so. Gwendolen, you will accompany me.</p>
	  </sp>
	  <pb n="461">
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Certainly, Mamma.</p>
	  </sp>
	  <stage type="exit">[<emph>Lady Bracknell and Algernon go
	      into the music-room, Gwendolen remains
	      behind.</emph>]</stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Pray don't talk to me about the weather, Mr. Worthing.
	      Whenever people talk to me about the weather, I always
	      feel quite certain that they mean something else. And
	      that makes me so nervous.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I do mean something else.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>I thought so. In fact, I am never wrong.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>And I would like to be allowed to take advantage of
	      Lady Bracknell's temporary absence &hellip;</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>I would certainly advise you to do so. Mamma has a way
	      of coming back suddenly into a room that I have often
	      had to speak to her about.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Nervously.</emph>]</stage> Miss Fairfax,
	      ever since I met you I have admired you more than any
	      girl &hellip; I have ever met since &hellip; I met
	      you.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Yes, I am quite aware of the fact. And I often wish
	      that in public, at any rate, you had been more
	      demonstrative. For me you have always had an
	      irresistible fascination. Even before I met you I was
	      far from indifferent to you. <stage>[<emph>Jack looks at
		  her in amazement.</emph>]</stage> We live, as I hope
	      you know, Mr. Worthing, in an age of ideals. The fact is
	      constantly mentioned in the more expensive monthly
	      magazines, and has reached the provincial pulpits I am
	      told: and my ideal has always been to love someone of
	      the name of Ernest. There is something in that name that
	      inspires absolute confidence. The moment Algernon first
	      mentioned to me that he had a friend called Ernest, I
	      knew I was destined to love you.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>You really love me, Gwendolen?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Passionately!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Darling! You don't know how happy you've made me.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>My own Ernest!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>But you don't really mean to say that you couldn't love
	      me if my name wasn't Ernest?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>But your name is Ernest.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Yes, I know it is. But supposing it was something else?
	      Do you mean to say you couldn't love me then?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Glibly.</emph>]</stage> Ah! that is
	      clearly a metaphysical explanation, <pb n="462"> and
	      like
	      most metaphysical speculations has very little reference
	      at all to the actual facts of real life, as we know
	      them.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Personally, darling, to speak quite candidly, I don't
	      much care about the name of Ernest &hellip; I don't
	      think the name suits me at all.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>It suits you perfectly. It is a divine name. It has a
	      music of its own. It produces vibrations.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, really, Gwendolen, I must say that I think there
	      are lots of other much nicer names. I think Jack, for
	      instance, a charming name.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Jack? &hellip; No, there is very little music in the
	      name Jack, if any at all, indeed. It does not thrill. It
	      produces absolutely no vibrations. &hellip; I have known
	      several Jacks, and they all, without exception, were
	      more than usually plain. Besides, Jack is a notorious
	      domesticity for John! And I pity any woman who is
	      married to a man called John. She would probably never
	      be allowed to know the entrancing pleasure of a single
	      moment's solitude. The only really safe name is
	      Ernest.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Gwendolen, I must get christened at once&mdash;I mean
	      we must get married at once. There is no time to be
	      lost.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Married, Mr. Worthing?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Astounded.</emph>]</stage> Well &hellip;
	      surely. You know that I love you, and you led me to
	      believe, Miss Fairfax, that you were not absolutely
	      indifferent to me.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>I adore you. But you haven't proposed to me yet.
	      Nothing has been said at all about marriage. The subject
	      has not even been touched on.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well &hellip; may I propose to you know?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>I think it would be an admirable opportunity. And to
	      spare you any possible disappointment, Mr. Worthing, I
	      think it only fair to tell you quite frankly before hand
	      that I am fully determined to accept you.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Gwendolen!</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Yes, Mr. Worthing, what have you got to say to me?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>You know what I have got to say to you.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Yes, but you don't say it.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Gwendolen, will you marry me?</p>
	  </sp>
	  <stage>[<emph>Goes on his knees.</emph>]</stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Of course I will, darling. How long you have been <pb
		n="463"> about it! I am afraid you have had very
	      little experience in how to propose.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>My own one, I have never loved anyone in the world but
	      you.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Yes, but men often propose for practice. I know my
	      brother Gerald does. All my girlfriends tell me so. What
	      wonderfully blue eyes you have, Ernest! They are quite,
	      quite blue. I hope you will always look at me just like
	      that, especially when there are other people
	      present.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Lady
	      Bracknell.</emph></stage>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Mr. Worthing! Rise, sir, from this semi-recumbent
	      posture. It is most indecorous.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Mamma! <stage>[<emph>He tries to rise; she restrains
		  him.</emph>]</stage> I must beg you to retire. This
	      is no place for you. Besides, Mr. Worthing has not quite
	      finished yet.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Finished what, may I ask?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>I am engaged to Mr. Worthing, Mamma.</p>
	  </sp>
	  <stage>[<emph>They rise together.</emph>]</stage>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Pardon me, you are not engaged to anyone. When you do
	      become engaged to someone, I, or your father, should his
	      health permit him, will inform you of the fact. An
	      engagement should come on a young girl as a surprise,
	      pleasant or unpleasant, as the case may be. It is hardly
	      a matter that she could be allowed to arrange for
	      herself. &hellip; And now I have a few questions to put
	      to you, Mr. Worthing. While I am making these inquiries,
	      you, Gwendolen, will wait for me below in the
	      carriage.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Reproachfully.</emph>]</stage> Mamma!</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>In the carriage, Gwendolen! <stage>[<emph>Gwendolen
		  goes to the door. She and Jack blow kisses to each
		  other behind Lady Bracknell's back. Lady Bracknell
		  looks vaguely about as if she could not understand
		  what the noise was. Finally turns
		  round.</emph>]</stage> Gwendolen, the carriage!</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>Sitting down.</emph>]</stage> You can
	      take a seat, Mr. Worthing.</p>
	  </sp>
	  <stage>[<emph>Looks in her pocket for note-book and
	      pencil.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Thank you, Lady Bracknell, I prefer standing.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>Pencil and note-book in
		  hand.</emph>]</stage> I feel bound to tell <pb
		n="464"> you that you are not down on my list of
	      eligible young men, although I have the same list as the
	      dear Duchess of Bolton has. We work together, in fact.
	      However, I am quite ready to enter your name, should
	      your answers be what a really affectionate mother
	      requires. Do you smoke?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, yes, I must admit I smoke.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>I am glad to hear it. A man should always have an
	      occupation of some kind. There are far too many idle men
	      in London as it is. How old are you?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Twenty-nine.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>A very good age to be married at. I have always been of
	      opinion that a man who desires to get married should
	      know either everything or nothing. Which do you
	      know?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>After some hesitation.</emph>]</stage> I
	      know nothing, Lady Bracknell.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>I am pleased to hear it. I do not approve of anything
	      that tampers with natural ignorance. Ignorance is like a
	      delicate exotic fruit; touch it and the bloom is gone.
	      The whole theory of modern education is radically
	      unsound. Fortunately in England, at any rate, education
	      produces no effect whatsoever. If it did, it would prove
	      a serious danger to the upper classes, and probably lead
	      to acts of violence in Grosvenor Square. What is your
	      income?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Between seven and eight thousand a year.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>Makes a note in her book.</emph>]</stage>
	      In land, or in investments?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>In investments, chiefly.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>That is satisfactory. What between the duties expected
	      of one during one's lifetime, and the duties exacted
	      from one after one's death, land has ceased to be either
	      a profit or a pleasure. It gives one position, and
	      prevents one from keeping it up. That's all that can be
	      said about land.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I have a country house with some land, of course,
	      attached to it, about fifteen hundred acres, I believe;
	      but I don't depend on that for my real income. In fact,
	      as far as I can make out, the poachers are the only
	      people who make anything out of it.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>A country house! How many bedrooms? Well, that point
	      can be cleared up afterwards. You have a town house, I
	      hope? A girl with a simple, unspoiled nature, like
	      Gwendolen, could hardly be expected to reside in the
	      country.</p>
	  </sp>
	  <pb n="465">
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, I own a house in Belgrave Square, but it is let
	      by the year to Lady Bloxham. Of course, I can get it
	      back whenever I like, at six months' notice.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Lady Bloxham? I don't know her.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, she goes about very little. She is a lady
	      considerable advanced in years.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Ah, nowadays that is no guarantee of respectability of
	      character. What number in Belgrave Square?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>149.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>Shaking her head.</emph>]</stage> The
	      unfashionable side. I thought there was something.
	      However, that could easily be altered.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Do you mean the fashion, or the side?</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>Sternly.</emph>]</stage> Both, if
	      necessary, I presume. What are your politics?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, I am afraid I really have none. I am a Liberal
	      Unionist.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Oh, they count as Tories. They dine with us. Or come in
	      the evening, at any rate. Now to minor matters. Are your
	      parents living.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I have lost both my parents.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>To lose one parent, Mr Worthing, maybe regarded as a
	      misfortune; to lose both looks like carelessness. Who
	      was your father? He was evidently a man of some wealth.
	      Was he born in what the Radical papers call the purple
	      of commerce, or did he rise from the ranks of
	      aristocracy?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I am afraid I really don't know. The fact is, Lady
	      Bracknell, I said I had lost my parents. It would be
	      nearer the truth to say that my parents seem to have
	      lost me. &hellip; I don't actually know who I am by
	      birth. I was &hellip; well, I was found.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Found!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>The late Mr. Thomas Cardew, an old gentleman of a very
	      charitable and kindly disposition, found me, and gave me
	      the name of Worthing, because he happened to have a
	      first-class ticket for Worthing in his pocket at the
	      time. Worthing is a place in Sussex. It is a seaside
	      resort.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Where did the charitable gentleman who had a
	      first-class ticket for this seaside resort find you?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Gravely.</emph>]</stage> In a
	      hand-bag.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>A hand-bag?</p>
	  </sp>
	  <pb n="466">
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Very seriously.</emph>]</stage> Yes, Lady
	      Bracknell. I was in a hand-bag&mdash;a somewhat large,
	      black leather hand-bag, with handles to it&mdash;an
	      ordinary hand-bag, in fact.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>In what locality did this Mr. James, or Thomas, Cardew
	      come across this ordinary hand-bag?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>In the cloak-room at Victoria Station. It was given to
	      him in mistake for his own.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>The cloak-room at Victoria Station?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Yes. The Brighton Line.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>The line is immaterial. Mr. Worthing, I confess I feel
	      somewhat bewildered by what you have just told me. To be
	      born, or at any rate, bred in a hand-bag, whether it had
	      handles or not, seems to me to display a contempt for
	      the ordinary decencies of family life that remind one of
	      the worst excesses of the French Revolution. And I
	      presume you know what that unfortunate movement led to?
	      As for the particular locality in which the hand-bag was
	      found, a cloak-room at a railway station might serve to
	      conceal a social indiscretion&mdash;has probably,
	      indeed, been used for that purpose before now&mdash;but
	      it could hardly be regarded as an assured basis for a
	      recognized position in good society.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>May I ask you then what you would advise me to do? I
	      need hardly say I would do anything in the world to
	      ensure Gwendolen's happiness.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>I would strongly advise you, Mr. Worthing, to try and
	      acquire some relations as soon as possible, and to make
	      a definite effort to produce at any rate one parent, of
	      either sex, before the season is quite over.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, I don't see how I could possibly manage to do
	      that. I can produce the hand-bag at any moment. It is in
	      my dressing-room at home. I really think that should
	      satisfy you, Lady Bracknell.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Me, sir! What has it to do with me? You can hardly
	      imagine that I and Lord Bracknell would dream of
	      allowing our only daughter&mdash;a girl brought up with
	      the utmost care&mdash;to marry into a cloak-room, and
	      form an alliance with a parcel? Good morning, Mr.
	      Worthing!</p>
	  </sp>
	  <stage type="exit">[<emph>Lady Bracknell sweeps out in
	      majestic indignation.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Good morning! <stage>[<emph>Algernon, from the other
		  room, strikes up the <pb n="467"> Wedding March.
		  Jack looks perfectly furious, and goes to the
		  door.</emph>]</stage> For goodness' sake don't play
	      that ghastly tune, Algy! How idiotic you are!</p>
	  </sp>
	  <stage type="entrance">[<emph>The music stops, and Algernon
	      enters cheerily.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Didn't it go off all right, old boy? You don't mean to
	      say Gwendolen refused you? I know it is a way she has.
	      She is always refusing people. I think it is most
	      ill-natured of her.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, Gwendolen is as right as a trivet. As far as she is
	      concerned, we are engaged. Her mother is perfectly
	      unbearable. Never met such a Gorgon &hellip; I don't
	      really know what a Gorgon is like, but I am quite sure
	      that Lady Bracknell is one. In any case, she is a
	      monster, without being a myth, which is rather unfair
	      &hellip; I beg your pardon, Algy, I suppose I shouldn't
	      talk about your own aunt in that way before you.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>My dear boy, I love hearing my relations abused. It is
	      the only thing that makes me put up with them at all.
	      Relations are simply a tedious pack of people who
	      haven't got the remotest knowledge of how to live, nor
	      the smallest instinct about when to die.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, that is nonsense!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>It isn't!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, I won't argue about the matter. You always want
	      to argue about things.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>That is exactly what things were originally made
	      for.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Upon my word, if I thought that, I'd shoot myself.
	      &hellip; <stage>[<emph>A pause.</emph>]</stage> You
	      don't think there is any chance of Gwendolen becoming
	      like her mother in about a hundred and fifty years, do
	      you, Algy?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>All women become like their mothers. That is their
	      tragedy. No man does. That's his.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Is that clever?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>It is perfectly phrased! and quite as true as any
	      observation in civilized life should be.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I am sick to death of cleverness. Everybody is clever
	      nowadays. You can't go anywhere without meeting clever
	      people. The thing has become an absolute public
	      nuisance. I wish to goodness we had a few fools
	      left.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>We have.</p>
	  </sp>
	  <pb n="468">
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I should extremely like to meet them. What do they talk
	      about?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>The fools! Oh! about the clever people, of course.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>What fools!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>By the way, did you tell Gwendolen the truth about your
	      being Ernest in town, and Jack in the country?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>In a very patronizing
		  manner.</emph>]</stage> My dear fellow, the truth
	      isn't quite the sort of thing one tells to a nice,
	      sweet, refined girl. What extraordinary ideas you have
	      about the way to behave to a woman!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>The only way to behave to a woman is to make love to
	      her, if she is pretty, and to someone else, if she is
	      plain.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, that is nonsense!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>What about your brother? What about the profligate
	      Ernest?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, before the end of the week I shall have got rid of
	      him. I'll say he died in Paris of apoplexy. Lots of
	      people die of apoplexy, quite suddenly, don't they?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes, but it's hereditary, my dear fellow. It's a sort
	      of thing that runs in families. You had much better say
	      a severe chill.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>You are sure that a severe chill isn't hereditary, or
	      anything of that kind?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Of course it isn't!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Very well, then. My poor brother Ernest is carried off
	      suddenly, in Paris, by a severe chill. That gets rid of
	      him.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>But I thought you said that &hellip; Miss Cardew was a
	      little too much interested in your poor brother Ernest?
	      Won't she feel his loss a good deal?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, that is all right. Cecily is not a silly romantic
	      girl, I am glad to say. She has got a capital appetite,
	      goes long walks, and pays no attention at all to her
	      lessons.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I would rather like to see Cecily.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I will take very good care you never do. She is
	      excessively pretty, and she is only just eighteen.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Have you told Gwendolen yet that you have an
	      excessively pretty ward who is only just eighteen?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh! one doesn't blurt these things out to people.
	      Cecily and Gwendolen are perfectly certain to be
	      extremely great friends. <pb
		n="469"> I'll bet you anything you like that half an
	      hour after they have met, they will be calling each
	      other sister.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Women only do that when they have called each other a
	      lot of other things first. Now, my dear boy, if we want
	      to get a good table at Willis's, we really must go and
	      dress. Do you know it is nearly seven?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Irritably.</emph>]</stage> Oh! it always
	      is nearly seven.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, I'm hungry.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I never knew you when you weren't. &hellip;</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>What shall we do after dinner? Go to a  theatre?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, no! I loathe listening.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, let us go to the Club?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, no! I hate talking.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, we might trot round to the Empire at ten?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, no! I can't bear looking at things. It is so
	      silly.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, what shall we do?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Nothing!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>It is awfully hard work doing nothing. However, I don't
	      mind hard work where there is no definite object of any
	      kind.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Lane.</emph></stage>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>Miss Fairfax.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Gwendolen. Lane goes
	      out.</emph></stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Gwendolen, upon my word!</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Algy, kindly turn your back. I have something very
	      particular to say to Mr. Worthing.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Really, Gwendolen, I don't think I can allow this at
	      all.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Algy, you always adopt a strictly immoral attitude
	      towards life. You are not quite old enough to do
	      that.</p>
	  </sp>
	  <stage>[<emph>Algernon retires to the
	      fireplace.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>My own darling!</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Ernest, we may never be married. From the expression on
	      mamma's face I fear we never shall. Few parents nowadays
	      pay any regard to what their children say to them. The
	      old-fashioned respect for the young is fast dying out.
	      Whatever influence I ever had over mamma, I lost at the
	      age of three. But although she may prevent us from
	      becoming man and wife, and
	      <pb n="470"> I may marry someone else, and marry often,
	      nothing that she can possibly do can alter my eternal
	      devotion to you.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Dear Gwendolen!</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>The story of your romantic origin, as related to me by
	      mamma, with unpleasing comments, has naturally stirred
	      the deeper fibres of my nature. Your Christian name has
	      an irresistible fascination. The simplicity of your
	      character makes you exquisitely incomprehensible to me.
	      Your town address at the Albany I have. What is your
	      address in the country?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>The Manor House, Woolton, Hertfordshire.</p>
	  </sp>
	  <stage>[<emph>Algernon, who has been carefully listening,
	      smiles to himself, and writes the address on his
	      shirtcuff. Then picks up the Railway
	      Guide.</emph>]</stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>There is a good postal service, I suppose? It may be
	      necessary to do something desperate. That of course will
	      require serious consideration. I will communicate with
	      you daily.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>My own one!</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>How long do you remain in town?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Till Monday.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Good! Algy, you may turn round now.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Thanks, I've turned round already.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>You may also ring the bell.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>You will let me see you to your carriage, my own
	      darling?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Certainly.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage type="entrance">[<emph>To Lane, who now
		  enters.</emph>]</stage> I will see Miss Fairfax
	      out.</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>Yes, sir.</p>
	  </sp>
	  <stage type="exit">[<emph>Jack and Gwendolen go
	      off.</emph>]</stage>
	  <stage>[<emph>Lane presents several letters on a salver to
	      Algernon. It is to be surmised that they are bills, as
	      Algernon after looking at the envelopes, tears them
	      up.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>A glass of sherry, Lane.</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>Yes, sir.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>To-morrow, Lane, I'm going Bunburying.</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>Yes, sir.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I shall probably not be back till Monday. You can put
	      up my dress clothes, my smoking jacket, and all the
	      Bunbury suits &hellip;</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>Yes, sir.</p>
	  </sp>
	  <stage>[<emph>Handing sherry.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I hope to-morrow will be a fine day, Lane.</p>
	  </sp>
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>It never is, sir.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Lane, you're a perfect pessimist.</p>
	  </sp>
	  <pb n="471">
	  <sp>
	    <speaker>Lane.</speaker>
	    <p>I do my best to give satisfaction, sir.</p>
	  </sp>
	  <stage type="entrance">[<emph>Enter Jack. Lane goes
	      off.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>There's a sensible, intellectual girl! The only girl I
	      ever cared for in my life. <stage>[<emph>Algernon is
		  laughing immoderately.</emph>]</stage> What on earth
	      are you so amused at?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Oh, I'm a little anxious about poor Bunbury, that is
	      all.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>If you don't take care, your friend Bunbury will get
	      you into a serious scrape some day.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I love scrapes. They are the only things that are never
	      serious.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, that's nonsense, Algy. You never talk anything but
	      nonsense.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Nobody ever does. <stage type="exit">[<emph>Jack looks
		  indignantly at him, and leaves the room. Algernon
		  lights a cigarette, reads his shirtcuff, and
		  smiles.</emph>]</stage> <stage>Act Drop</stage></p>
	  </sp>
	</div1>
	<div1 n="2" type="act">
	  <head>Second Act</head>
	  <stage type="setting">Scene <view><emph>Garden at the Manor
		House. A flight of grey stone steps leads up to the
		house. The garden, an old-fashioned one, full of
		roses. Time of year, July. Basket-chairs, and a table
		covered with books, are set under a large
		yew-tree.</emph></view></stage>
	  <stage>[<emph>Miss Prism discovered seated at the table.
	      Cecily is at the back watering flowers.</emph>]</stage>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p><stage>[<emph>Calling.</emph>]</stage> Cecily, Cecily!
	      Surely such a utilitarian occupation as the watering of
	      flowers is rather Moulton's duty than yours? Especially
	      at a moment when intellectual pleasures await you. Your
	      German grammar is on the table. Pray open it at page
	      fifteen. We will repeat yesterday's lesson.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Coming over very slowly.</emph>]</stage>
	      But I don't like German. It isn't at all a becoming
	      language. I know perfectly well that I look quite plain
	      after my German lesson.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>Child, you know how anxious your guardian is that <pb
		n="471"> you should improve yourself in every way. He
	      laid particular stress on your German, as he was leaving
	      for town yesterday. Indeed, he always lays stress on
	      your German when he is leaving for town.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Dear Uncle Jack is so very serious! Sometimes he is so
	      serious that I think he cannot be quite well.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p><stage>[<emph>Drawing herself up.</emph>]</stage> Your
	      guardian enjoys the best of health, and his gravity of
	      demeanour is especially to be commended in one so
	      comparatively young as he is. I know no one who has a
	      higher sense of duty and responsibility.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I suppose that is why he often looks a little bored
	      when we three are together.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>Cecily! I am surprised at you. Mr. Worthing has many
	      troubles in his life. Idle merriment and triviality
	      would be out of place in his conversation. You must
	      remember his constant anxiety about that unfortunate
	      young man his brother.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I wish Uncle Jack would allow that unfortunate young
	      man, his brother, to come down here sometimes. We might
	      have a good influence over him, Miss Prism. I am sure
	      you certainly would. You know German, and geology, and
	      things of that kind influence a man very much.</p>
	  </sp>
	  <stage>[<emph>Cecily begins to write in her
	      diary.</emph>]</stage>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p><stage>[<emph>Shaking her head.</emph>]</stage> I do
	      not think that even I could produce any effect on a
	      character that according to his own brother's admission
	      is irretrievably weak and vacillating. Indeed I am not
	      sure that I would desire to reclaim him. I am not in
	      favour of this modern mania for turning bad people into
	      good people at a moment's notice. As a man sows so let
	      him reap. You must put away your diary, Cecily. I really
	      don't see why you should keep a diary at all.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I keep a diary in order to enter the wonderful secrets
	      of my life. If I didn't write them down I should
	      probably forget all about them.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>Memory, my dear Cecily, is the diary that we all carry
	      about with us.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Yes, but it usually chronicles the things that have
	      never happened, and couldn't possibly have happened. I
	      believe that Memory is responsible for nearly all the
	      three-volume novels that Mudie sends us.</p>
	  </sp>
	  <pb n="473">
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>Do not speak slightingly of the three-volume novel,
	   </p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I wrote one myself in earlier days.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Did you really, Miss Prism? How wonderfully clever you
	      are! I hope it did not end happily? I don't like novels
	      that end happily. They depress me so much.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>The good ended happily, and the bad unhappily. That is
	      what Fiction means.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I suppose so. But it seems very unfair. And was your
	      novel ever published?</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>Alas! no. The manuscript unfortunately was abandoned.
	      <stage>[<emph>Cecily starts.</emph>]</stage> I use the
	      word in the sense of lost or mislaid. To your work,
	      child; these speculations are profitless.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Smiling.</emph>]</stage> But I see dear
	      Dr. Chasuble coming up through the garden.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p><stage>[<emph>Rising and advancing.</emph>]</stage> Dr.
	      Chasuble! This is indeed a pleasure.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Canon
	      Chasuble.</emph></stage>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>And how are we this morning? Miss Prism, you are, I
	      trust, well?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Miss Prism has just been complaining of a slight
	      headache. I think it would do her so much good to have a
	      short stroll with you in the Park, Dr. Chasuble.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>Cecily, I have not mentioned anything about a
	      headache.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>No, dear Miss Prism, I know that, but I felt
	      instinctively that you had a headache. Indeed I was
	      thinking about that, and not about my German lesson,
	      when the Rector came in.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>I hope, Cecily, you are not inattentive.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh, I am afraid I am.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>That is strange. Were I fortunate enough to be Miss
	      Prism's pupil, I would hang upon her lips.
	      <stage>[<emph>Miss Prism glares.</emph>]</stage> I spoke
	      metaphorically.&mdash;My metaphor was drawn from bees.
	      Ahem! Mr. Worthing, I suppose, has not returned from
	      town yet?</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>We do not expect him till Monday afternoon.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Ah yes, he usually likes to spend his Sunday in London.
	      He is not one of those whose sole aim is enjoyment, as,
	      by all <pb n="474"> accounts, that unfortunate young
	      man his brother seems to be. But I must not disturb
	      Egeria and her pupil any longer.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>Egeria? My name is L&aelig;titia, Doctor.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p><stage>[<emph>Bowing.</emph>]</stage> A classical
	      allusion merely, drawn from the pagan authors. I shall
	      see you both no doubt at Evensong?</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>I think, dear Doctor, I will have a stroll with you. I
	      find I have a headache after all, and a walk might do it
	      good.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>With pleasure, Miss Prism, with pleasure. We might go
	      as far as the schools and back.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>That would be delightful. Cecily, you will read your
	      Political Economy in my absence. The chapter on the Fall
	      of the Rupee you may omit. It is somewhat too
	      sensational. Even these metallic problems have their
	      melodramatic side.</p>
	  </sp>
	  <stage type="exit">[<emph>Goes down the garden with Dr.
	      Chasuble.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Picks up books and throws them back on
		  table.</emph>]</stage> Horrid Political Economy!
	      Horrid Geography! Horrid, horrid German!</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Merriman with a card on a
	      salver.</emph></stage>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>Mr. Ernest Worthing has just driven over from the
	      station. He has brought his luggage with him.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Takes the card and reads
		  it.</emph>]</stage> <q>Mr. Ernest Worthing, B. 4 The
		Albany, W.</q> Uncle Jack's brother! Did you tell him
	      Mr. Worthing was in town?</p>
	  </sp>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>Yes, Miss. He seemed very much disappointed. I
	      mentioned that you and Miss Prism were in the garden. He
	      said he was anxious to speak to you privately for a
	      moment.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Ask Mr. Ernest Worthing to come here. I suppose you had
	      better talk to the housekeeper about a room for him.</p>
	  </sp>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>Yes, Miss.</p>
	  </sp>
	  <stage type="exit">[<emph>Merriman goes off.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I have never met any really wicked person before. I
	      feel rather frightened. I am so afraid he will look just
	      like everyone else. <stage type="entrance">[<emph>Enter
		  Algernon, very gay and debonair.</emph>]</stage> He
	      does!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Raising his hat.</emph>]</stage> You are
	      my little cousin Cecily, I'm sure.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>You are under some strange mistake. I am not little. In
	      fact, I believe I am more than usually tall for my age.
	      <stage>[<emph>Algernon is rather taken
		  aback.</emph>]</stage> But I am your cousin Cecily.
	      You, I see from your card, are Uncle Jack's brother, my
	      cousin Ernest, my wicked cousin Ernest.</p>
	  </sp>
	  <pb n="475">
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Oh! I am not really wicked at all, cousin Cecily. You
	      mustn't think that I am wicked.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>If you are not, then you have certainly been deceiving
	      us all in a very inexcusable manner. I hope you have not
	      been leading a double life, pretending to be wicked and
	      being really good all the time. That would be
	      hypocrisy.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Looks at her in
		  amazement.</emph>]</stage> Oh! Of course I have been
	      rather reckless.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I am glad to hear it.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>In fact, now you mention the subject, I have been very
	      bad in my own small way.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I don't think you should be so proud of that, though I
	      am sure it must have been very pleasant.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>It is much pleasanter being here with you.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I can't understand how you are here at all. Uncle Jack
	      won't be back till Monday afternoon.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>That is a great disappointment. I am obliged to go up
	      by the first train on Monday morning. I have a business
	      appointment that I am anxious &hellip; to miss!</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Couldn't you miss it anywhere but in London?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>No: the appointment is in London.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Well, I know of course, how important it is not to keep
	      a business engagement, if one wants to retain any sense
	      of the beauty of life, but still I think you had better
	      wait till Uncle Jack arrives. I know he wants to speak
	      to you about your emigrating.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>About my what?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Your emigrating. He has gone up to buy your outfit.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I certainly wouldn't let Jack buy my outfit. He has no
	      taste in neckties at all.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I don't think you will require neckties. Uncle Jack is
	      sending you to Australia.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Australia! I'd sooner die.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Well, he said at dinner on Wednesday night, that you
	      would have to choose between this world, the next world,
	      and Australia.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Oh, well! The accounts I have received of Australia and
	      the next world are not particularly encouraging. This
	      world is good enough for me, cousin Cecily.</p>
	  </sp>
	  <pb n="476">
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Yes, but are you good enough for it?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I'm afraid I'm not that. That is why I want you to
	      reform me. You might make that your mission, if you
	      don't mind, cousin Cecily.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I'm afraid I've no time, this afternoon.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, would you mind my reforming myself this
	      afternoon?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>It is rather Quixotic of you. But I think you should
	      try.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I will. I feel better already.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>You are looking a little worse.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>That is because I am hungry.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>How thoughtless of me! I should have remembered that
	      when one is going to lead an entirely new life, one
	      requires regular and wholesome meals. Won't you come
	      in?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Thank you. Might I have a buttonhole first? I never
	      have any appetite unless I have a buttonhole first.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>A Mar&eacute;chal Niel?</p>
	  </sp>
	  <stage>[<emph>Picks up scissors.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>No, I'd sooner have a pink rose.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Why?</p>
	  </sp>
	  <stage>[<emph>Cuts a flower.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Because you are like a pink rose, Cousin Cecily.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I don't think it can be right for you to talk to me
	      like that. Miss Prism never says such things to me.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Then Miss Prism is a short-sighted old lady.
	      <stage>[<emph>Cecily puts the rose in his
		  buttonhole.</emph>]</stage> You are the prettiest
	      girl I ever saw.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Miss Prism says that all good looks are a snare.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>They are a snare that every sensible man would like to
	      be caught in.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh! I don't think I would care to catch a sensible man.
	      I shouldn't know what to talk to him about.</p>
	  </sp>
	  <stage type="exit">[<emph>They pass into the house. Miss
	      Prism and Dr. Chasuble return.</emph>]</stage>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>You are too much alone, dear Dr. Chasuble. You should
	      get married. A misanthrope I can understand&mdash;a
	      womanthrope, never!</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p><stage>[<emph>With a scholar's shudder.</emph>]</stage>
	      Believe me, I do not deserve so neologistic a phrase.
	      The precept as well as the practice of the Primitive
	      Church was distinctly against matrimony.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p><stage>[<emph>Sententiously.</emph>]</stage> That is
	      obviously the reason why the Primitive Church has not
	      lasted up to the present day. And do you not seem to
	      realize, dear Doctor, that by persistently <pb n="477">
	      remaining single, a man converts himself into a
	      permanent public temptation. Men should be more careful;
	      this very celibacy leads weaker vessels astray.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>But is a man not equally attractive when married?</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>No married man is ever attractive except to his
	      wife.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>And often, I've been told, not even to her.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>That depends on the intellectual sympathies of the
	      woman. Maturity can always be depended on. Ripeness can
	      be trusted. Young women are green. <stage>[<emph>Dr.
		  Chasuble starts.</emph>]</stage> I spoke
	      horticulturally. My metaphor was drawn from fruits. But
	      where is Cecily?</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Perhaps she followed us to the schools.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Jack slowly from the back
	      of the garden. He is dressed in the deepest mourning,
	      with crape hatband and black gloves.</emph></stage>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>Mr. Worthing!</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Mr. Worthing?</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>This is indeed a surprise. We did not look for you till
	      Monday afternoon.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Shakes Miss Prism's hand in a tragic
		  manner.</emph>]</stage> I have returned sooner than
	      I expected. Dr. Chasuble, I hope you are well?</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Dear Mr. Worthing, I trust this garb of woe does not
	      betoken some terrible calamity?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>My brother.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>More shameful debts and extravagance?</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Still leading his life of pleasure?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Shaking his head.</emph>]</stage>
	      Dead!</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Your brother Ernest dead?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Quite dead.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>What a lesson for him! I trust he will profit by
	      it.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Mr. Worthing, I offer you my sincere condolence. You
	      have at least the consolation of knowing that you were
	      always the most generous and forgiving of brothers.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Poor Ernest! He had many faults, but it is a sad, sad
	      blow.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Very sad indeed. Were you with him at the end?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>No. He died abroad; in Paris, in fact. I had a telegram
	      last night from the manager of the Grand Hotel.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Was the cause of death mentioned?</p>
	  </sp>
	  <pb n="478">
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>A severe chill, it seems.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>As a man sows, so shall he reap.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p><stage>[<emph>Raising his hand.</emph>]</stage>
	      Charity, dear Miss Prism, charity! None of us are
	      perfect. I myself am peculiarly susceptible to draughts.
	      Will the interment take place here?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>No. He seemed to have expressed a desire to be buried
	      in Paris.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>In Paris! <stage>[<emph>Shakes his
		  head.</emph>]</stage> I fear that hardly points to
	      any very serious state of mind at the last. You would no
	      doubt wish me to make some slight allusion to this
	      tragic domestic affliction next Sunday.
	      <stage>[<emph>Jack presses his hand
		  convulsively.</emph>]</stage> My sermon on the
	      meaning of the manna in the wilderness can be adapted to
	      almost any occasion, joyful, or, as in the present case,
	      distressing. <stage>[<emph>All sigh.</emph>]</stage> I
	      have preached it at harvest celebrations, christenings,
	      confirmations, on days of humiliation and festal days.
	      The last time I delivered it was in the Cathedral, as a
	      charity sermon on behalf of the Society for the
	      Prevention of Discontent among the Upper Orders. The
	      Bishop, who was present, was much struck by some of the
	      analogies I drew.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Ah! that reminds me, you mentioned christenings, I
	      think, Dr. Chasuble? I suppose you know how to christen
	      all right? <stage>[<emph>Dr. Chasuble looks
		  astounded.</emph>]</stage> I mean, of course, you
	      are continually christening, aren't you?</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>It is, I regret to say, one of the Rector's most
	      constant duties in this parish. I have often spoken to
	      the poorer classes on the subject. But they don't seem
	      to know what thrift is.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>But is there any particular infant in whom you are
	      interested, Mr. Worthing? Your brother was, I believe,
	      unmarried, was he not?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, yes.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p><stage>[<emph>Bitterly.</emph>]</stage> People who live
	      entirely for pleasure usually are.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>But it is not for any child, dear Doctor. I am very
	      fond of children. No! the fact is, I would like to be
	      christened myself, this afternoon, if you have nothing
	      better to do.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>But surely, Mr. Worthing, you have been christened
	      already?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I don't remember anything about it.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>But have you any grave doubts on the subject?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I certainly intend to have. Of course I don't know if
	      the thing <pb n="479"> would bother you in any way, or
	      if you think I am a little too old now.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Not at all. The sprinkling, and, indeed, the immersion
	      of adults is a perfectly canonical practice.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Immersion!</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>You need have no apprehensions. Sprinkling is all that
	      is necessary, or indeed I think advisable. Our weather
	      is so changeable. At what hour would you wish the
	      ceremony performed?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh, I might trot round about five if that would suit
	      you.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Perfectly, perfectly! In fact I have two similar
	      ceremonies to perform at that time. A case of twins that
	      occurred recently in one of the outlying cottages on
	      your own estate. Poor Jenkins the carter, a most
	      hard-working man.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh! I don't see much fun in being christened along with
	      other babies. It would be childish. Would half-past five
	      do?</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Admirably! Admirably!</p>
	    <stage>[<emph>Takes out watch.</emph>]</stage>
	    <p>And now, dear Mr. Worthing, I will not intrude any
	      longer into a house of sorrow. I would merely beg you
	      not to be too much bowed down by grief. What seems to us
	      bitter trials are often blessings in disguise.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>This seems to me a blessing of an extremely obvious
	      kind.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Cecily from the
	      house.</emph></stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Uncle Jack! Oh, I am pleased to see you back. But what
	      horrid clothes you have got on! Do go and change
	      them.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>Cecily!</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>My child! my child!</p>
	  </sp>
	  <stage>[<emph>Cecily goes towards Jack; he kisses her brow
	      in a melancholy manner.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>What is the matter, Uncle Jack? Do look happy! You look
	      as if you had toothache, and I have got such a surprise
	      for you. Who do you think is in the dining-room? Your
	      brother!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Who?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Your brother Ernest. He arrived about half an hour
	      ago.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>What nonsense! I haven't got a brother!</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh, don't say that. However badly he may have behaved
	      to you in the past he is still your brother. You
	      couldn't be so <pb n="480"> heartless as to disown him.
	      I'll tell him to come out. And you will shake hands with
	      him, won't you, Uncle Jack?</p>
	  </sp>
	  <stage type="exit">[<emph>Runs back into the
	      house.</emph>]</stage>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>These are very joyful tidings.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>After we had all been resigned to his loss, his sudden
	      return seems to me peculiarly distressing.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>My brother is in the dining-room? I don't know what it
	      all means. I think it is perfectly absurd.</p>
	  </sp>
	  <stage type="entrance">[<emph>Enter Algernon and Cecily hand
	      in hand. They come slowly up to Jack.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Good heavens!</p>
	  </sp>
	  <stage>[<emph>Motions Algernon away.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Brother John, I have come down from town to tell you
	      that I am very sorry for all the trouble I have given
	      you, and that I intend to lead a better life in the
	      future.</p>
	  </sp>
	  <stage>[<emph>Jack glares at him and does not take his
	      hand.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Uncle Jack, you are not going to refuse your own
	      brother's hand?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Nothing will induce me to take his hand. I think his
	      coming down here disgraceful. He knows perfectly well
	      why.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Uncle Jack, do be nice. There is some good in everyone.
	      Ernest has just been telling me about his poor invalid
	      friend Mr. Bunbury whom he goes to visit so often. And
	      surely there must be much good in one who is kind to an
	      invalid, and leaves the pleasures of London to sit by a
	      bed of pain.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh! he has been talking about Bunbury, has he?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Yes, he has told me all about poor Mr. Bunbury, and his
	      terrible state of health.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Bunbury! Well, I won't have him talk to you about
	      Bunbury or about anything else. It is enough to drive
	      one perfectly frantic.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Of course I admit that the faults were all on my side.
	      But I must say that I think that Brother John's coldness
	      to me is peculiarly painful. I expected a more
	      enthusiastic welcome, especially considering it is the
	      first time I have come here.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Uncle Jack, if you don't shake hands with Ernest, I
	      will never forgive you.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Never forgive me?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Never, never, never!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, this is the last time I shall ever do it.</p>
	  </sp>
	  <pb n="481">
	  <stage>[<emph>Shakes hands with Algernon and
	      glares.</emph>]</stage>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>It's pleasant, is it not, to see so perfect a
	      reconciliation? I think we might leave the two brothers
	      together.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>Cecily, you will come with us.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Certainly, Miss Prism. My little task of reconciliation
	      is over.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>You have done a beautiful action today, dear child.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>We must not be premature in our judgments.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I feel very happy.</p>
	  </sp>
	  <stage type="exit">[<emph>They all go off except Jack and
	      Algernon.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>You young scoundrel, Algy, you must get out of this
	      place as soon as possible. I don't allow any Bunburying
	      here. <stage type="entrance"><emph>Enter
		  Merriman.</emph></stage>

	   </p>
	  </sp>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>I have put Mr. Ernest's things in the room next to
	      yours, sir. I suppose that is all right?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>What?</p>
	  </sp>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>Mr. Ernest's luggage, sir. I have unpacked it and put
	      it in the room next to your own.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>His luggage?</p>
	  </sp>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>Yes, sir. Three portmanteaux, a dressing-case, two
	      hat-boxes, and a large luncheon-basket.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I am afraid I can't stay more than a week this
	      time.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Merriman, order the dog-cart at once. Mr. Ernest has
	      been suddenly called back to town.</p>
	  </sp>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>Yes, sir.</p>
	  </sp>
	  <stage type="exit">[<emph>Goes back into the
	      house.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>What a fearful liar you are, Jack. I have not been
	      called back to town at all.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Yes, you have.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I haven't heard anyone call me.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Your duty as a gentleman calls you back.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>My duty as a gentleman has never interfered with my
	      pleasures in the smallest degree.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I can quite understand that.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, Cecily is a darling.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>You are not to talk of Miss Cardew like that. I don't
	      like it.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, I don't like your clothes. You look perfectly
	      ridiculous in them. Why on earth don't you go up and
	      change? It is perfectly childish to be in deep mourning
	      for a man who is <pb n="482"> actually staying
	      for a whole week with you in your house as a guest. I
	      call it grotesque.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>You are certainly not staying with me for a whole week
	      as a guest or anything else. You have got to leave
	      &hellip; by the four-five train.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I certainly won't leave you so long as you are in
	      mourning. It would be most unfriendly. If I were in
	      mourning you would stay with me, I suppose. I should
	      think it very unkind if you didn't.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, will you go if I change my clothes?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes, if you are not too long. I never saw anybody take
	      so long to dress, and with such little result.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, at any rate, that is better than being always
	      over-dressed as you are.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>If I am occasionally a little over-dressed, I make up
	      for it by being always immensely over-educated.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Your vanity is ridiculous, your conduct an outrage, and
	      your presence in my garden utterly absurd. However, you
	      have got to catch the four-five, and I hope you will
	      have a pleasant journey back to town. This Bunburying,
	      as you call it, has not been a great success for
	      you.</p>
	  </sp>
	  <stage type="exit">[<emph>Goes into the
	      house.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I think it has been a great success. I'm in love with
	      Cecily, and that is everything.</p>
	    <stage type="entrance"><emph>Enter Cecily at the back of
		the garden. She picks up the can and begins to water
		the flowers.</emph></stage>
	    <p>But I must see her before I go, and make arrangements
	      for another Bunbury. Ah, there she is.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh, I merely came back to water the roses. I thought
	      you were with Uncle Jack.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>He's gone to order the dog-cart for me.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh, is he going to take you for a nice drive?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>He's going to send me away.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Then have we got to part?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I am afraid so. It's very painful parting.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>It is always painful to part from people whom one has
	      known for a very brief space of time. The absence of old
	      friends one can endure with equanimity. But even a
	      momentary <pb n="483"> separation from anyone to whom
	      one has just been introduced is almost unbearable.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Thank you.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Merriman.</emph></stage>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>The dog-cart is at the door, sir.</p>
	  </sp>
	  <stage>[<emph>Algernon looks appealingly at
	      Cecily.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>It can wait, Merriman &hellip; for &hellip; five
	      minutes.</p>
	  </sp>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>Yes, Miss.</p>
	  </sp>
	  <stage type="exit">[<emph>Exit Merriman.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I hope, Cecily, I shall not offend you if I state quite
	      frankly and openly that you seem to me to be in every
	      way the visible personification of absolute
	      perfection.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I think your frankness does you great credit, Ernest.
	      If you will allow me, I will copy your remarks into my
	      diary.</p>
	  </sp>
	  <stage>[<emph>Goes over to table and begins writing in
	      diary.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Do you really keep a diary? I'd give anything to look
	      at it. May I?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh no. <stage>[<emph>Puts her hand over
		  it.</emph>]</stage> You see, it is simply a very
	      young girl's record of her own thoughts and impressions,
	      and consequently meant for publication. When it appears
	      in volume form I hope you will order a copy. But pray,
	      Ernest, don't stop. I delight in taking down from
	      dictation. I have reached <q>absolute perfection.</q>
	      You can go on. I am quite ready for more.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Somewhat taken aback.</emph>]</stage>
	      Ahem! Ahem!</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh, don't cough, Ernest. When one is dictating one
	      should speak fluently and not cough. Besides, I don't
	      know how to spell a cough.</p>
	  </sp>
	  <stage>[<emph>Writes as Algernon speaks.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Speaking very rapidly.</emph>]</stage>
	      Cecily, ever since I first looked upon your wonderful
	      and incomparable beauty, I have dared to love you
	      wildly, passionately, devotedly, hopelessly.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I don't think that you should tell me that you love me
	      wildly, passionately, devotedly, hopelessly. Hopelessly
	      doesn't seem to make much sense, does it?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Cecily!</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Merriman.</emph></stage>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>The dog-cart is waiting, sir.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Tell it to come round next week, at the same hour.</p>
	  </sp>
	  <pb n="484">
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p><stage>[<emph>Looks at Cecily, who makes no
		  sign.</emph>]</stage> Yes, sir.</p>
	  </sp>
	  <stage type="exit">[<emph>Merriman retires.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Uncle Jack would be very much annoyed if he knew you
	      were staying on till next week, at the same hour.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Oh, I don't care about Jack. I don't care for anybody
	      in the whole world but you. I love you, Cecily. You will
	      marry me, won't you?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>You silly boy! Of course. Why, we have been engaged for
	      the last three months.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>For the last three months?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Yes, it will be exactly three months on Thursday.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>But how did we become engaged?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Well, ever since dear Uncle Jack first confessed to us
	      that he had a younger brother who was very wicked and
	      bad, you of course have formed the chief topic of
	      conversation between myself and Miss Prism. And of
	      course a man who is much talked about is always very
	      attractive. One feels there must be something in him
	      after all. I daresay it was foolish of me, but I fell in
	      love with you, Ernest.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Darling! And when was the engagement actually
	      settled?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>On the 14th of February last. Worn out by your entire
	      ignorance of my existence, I determined to end the
	      matter one way or the other, and after a long struggle
	      with myself I accepted you under this dear old tree
	      here. The next day I bought this little ring in your
	      name, and this is the little bangle with the true
	      lover's knot I promised you always to wear.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Did I give you this? It's very pretty, isn't it?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Yes, you've wonderfully good taste, Ernest. It's the
	      excuse I've always given for your leading such a bad
	      life. And this is the box in which I keep all your dear
	      letters.</p>
	  </sp>
	  <stage>[<emph>Kneels at table, opens box, and produces
	      letters tied up with blue ribbon.</emph>]</stage>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>My letters! But my own sweet Cecily, I have never
	      written you any letters.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>You need hardly remind me of that, Ernest. I remember
	      only too well that I was forced to write your letters
	      for you. I always wrote three times a week, and
	      sometimes oftener.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Oh, do let me read them, Cecily!</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh, I couldn't possibly. They would make you far too
	      <pb n="485"> conceited. <stage>[<emph>Replaces
		  box.</emph>]</stage> The three you wrote me after I
	      had broken off the engagement are so beautiful, and so
	      badly spelled, that even now I can hardly read them
	      without crying a little.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>But was our engagement ever broken off?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Of course it was. On the 22nd of last March. You can
	      see the entry if you like. <stage>[<emph>Shows
		  diary.</emph>]</stage> <q>Today I broke off my
		engagement with Ernest. I feel it is better to do so.
		The weather still continues charming.</q></p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>But why on earth did you break it off? What had I done?
	      I had done nothing at all. Cecily, I am very much hurt
	      indeed to hear you broke it off. Particularly when the
	      weather was so charming.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>It would hardly have been a really serious engagement
	      if it hadn't been broken off at least once. But I
	      forgave you before the week was out.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Crossing to her, and
		  kneeling.</emph>]</stage> What a perfect angel you
	      are, Cecily!</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>You dear romantic boy. <stage>[<emph>He kisses her, she
		  puts her fingers through his hair.</emph>]</stage> I
	      hope your hair curls naturally, does it?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes, darling, with a little help from others.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I am so glad.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>You'll never break off our engagement again,
	      Cecily?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I don't think I could break it off now that I have
	      actually met you. Besides, of course, there is the
	      question of your name.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes, of course.</p>
	  </sp>
	  <stage>[<emph>Nervously.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>You must not laugh at me, darling, but it had always
	      been a girlish dream of mine to love someone whose name
	      was Ernest. <stage>[<emph>Algernon rises, Cecily
		  also.</emph>]</stage> There is something in that
	      name that seems to inspire absolute confidence. I pity
	      any poor married woman whose husband is not called
	      Ernest.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>But, my dear child, do you mean to say you could not
	      love me if I had some other name?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>But what name?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Oh, any name you like&mdash;Algernon&mdash;for instance
	      &hellip;</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>But I don't like the name of Algernon.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, my own dear, sweet, loving little darling, I
	      really can't see why you should object to the name of
	      Algernon. It is not at all a bad name. In fact, it is
	      rather an aristocratic name. <pb n="486"> Half of the
	      chaps who get into the Bankruptcy Court are called
	      Algernon. But seriously, Cecily &hellip;
	      <stage>[<emph>Moving to her.</emph>]</stage> &hellip; if
	      my name was Algy, couldn't you love me?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Rising.</emph>]</stage> I might respect
	      you, Ernest, I might admire your character, but I fear
	      that I should not be able to give you my undivided
	      attention.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Ahem! Cecily! <stage>[<emph>Picking up
		  hat.</emph>]</stage> Your Rector here is, I suppose,
	      thoroughly experienced in the practice of all the rites
	      and ceremonials of the Church?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh, yes. Dr. Chasuble is a most learned man. He has
	      never written a single book, so you can imagine how much
	      he knows.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I must see him at once on a most important
	      christening&mdash;I mean on most important business.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I shan't be away more than half an hour.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Considering that we have been engaged since February
	      the 14th, and that I only met you today for the first
	      time, I think it is rather hard that you should leave me
	      for so long a period as half an hour. Couldn't you make
	      it twenty minutes?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I'll be back in no time.</p>
	  </sp>
	  <stage type="exit">[<emph>Kisses her and rushes down the
	      garden.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>What an impetuous boy he is! I like his hair so much. I
	      must enter his proposal in my diary.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Merriman.</emph></stage>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>A Miss Fairfax has just called to see Mr. Worthing. On
	      very important business Miss Fairfax states.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Isn't Mr. Worthing in his library?</p>
	  </sp>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>Mr. Worthing went over in the direction of the Rectory
	      some time ago.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Pray ask the lady to come out here; Mr. Worthing is
	      sure to be back soon. And you can bring tea.</p>
	  </sp>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>Yes, Miss.</p>
	  </sp>
	  <stage type="exit">[<emph>Goes out.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Miss Fairfax! I suppose one of the many good elderly
	      women who are associated with Uncle Jack in some of his
	      philanthropic work in London. I don't quite like women
	      who are interested in philanthropic work. I think it is
	      so forward of them.</p>
	  </sp>
	  <pb n="487">
	  <stage type="entrance"><emph>Enter Merriman.</emph></stage>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>Miss Fairfax.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Gwendolen.</emph></stage>
	  <stage type="exit">[<emph>Exit Merriman.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Advancing to meet her.</emph>]</stage>
	      Pray let me introduce myself to you. My name is Cecily
	      Cardew.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Cecily Cardew? <stage>[<emph>Moving to her and shaking
		  hands.</emph>]</stage> What a very sweet name!
	      Something tells me that we are going to be great
	      friends. I like you already more than I can say. My
	      first impressions of people are never wrong.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>How nice of you to like me so much after we have known
	      each other such a comparatively short time. Pray sit
	      down.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Still standing up.</emph>]</stage> I may
	      call you Cecily, may I not?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>With pleasure!</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>And you will always call me Gwendolen, won't you?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>If you wish.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Then that is all quite settled, is it not?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I hope so.</p>
	  </sp>
	  <stage>[<emph>A pause. They both sit down
	      together.</emph>]</stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Perhaps this might be a favourable opportunity for my
	      mentioning who I am. My father is Lord Bracknell. You
	      have never heard of papa, I suppose?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I don't think so.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Outside the family circle, papa, I am glad to say, is
	      entirely unknown. I think that is quite as it should be.
	      The home seems to me to be the proper sphere for the
	      man. And certainly once a man begins to neglect his
	      domestic duties he becomes painfully effeminate, does he
	      not? And I don't like that. It makes men so very
	      attractive. Cecily, mamma, whose views on education are
	      remarkably strict, has brought me up to be extremely
	      short-sighted; it is part of her system; so do you mind
	      my looking at you through my glasses?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh! not at all, Gwendolen. I am very fond of being
	      looked at.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>After examining Cecily carefully through
		  a lorgnette.</emph>]</stage> You are here on a short
	      visit, I suppose.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh no! I live here.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Severely.</emph>]</stage> Really? Your
	      mother, no doubt, or some female relative of advanced
	      years, resides here also?</p>
	  </sp>
	  <pb n="488">
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh no! I have no mother, nor, in fact, any
	      relations.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Indeed?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>My dear guardian, with the assistance of Miss Prism,
	      has the arduous task of looking after me.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Your guardian?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Yes, I am Mr. Worthing's ward.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Oh! It is strange he never mentioned to me that he had
	      a ward. How secretive of him! He grows more interesting
	      hourly. I am not sure, however, that the news inspires
	      me with feelings of unmixed delight.
	      <stage>[<emph>Rising and going to her.</emph>]</stage> I
	      am very fond of you, Cecily; I have liked you ever since
	      I met you! But I am bound to state that now that I know
	      that you are Mr. Worthing's ward, I cannot help
	      expressing a wish you were&mdash;well just a little
	      older than you seem to be&mdash;and not quite so very
	      alluring in appearance. In fact, if I may speak
	      candidly&mdash;</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Pray do! I think that whenever one has anything
	      unpleasant to say, one should always be quite
	      candid.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Well, to speak with perfect candour, Cecily, I wish
	      that you were fully forty-two, and more than usually
	      plain for your age. Ernest has a strong upright nature.
	      He is the very soul of truth and honour. Disloyalty
	      would be as impossible to him as deception. But even men
	      of the noblest possible moral character are extremely
	      susceptible to the influence of the physical charms of
	      others. Modern, no less than Ancient History, supplies
	      us with many most painful examples of what I refer to.
	      If it were not so, indeed, History would be quite
	      unreadable.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I beg your pardon, Gwendolen, did you say Ernest?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Yes.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh, but it is not Mr. Ernest Worthing who is my
	      guardian. It is his brother&mdash;his elder brother.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Sitting down again.</emph>]</stage>
	      Ernest never mentioned to me that he had a brother.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I am sorry to say they have not been on good terms for
	      a long time.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Ah! that accounts for it. And now that I think of it I
	      have never heard any man mention his brother. The
	      subject seems distasteful to most men. Cecily, you have
	      lifted a load from my mind. I was growing almost
	      anxious. It would have <pb n="489"> been terrible if
	      any cloud had come across a friendship like ours, would
	      it not? Of course you are quite, quite sure that it is
	      not Mr. Ernest Worthing who is your guardian?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Quite sure. <stage>[<emph>A pause.</emph>]</stage> In
	      fact, I am going to be his.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Inquiringly.</emph>]</stage> I beg your
	      pardon?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Rather shy and
		  confidingly.</emph>]</stage> Dearest Gwendolen,
	      there is no reason why I should make a secret of it to
	      you. Our little county newspaper is sure to chronicle
	      the fact next week. Mr. Ernest Worthing and I are
	      engaged to be married.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Quite politely, rising.</emph>]</stage>
	      My darling Cecily, I think there must be some slight
	      error. Mr. Ernest Worthing is engaged to me. The
	      announcement will appear in the <title type="periodical">Morning
		Post</title> on Saturday at the latest.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Very politely, rising.</emph>]</stage> I
	      am afraid you must be under some misconception. Ernest
	      proposed to me exactly ten minutes ago.</p>
	  </sp>
	  <stage>[<emph>Shows diary.</emph>]</stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Examines diary through her lorgnette
		  carefully.</emph>]</stage> It is certainly very
	      curious, for he asked me to be his wife yesterday
	      afternoon at 5.30. If you would care to verify the
	      incident, pray do so. <stage>[<emph>Produces diary of
		  her own.</emph>]</stage> I never travel without my
	      diary. One should always have something sensational to
	      read in the train. I am so sorry, dear Cecily, if it is
	      any disappointment to you, but I am afraid I have the
	      prior claim.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>It would distress me more than I can tell you, dear
	      Gwendolen, if it caused you any mental or physical
	      anguish, but I feel bound to point out that since Ernest
	      proposed to you he clearly has changed his mind.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Meditatively.</emph>]</stage> If the poor
	      fellow has been entrapped into any foolish promise I
	      shall consider it my duty to rescue him at once, and
	      with a firm hand.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Thoughtfully and sadly.</emph>]</stage>
	      Whatever unfortunate entanglement my dear boy may have
	      got into, I will never reproach him with it after we are
	      married.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Do you allude to me, Miss Cardew, as an entanglement?
	      You are presumptuous. On an occasion of this kind it
	      becomes more than a moral duty to speak one's mind. It
	      becomes a pleasure.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Do you suggest, Miss Fairfax, that I entrapped Ernest
	      into an engagement? How dare you? This is no time for
	      wearing the <pb n="490"> shallow mask of manners. When
	      I see a spade I call it a spade.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Satirically.</emph>]</stage> I am glad to
	      say that I have never seen a spade. It is obvious that
	      our social spheres have been widely different.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Merriman, followed by the
	      footman. He carries a salver, table cloth, and plate
	      stand. Cecily is about to retort. The presence of the
	      servants exercises a restraining influence, under which
	      both girls chafe.</emph></stage>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>Shall I lay tea here as usual, Miss?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Sternly, in a calm voice.</emph>]</stage>
	      Yes, as usual.</p>
	  </sp>
	  <stage>[<emph>Merriman begins to clear table and lay cloth.
	      A long pause. Cecily and Gwendolen glare at each
	      other.</emph>]</stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Are there many interesting walks in the vicinity, Miss
	      Cardew?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh! yes! a great many. From the top of one of the hills
	      quite close one can see five counties.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Five counties! I don't think I should like that; I hate
	      crowds.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Sweetly.</emph>]</stage> I suppose that
	      is why you live in town?</p>
	  </sp>
	  <stage>[<emph>Gwendolen bites her lip, and beats her foot
	      nervously with her parasol.</emph>]</stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Looking round.</emph>]</stage> Quite a
	      well-kept garden this is, Miss Cardew.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>So glad you like it, Miss Fairfax.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>I had no idea there were any flowers in the
	      country.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh, flowers are as common here, Miss Fairfax, as people
	      are in London.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Personally I cannot understand how anybody manages to
	      exist in the country, if anybody who is anybody does.
	      The country always bores me to death.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Ah! That is what the newspapers call agricultural
	      depression, is it not? I believe the aristocracy are
	      suffering very much from it just at present. It is
	      almost an epidemic amongst them, I have been told. May I
	      offer you some tea, Miss Fairfax?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>With elaborate
		  politeness.</emph>]</stage> Thank you.
	      <stage>[<emph>Aside.</emph>]</stage> Detestable girl!
	      But I require tea!</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Sweetly.</emph>]</stage> Sugar?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Superciliously.</emph>]</stage> No, thank
	      you. Sugar is not fashionable any more.</p>
	  </sp>
	  <pb n="491">
	  <stage>[<emph>Cecily looks angrily at her, takes up the
	      tongs and puts four lumps of sugar into the
	      cup.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Severely.</emph>]</stage> Cake or bread
	      and butter?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>In a bored manner.</emph>]</stage> Bread
	      and butter, please. Cake is rarely seen at the best
	      houses nowadays.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Cuts a very large slice of cake, and puts
		  it on the tray.</emph>]</stage> Hand that to Miss
	      Fairfax.</p>
	  </sp>
	  <stage>[<emph>Merriman does so, and goes out with footman.
	      Gwendolen drinks the tea and makes a grimace. Puts down
	      cup at once, reaches out her hand to the bread and
	      butter, looks at it, and finds it is cake. Rises in
	      indignation.</emph>]</stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>You have filled my tea with lumps of sugar, and though
	      I asked most distinctly for bread and butter, you have
	      given me cake. I am known for the gentleness of my
	      disposition, and the extraordinary sweetness of my
	      nature, but I warn you, Miss Cardew, you may go too
	      far.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Rising.</emph>]</stage> To save my poor,
	      innocent, trusting boy from the machinations of any
	      other girl there are no lengths to which I would not
	      go.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>From the moment I saw you I distrusted you. I felt that
	      you were false and deceitful. I am never deceived in
	      such matters. My first impressions of people are
	      invariably right.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>It seems to me, Miss Fairfax, that I am trespassing on
	      your valuable time. No doubt you have many other calls
	      of a similar character to make in the neighbourhood.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Jack.</emph></stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Catching sight of him.</emph>]</stage>
	      Ernest! My own Ernest!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Gwendolen! Darling!</p>
	  </sp>
	  <stage>[<emph>Offers to kiss her.</emph>]</stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Drawing back.</emph>]</stage> A moment!
	      May I ask if you are engaged to be married to this young
	      lady?</p>
	  </sp>
	  <stage>[<emph>Points to Cecily.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Laughing.</emph>]</stage> To dear little
	      Cecily! Of course not! What could have put such an idea
	      into your pretty little head?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Thank you. You may!</p>
	  </sp>
	  <stage>[<emph>Offers her cheek.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Very sweetly.</emph>]</stage> I knew
	      there must be some misunderstanding, Miss Fairfax. The
	      gentleman whose arm is at present round your waist is my
	      dear guardian, Mr. John Worthing.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>I beg your pardon?</p>
	  </sp>
	  <pb n="492">
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>This is Uncle Jack.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Receding.</emph>]</stage> Jack! Oh!</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Algernon.</emph></stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Here is Ernest.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Goes straight over to Cecily without
		  noticing anyone else.</emph>]</stage> My own
	      love!</p>
	  </sp>
	  <stage>[<emph>Offers to kiss her.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Drawing back.</emph>]</stage> A moment,
	      Ernest! May I ask you&mdash;are you engaged to be
	      married to this young lady?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Looking  round.</emph>]</stage> To what
	      young lady? Good heavens! Gwendolen!</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Yes! to good heavens, Gwendolen, I mean to
	      Gwendolen.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Laughing.</emph>]</stage> Of course not!
	      What could have put such an idea into your pretty little
	      head?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Thank you. <stage>[<emph>Presenting her cheek to be
		  kissed.</emph>]</stage> You may.</p>
	  </sp>
	  <stage>[<emph>Algernon kisses her.</emph>]</stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>I felt there was some slight error, Miss Cardew. The
	      gentleman who is now embracing you is my cousin, Mr.
	      Algernon Moncrieff.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Breaking away from
		  Algernon.</emph>]</stage> Algernon Moncrieff!
	      Oh!</p>
	  </sp>
	  <stage>[<emph>The two girls move towards each other and put
	      their arms round each other's waists as if for
	      protection.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Are you called Algernon?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I cannot deny it.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Oh!</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Is your name really John?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Standing rather proudly.</emph>]</stage>
	      I could deny it if I liked. I could deny anything if I
	      liked. But my name certainly is John. It has been John
	      for years.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>To Gwendolen.</emph>]</stage> A gross
	      deception has been practised on both of us.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>My poor wounded Cecily!</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>My sweet wronged Gwendolen!</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Slowly and seriously.</emph>]</stage> You
	      will call me sister, will you not?</p>
	  </sp>
	  <stage>[<emph>They embrace. Jack and Algernon groan and walk
	      up and down.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Rather brightly.</emph>]</stage> There is
	      just one question I would like to be allowed to ask my
	      guardian.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>An admirable idea! Mr. Worthing, there is just one <pb
		n="493"> question I would like to be permitted to put
	      to you. Where is your brother Ernest? We are both
	      engaged to be married to your brother Ernest, so it is a
	      matter of some importance to us to know where your
	      brother Ernest is at present.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Slowly and hesitatingly.</emph>]</stage>
	      Gwendolen&mdash;Cecily&mdash;it is very painful for me
	      to be forced to speak the truth. It is the first time in
	      my life that I have ever been reduced to such a painful
	      position, and I am really quite inexperienced in doing
	      anything of the kind. However I will tell you quite
	      frankly that I have no brother Ernest. I have no brother
	      at all. I never had a brother in my life, and I
	      certainly have not the smallest intention of ever having
	      one in the future.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Surprised.</emph>]</stage> No brother at
	      all?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Cheerily.</emph>]</stage> None!</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>Severely.</emph>]</stage> Had you never a
	      brother of any kind?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Pleasantly.</emph>]</stage> Never. Not
	      even of any kind.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>I am afraid it is quite clear, Cecily, that neither of
	      us is engaged to be married to anyone.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>It is not a very pleasant position for a young girl
	      suddenly to find herself in. Is it?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Let us go into the house. They will hardly venture to
	      come after us there.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>No, men are so cowardly, aren't they?</p>
	  </sp>
	  <stage type="exit">[<emph>They retire into the house with
	      scornful looks.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>This ghastly state of things is what you call
	      Bunburying, I suppose?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes, and a perfectly wonderful Bunbury it is. The most
	      wonderful Bunbury I have ever had in my life.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, you've no right whatsoever to Bunbury here.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>That is absurd. One has a right to Bunbury anywhere one
	      chooses. Every serious Bunburyist knows that.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Serious Bunburyist! Good heavens!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, one must be serious about something, if one wants
	      to have any amusement in life. I happen to be serious
	      about Bunburying. What on earth you are serious about I
	      haven't got the remotest idea. About everything, I
	      should fancy. You have such an absolutely trivial
	      nature.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, the only small satisfaction I have in the whole
	      of this wretched business is that your friend Bunbury is
	      quite exploded. <pb n="494"> You won't be able to run
	      down to the country quite so often as you used to do,
	      dear Algy. And a very good thing too.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Your brother is a little off colour, isn't he, dear
	      Jack? You won't be able to disappear to London quite so
	      frequently as your wicked custom was. And not a bad
	      thing either.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>As for your conduct towards Miss Cardew, I must say
	      that your taking in a sweet, simple, innocent girl like
	      that is quite inexcusable. To say nothing of the fact
	      that she is my ward.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I can see no possible defence at all for your deceiving
	      a brilliant, clever, thoroughly experienced young lady
	      like Miss Fairfax. To say nothing of the fact that she
	      is my cousin.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I wanted to be engaged to Gwendolen, that is all. I
	      love her.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, I simply wanted to be engaged to Cecily. I adore
	      her.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>There is certainly no chance of your marrying Miss
	      Cardew.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I don't think there is much likelihood, Jack, of you
	      and Miss Fairfax being united.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Well, that is no business of yours.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>If it was my business, I wouldn't talk about it.
	      <stage>[<emph>Begins to eat muffins.</emph>]</stage> It
	      is very vulgar to talk about one's business. Only people
	      like stockbrokers do that, and then merely at
	      dinner-parties.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>How you can sit there, calmly eating muffins when we
	      are in this horrible trouble, I can't make out. You seem
	      to me to be perfectly heartless.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, I can't eat muffins in an agitated manner. The
	      butter would probably get on my cuffs. One should always
	      eat muffins quite calmly. It is the only way to eat
	      them.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I say it's perfectly heartless your eating muffins at
	      all, under the circumstances.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>When I am in trouble, eating is the only thing that
	      consoles me. Indeed, when I am in really great trouble,
	      as anyone who knows me intimately will tell you, I
	      refuse everything except food and drink. At the present
	      moment I am eating muffins because I am unhappy.
	      Besides, I am particularly fond of muffins.</p>
	  </sp>
	  <stage>[<emph>Rising.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Rising.</emph>]</stage> Well, that is no
	      reason why you should eat them all in that greedy
	      way.</p>
	  </sp>
	  <stage>[<emph>Takes muffins from Algernon.</emph>]</stage>
	  <pb n="495">
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Offering tea-cake.</emph>]</stage> I wish
	      you would have tea-cake instead. I don't like
	      tea-cake.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Good heavens! I suppose a man may eat his own muffins
	      in his own garden.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>But you have just said it was perfectly heartless to
	      eat muffins.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I said it was perfectly heartless of you, under the
	      circumstances. That is a very different thing.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>That may be. But the muffins are the same.
	      <stage>[<emph>He seizes the muffin-dish from
		  Jack.</emph>]</stage></p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Algy, I wish to goodness you would go.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>You can't possibly ask me to go without having some
	      dinner. It's absurd. I never go without my dinner. No
	      one ever does, except vegetarians and people like that.
	      Besides I have just made arrangements with Dr. Chasuble
	      to be christened at a quarter to six under the name of
	      Ernest.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>My dear fellow, the sooner you give up that nonsense
	      the better. I made arrangements this morning with Dr.
	      Chasuble to be christened myself at 5.30, and I
	      naturally will take the name of Ernest. Gwendolen would
	      wish it. We can't both be christened Ernest. It's
	      absurd. Besides, I have a perfect right to be christened
	      if I like. There is no evidence at all that I ever have
	      been christened by anybody. I should think it extremely
	      probable that I never was, and so does Dr. Chasuble. It
	      is entirely different in your case. You have been
	      christened already.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes, but I have not been christened for years.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Yes, but you have been christened. That is the
	      important thing.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Quite so. So I know my constitution can stand it. If
	      you are not quite sure about your ever having been
	      christened, I must say I think it rather dangerous your
	      venturing on it now. It might make you very unwell. You
	      can hardly have forgotten that someone very closely
	      connected with you was very nearly carried off this week
	      in Paris by a severe chill.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Yes, but you said yourself that a severe chill was not
	      hereditary.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>It usen't to be, I know&mdash;but I daresay it is now.
	      Science is always making wonderful improvements in
	      things.</p>
	  </sp>
	  <pb n="496">
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Picking up the
		  muffin-dish.</emph>]</stage> Oh, that is nonsense;
	      you are always talking nonsense.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Jack, you are at the muffins again! I wish you
	      wouldn't. There are only two left. <stage>[<emph>Takes
		  them.</emph>]</stage> I told you I was particularly
	      fond of muffins.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>But I hate tea-cake.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Why on earth then do you allow tea-cake to be served up
	      for your guests? What ideas you have of hospitality!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Algernon! I have already told you to go. I don't want
	      you here. Why don't you go!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I haven't quite finished my tea yet! and there is still
	      one muffin left. <stage>[<emph>Jack groans, and sinks
		  into a chair, Algernon still continues
		  eating.</emph>]</stage> <stage>Act Drop</stage></p>
	  </sp>
	</div1>
	<div1 n="3" type="act">
	  <head>Third Act</head>
	  <stage type="setting">Scene <view><emph>Morning-room at the
		Manor House.</emph></view></stage>
	  <stage>[<emph>Gwendolen and Cecily are at the window,
	      looking out into the garden.</emph>]</stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>The fact that they did not follow us at once into the
	      house, as anyone else would have done, seems to me to
	      show that they have some sense of shame left.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>They have been eating muffins. That looks like
	      repentance.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>After a pause.</emph>]</stage> They don't
	      seem to notice us at all. Couldn't you cough?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>But I haven't got a cough!</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>They're looking at us. What effrontery!</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>They're approaching. That's very forward of them.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Let us preserve a dignified silence.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Certainly. It's the only thing to do now.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Jack followed by
	      Algernon. They whistle some dreadful popular air from a
	      British Opera.</emph></stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>This dignified silence seems to produce an unpleasant
	      effect.</p>
	  </sp>
	  <pb n="497">
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>A most distasteful one.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>But we will not be the first to speak.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Certainly not.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Mr. Worthing, I have something very particular to ask
	      you. Much depends on your reply.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Gwendolen, your common sense is invaluable. Mr.
	      Moncrieff, kindly answer me the following question. Why
	      did you pretend to be my guardian's brother?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>In order that I might have an opportunity of meeting
	      you.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>To Gwendolen.</emph>]</stage> That
	      certainly seems a satisfactory explanation, does it
	      not?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Yes, dear, if you can believe him.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I don't. But that does not affect the wonderful beauty
	      of this answer.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>True. In matters of grave importance, style, not
	      sincerity is the vital thing. Mr. Worthing, what
	      explanation can you offer to me for pretending to have a
	      brother? Was it in order that you might have an
	      opportunity of coming up to town to see me as often as
	      possible?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Can you doubt it, Miss Fairfax?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>I have the gravest doubts upon the subject. But I
	      intend to crush them. This is not the moment for German
	      scepticism. <stage>[<emph>Moving to
		  Cecily.</emph>]</stage> Their explanations appear to
	      be quite satisfactory, especially Mr. Worthing's. That
	      seems to me to have the stamp of truth upon it.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I am more than content with what Mr. Moncrieff said.
	      His voice alone inspires one with absolute
	      credulity.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Then you think we should forgive them?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Yes. I mean no.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>True! I had forgotten. There are principles at stake
	      that one cannot surrender. Which of us should tell them?
	      The task is not a pleasant one.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Could we not both speak at the same time?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>An excellent idea! I nearly always speak at the same
	      time as other people. Will you take the time from
	      me?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Certainly. <stage>[<emph>Gwendolen beats time with
		  uplifted finger.</emph>]</stage>

	   </p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen and Cecily.</speaker>
	    <p><stage>[<emph>Speaking together.</emph>]</stage> Your
	      Christian names are still an insuperable barrier. That
	      is all!</p>
	  </sp>
	  <pb n="498">
	  <sp>
	    <speaker>Jack and Algernon.</speaker>
	    <p><stage>[<emph>Speaking together.</emph>]</stage> Our
	      Christian names! Is that all? But we are going to be
	      christened this afternoon.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>To Jack.</emph>]</stage> For my sake you
	      are prepared to do this terrible thing?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I am.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>To Algernon.</emph>]</stage> To please me
	      you are ready to face this fearful ordeal?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I am!</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>How absurd to talk of the equality of the sexes! Where
	      questions of self-sacrifice are concerned, men are
	      infinitely beyond us.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>We are.</p>
	  </sp>
	  <stage>[<emph>Clasps hands with Algernon.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>They have moments of physical courage of which we women
	      know absolutely nothing.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>To Jack.</emph>]</stage> Darling!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>To Cecily.</emph>]</stage> Darling!</p>
	  </sp>
	  <stage>[<emph>They fall into each other's
	      arms.</emph>]</stage>
	  <stage type="entrance"><emph>Enter Merriman. When he enters
	      he coughs loudly, seeing the situation.</emph></stage>
	  <sp>
	    <speaker>Merriman.</speaker>
	    <p>Ahem! Ahem! Lady Bracknell!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Good heavens!</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Lady Bracknell. The
	      couples separate in alarm.</emph></stage>
	  <stage type="exit">[<emph>Exit Merriman.</emph>]</stage>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Gwendolen! What does this mean?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Merely that I am engaged to be married to Mr. Worthing,
	      mamma.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Come here. Sit down. Sit down immediately. Hesitation
	      of any kind is a sign of mental decay in the young, of
	      physical weakness in the old. <stage>[<emph>Turns to
		  Jack.</emph>]</stage> Apprised, sir, of my
	      daughter's sudden flight by her trusty maid, whose
	      confidence I purchased by means of a small coin, I
	      followed her at once by a luggage train. Her unhappy
	      father is, I am glad to say, under the impression that
	      she is attending a more than usually lengthy lecture by
	      the University Extension Scheme on the Influence of a
	      permanent income on Thought. I do not propose to
	      undeceive him. Indeed I have never undeceived him on any
	      question. I would consider it wrong. But of course, you
	      will clearly <pb n="499"> understand that all
	      communication between yourself and my daughter must
	      cease immediately from this moment. On this point, as
	      indeed on all points, I am firm.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I am engaged to be married to Gwendolen, Lady
	      Bracknell!</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>You are nothing of the kind, sir. And now, as regards
	      Algernon! &hellip; Algernon!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes, Aunt Augusta.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>May I ask if it is in this house that your invalid
	      friend Mr. Bunbury resides?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Stammering.</emph>]</stage> Oh! No!
	      Bunbury doesn't live here. Bunbury is somewhere else at
	      present. In fact, Bunbury is dead.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Dead! When did Mr. Bunbury die? His death must have
	      been extremely sudden.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p><stage>[<emph>Airily.</emph>]</stage> Oh! I killed
	      Bunbury this afternoon. I mean poor Bunbury died this
	      afternoon.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>What did he die of?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Bunbury? Oh, he was quite exploded.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Exploded! Was he the victim of a revolutionary outrage?
	      I was not aware that Mr. Bunbury was interested in
	      social legislation. If so, he is well punished for his
	      morbidity.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>My dear Aunt Augusta, I mean he was found out! The
	      doctors found out that Bunbury could not live, that is
	      what I mean&mdash;so Bunbury died.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>He seems to have had great confidence in the opinion of
	      his physicians. I am glad, however, that he made up his
	      mind at the last to some definite course of action, and
	      acted under proper medical advice. And now that we have
	      finally got rid of this Mr. Bunbury, may I ask, Mr.
	      Worthing, who is that young person whose hand my nephew
	      Algernon is now holding in what seems to me a peculiarly
	      unnecessary manner?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>That lady is Miss Cecily Cardew, my ward.
	      <stage>[<emph>Lady Bracknell bows coldly to
		  Cecily.</emph>]</stage></p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>I am engaged to be married to Cecily, Aunt Augusta.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>I beg your pardon?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Mr. Moncrieff and I are engaged to be married, Lady
	      Bracknell.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>With a shiver, crossing to the sofa and
		  sitting down.</emph>]</stage> I do not know whether
	      there is anything peculiarly exciting in the air of this
	      particular part of Hertfordshire, but the number of <pb
		n="500">
	      engagements that go on seems to me considerably above
	      the proper average that statistics have laid down for
	      our guidance. I think some preliminary enquiry on my
	      part would not be out of place. Mr. Worthing, is Miss
	      Cardew at all connected with any of the larger railway
	      stations in London? I merely desire information. Until
	      yesterday I had no idea that there were any families or
	      persons whose origin was a Terminus.</p>
	  </sp>
	  <stage>[<emph>Jack looks perfectly furious, but restrains
	      himself.</emph>]</stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>In a clear, cold voice.</emph>]</stage>
	      Miss Cardew is the granddaughter of the late Mr. Thomas
	      Cardew of 149 Belgrave Square, S.W.; Gervase Park,
	      Dorking, Surrey; and The Sporran, Fifeshire, N.B.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>That sounds not unsatisfactory. Three addresses always
	      inspire confidence, even in tradesmen. But what proof
	      have I of their authenticity?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I have carefully preserved the Court Guides of the
	      period. They are open to your inspection, Lady
	      Bracknell.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>Grimly.</emph>]</stage> I have known
	      strange errors in that publication.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Miss Cardew's family solicitors are Messrs. Markby,
	      Markby, and Markby.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Markby, Markby, and Markby? A firm of the very highest
	      position in their profession. Indeed I am told that one
	      of the Mr. Markbys is occasionally to be seen at dinner
	      parties. So far I am satisfied.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Very irritably.</emph>]</stage> How
	      extremely kind of you, Lady Bracknell! I have also in my
	      possession, you will be pleased to hear, certificates of
	      Miss Cardew's birth, baptism, whooping cough,
	      registration, vaccination, confirmation, and the
	      measles; both the German and the English variety.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Ah! A life crowded with incident, I see; though perhaps
	      somewhat too exciting for a young girl. I am not myself
	      in favour of premature experiences. <stage>[<emph>Rises,
		  looks at her watch.</emph>]</stage> Gwendolen! the
	      time approaches for our departure. We have not a moment
	      to lose. As a matter of form, Mr. Worthing, I had better
	      ask you if Miss Cardew has any little fortune?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Oh! about a hundred and thirty thousand pounds in the
	      Funds. That is all. Good-bye, Lady Bracknell. So pleased
	      to have seen you.</p>
	  </sp>
	  <pb n="501">
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>Sitting down again.</emph>]</stage> A
	      moment, Mr. Worthing. A hundred and thirty thousand
	      pounds! And in the Funds! Miss Cardew seems to me a most
	      attractive young lady, now that I look at her. Few girls
	      of the present day have any really solid qualities, any
	      of the qualities that last, and improve with time. We
	      live, I regret to say, in an age of surfaces.
	      <stage>[<emph>To Cecily.</emph>]</stage> Come over here,
	      dear. <stage>[<emph>Cecily goes across.</emph>]</stage>
	      Pretty child! your dress is sadly simple, and your hair
	      seems almost as Nature might have left it. But we can
	      soon alter all that. A thoroughly experienced French
	      maid produces a really marvellous result in a very brief
	      space of time. I remember recommending one to young Lady
	      Lancing, and after three months her own husband did not
	      know her.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>And after six months nobody knew her.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>Glares at Jack for a few moments. Then
		  bends, with a practised smile, to
		  Cecily.</emph>]</stage> Kindly turn round, sweet
	      child. <stage>[<emph>Cecily turns completely
		  round.</emph>]</stage> No, the side view is what I
	      want. <stage>[<emph>Cecily presents her
		  profile.</emph>]</stage> Yes, quite as I expected.
	      There are distinct social possibilities in your profile.
	      The two weak points in our age are its want of principle
	      and its want of profile. The chin a little higher, dear.
	      Style largely depends on the way the chin is worn. They
	      are worn very high, just at present. Algernon!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Yes, Aunt Augusta!</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>There are distinct social possibilities in Miss
	      Cardew's profile.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Cecily is the sweetest, dearest, prettiest girl in the
	      whole world. And I don't care twopence about social
	      possibilities.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Never speak disrespectfully of Society, Algernon. Only
	      people who can't get into it do that. <stage>[<emph>To
		  Cecily.</emph>]</stage> Dear child, of course you
	      know that Algernon has nothing but his debts to depend
	      upon. But I do not approve of mercenary marriages. When
	      I married Lord Bracknell I had no fortune of any kind.
	      But I never dreamed for a moment of allowing that to
	      stand in my way. Well, I suppose I must give my
	      consent.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Thank you, Aunt Augusta.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Cecily, you may kiss me!</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p><stage>[<emph>Kisses her.</emph>]</stage> Thank you,
	      Lady Bracknell.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>You may also address me as Aunt Augusta for the
	      future.</p>
	  </sp>
	  <pb n="502">
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Thank you, Aunt Augusta.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>The marriage, I think, had better take place quite
	      soon.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Thank you, Aunt Augusta.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Thank you, Aunt Augusta.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>To speak frankly, I am not in favour of long
	      engagements. They give people the opportunity of finding
	      out each other's character before marriage, which I
	      think is never advisable.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I beg your pardon for interrupting you, Lady Bracknell,
	      but this engagement is quite out of the question. I am
	      Miss Cardew's guardian, and she cannot marry without my
	      consent until she comes of age. That consent I
	      absolutely decline to give.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Upon what grounds may I ask? Algernon is an extremely,
	      I may almost say an ostentatiously, eligible young man.
	      He has nothing, but he looks everything. What more can
	      one desire?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>It pains me very much to have to speak frankly to you,
	      Lady Bracknell, about your nephew, but the fact is that
	      I do not approve at all of his moral character. I
	      suspect him of being untruthful.</p>
	  </sp>
	  <stage>[<emph>Algernon and Cecily look at him in indignant
	      amazement.</emph>]</stage>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Untruthful! My nephew Algernon? Impossible! He is an
	      Oxonian.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I fear there can be no possible doubt about the matter.
	      This afternoon, during my temporary absence in London on
	      an important question of romance, he obtained admission
	      to my house by means of the false pretence of being my
	      brother. Under an assumed name he drank, I've just been
	      informed by my butler, an entire pint bottle of my
	      Perrier-Jouet, Brut, '89; a wine I was specially
	      reserving for myself. Continuing his disgraceful
	      deception, he succeeded in the course of the afternoon
	      in alienating the affections of my only ward. He
	      subsequently stayed to tea, and devoured every single
	      muffin. And what makes his conduct all the more
	      heartless is, that he was perfectly well aware from the
	      first that I have no brother, that I never had a
	      brother, and that I don't intend to have a brother, not
	      even of any kind. I distinctly told him so myself
	      yesterday afternoon.</p>
	  </sp>
	  <pb n="503">
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Ahem! Mr. Worthing, after careful consideration I have
	      decided entirely to overlook my nephew's conduct to
	      you.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>That is very generous of you, Lady Bracknell. My own
	      decision, however, is unalterable. I decline to give my
	      consent.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>To Cecily.</emph>]</stage> Come here,
	      sweet child. <stage>[<emph>Cecily goes
		  over.</emph>]</stage> How old are you, dear?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Well, I am really only eighteen, but I always admit to
	      twenty when I go to evening parties.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>You are perfectly right in making some slight
	      alteration. Indeed, no woman should ever be quite
	      accurate about her age. It looks so calculating.
	      &hellip; <stage>[<emph>In a meditative
		  manner.</emph>]</stage> Eighteen, but admitting to
	      twenty at evening parties. Well, it will not be very
	      long before you are of age and free from the restraints
	      of tutelage. So I don't think your guardian's consent
	      is, after all, a matter of any importance.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Pray excuse me, Lady Bracknell, for interrupting you
	      again, but it is only fair to tell you that according to
	      the terms of her grandfather's will Miss Cardew does not
	      come legally of age till she is thirty-five.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>That does not seem to me to be a grave objection.
	      Thirty-five is a very attractive age. London society is
	      full of women of the very highest birth who have, of
	      their own free choice, remained thirty-five for years.
	      Lady Dumbleton is an instance in point. To my own
	      knowledge she has been thirty-five ever since she
	      arrived at the age of forty, which was many years ago
	      now. I see no reason why our dear Cecily should not be
	      even still more attractive at the age you mention than
	      she is at present. There will be a large accumulation of
	      property.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Algy, could you wait for me till I was thirty-five?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Of course I could, Cecily. You know I could.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Yes, I felt it instinctively, but I couldn't wait all
	      that time. I hate waiting even five minutes for anybody.
	      It always makes me rather cross. I am not punctual
	      myself, I know, but I do like punctuality in others, and
	      waiting, even to be married, is quite out of the
	      question.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Then what is to be done, Cecily?</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>I don't know, Mr. Moncrieff.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>My dear Mr. Worthing, as Miss Cardew states positively
	      that she cannot wait till she is thirty-five&mdash;a
	      remark <pb n="504"> which I am bound to say seems to me
	      to show a somewhat impatient nature&mdash;I would beg of
	      you to reconsider your decision.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>But my dear Lady Bracknell, the matter is entirely in
	      your own hands. The moment you consent to my marriage
	      with Gwendolen, I will most gladly allow your nephew to
	      form an alliance with my ward.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>Rising and drawing herself
		  up.</emph>]</stage> You must be quite aware that
	      what you propose is out of the question.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Then a passionate celibacy is all that any of us can
	      look forward to.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>That is not the destiny I propose for Gwendolen.
	      Algernon, of course, can choose for himself.
	      <stage>[<emph>Pulls out her watch.</emph>]</stage> Come,
	      dear, <stage>[<emph>Gwendolen rises</emph>]</stage> we
	      have already missed five, if not six, trains. To miss
	      any more might expose us to comment on the platform.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Dr.
	      Chasuble.</emph></stage>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Everything is quite ready for the christenings.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>The christenings, sir! Is not that somewhat
	      premature?</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p><stage>[<emph>Looking rather puzzled, and pointing to
		  Jack and Algernon.</emph>]</stage> Both these
	      gentlemen have expressed a desire for immediate
	      baptism.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>At their age? The idea is grotesque and irreligious!
	      Algernon, I forbid you to be baptized. I will not hear
	      of such excesses. Lord Bracknell would be highly
	      displeased if he learned that that was the way in which
	      you wasted your time and money.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Am I to understand then that there are to be no
	      christenings at all this afternoon?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I don't think that, as things are now, it would be of
	      much practical value to either of us, Dr. Chasuble.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>I am grieved to hear such sentiments from you, Mr.
	      Worthing. They savour of the heretical views of the
	      Anabaptists, views that I have completely refuted in
	      four of my unpublished sermons. However, as your present
	      mood seems to be one peculiarly secular, I will return
	      to the church at once. Indeed, I have just been informed
	      by the pew-opener that for <pb n="505"> the last hour
	      and a half Miss Prism has been waiting
	      for me in the vestry.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>Starting.</emph>]</stage> Miss Prism! Did
	      I hear you mention a Miss Prism?</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Yes, Lady Bracknell. I am on my way to join her.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Pray allow me to detain you for a moment. This matter
	      may prove to be one of vital importance to Lord
	      Bracknell and myself. Is this Miss Prism a female of
	      repellent aspect, remotely connected with education?</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p><stage>[<emph>Somewhat indignantly.</emph>]</stage> She
	      is the most cultivated of ladies, and the very picture
	      of respectability.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>It is obviously the same person. May I ask what
	      position she holds in your household?</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p><stage>[<emph>Severely.</emph>]</stage> I am a
	      celibate, madam.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Interposing.</emph>]</stage> Miss Prism,
	      Lady Bracknell, has been for the last three years Miss
	      Cardew's esteemed governess and valued companion.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>In spite of what I hear of her, I must see her at once.
	      Let her be sent for.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p><stage>[<emph>Looking off.</emph>]</stage> She
	      approaches; she is nigh.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Miss Prism
	      hurriedly.</emph></stage>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>I was told you expected me in the vestry, dear Canon. I
	      have been waiting for you there for an hour and three
	      quarters.</p>
	  </sp>
	  <stage>[<emph>Catches sight of Lady Bracknell who has fixed
	      her with a stony glare. Miss Prism grows pale and
	      quails. She looks anxiously round as if desirous to
	      escape.</emph>]</stage>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>In a severe, judicial
		  voice.</emph>]</stage> Prism! <stage>[<emph>Miss
		  Prism bows her head in shame.</emph>]</stage> Come
	      here, Prism! <stage>[<emph>Miss Prism approaches in a
		  humble manner.</emph>]</stage> Prism! Where is that
	      baby? <stage>[<emph>General consternation. The Canon
		  starts back in horror. Algernon and Jack pretend to
		  be anxious to shield Cecily and Gwendolen from
		  hearing the details of a terrible public
		  scandal.</emph>]</stage> Twenty-eight years ago,
	      Prism, you left Lord Bracknell's house, Number 104,
	      Upper Grosvenor Street, in charge of a perambulator that
	      contained a baby of the male sex. You never returned. A
	      few weeks later, through the elaborate investigations of
	      the Metropolitan police, the perambulator was discovered
	      at midnight standing by itself in a <pb n="506"> remote
	      corner of Bayswater. It contained the manuscript of a
	      three-volume novel of more than usually revolting
	      sentimentality. <stage>[<emph>Miss Prism starts in
		  involuntary indignation.</emph>]</stage> But the
	      baby was not there. <stage>[<emph>Everyone looks at Miss
		  Prism.</emph>]</stage> Prism! Where is that baby?
	      <stage>[<emph>A pause.</emph>]</stage></p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>Lady Bracknell, I admit with shame that I do not know.
	      I only wish I did. The plain facts of the case are
	      these. On the morning of the day you mention, a day that
	      is for ever branded on my memory, I prepared as usual to
	      take the baby out in its perambulator. I had also with
	      me a somewhat old, but capacious hand-bag, in which I
	      had intended to place the manuscript of a work of
	      fiction that I had written during my few unoccupied
	      hours. In a moment of mental abstraction, for which I
	      never can forgive myself, I deposited the manuscript in
	      the bassinette, and placed the baby in the hand-bag.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Who has been listening
		  attentively.</emph>]</stage> But where did you
	      deposit the hand-bag?</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>Do not ask me, Mr. Worthing.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Miss Prism, this is a matter of no small importance to
	      me. I insist on knowing where you deposited the hand-bag
	      that contained that infant.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p>I left it in the cloak-room of one of the larger
	      railway stations in London.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>What railway station?</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p><stage>[<emph>Quite crushed.</emph>]</stage> Victoria.
	      The Brighton line. <stage>[<emph>Sinks into a
		  chair.</emph>]</stage></p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>I must retire to my room for a moment. Gwendolen, wait
	      here for me.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>If you are not too long, I will wait here for you all
	      my life.</p>
	  </sp>
	  <stage type="exit">[<emph>Exit Jack in great
	      excitement.</emph>]</stage>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>What do you think this means, Lady Bracknell?</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>I dare not even suspect, Dr. Chasuble. I need hardly
	      tell you that in families of high position strange
	      coincidences are not supposed to occur. They are hardly
	      considered the thing.</p>
	  </sp>
	  <stage>[<emph>Noises heard overhead as if someone was
	      throwing trunks about. Everyone looks
	      up.</emph>]</stage>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>Uncle Jack seems strangely agitated.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p>Your guardian has a very emotional nature.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>This noise is extremely unpleasant. It sounds as if he
	      <pb n="507"> was having an argument. I dislike
	      arguments of any kind. They are always vulgar, and often
	      convincing.</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p><stage>[<emph>Looking up.</emph>]</stage> It has
	      stopped now. <stage>[<emph>The noise is
		  redoubled.</emph>]</stage></p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>I wish he would arrive at some conclusion.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>The suspense is terrible. I hope it will last.</p>
	  </sp>
	  <stage type="entrance"><emph>Enter Jack with a hand-bag of
	      black leather in his hand.</emph></stage>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Rushing over to Miss
		  Prism.</emph>]</stage> Is this the hand-bag, Miss
	      Prism? Examine it carefully before you speak. The
	      happiness of more than one life depends on your
	      answer.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p><stage>[<emph>Calmly.</emph>]</stage> It seems to be
	      mine. Yes, here is the injury it received through the
	      upsetting of a Gower Street omnibus in younger and
	      happier days. Here is the stain on the lining caused by
	      the explosion of a temperance beverage, an incident that
	      occurred at Leamington. And here, on the lock, are my
	      initials. I had forgotten that in an extravagant mood I
	      had had them placed there. The bag is undoubtedly mine.
	      I am delighted to have it so  unexpectedly restored to
	      me. It has been a great inconvenience being without it
	      all these years.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>In a pathetic voice.</emph>]</stage> Miss
	      Prism, more is restored to you than this hand-bag. I was
	      the baby you placed in it.</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p><stage>[<emph>Amazed.</emph>]</stage> You?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Embracing her.</emph>]</stage> Yes
	      &hellip; mother!</p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p><stage>[<emph>Recoiling in indignant
		  astonishment.</emph>]</stage> Mr. Worthing! I am
	      unmarried!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Unmarried! I do not deny that is a serious blow. But
	      after all, who has the right to cast a stone against one
	      who has suffered? Cannot repentance wipe out an act of
	      folly? Why should there be one law for men, and another
	      for women? Mother, I forgive you. <stage>[<emph>Tries to
		  embrace her again.</emph>]</stage></p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p><stage>[<emph>Still more indignant.</emph>]</stage> Mr.
	      Worthing, there is some error. <stage>[<emph>Pointing to
		  Lady Bracknell.</emph>]</stage> There is the lady
	      who can tell you who you really are.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>After a pause.</emph>]</stage> Lady
	      Bracknell, I hate to seem inquisitive, but would you
	      kindly inform me who I am?</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>I am afraid that the news I have to give you will not
	      altogether please you. You are the son of my poor
	      sister, Mrs. Moncrieff, and consequently Algernon's
	      elder brother.</p>
	  </sp>
	  <pb n="508">
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Algy's elder brother! Then I have a brother after all.
	      I knew I had a brother! I always said I had a brother!
	      Cecily,&mdash;how could you have ever doubted that I had
	      a brother? <stage>[<emph>Siezes hold of
		  Algernon.</emph>]</stage> Dr. Chasuble, my
	      unfortunate brother. Miss Prism, my unfortunate brother.
	      Gwendolen, my unfortunate brother. Algy, you young
	      scoundrel, you will have to treat me with more respect
	      in the future. You have never behaved to me like a
	      brother in all your life.</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Well, not till to-day, old boy, I admit. I did my best,
	      however, though I was out of practice.</p>
	  </sp>
	  <stage>[<emph>Shakes hands.</emph>]</stage>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p><stage>[<emph>To Jack.</emph>]</stage> My own! But what
	      own are you? What is your Christian name, now that you
	      have become someone else?</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Good heavens! &hellip; I had quite forgotten that
	      point. Your decision on the subject of my name is
	      irrevocable, I suppose?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>I never change, except in my affections.</p>
	  </sp>
	  <sp>
	    <speaker>Cecily.</speaker>
	    <p>What a noble nature you have, Gwendolen!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Then the question had better be cleared up at once.
	      Aunt Augusta, a moment. At the time when Miss Prism left
	      me in the hand-bag, had I been christened already?</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Every luxury that money could buy, including
	      christening, had been lavished on you by your fond and
	      doting parents.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Then I was christened! That is settled. Now, what name
	      was I given? Let me know the worst.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Being the eldest son you were naturally christened
	      after your father.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p><stage>[<emph>Irritably.</emph>]</stage> Yes, but what
	      was my father's Christian name?</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p><stage>[<emph>Meditatively.</emph>]</stage> I cannot at
	      the present moment recall what the General's Christian
	      name was. But I have no doubt he had one. He was
	      eccentric, I admit. But only in later years. And that
	      was the result of the Indian climate, and marriage, and
	      indigestion, and other things of that kind.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Algy! Can't you recollect what our father's Christian
	      name was?</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>My dear boy, we were never even on speaking terms. He
	      died before I was a year old.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>His name would appear in the Army Lists of the period,
	      I suppose, Aunt Augusta.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>The General was essentially a man of peace, except <pb
		n="509"> in his domestic life. But I have no doubt
	      his name would appear in any military directory.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>The Army Lists of the last forty years are here. These
	      delightful records should have been my constant study.
	      <stage>[<emph>Rushes to bookcase and tears the books
		  out.</emph>]</stage> M. Generals &hellip; Mallam,
	      Maxbohm, Magley, what ghastly names they
	      have&mdash;Markby, Migsby, Mobbs, Moncrieff! Lieutenant
	      1840, Captain, Lieutenant-Colonel, Colonel, General
	      1869, Christian names, Ernest John. <stage>[<emph>Puts
		  book very quietly down and speaks quite
		  calmly.</emph>]</stage> I always told you,
	      Gwendolen, my name was Ernest, didn't I? Well, it is
	      Ernest after all. I mean it naturally is Ernest.</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>Yes, I remember now that the General was called Ernest.
	      I knew I had some particular reason for disliking the
	      name.</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>Ernest! My own Ernest! I felt from the first that you
	      could have no other name!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Gwendolen, it is a terrible thing for a man to find out
	      suddenly that all his life he has been speaking nothing
	      but the truth. Can you forgive me?</p>
	  </sp>
	  <sp>
	    <speaker>Gwendolen.</speaker>
	    <p>I can. For I feel that you are sure to change.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>My own one!</p>
	  </sp>
	  <sp>
	    <speaker>Chasuble.</speaker>
	    <p><stage>[<emph>To Miss Prism.</emph>]</stage> L&aelig;titia!
	      <stage>[<emph>Embraces her.</emph>]</stage></p>
	  </sp>
	  <sp>
	    <speaker>Miss Prism.</speaker>
	    <p><stage>[<emph>Enthusiastically.</emph>]</stage>
	      Frederick! At last!</p>
	  </sp>
	  <sp>
	    <speaker>Algernon.</speaker>
	    <p>Cecily! <stage>[<emph>Embraces her.</emph>]</stage> At
	      last!</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>Gwendolen! <stage>[<emph>Embraces her.</emph>]</stage>
	      At last!</p>
	  </sp>
	  <sp>
	    <speaker>Lady Bracknell.</speaker>
	    <p>My nephew, you seem to be displaying signs of
	      triviality.</p>
	  </sp>
	  <sp>
	    <speaker>Jack.</speaker>
	    <p>On the contrary, Aunt Augusta, I've now realized for
	      the first time in my life the vital Importance of Being
	      Earnest.</p>
	  </sp>
	  <stage>Tableau</stage>
	  <stage>Curtain</stage>
	</div1>
      </div0>
    </body>
  </text>
</TEI.2>