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    Why Marry?
    Why Marry?
    Why Marry?
    Ebook276 pages1 hour

    Why Marry?

    By Jesse Lynch Williams

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    Why Marry? is a 1917 play written by American playwright Jesse Lynch Williams. It won the first Pulitzer Prize for Drama in 1918. The play takes place during a weekend at a country house. The characters are: Jean, the host's youngest sister, brought up to be married; Rex, an unmarried neighbor; Lucy, the hostess; Cousin Theodore, a clergyman who does not believe in divorce; John, the host, who owns the house—"and almost everyone in it"—also does not believe in divorce; and many other characters.
    LanguageEnglish
    PublisherGood Press
    Release dateDec 3, 2019
    ISBN4057664579652

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      Book preview

      Why Marry? - Jesse Lynch Williams

      Jesse Lynch Williams

      Why Marry?

      Published by Good Press, 2019

      [email protected]

      EAN 4057664579652

      Table of Contents

      TO HARRIET AND JAMES LEES LAIDLAW

      WHY MARRY?

      ADVANCE NOTICE BY THE AUTHOR

      ILLUSTRATIONS

      Act I

      And So They Were Married

      Act I

      Act II

      Act II

      Act III

      Act III

      Curtain

      BY JESSE LYNCH WILLIAMS

      Copyright

      , 1914, 1918,

      BY

      CHARLES SCRIBNER'S SONS

      Published October, 1914

      New and revised edition published April, 1918

      Reprinted September, 1918; February, 1919

      [All rights strictly reserved—including

      amateur acting rights.]

      TO

      HARRIET AND JAMES LEES LAIDLAW

      Table of Contents

      WHY MARRY?

      Table of Contents

      A Comedy in Three Acts

      New York: Astor Theatre: Produced by Selwyn & Company,

      Dec. 25, 1917, under the direction of Roi Cooper Megrue.

      The scene is a week-end at a country house not far away; the time,

      Saturday afternoon, Sunday morning, and Sunday evening.

      THE PEOPLE AT THE HOUSE

      (As You Meet Them)

      ADVANCE NOTICE

      BY THE AUTHOR

      Table of Contents

      One afternoon shortly before the New York opening of this comedy a most estimable lady sat down to make me a cup of tea.

      Now, do tell me, what is your play about? she inquired with commendable enthusiasm. For, being a true woman, she had early achieved the becoming habit of letting members of the superior sex talk about themselves.

      'Why Marry?' said I, tells the truth about marriage.

      Oh, why, she expostulated, why write unpleasant plays?

      But it is not 'unpleasant.'

      Then it isn't true! she exclaimed. That is, I mean—I mean—did you say cream or lemon?

      And in the pause which accompanied the pouring of the cream I detected the look of one realizing too late that it is always better to think before speaking.

      This little incident, it seemed to me, epitomizes charmingly the attitude of our nicest people toward our fundamental institution. The truth about marriage must be unpleasant. Therefore, tell us something we know isn't true. It will be so much nicer for our young people.

      It is to be feared, however, that young people who go to see Why Marry? in the hope of being shocked do not get their money's worth. I have heard of but two persons who have been scandalized by this play, and they were both old people. One was a woman in the country who had not seen it, but had read the title, and so wrote several indignant letters about it. The other was an elderly bachelor of the type which finds useful occupation in decorating club windows like geraniums. He took his niece to see it, and, deciding at the end of Act II that the play was going to be unpleasant in Act III, took her home at once. The next afternoon she appeared at the matinée with a whole bevy of her own generation and saw the rest of the play. I asked her later if it had shocked any of them.

      Oh, no, she replied, we are too young to be shocked.

      That little incident also struck me as socially significant. There never were two generations inhabiting the same globe simultaneously with such widely separated points of view.

      For several years after this play was first published no theatrical manager on Broadway would produce it. I don't blame them, I want to thank them for it. I doubt if this sort of thing could have appealed to many theatre-goers then, especially as my young lovers are trying to be good, not bad. Self-expression and the right to happiness do not enter into their plans. The causes of their courageous and, of course, mistaken decision are unselfish and social motives, however futile and antisocial the results would have been had not their desperate determination been thwarted. … When this play was first published most people were not thinking along these lines. Such ideas were considered radical then. They will soon be old-fashioned—even on the stage.

      Kind and discriminating as the critics have been in regard to this comedy (a discriminating critic being, of course, one who praises your play), few of them have seen the point which I thought I was making emphatically clear, namely, that we can't cure social defects by individual treatment. Not only the lovers, but all the characters in this play are trying to do right according to their lights. There is no villain in this piece. At least the villain remains off stage. Perhaps that is why so few see him. You are the villain, you and I and the rest of society. We are responsible for the rules and regulations of the marriage game. Instead of having fun with human nature, I tried to go higher up and have fun with human institutions.

      I say tried, because apparently I did not succeed. The joke is on me. Still, I can get some amusement out of it: for a great many people seem to like this play who would be indignant if they knew what they were really applauding. They think they are merely enjoying satire on human nature. Now, it is a curious fact that you can always curse human nature with impunity; can malign it, revile it, boot it up and down the decalogue, and you will be warmly praised. How true to life! you are told. I know some one just like that. (It is always some one else, of course.) But dare lay hands on the Existing Order—and you'll find you've laid your hands on a hornet's nest.

      You see, most people do not want anything changed—except possibly the Law of Change. They do not object to finding fault with mankind because you can't change human nature, as they are fond of telling you with an interesting air of originality. But laws, customs, and ideals can be changed, can be improved. Therefore they cry: Hands off! How dare you! Man made human institutions, therefore we reverence them. Whereas human nature was merely made by God. So we don't think so much of it. We are prejudiced, like all creators, in favor of our own creations. After all, there is excellent precedent for such complacency. Even God, we are informed, pronounced his work all very good and rested on the seventh day.

      Pretty nearly everything in the play as acted is in the book as published; but by no means all that is in the book could possibly be enacted on the stage in two hours and a half. One scene, a breakfast scene between John and his wife, has been amplified for acting, but all the other scenes as printed here have been shortened for stage purposes and one or two cut out entirely.

      The set was changed to represent the loggia, instead of the terrace, of John's little farm. Outdoor scenes are not supposed to be good for comedy. Walls, or a suggestion of them, produce a better psychological effect for the purpose, besides making it possible to speak in quieter, more intimate tones than when the voice spills out into the wings and up into the paint loft.

      Near the end of the play a number of relatives, rich and poor, are supposed to arrive for dinner and for influencing by their presence the recalcitrant couple. That is the way it is printed and that is how it was acted during the first few weeks of the Chicago run. But though the family may have its place in the book, it proved to be an awful nuisance on the stage. No matter how well these minor parts might be acted (or dressed), their sudden irruption during the last and most important moments of the performance distracted the audience's attention from the principal characters and the main issue.

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