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    The Importance of Being Earnest
    The Importance of Being Earnest
    The Importance of Being Earnest
    Ebook85 pages1 hour

    The Importance of Being Earnest

    By Oscar Wilde

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    The Importance of Being Earnest, A Trivial Comedy for Serious People is a farcical comedy in which the protagonists maintain fictitious personæ to escape burdensome social obligations. Working within the social conventions of late Victorian London, the play's major themes are the triviality with which it treats institutions as serious as marriage, and the resulting satire of Victorian ways.
     
    LanguageEnglish
    PublisherStargatebook
    Release dateDec 13, 2017
    ISBN9788827533604
    Author

    Oscar Wilde

    Oscar Wilde (1854-1900) fue un escritor, poeta y dramaturgo británico, famoso por su habitual ingenio y sarcasmo social. Es en Londres donde empieza a producir sus primeras obras de éxito, como su reconocida novela El retrato de Dorian Gray (1890) o, en teatro, El abanico de Lady Windermer (1892), Salomé (1894) -que fue censurada por retratar personajes bíblicos-, o La importancia de llamarse Ernesto (1895), divertida comedia que ha sido llevada al cine en diversas ocasiones. Entre los años 1887-1889 editó la revista femenina Woman's World.

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      Book preview

      The Importance of Being Earnest - Oscar Wilde

      The Importance of Being Earnest

      A Trivial Comedy for Serious People

      by Oscar Wilde

      Copyright © Edition 2017 by David De Angelis - all rights reserved

      Table of Contents

      THE PERSONS IN THE PLAY

      THE SCENES OF THE PLAY

      LONDON: ST. JAMES’S THEATRE

      FIRST ACT

      SECOND ACT

      THIRD ACT

      THE PERSONS IN THE PLAY

      John Worthing, J.P.

      Algernon Moncrieff

      Rev. Canon Chasuble, D.D.

      Merriman, Butler

      Lane, Manservant

      Lady Bracknell

      Hon. Gwendolen Fairfax

      Cecily Cardew

      Miss Prism, Governess

      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.

      LONDON: ST. JAMES’S THEATRE

      Lessee and Manager: Mr. George Alexander

      February 14th, 1895

      * * * * *

      John Worthing, J.P.: Mr. George Alexander.

      Algernon Moncrieff: Mr. Allen Aynesworth.

      Rev. Canon Chasuble, D.D.: Mr. H. H. Vincent.

      Merriman: Mr. Frank Dyall.

      Lane: Mr. F. Kinsey Peile.

      Lady Bracknell: Miss Rose Leclercq.

      Hon. Gwendolen Fairfax: Miss Irene Vanbrugh.

      Cecily Cardew: Miss Evelyn Millard.

      Miss Prism: Mrs. George Canninge.

      FIRST ACT

      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—any one 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

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