Windows (Barnes & Noble Digital Library): A Comedy in Three Acts for Idealists and Others
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Subtitled "A Comedy in Three Acts for Idealists and Others," this 1922 drama, set in the post-World War I era, was the third in Galsworthy's Fifth Series of plays. Taking place in the home of Geoffrey March, the action occurs on a Thursday, when the window cleaner discusses his daughter’s misfortune with the family and the play continues the following fortnight when the cleaner returns.
John Galsworthy
John Galsworthy was a Nobel-Prize (1932) winning English dramatist, novelist, and poet born to an upper-middle class family in Surrey, England. He attended Harrow and trained as a barrister at New College, Oxford. Although called to the bar in 1890, rather than practise law, Galsworthy travelled extensively and began to write. It was as a playwright Galsworthy had his first success. His plays—like his most famous work, the series of novels comprising The Forsyte Saga—dealt primarily with class and the social issues of the day, and he was especially harsh on the class from which he himself came.
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Windows (Barnes & Noble Digital Library) - John Galsworthy
WINDOWS
A Comedy in Three Acts for Idealists and Others
JOHN GALSWORTHY
This 2011 edition published by Barnes & Noble, Inc.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission from the publisher.
Barnes & Noble, Inc.
122 Fifth Avenue
New York, NY 10011
ISBN: 978-1-4114-4033-3
CONTENTS
PERSONS OF THE PLAY
ACT I
ACT II
ACT III
PERSONS OF THE PLAY
The action passes in Geoffrey March's House, Highgate—Spring-time.
ACT I. Thursday morning. The dining-room—after breakfast.
ACT II. Thursday, a fortnight later. The dining-room— after lunch.
ACT III. The same day. The dining-room—after dinner.
ACT I
ACT I
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.
MR 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 far as to turn and look over his shoulder a minute.
JOHNNY. Who?
MARY. Only