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I must remind the reader that this playlet was written when its principal character, far from being a fallen foe and virtually a prisoner in our victorious hands, was still the Caesar whose legions we were resisting with our hearts in our mouths. Many were so horribly afraid of him that they could not forgive me for not being afraid of him: I seemed to be trifling heartlessly with a deadly peril. I knew better; and I have represented Caesar as knowing better himself. But it was one of the quaintnesses of popular feeling during the war that anyone who breathed the slightest doubt of the absolute perfection of German organization, the Machiavellian depth of German diplomacy, the omniscience of German science, the equipment of every German with a complete philosophy of history, and the consequent hopelessness of overcoming so magnificently accomplished an enemy except by the sacrifice of every recreative activity to incessant and vehement war work, including a heartbreaking mass of fussing and cadging and bluffing that did nothing but waste our energies and tire our resolution, was called a pro-German.
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An Inca meets the impoverished widow of a millionaire.
The tableau curtains are closed. An English archdeacon comes through them in a condition of extreme irritation. He speaks through the curtains to someone behind them. THE ARCHDEACON. Once for all, Ermyntrude, I cannot afford to maintain you in your present extravagance. [He goes to a flight of steps leading to the stalls and sits down disconsolately on the top step. A fashionably dressed lady comes through the curtains and contemplates him with patient obstinacy. He continues, grumbling.] An English clergyman's daughter should be able to live quite respectably and comfortably on an allowance of £150 a year, wrung with great difficulty from the domestic budget. ERMYNTRUDE. You are not a common clergyman: you are an archdeacon. THE ARCHDEACON [angrily]. That does not affect my emoluments to the extent of enabling me to support a daughter whose extravagance would disgrace a royal personage. [Scrambling to his feet and scolding at her.] What do you mean by it, Miss?
The Inca of Perusalem, An Almost Historical Comedietta is a comic one-act play written during World War I by George Bernard Shaw.
The Inca of Perusalem An Almost Historical Comedietta By George Bernard Shaw New Edition George Bernard Shaw (26 July 1856 - 2 November 1950) was an Irish playwright and a co-founder of the London School of Economics. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60 plays. He was also an essayist, novelist and short story writer. Nearly all his writings address prevailing social problems, but have a vein of comedy which makes their stark themes more palatable. Issues which engaged Shaw's attention included education, marriage, religion, government, health care, and class privilege. He was most angered by what he perceived as the exploitation of the working class. An ardent socialist, Shaw wrote many brochures and speeches for the Fabian Society. He became an accomplished orator in the furtherance of its causes, which included gaining equal rights for men and women, alleviating abuses of the working class, rescinding private ownership of productive land, and promoting healthy lifestyles. For a short time he was active in local politics, serving on the London County Council. In 1898, Shaw married Charlotte Payne-Townshend, a fellow Fabian, whom he survived. They settled in Ayot St Lawrence in a house now called Shaw's Corner. Shaw died there, aged 94, from chronic problems exacerbated by injuries he incurred by falling from a ladder.