·v· Preface to Second Edition.
The Duchess of Padua was begun in 1882, and finished in March 1883. It was produced in New York on November 14, 1891, at Hammerstein’s Opera House. Twenty prompt copies were printed for private circulation and use in the theatre. One of only three copies known to exist contains the author’s corrections. The corrections have been followed in this second edition as far as possible: though certain deleted passages have been retained in order to preserve the sense, the author not having supplied substitutes. In the first edition (Methuen and Co., 1908) the corrections were marked by brackets. Where the author’s deletions have obviously improved the action of the drama for purposes of presentation or reading, the deleted passages are omitted. Exceptions are made in ·vi· favour of a few lines of finer quality, and these lines are retained though deleted in the prompt copy. The original manuscript was stolen, with other unpublished works, from the author’s house in April 1895. The play has been translated by Dr. Max Meyerfeld (Egon, Fleischel and Co., Berlin, 1904). Unauthorised translations in prose from this German version exist and are offered for sale in America and elsewhere by unscrupulous publishers dealing in other spurious works ascribed to Oscar Wilde. The dramatic rights for America belong to the representatives of Miss Gale and the late Laurence Barrett. The dramatic rights for the United Kingdom, the Colonies and the Continent are vested in the author’s literary executor, and administrator of his estate, Robert Ross.
·vii· to
MISS ADELA SCHUSTER
madam,
A few months before his death Mr. Oscar Wilde expressed to me a regret that he had never dedicated any of his works to one from whom he had received such infinite kindness and to whom he was under obligations no flattering dedication could repay. With not very great sincerity, because I knew he was a dying man, I suggested he might still write a play or book which you would accept. He answered with truth, ‘There is nothing but The Duchess of Padua and it is unworthy of her and unworthy of me.’ With all his egoism and self-complacency you will know, perhaps as well as I do, that he never regarded his works as an adequate expression of his extraordinary genius and his magnificent intellectual endowment; many people hardly believe that in his last years he was the severest critic of his own achievements. In the pages of De Profundis there are many references to yourself, and I think I am carrying out my dear friend’s wishes in asking your acceptance of a play which was the prelude to a singularly brilliant and, if the last five years are omitted, a very happy life.
robert ross
Christmas 1906.
the persons of the play.
simone gesso, Duke of Padua
beatrice, his Wife
andreas pollajuolo, Cardinal of Padua
maffio petrucci,
jeppo vitellozzo,
taddeo bardi, Gentlemen of the Duke’s Household
guido ferranti, a Young Man
ascanio cristofano, his Friend
count moranzone, an Old Man
bernardo cavalcanti, Lord Justice of Padua
hugo, the Headsman
lucy, a Tire woman
Servants, Citizens, Soldiers, Monks, Falconers with their hawks and dogs, etc.
Place: Padua.
Time: The latter half of Sixteenth Century.
the scenes of the play.
Act I: The Market Place of Padua (25 minutes).
Act II: Room in the Duke’s Palace (36 minutes).
Act III: Corridor in the Duke’s Palace (29 minutes).
Act IV: The Hall of Justice (31 minutes).
Act V: The Dungeon (25 minutes).
Style of Architecture: Italian, Gothic and Romanesque
·1· Act I.
SCENE—The Market Place of Padua at noon; in the background is the great Cathedral of Padua; the architecture is Romanesque, and wrought in black and white marbles; a flight of marble steps leads up to the Cathedral door; at the foot of the steps are two large stone lions; the houses on each side of the stage have coloured awnings from their windows, and are flanked by stone arcades; on the right of the stage is the public fountain, with a triton in green bronze blowing from a conch; around the fountain is a stone seat; the bell of the Cathedral is ringing, and the citizens, men, women and children, are passing into the Cathedral.
[Enter Guido Ferranti and Ascanio Cristofano.]
ascanio
Now by my life, Guido, I will go no farther; for if I walk another step I will have no life left to swear by; this wild-goose errand of yours! [Sits down on the steps of the fountain.]
guido
I think it must be here. [Goes up to passer-by ·2· and doffs his cap.] Pray, sir, is this the market place, and that the church of Santa Croce? [Citizen bows.] I thank you, sir.
ascanio
Well?
guido
Ay! it is here.
ascanio
I would it were somewhere else, for I see no wine-shop.
guido
[Taking a letter from his pocket and reading it.] ‘The hour noon; the city, Padua; the place, the market; and the day, Saint Philip’s Day.’
ascanio
And what of the man, how shall we know him?
guido [reading still]
‘I will wear a violet cloak with a silver falcon broidered on the shoulder.’ A brave attire, Ascanio.
·3· ascanio
I’d sooner have my leathern jerkin. And you think he will tell you of your father?
guido
Why, yes! It is a month ago now, you remember; I was in the vineyard, just at the corner nearest the road, where the goats used to get in, a man rode up and asked me was my name Guido, and gave me this letter, signed ‘Your Father’s Friend,’ bidding me be here to-day if I would know the secret of my birth, and telling me how to recognise the writer! I had always thought old Pedro was my uncle, but he told me that he was not, but that I had been left a child in his charge by some one he had never since seen.
ascanio
And you don’t know who your father is?
guido
No.
ascanio
No recollection of him even?
·4·