The Importance Of Being Earnest: A Trivial Comedy for Serious People
By Oscar Wilde
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About this ebook
This lighthearted play tells the farcical tale of Jack Worthing and Algernon Montcrieff—two men who falsely claim to be named Ernest when they fall in love with two women whose affections are illogically but irrevocably tied to the name.
The Importance of Being Earnest was popular upon its debut in 1895, but the reputation of Oscar Wilde’s works declined when he was imprisoned for accusations of homosexual behaviour. It was not until the twentieth century that Wilde’s work was once again recognized both for its literary worth and comedic genius, and subsequently The Importance of Being Earnest has been adapted many times for film and theatre, most recently in the 2002 film starring Colin Firth, Rupert Everett, Reese Witherspoon, and Dame Judy Dench.
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Oscar Wilde
Oscar Wilde (1854–1900) was a Dublin-born poet and playwright who studied at the Portora Royal School, before attending Trinity College and Magdalen College, Oxford. The son of two writers, Wilde grew up in an intellectual environment. As a young man, his poetry appeared in various periodicals including Dublin University Magazine. In 1881, he published his first book Poems, an expansive collection of his earlier works. His only novel, The Picture of Dorian Gray, was released in 1890 followed by the acclaimed plays Lady Windermere’s Fan (1893) and The Importance of Being Earnest (1895).
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The Importance Of Being Earnest - Oscar Wilde
Characters
(As originally produced at the St. James Theatre, London, under the management of Mr. George Alexander, February 14, 1895.)
John Worthing, J.P.
Mr. George Alexander
Algernon Moncrieff
Mr. Allen Aynesworth
Rev. Canon Chasuble, D.D.
Mr. H. H. Vincent
Merriman, butler
Mr. Frank Dyall
Lane, manservant
Mr. F. Kinsey Perile
Lady Bracknell
Miss Rose Leclercq
Hon. Gwendolen Fairfax
Miss Irene Vanbrugh
Cecily Cardew
Miss Evelyn Millard
Miss Prism, governess
Mrs. George Canninge
The Scenes of the Play
ACT I.—Algernon Moncrieff’s flat in Half-Moon Street, W.
ACT II.—The garden at the Manor House, Woolton.
ACT III.—Drawing-room at the Manor House, Woolton.
TIME.—The present.
PLACE.—London.
Act I
Scene—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.
[LANE is arranging afternoon tea on the table, and after the music has ceased, ALGERNON enters.]
ALGERNON
Did you hear what I was playing, Lane?
LANE
I didn’t think it polite to listen, sir.
ALGERNON
I’m sorry for that, for your sake. I don’t play accurately—anyone can play accurately—but I play with wonderful expression. As far as the piano is concerned, sentiment is my forte. I keep science for Life.
LANE
Yes, sir.
ALGERNON
And, speaking of the science of Life, have you got the cucumber sandwiches cut for Lady Bracknell?
LANE
Yes, sir. [Hands them on a salver.]
ALGERNON
[Inspects them, takes two, and sits down on the sofa.] Oh! . . . 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.
LANE
Yes, sir; eight bottles and a pint.
ALGERNON
Why is it that at a bachelor’s establishment the servants invariably drink the champagne? I ask merely for information.
LANE
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.
ALGERNON
Good heavens! Is marriage so demoralising as that?
LANE
I believe it is 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.
ALGERNON
[Languidly.] I don’t know that I am much interested in your family life, Lane.
LANE
No, sir; it is not a very interesting subject. I never think of it myself.
ALGERNON
Very natural, I am sure. That will do, Lane, thank you.
LANE
Thank you, sir. [LANE goes out.]
ALGERNON
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.
[Enter LANE.]
LANE
Mr. Ernest Worthing.
[Enter JACK. LANE goes out.]
ALGERNON
How are you, my dear Ernest? What brings you up to town?
JACK
Oh, pleasure, pleasure! What else should bring one anywhere? Eating as usual, I see, Algy!
ALGERNON
[Stiffly.] I believe it is customary in good society to take some slight refreshment at five o’clock. Where have you been since last Thursday?
JACK
[Sitting down on the sofa.] In the country.
ALGERNON
What on earth do you do there?
JACK
[Pulling off his gloves.] When one is in town one amuses oneself. When one is in the country one amuses other people. It is excessively boring.
ALGERNON
And who are the people you amuse?
JACK
[Airily.] Oh, neighbours, neighbours.
ALGERNON
Got nice neighbours in your part of Shropshire?
JACK
Perfectly horrid! Never speak to one of them.
ALGERNON
How immensely you must amuse them! [Goes over and takes sandwich.] By the way, Shropshire is your county, is it not?
JACK
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?
ALGERNON
Oh! merely Aunt Augusta and Gwendolen.
JACK
How perfectly delightful!
ALGERNON
Yes, that is all very well; but I am afraid Aunt Augusta won’t quite approve of your being here.
JACK
May I ask why?
ALGERNON
My dear fellow, the way you flirt with Gwendolen is perfectly disgraceful. It is almost as bad as the way Gwendolen flirts with you.
JACK
I am in love with Gwendolen. I have come up to town expressly to propose to her.
ALGERNON
I thought you had come up for pleasure? . . . I call that business.
JACK
How utterly unromantic you are!
ALGERNON
I really don’t see anything romantic in 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.
JACK
I have no doubt about that, dear Algy. The Divorce Court was specially invented for people whose memories are so curiously constituted.
ALGERNON
Oh! there is no use speculating on that subject. Divorces are made in Heaven—[JACK puts out his hand to take a sandwich. ALGERNON at once interferes.] Please don’t touch the cucumber sandwiches. They are ordered specially for Aunt Augusta. [Takes one and eats it.]
JACK
Well, you have been eating them all the time.
ALGERNON
That is quite a different matter. She is my aunt. [Takes plate from below.] Have some bread and butter. The bread and butter is for Gwendolen. Gwendolen is devoted to bread and butter.
JACK
[Advancing to table and helping himself.] And very good bread and butter it is too.
ALGERNON
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.
JACK
Why on earth do you say that?
ALGERNON
Well, in the first place girls never marry the men they flirt with. Girls don’t think it right.
JACK
Oh, that is nonsense!
ALGERNON
It isn’t. It is a great truth. It accounts for the extraordinary number of bachelors that one sees all over