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    The Honeymoon
    The Honeymoon
    The Honeymoon
    Ebook96 pages1 hour

    The Honeymoon

    By Arnold Bennett

    ()

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    About this ebook

    Arnold Bennett (1867-1931) was a prolific British writer and journalist.  Bennett is popular for fiction such as The Old Wives’ Tale and also for non-fiction works such as How to Live on 24 Hours a Day and Mental Efficiency.  This edition of The Honeymoon includes a table of contents.
    LanguageEnglish
    PublisherCharles River Editors
    Release dateMar 22, 2018
    ISBN9781518302954
    The Honeymoon
    Author

    Arnold Bennett

    Arnold Bennett was a prolific English novelist and leading realist author during the early twentieth century. In addition to his fictional work, he also wrote selected nonfiction and criticism, including his insightful book How to Live on Twenty-Four Hours a Day.

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      Book preview

      The Honeymoon - Arnold Bennett

      THE HONEYMOON

      ..................

      Arnold Bennett

      KYPROS PRESS

      Thank you for reading. In the event that you appreciate this book, please consider sharing the good word(s) by leaving a review, or connect with the author.

      This book is a work of fiction; its contents are wholly imagined.

      All rights reserved. Aside from brief quotations for media coverage and reviews, no part of this book may be reproduced or distributed in any form without the author’s permission. Thank you for supporting authors and a diverse, creative culture by purchasing this book and complying with copyright laws.

      Copyright © 2015 by Arnold Bennett

      Interior design by Pronoun

      Distribution by Pronoun

      TABLE OF CONTENTS

      The Honeymoon

      CHARACTERS

      CAST OF THE PLAY

      NOTES ON CHARACTERS IN ACT I

      ACT I.

      NOTES ON CHARACTERS IN ACT II

      ACT II.

      ACT III.

      THE HONEYMOON

      ..................

      CHARACTERS

      ..................

      Flora LloydWidow, aged 28.

      Mrs. Reach HaslamA Novelist, aged 56.

      Mr. Reach HaslamHer Husband, aged 58.

      Cedric HaslamTheir eldest Son, aged 32.

      Charles HaslamTheir second Son, aged 22.

      The Bishop of ChelmsfordAged 55.

      Mr. FrampingtonAged 30.

      GastonA Swiss Waiter, aged 23.

      CuthbertMrs. Reach Haslam’s Butler.

      CAST OF THE PLAY

      ..................

      AS PRODUCED UNDER THE DIRECTION of Mr. Dion Boucicault at the Royalty Theatre, London, 6th Oct., 1911.

      Flora LloydMiss MARIE TEMPEST.

      Mrs. Reach HaslamMiss KATE SERJEANTSON.

      Mr. Reach HaslamMr. DION BOUCICAULT.

      Cedric HaslamMr. GRAHAM BROWNE.

      Charles HaslamMr. BASIL HALLAM.

      Bishop of ChelmsfordMr. BERTE THOMAS.

      Mr. FrampingtonMr. DENNIS EADIE.

      GastonMr. CECIL ROSE.

      CuthbertMr. HORTON COOPER.

      NOTES ON CHARACTERS IN ACT I

      ..................

      FLORA LLOYD. BEAUTIFUL. ELEGANT. CHARMING. All in the highest degree possible. The whole play turns on these qualities in her.

      Cedric Haslam. Renowned aviator. The taciturn inventive Englishman. Very self-controlled, but capable of passionate moments. Obstinate, with enormous force of character. His movements, gestures, and speech have a certain air of slow indolence, but are at the same time marked by that masculine harshness and brusqueness which would specially appeal to a woman like Flora. No one could guess from his demeanour that he is famous.

      Charles Haslam. Boyish. Impulsive. Very self-centred. But very agreeable.

      Mrs. Reach Haslam. Majestic. Richly dressed. The foremost woman-novelist in England and America. Her name a household word. No sense of humour. But she is very, very far from being a fool, and the part is not a low-comedy part. This play shows the least sympathetic side of her.

      Mr. Reach Haslam. The husband of a celebrity. Strong sense of sardonic humour, which has very little outlet. Always exceedingly polite and even deferential to his wife, yet preserving his own dignity. A prim, dry, precise man.

      Gaston. There are scores of Gastons in the hotels and restaurants of the West End. He does not differ from the type.

      The Acting Rights of this Play are reserved. Applications for permission to perform should be made to Messrs. J. B. Pinker & Son, Talbot House, Arundel Street, Strand, London, W.C. 2, from whom all particulars as to terms may be obtained.

      ACT I.

      ..................

      A SITTING-ROOM IN THE ONLY hotel at a small seaside resort in Essex. Old-fashioned Victorian furniture, producing a picturesque general effect. Some modern touch, such as a framed coloured advertisement of pneumatic tyres.

      Door, R., leading to hall, principal entrance, and kitchen. Door, L., leading through a porch to the garden. A large window, divided into three portions by stonework, at the back: the panes are small; one of these portions is open, the others are closed.

      Through the window can be seen a view of the garden, and the sea in the distance. The fireplace is not seen.

      Cedric and Flora are seated at either side of a tea-table.

      Time: Afternoon in June. Sunshine.

      Flora. Another cup? (Cedric, looking at her, makes no reply.) Cedric! Another cup? (with a touch of very good-humoured impatience).

      (Cedric rises, goes round the table to her, takes hold of her, and kisses her.)

      Cedric. (Standing over her, she looking up at him.) I’ve been wanting to do that for about thirty solid minutes.

      Flora. Then why didn’t you, my poor boy? (Cedric gives a gesture to show that he doesn’t know why) ... Instead of keeping us both waiting like that! (Reflective.) And yet it’s barely three hours since you kissed me in the vestry!

      Cedric. Vestry be dashed! And here’s another thing I’ve been wanting to do (he carefully kisses her ear).

      Flora. My ear!

      Cedric. Precisely, your ear! Strange!... And I can tell you something even stranger. Shall I? (She nods.) When I’m standing over you I feel as if I should like to kill you! Yes, really, Fluff! It takes me all of a sudden! You know—when you lean out of a high balcony and you feel you must jump—well, it’s that sort of a feeling.

      Flora. What particular kind of homicide?

      Cedric. Oh! (at a loss) a kind of a fierce crushing. (She smiles.) You think it’s justifiable?

      Flora. I don’t mind so long as I know my risks.

      Cedric. (After staring at her, with a convinced air.) We shall get on together all right!

      Flora. Yes, I think we’re doing rather well so far, considering (turning the ring on his finger).

      Cedric. Considering what?

      Flora. Considering how nervous we both are, naturally (drops his hand).

      Cedric. (Moving away. Half to himself.) Yes, and we shall keep getting more nervous!

      Flora. (Resuming exactly the same matter-of-fact tone as when she first put the question.) Another cup?

      Cedric. (Similar tone.) How many have I had?

      Flora. I don’t know, dear.

      Cedric. I’ve had enough, then.

      Flora. Well, about our programme. Suppose we settle it a bit.

      Cedric. Yes, let’s. (Sits down.)

      Flora. I do think it was a lovely idea to start off without any programme at all! Heaven itself couldn’t say where we shan’t be this time next week!

      Cedric. Well, subject to your approval, I don’t mind informing heaven that anyhow we shan’t be here.

      Flora. Tired of this place—already?

      Cedric. On the contrary! But it’s too small to hold a couple that have just walked out of a vestry. One hotel, one flagstaff, one boat, one sea. No pier, no tea-shop, no concert, and very probably no moon.

      Flora. Extraordinary how even three hours of married life will change a man! You always used to be rather keen on quietness, solitude, old flannel suits, and so on.

      Cedric. Now look here, Fluff! This honeymoon programme is important. Er—(hesitates).

      Flora. (Nods.) Let’s talk as man to man.

      Cedric. The fact is I’ve always had a very distinct theory about honeymoons. Far from the madding crowd

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