The Black Cat by John Todhunter (uplifting books for women .TXT) 📕

The Project Gutenberg EBook of The Black Cat, by John Todhunter

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net


Title: The Black Cat
       A Play in Three Acts

Author: John Todhunter

Release Date: December 4, 2005 [EBook #17218]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK THE BLACK CAT ***




Produced by Michael Ciesielski, Cori Samuel and the Online
Distributed Proofreading Team at http://www.pgdp.net






THE BLACK CAT. A PLAY IN THREE ACTS BY
JOHN TODHUNTER.
FIRST ACTED AT
THE INDEPENDENT THEATRE IN LONDON. LONDON: HENRY AND CO. 93, ST. MARTIN'S LANE, W.C. 1895 Printed by Hazell, Watson, & Viney, Ld., London and Aylesbury.

Preface.   | Act I.   | Act II.   | Act III.

Preface.

Mr. Grein has asked me to write a preface to The Black Cat. I cannot myself see much occasion for this. Why should an author be called upon to make a speech before the curtain? Because, I presume, people want to have something to talk about besides the play itself, and an author must surely have "views." Well, it is a day of views—and of talk.

The Black Cat was produced at the Opera Comique on December 8th, 1893, at one of the Independent Theatre Society's performances. It had a certain succès d'estime before a special audience, for whom, however, it was not written; and it has not been performed since.

The critics were wonderfully kind. They actually praised the play; some reluctantly, some with a reckless enthusiasm which quite astonished me. I had expected a much less pleasant reception.

The main objection they made to the thing was that it had a tragic ending, which they kindly suggested I had tacked on to my comedy, to appeal to the morbid taste of an "Independent" audience. Unfortunately I had done nothing of the kind. The play was conceived before the Independent Theatre had come into existence. The end was foreseen from the beginning; the tragedy being implicit in the subject. The tragic motive lay deeper than the death of the heroine, who might have been allowed to live, if that last symbolic pageantry had not had its dramatic fitness. Given the characters and the circumstances, the end is the absolutely right one.

Of course the circumstances might have been altered, and a sort of reconciliation patched up between husband and wife. But this would be a somewhat flat piece of cynicism, only justifiable on the ground taken by the Telegraph, that modern actors cannot play, and ought not to be expected to play, modern tragedy.

The conventional "happy ending" demanded by sentimental critics to suit the taste of sentimental playgoers, the divided parents left weeping in each other's arms over the recovered child, would also be quite possible. But surely even a modern dramatist may for once be allowed to preserve a grain of respect for nature and dramatic art? This would be an outrage against both. It would not be decent comedy, it would be mere burlesque, as sentimentality always is to the judicious.

The only other alternative I see is the exodus of the wife, with or without her child; or of the husband, with or without his mistress. But this would be rank Ibsenism, and outrage British morality, which would be still more dreadful. Only a "practical dramatist" could cut the Gordian knot, and at the last moment introduce the erring Mrs. Tremaine, still charming in the garb of a Sister of Mercy, to bring down the curtain upon a tableau of Woman returning to her Duty, and Man to his Morality. And I, alas! am not a "practical dramatist."

Still, if the play had been an experiment, I might have further experimented with it, and rehandled its ending. But it was not in its main lines an experiment. It was a thing seen and felt; and so it must remain, in its printed form, at least—"a poor thing," it may be, "but mine own!"

After the performance, came the managers, wanting to see the play, and asking why I had not shown it to them before. Well, it never occurred to me that any of them would seriously have considered the production of a piece so far off the ordinary lines. They had not, like the enterprising Director of the Independent Theatre, undertaken the dreadful trade of educating the public. As a matter of fact, they fought shy of a piece in which "the new hysteria" was studied, and which ended badly, or at least sadly.

A Comedy of Sighs, produced at the Avenue last spring, was really an experiment on the taste of the British public. I wished to ascertain whether a play depending for its interest rather upon character and dialogue than upon plot and sensational situations, would be at first tolerated and afterwards enjoyed by an average audience. Perhaps the experiment was too audaciously conceived, and too carelessly conducted, by both author and management. It was unfortunately vitiated by the presence of a prevalent bacillus, the British bugbear, in the test-tubes.

The new play was received with inarticulate cries of horror by the critics. The Telegraph and the World, which had presided in auspicious opposition over the birth of The Black Cat, now hung terrific in unnatural conjunction in the horoscope of A Comedy of Sighs. Here was Ibsenism again—nay, worse than Ibsenism, Dodoism, Sarah-Grandism, Keynotism, rampant on the English stage! For had I not most impudently exhibited The Modern Woman upon it? And although there was no tragedy this time, but beautiful reconciliation, and return to her Duty at the fall of the curtain, was she not there, the Abomination of Desolation?

Now we know that the Modern Woman ought not to exist anywhere, therefore she does not exist, therefore she must be stamped out. Mrs. Grundy and others have already begun the good work, and have been diligently stamping her out ever since; with such success that we may hope she will disappear, with infidelity, Ibsenism, the struggle for existence, and other such objectionable things. Meanwhile she has made her début, and may cry: J'y suis, j'y reste!

The Comedy of Sighs was slain, waving its tiny flag in the van of a forlorn hope; and over its dead body "Arms and the Man," its machine-guns volleying pellets of satire, marched to victory.

I do not solace myself with that belief, so comforting to the unsuccessful, that a play fails merely because of its goodness, or succeeds merely because it is bad; yet it is evident, I think, that other things besides its merits or demerits as a piece of dramatic writing may turn the scale for or against it. A Comedy of Sighs, with its somewhat "impressionist" sketches of character, and aberrations from the ordinary type of a "well-made play," proved to be "too lightly tempered for so loud a wind" as blows upon British bugbears—"Modern Women," and the like.

And now may I say a few words with regard to some misconceptions on the part of the critics as to my aim in writing these two plays? One of them, an enthusiast himself, did me the honour to hail me as a brother enthusiast, albeit an erring one. Possibly I am. But I have not been trying to educate the public, which is being educated past its old standards day by day, without such philanthropic effort on my part. I have not been trying to write "literary" plays. I quite agree with those who think that a play must be a play first. If it be "literature" afterwards, that is an added grace which gives it a permanent value. If it be not, still it may be a good play in its day and generation. I have not, for the sake of being unconventional, deliberately set myself to violate all the received canons of dramatic art, as practised by the "practical dramatist," thus making a convention of unconventionality. Unconventional art is impossible, and the drama, like other arts, has its conventions. But conventions change, and new ones are evolved, as new problems in art and other things—even morality itself—come in with each new tide of the human imagination. The "well-made play" of the day before yesterday is not a canon for all time, even for the most conservative playgoer.

No, what I have been trying to do is simply to write a good play. Ah yes! But what is a good play? The enthusiastic critic has a ready answer: "The play that succeeds, that has a long run, that has money in it!" I accept the answer for what it is worth. This potentiality of money is, like "literature," an added grace: and it certainly, in a sense, marks the survival of the fittest. But there are other standards in the great workshop of the artist, Nature. Even the plant or play that lives but a short time may cast its seed into the soil, or imagination, of its day, and, like Banquo, beget a royal race, though not itself a king.

Now, how does such a play as The Black Cat differ from those we see succeeding on the stage every day? Really not so very much, after all. It merely accentuates a growing tendency in the plays of the period to get more of the stuff of life, our every-day human life, typically upon the stage; with less of the traditional theatrical-academic element. The "well-made play" has itself undergone evolution since the days when it was an aphorism that not what is said but what is done on the stage is the essential thing. This of course is at once true and false, like every other truism. Without action there can be no play; and a play may be made fairly intelligible without a single spoken word, just as a scene from history or fiction may be quite recognisably depicted in a few symbolic lines, dots, and dashes, though no single human figure be decently drawn.

We must not, however, forget that action itself is language. What is called the action of a play is simply a story told by the movements of the players. But when we see a man stabbed, or a woman kissed, our curiosity is excited. We want to know something more about the people whose actions we see. This, indeed, may be roughly told by gesture and facial expression, which are themselves language; but, finally, to understand more than the barest outline of the story, we are forced to demand words. And the more we are interested in human nature the more we want to understand the thoughts, emotions, motives, characters, of the personages in action before us. Hence by gradual steps have come our latest attempts at studies of complex characters, in their struggle to solve the problems of life; or what are objected to as "problem plays." Well, why object? Every play, from Charley's Aunt to Hamlet, is a problem play. It is merely a matter of degree. Every play deals with the struggle of men and women to solve some problem of life, great or small: to outwit evil fortune. It may be merely to persuade a couple of pretty girls to stay to luncheon in your college rooms, when their chaperon has not turned up. It may be something more important.

The more interest the public and the dramatist take in human nature—that is to say, the better developed they are as regards dramatic sympathy—the more, rich, vivid, and subtle will be the play of character and passion, in the drama demanded and produced. In a word, the less wooden-pated and wooden-hearted they become, the less mechanical and commonplace will their drama be.

We are slowly emerging from the puppet-show conception of drama. Our dramatists are beginning to do more than refurbish the old puppets, and move them about the stage according to the rules of