'Oh, most interesting things to be said. Let's take the case of Hubert Price ... Ah, there, the curtain is going up.'
The curtain rolled slowly up, and in a small country drawing-room, in very simple but very pointedly written dialogue, the story of Mrs. Holmes' domestic misfortunes was gradually unfolded. It appeared that she had flirted with Captain Grey; he had written her some compromising letters, and she had once been to his rooms alone. So the Court had pronounced a decree nisi. But Mrs. Holmes had not been unfaithful to her husband. She had flirted with Captain Grey because her husband's attentions to a certain Mrs. Barrington had maddened her, and in her jealous rage had written foolish letters, and been to see Captain Grey.
Hubert noticed that folk were still asking for their seats, and pushing down the very rows in which the most influential critics were sitting. They exchanged a salutation with their friends in the dress-circle, and, when they were seated, looked around, making observations regarding the appearance of the house; and all the while the actors were speaking. Hubert trembled with fear and rage. Would these people never give their attention to the stage? If they had been sitting by him, he could have struck them. Then a line turned into nonsense by the actress who played Mrs. Holmes was a lancinating pain; and the actor who played Captain Grey, played so slowly that Hubert could hardly refrain from calling from his box. He looked round the theatre, noticing the indifferent faces of the critics, and the women's shoulders seemed to him especially vacuous and imbecile.
The principal scene of the second act was between Mrs. Holmes and the man who had divorced her. He has-been driven to drink by the vile behaviour of his second wife; he is ruined in health and in pocket, and has come to the woman he wronged to beg forgiveness; he knows she has learnt to love Captain Grey, but will not marry him, because she believes that once married always married. There is only one thing he can do to repair the wrong he has done—he will commit suicide, and so enable her to marry the man she loves. He tells her that he has bought the pistol to do it with, and the words, 'Not here! not here!' escape from her; and he answers, 'No, not here, but in a cab. I've got one at the door.' He goes out; Captain Grey enters, and Mrs. Holmes begs him to save her husband. While they are discussing how this is to be done, he re-enters, saying that his conscience smote him as he was going to pull the trigger. Will she forgive him? If she won't, he must make an end of himself. She says she will.
In the third act Hubert had attempted to paint Mr. Holmes' vain efforts to reform his life. But the constant presence of Captain Grey in the household, his attempts to win Mrs. Holmes from her husband, and the drunken husband's amours with the servant-maid disgusted rather than horrified. In the fourth act the wretched husband admits that his reformation is impossible, and that, although he has no courage to commit suicide and set his wife free, he will return to his evil courses; they will sooner or later make an end of him. The slowness and deadly gravity with which Ford took this scene rendered it intolerable; and, notwithstanding the beauty of the conclusion, when the deserted wife, in the silence of her drawing-room, reads again Captain Grey's letter, telling her that he has left England for ever, and with another, the success of the play was left in doubt, and the audience filed out, talking, chattering, arguing, wondering what the public verdict would be.
To avoid commiseration of heartless friends and the triumphant glances of literary enemies, Hubert passed through the door leading on to the stage. Scene-shifters were brutally pushing away what remained of his play; and the presence of Hamilton Brown, the dramatic author, talking to Ford, was at that moment particularly disagreeable. On catching sight of Hubert, Brown ran to him, shook him by the hand, and murmured some discreet congratulations. He preferred the piece, however, as it had been originally written, and suggested to Ford the advisability of returning to the first text. Then Ford went upstairs to take his paint off, and Hubert walked about the stage with Brown. Brown's insincerity was sufficiently transparent; but men in Hubert's position catch at straws, and he soon began to believe that the attitude of the public towards his play was not so unfavourable as he had imagined.
Hubert tried to summon up a smile for the stage-door keeper, who, he feared, had heard that the piece had failed, and then the moment they got outside he begged Rose to tell him the exact truth. She assured him that Ford had said that he had always counted on a certain amount of opposition; but that he believed that the general public, being more free of prejudice and less sophisticated, would be impressed by the simple humanity of the play. The conversation paused, and at the end of an irritating silence he said, 'You were excellent, as good as any one could be in a part that did not suit them. Ah, if he had cast you for the adventuress, how you would have played it!...'
'I'm so glad you are pleased. I hope my notices will be good. Do you think they will?'
'Yes, your notices will be all right,' he answered, with a sigh.
'And your notices will be all right too. No one can say what is going to succeed. There was a call after each of the last three acts.... I don't see how a piece could go better. It is the suspense....'