Pygmalion and Other Plays. GEORGE BERNARD SHAW

has the bag.] Now open the door for me. [He hurries up before her and opens the door.] Thanks. [She goes out; and Marchbanks shuts the door.]

      MORELL. [Still busy at the table.] You’ll stay to lunch, Marchbanks, of course.

      MARCHBANKS. [Scared.] I mustn’t. [He glances quickly at Morell, but at once avoids his frank look, and adds, with obvious disingenuousness] I can’t.

      MORELL. [Over his shoulder.] You mean you won’t.

      MARCHBANKS. [Earnestly.] No: I should like to, indeed. Thank you very much. But—but—

      MORELL. [Breezily, finishing with the letters and coming close to him.] But—but—but—but—bosh! If you’d like to stay, stay. You don’t mean to persuade me you have anything else to do. If you’re shy, go and take a turn in the park and write poetry until half past one; and then come in and have a good feed.

      MARCHBANKS. Thank you, I should like that very much. But I really mustn’t. The truth is, Mrs. Morell told me not to. She said she didn’t think you’d ask me to stay to lunch, but that I was to remember, if you did, that you didn’t really want me to. [Plaintively.] She said I’d understand; but I don’t. Please don’t tell her I told you.

      MORELL. [Drolly.] Oh, is that all? Won’t my suggestion that you should take a turn in the park meet the difficulty?

      MARCHBANKS. How?

      MORELL. [Exploding good-humoredly.] Why, you duffer—[But this boisterousness jars himself as well as Eugene. He checks himself, and resumes, with affectionate seriousness] No: I won’t put it in that way. My dear lad: in a happy marriage like ours, there is something very sacred in the return of the wife to her home. [Marchbanks looks quickly at him, half anticipating his meaning.] An old friend or a truly noble and sympathetic soul is not in the way on such occasions; but a chance visitor is. [The hunted, horror-stricken expression comes out with sudden vividness in Eugene’s face as he understands. Morell, occupied with his own thought, goes on without noticing it.] Candida thought I would rather not have you here; but she was wrong. I’m very fond of you, my boy, and I should like you to see for yourself what a happy thing it is to be married as I am.

      MARCHBANKS, Happy!—your marriage! You think that! You believe that!

      MORELL. [Buoyantly.] I know it, my lad. La Rochefoucauld said that there are convenient marriages, but no delightful ones. You don’t know the comfort of seeing through and through a thundering liar and rotten cynic like that fellow. Ha, ha! Now off with you to the park, and write your poem. Half past one, sharp, mind: we never wait for anybody.

      MARCHBANKS. [Wildly.] No: stop: you shan’t. I’ll force it into the light.

      MORELL. [Puzzled.] Eh? Force what?

      MARCHBANKS. I must speak to you. There is something that must be settled between us.

      MORELL. [With a whimsical glance at the clock.] Now?

      MARCHBANKS. [Passionately.] Now. Before you leave this room. [He retreats a few steps, and stands as if to bar Morell’s way to the door.]

      MORELL. [Without moving, and gravely, perceiving now that there is something serious the matter.] I’m not going to leave it, my dear boy: I thought you were. [Eugene, baffled by his firm tone, turns his back on him, writhing with anger. Morell goes to him and puts his hand on his shoulder strongly and kindly, disregarding his attempt to shake it off] Come: sit down quietly; and tell me what it is. And remember; we are friends, and need not fear that either of us will be anything but patient and kind to the other, whatever we may have to say.

      MARCHBANKS. [Twisting himself round on him.] Oh, I am not forgetting myself: I am only. [Covering his face desperately with his hands] full of horror. [Then, dropping his hands, and thrusting his face forward fiercely at Morell, he goes on threateningly.] You shall see whether this is a time for patience and kindness. [Morell, firm as a rock, looks indulgently at him.] Don’t look at me in that self-complacent way. You think yourself stronger than I am; but I shall stagger you if you have a heart in your breast.

      MORELL. [Powerfully confident.] Stagger me, my boy. Out with it.

      MARCHBANKS. First—

      MORELL. First?

      MARCHBANKS. I love your wife. [Morell recoils, and, after staring at him for a moment in utter amazement, bursts into uncontrollable laughter. Eugene is taken aback, but not disconcerted; and he soon becomes indignant and contemptuous.]

      MORELL. [Sitting down to have his laugh out.] Why, my dear child, of course you do. Everybody loves her: they can’t help it. I like it. But. [Looking up whimsically at him] I say, Eugene: do you think yours is a case to be talked about? You’re under twenty: she’s over thirty. Doesn’t it look rather too like a case of calf love?

      MARCHBANKS. [Vehemently.] You dare say that of her! You think that way of the love she inspires! It is an insult to her!

      MORELL. [Rising; quickly, in an altered tone.] To her! Eugene: take care. I have been patient. I hope to remain patient. But there are some things I won’t allow. Don’t force me to show you the indulgence I should show to a child. Be a man.

      MARCHBANKS. [With a gesture as if sweeping something behind him.] Oh, let us put aside all that cant. It horrifies me when I think of the doses of it she has had to endure in all the weary years during which you have selfishly and blindly sacrificed her to minister to your self-sufficiency—you. [Turning on him] who have not one thought—one sense—in common with her.

      MORELL. [Philosophically.] She seems to bear it pretty well. [Looking him straight in the face.] Eugene, my boy: you are making a fool of yourself—a very great fool of yourself. There’s a piece of wholesome plain speaking for you.

      MARCHBANKS. Oh, do you think I don’t know all that? Do you think that the things people make fools of themselves about are any less real and true than the things they behave sensibly about? [Morell’s gaze wavers for the first time. He instinctively averts his face and stands listening, startled and thoughtful.] They are more true: they are the only things that are true. You are very calm and sensible and moderate with me because you can see that I am a fool about your wife; just as no doubt that old man who was here just now is very wise over your socialism, because he sees that you are a fool about it. [Morell’s perplexity deepens markedly. Eugene follows up his advantage, plying him fiercely with questions.] Does that prove you wrong? Does your complacent superiority to me prove that I am wrong?

      MORELL. [Turning on Eugene, who stands his ground.] Marchbanks: some devil is putting these words into your mouth. It is easy—terribly easy—to shake a man’s faith in himself. To take advantage of that to break a man’s spirit is devil’s work. Take care of what you are doing. Take care.

      MARCHBANKS. [Ruthlessly.] I know. I’m doing it on purpose. I told you I should stagger you. [They confront one another threateningly for a moment. Then Morell recovers his dignity.]

      MORELL. [With noble tenderness.] Eugene: listen to me. Some day, I hope and trust, you will be a happy man like me. [Eugene chafes intolerantly, repudiating the worth of his happiness. Morell, deeply insulted, controls himself with fine forbearance, and continues steadily, with great artistic beauty of delivery] You will be married; and you will be working with all your might and valor to make every spot on earth as happy as your own home. You will be one of the makers of the Kingdom of Heaven on earth; and—who knows?—you may be a pioneer and master builder where I am only a humble journeyman; for don’t think, my boy, that I cannot see in you, young as you are, promise of higher powers than I can ever pretend to. I well know that it is in the poet that the holy spirit of man—the god within him—is most godlike. It should make you tremble to think of that—to think that the heavy burthen and great gift of a poet may be laid upon you.

      MARCHBANKS. [Unimpressed and remorseless, his boyish crudity of assertion telling sharply against Morell’s oratory.] It does not make me tremble. It is the want of it in others that makes me tremble.

      MORELL. [Redoubling his force of style under the stimulus of his genuine feeling and Eugene’s obduracy.] Then help to kindle it in them—in me—not