Some Impressions of My Elders

by St. John G. Ervine

Malise. Can you typewrite where you are?

Clare. I have to find a new room, anyway. I'm changing—to be safe. (She takes a luggage ticket from her glove). I took my things to Charing Cross—only a bag and one trunk. (Then, with that queer expression on her face which prefaces her desperations.) You don't want me now, I suppose?

Malise. What?

Clare (hardly above a whisper). Because—if you still wanted me—I do—now.

Malise (staring hard into her face that is quivering and smiling). You mean it? You do? You care?

Clare. I've thought of you—so much. But only—if you're sure.

He clasps her, and kisses her closed eyes.

He clasps her, and kisses her closed eyes.

That love declaration is singularly unconvincing, more so to the reader of the play than to the witness of it. It is not unlikely that Clare's liking for Malise increased during the three months of their separation, particularly as she regarded him as a benefactor to whom she had brought trouble, but it seems to me to be improbable that she would declare her love so casually. Mr. Galsworthy's stage directions make the puzzle more involved. If Clare were in love with Malise to the extent of overcoming her hatred of physical contacts, she would hardly have "that queer expression on her face which prefaces her desperations." When a man or woman is desperate he or she is hopeless or almost hopeless, and if Mr. Galsworthy's stage directions are to be taken seriously then they mean that Clare was willing to become the mistress of Malise for much the same reason that a rat will fight in a corner. But if her words mean what they would seem to mean, surely, given her character and remembering what she has endured, her surrender to Malise will not be accompanied by any signs of desperation at all, but in sheer reaction, if nothing else, by every sign of jubilation and relief.

The attitude of Malise towards Clare does not appear to have undergone any change at all; he is not any more in love with her in the third act than he was in the first act, when, indeed, his love had a dubious aspect. There is no warmth in the man, no glow. He is cold, not with the hard, sharp, tingling cold of ice, but with the flabby chill of a dead fish. When George Dedmond institutes divorce proceedings, citing Malise as co-respondent, the fellow goes to pieces, and whines and bleats to his charwoman because the proprietors of the review on which he is employed propose to dismiss him. They have some scruples against writers who become involved in scandals. The charwoman informs Clare of Malise's misery, and she, knowing that her husband will abandon the suit if she leaves Malise, goes quietly from his flat. Her next appearance is in a restaurant, largely patronized by prostitutes. One does not know what has happened to her in the meantime, but it is plain that she must have suffered acutely, for this delicately bred woman, sensitive to the point of morbidity about sexual relationships, has decided to become a prostitute! We see her entering "The Gascony" for the first time when the fourth act begins. A young man, ordinary, decent, and uncommonly lustful, makes overtures to her, treating her with kindliness when he discovers that he is her first customer. His kindliness helps to reconcile her to her position, and she prepares to leave the restaurant with him. While he is paying the bill two coarse men leer at her, and one of them accosts her, making an appointment for the following evening. As she watches his coarse face, inflamed with lust, she realises the horror of the life she is about to lead, and suddenly makes a decision—she takes a bottle of poison from her dress, pours its contents into a wine-glass, and drinks it. She dies while some sportsmen in an adjoining room play "the last notes of an old song 'This Day a Stag Must Die' on a horn." And that is the end of the play.

It seems to me to be incredible that Clare Dedmond should have gone to that restaurant to sell herself to any casual purchaser. It seems to me, given her nature, incredible that she should even have thought of such a way of life or that, having thought of it, she should not instantly poison herself rather than endure it. Mr. Galsworthy insists throughout the play on her exceptional sensitiveness about sex-relationships. I think that psychologically he has over-stated this sensitiveness, but, assuming that he has not done so, is it conceivable that a woman who shivers and twitches her hands when she is kissed by a man whom she likes will consent to put on fine clothes and go to a notorious restaurant and sit at a table while men inspect her?... (I leave out of consideration such questions as: "Where did she obtain the fine clothes?" "How did she acquire her knowledge of 'The Gascony'?") If she were prepared to endure that last of all defilements, why did she run away from her husband? If she were capable of selling her embraces, why did she shiver and twitch when Malise kissed her? George Dedmond was not a "bad" man. He did not ill-treat her nor was he faithless to her. He insisted, indeed, on sexual submissions, but one has difficulty in believing that her horror of these, "unless I feel," was very strong since she was willing to suffer the casual amours of "The Gascony." There would have been something pitiable in her if, after leaving Malise, she had returned to George. There would have been something tragical in her if, reluctant to return to George, she had killed herself when she found that she could not maintain herself in decency. But there is nothing either pitiable or tragical in the end devised for her by Mr. Galsworthy. It is an arranged and schemed destiny that overwhelms Clare Dedmond, arranged and schemed not by Circumstance but by Mr. Galsworthy, and having no relation whatever to the nature of the woman. Mr. Galsworthy wanted to poison her in "The Gascony," and so he thrust her into the restaurant in plain disregard of her character and of common facts.

There is a phrase in the play which is intended to illuminate Clare's nature. "You're too fine," Mrs. Fullarton says to her, "and you're not fine enough to endure things." How can one be too fine to endure a thing and yet not fine enough to endure it? And, having begun to question in that fashion, one goes on again to wonder why she married her husband. "Five years" (of marriage), she says to her husband, "and four of them like this!" Here is no case of slow transformation of love into dislike or of instant disillusionment. Clare does not suddenly discover or slowly discover that George is not the sort of man she had imagined him to be, for he remains throughout the play exactly the sort of man he was when she was wooed and married by him. He did not become prosaic, unimaginative, and coarse after marriage: he was always like that; and Clare, so sensitive as she was, must have been jarred by him as much before marriage as she was a year after marriage. There is no suggestion in the play that she married for money. Had she done so, surely she would, when we remember the depths to which she was subsequently prepared to descend, have borne his dullness and coarseness, not gladly, perhaps, but with fortitude?

The processes of attraction and repulsion are so complicated that it is difficult to say where one begins and the other ends, but this difficulty is hardly to be experienced in cases where the personalities are so marked and divergent as were the personalities of Clare and George Dedmond. If one were to take a man like Squire Western in "Tom Jones" and marry him to Mélisande in "Pelléas et Mélisande," one could prophesy with some certainty what would be the result of such a marriage. It would be disastrous. Left to the ordinary processes of nature, however, such a marriage would not take place at all.

But the difficulty of fathoming Clare's relationships does not end with her husband. It is equally difficult to understand her attitude towards Malise. What attracted her to this extraordinarily ill-bred man who sneers openly at her relatives and friends, mocking and insulting them to her and to their faces? The Dedmonds, parents and son, are dense, but they are decent. They live by rule because they cannot live by any other means. It is not their fault that they cannot understand Clare's point of view, any more than it is the fault of a blind man that he falls over an obstacle which he cannot see. Malise regards them as malignant people, deliberately imprisoning an aspiring woman. His vision of them is as narrow as is theirs of him, and, since he has not got their breeding or kindliness, his conduct is caddish where theirs is merely stupid. There is no magnitude or charity in this man. He spends his days and nights in writing petulant screeds in the style of Thomas Carlyle: windy stuff, blowing out of a noisome mind; and when he has induced one helpless, incompetent woman to follow his creed he fails her completely.

The last sentences of the play show that Mr. Galsworthy had set his mind on Clare's death in disregard of the probabilities. Clare, having swallowed the poison, is lying back in her chair, presumably dead.

The Young Man has covered his eyes with his hands; Arnaud is crossing himself fervently; the Languid Lord stands gazing with one of the dropped gardenias twisted in his fingers; and the woman bending over Clare, kisses her forehead.