| THE FIRST SERIES: | The Silver Box | Joy | Strife |
| THE SECOND SERIES: | The Eldest Son | Little Dream | Justice |
| THE THIRD SERIES: | The Fugitive | The Pigeon | The Mob |
| THE FOURTH SERIES: | A Bit O'Love | The Foundations | The Skin Game |
| THE FIFTH SERIES: | A Family Man | Loyalties | Windows |
| THE SIXTH SERIES: | The First and Last | The Little Man | Four Short Plays |
|
ACT I ACT II ACT III |
The MARCH'S dining-room opens through French windows on one of those gardens which seem infinite, till they are seen to be coterminous with the side walls of the house, and finite at the far end, because only the thick screen of acacias and sumachs prevents another house from being seen. The French and other windows form practically all the outer wall of that dining-room, and between them and the screen of trees lies the difference between the characters of Mr and Mrs March, with dots and dashes of Mary and Johnny thrown in. For instance, it has been formalised by MRS MARCH but the grass has not been cut by MR MARCH, and daffodils have sprung up there, which MRS MARCH desires for the dining-room, but of which MR MARCH says: "For God's sake, Joan, let them grow." About half therefore are now in a bowl on the breakfast table, and the other half still in the grass, in the compromise essential to lasting domesticity. A hammock under the acacias shows that MARY lies there sometimes with her eyes on the gleam of sunlight that comes through: and a trail in the longish grass, bordered with cigarette ends, proves that JOHNNY tramps there with his eyes on the ground or the stars, according. But all this is by the way, because except for a yard or two of gravel terrace outside the windows, it is all painted on the backcloth. The MARCHES have been at breakfast, and the round table, covered with blue linen, is thick with remains, seven baskets full. The room is gifted with old oak furniture: there is a door, stage Left, Forward; a hearth, where a fire is burning, and a high fender on which one can sit, stage Right, Middle; and in the wall below the fireplace, a service hatch covered with a sliding shutter, for the passage of dishes into the adjoining pantry. Against the wall, stage Left, is an old oak dresser, and a small writing table across the Left Back corner. MRS MARCH still sits behind the coffee pot, making up her daily list on tablets with a little gold pencil fastened to her wrist. She is personable, forty-eight, trim, well-dressed, and more matter-of-fact than seems plausible. MR MARCH is sitting in an armchair, sideways to the windows, smoking his pipe and reading his newspaper, with little explosions to which no one pays any attention, because it is his daily habit. He is a fine-looking man of fifty odd, with red-grey moustaches and hair, both of which stiver partly by nature and partly because his hands often push them up. MARY and JOHNNY are close to the fireplace, stage Right. JOHNNY sits on the fender, smoking a cigarette and warming his back. He is a commonplace looking young man, with a decided jaw, tall, neat, soulful, who has been in the war and writes poetry. MARY is less ordinary; you cannot tell exactly what is the matter with her. She too is tall, a little absent, fair, and well-looking. She has a small china dog in her hand, taken from the mantelpiece, and faces the audience. As the curtain rises she is saying in her soft and pleasant voice: "Well, what is the matter with us all, Johnny?"
JOHNNY. Stuck, as we were in the trenches—like china dogs. [He points to the ornament in her hand.]
MR MARCH. [Into his newspaper] Damn these people!
MARY. If there isn't an ideal left, Johnny, it's no good pretending one.
JOHNNY. That's what I'm saying: Bankrupt!
MARY. What do you want?
MRS MARCH. [To herself] Mutton cutlets. Johnny, will you be in to lunch? [JOHNNY shakes his head] Mary? [MARY nods] Geof?
MR MARCH. [Into his paper] Swine!
MRS MARCH. That'll be three. [To herself] Spinach.
JOHNNY. If you'd just missed being killed for three blooming years for no spiritual result whatever, you'd want something to bite on, Mary.
MRS MARCH. [Jotting] Soap.
JOHNNY. What price the little and weak, now? Freedom and self-determination, and all that?
MARY. Forty to one—no takers.
JOHNNY. It doesn't seem to worry you.
MARY. Well, what's the good?
JOHNNY. Oh, you're a looker on, Mary.
MR MARCH. [To his newspaper] Of all Godforsaken time-servers!
MARY is moved so lar as to turn and look over his shoulder a minute.
JOHNNY. Who?
MARY. Only the Old-Un.
MR MARCH. This is absolutely Prussian!
MRS MARCH. Soup, lobster, chicken salad. Go to Mrs Hunt's.
MR MARCH. And this fellow hasn't the nous to see that if ever there were a moment when it would pay us to take risks, and be generous—My hat! He ought to be—knighted! [Resumes his paper.]
JOHNNY. [Muttering] You see, even Dad can't suggest chivalry without talking of payment for it. That shows how we've sunk.
MARY. [Contemptuously] Chivalry! Pouf! Chivalry was "off" even before the war, Johnny. Who wants chivalry?
JOHNNY. Of all shallow-pated humbug—that sneering at chivalry's the worst. Civilisation—such as we've got—is built on it.
MARY. [Airily] Then it's built on sand. [She sits beside him on the fender.]
JOHNNY. Sneering and smartness! Pah!
MARY. [Roused] I'll tell you what, Johnny, it's mucking about with chivalry that makes your poetry rotten. [JOHNNY seizes her arm and twists it] Shut up—that hurts. [JOHNNY twists it more] You brute! [JOHNNY lets her arm go.]
JOHNNY. Ha! So you don't mind taking advantage of the fact that you can cheek me with impunity, because you're weaker. You've given the whole show away, Mary. Abolish chivalry and I'll make you sit up.
MRS MARCH. What are you two quarrelling about? Will you bring home cigarettes, Johnny—not Bogdogunov's Mamelukes—something more Anglo-American.
JOHNNY. All right! D'you want any more illustrations, Mary?
MARY. Pig! [She has risen and stands rubbing her arm and recovering her placidity, which is considerable.]
MRS MARCH. Geof, can you eat preserved peaches?
MR MARCH. Hell! What a policy! Um?
MRS MARCH. Can you eat preserved peaches?
MR MARCH. Yes. [To his paper] Making the country stink in the eyes of the world!
MARY. Nostrils, Dad, nostrils.
MR MARCH wriggles, half hearing.
JOHNNY. [Muttering] Shallow idiots! Thinking we can do without chivalry!
MRS MARCH. I'm doing my best to get a parlourmaid, to-day, Mary, but these breakfast things won't clear themselves.
MARY. I'll clear them, Mother.
MRS MARCH. Good! [She gets up. At the door] Knitting silk.
She goes out.
JOHNNY. Mother hasn't an ounce of idealism. You might make her see stars, but never in the singular.
MR MARCH. [To his paper] If God doesn't open the earth soon—
MARY. Is there anything special, Dad?
MR MARCH. This sulphurous government. [He drops the paper] Give me a match, Mary.
As soon as the paper is out of his hands he becomes a different—an affable man.
MARY. [Giving him a match] D'you mind writing in here this morning, Dad? Your study hasn't been done. There's nobody but Cook.
MR MARCH. [Lighting his pipe] Anywhere.
He slews the armchair towards the fire.
MARY. I'll get your things, then.
She goes out.
JOHNNY. [Still on the fender] What do you say, Dad? Is civilisation built on chivalry or on self-interest?
MR MARCH. The question is considerable, Johnny. I should say it was built on contract, and jerry-built at that.
JOHNNY. Yes; but why do we keep contracts when we can break them with advantage and impunity?
MR MARCH. But do we keep them?
JOHNNY. Well—say we do; otherwise you'll admit there isn't such a thing as civilisation at all. But why do we keep them? For instance, why don't we make Mary and Mother work for us like Kafir women? We could lick them into it. Why did we give women the vote? Why free slaves; why anything decent for the little and weak?
MR MARCH. Well, you might say it was convenient for people living in communities.
JOHNNY. I don't think it's convenient at all. I should like to make Mary sweat. Why not jungle law, if there's nothing in chivalry.
MR MARCH. Chivalry is altruism, Johnny. Of course it's quite a question whether altruism isn't enlightened self-interest!
JOHNNY. Oh! Damn!
The lank and shirt-sleeved figure of MR BLY, with a pail of water and cloths, has entered, and stands near the window, Left.
BLY. Beg pardon, Mr March; d'you mind me cleanin' the winders here?
MR MARCH. Not a bit.
JOHNNY. Bankrupt of ideals. That's it!
MR BLY stares at him, and puts his pail down by the window. MARY has entered with her father's writing materials which she puts on a stool beside him.
MARY. Here you are, Dad! I've filled up the ink pot. Do be careful! Come on, Johnny!
She looks curiously at MR BLY, who has begun operations at the bottom of the left-hand window, and goes, followed by JOHNNY.
MR MARCH. [Relighting his pipe and preparing his materials] What do you think of things, Mr Bly?
BLY. Not much, sir.