About An ideal husband

An Ideal Husband is one of the most serious of Wilde's social comedies, and contains very
strong political overtones, ironically and cynically examining the contemporary political
landscape. The play's main focus is the often-corrupt sources of great wealth, of which the public
is usually ignorant. The characters and circumstances surrounding Sir Robert, Mrs. Cheveley, and
Baron Arnheim all mirror contemporary society and how finances increasingly influence political
life. Within this political realm, the play notes how social power relies not on money, but rather
on information and knowledge. In the play, secret knowledge allows Mrs. Cheveley to hold great
power over Sir Robert Chiltern.
The play's action discusses and analyses conflicts between public and personal morality and
examines the power of self-interest. Although Sir Robert is only honest when it is in his interest,
Lady Chiltern, for all her talk of honour and morality, is often hypocritical in her inability to
forgive others. The play does not contain a formula for public success, and Wilde maintains a
very critical view of society. In the play, Wilde also examines the problematic nature of marriage,
and portrays it as corrupt and corrupting. The Chilterns are foolish to try to have an "ideal"
marriage based on materialistic values, such as property and high social standing. Wilde suggests
a similarity between the absences of morality in their marriage and the lack of morality in the
state's political/governing body.
Wilde crafts his characters as works of art and demonstrates how their culture has taught
them to behave with a certain amount of pretence. The play constantly moves toward a more
ideal moral standard as the characters struggle with dishonesty, hypocrisy, double moral
standards, materialism, and corruption of social and political life. Wilde's enduring message is
that love, and not wealth, leads to happiness.
Summary
The play opens with a party at the Chiltern house, where all the major characters are
introduced. At this party, Mrs. Cheveley blackmails Sir Robert and forces him to support her
Argentine Canal scheme, in which she has invested heavily. She has in her possession a letter he
wrote early in his public career in which he sold state secrets for a great fortune that has
supported him to this day. Faced with certain ruin, Sir Robert has no choice but to accept Mrs.
Cheveley's terms and agrees to go before the House of Commons and publicly support the canal.
Later in the night, Lady Chiltern, who prides herself on having an "ideal husband" and is unaware
of Sir Robert's prior corruption, appeals to his morality and forces him to write a letter retracting
his promise to Mrs. Cheveley. Toward the end of the act, Lord Goring and Mabel Chiltern
discover a seemingly misplaced diamond brooch that Goring recognizes as something he gave to
someone long ago. Lord Goring keeps the brooch and tells Mabel to inform him if anyone asks
for it.

In Act II Lord Goring and Sir Robert discuss his plight, and Sir Robert relates why he sent the
letter to Baron Arnheim, selling the state secret, so many years ago. Lord Goring suggests Sir
Robert should reveal his immoral deed to Lady Chiltern, but he cannot fathom disappointing her
and shattering her perfect image of him. Instead, Sir Robert wires to Vienna seeking information
on Mrs. Cheveley, hoping to uncover something he can use to fight against her blackmail. Lady
Chiltern enters and Sir Robert escapes rather quickly. Lord Goring talks with Lady Chiltern, trying
to see how she might react upon learning of Sir Robert's indiscretion. Lady Chiltern holds her
husband in the highest regard and does not believe him capable of corruption. Lord Goring warns
Lady Chiltern that she has rather harsh views, and that life must be led with love rather than
judgment.
After Lord Goring departs, Lady Markby and Mrs. Cheveley visit. Mrs. Cheveley lost a diamond
brooch at the Chiltern's party and asks if it has been found. The women chat for a brief while,
and then Lady Markby departs to make a quick visit to a nearby friend. Left alone, Lady Chiltern
and Mrs. Cheveley exchange heated words. Mrs. Cheveley reveals Sir Robert's past just as he
enters the room to find his wife and his blackmailer together. He orders Mrs. Cheveley to leave,
and she complies only after threatening him again. Lady Chiltern begs Sir Robert to deny Mrs.
Cheveley's accusations, but he does not, and finally tells her the truth about his past. She recoils
from him in despair, her ideal image of him shattered. The act closes with a tirade in which Sir
Robert curses how women put men upon impossible pedestals. He tells his wife she has ruined
him, and storms out. Lady Chiltern, in great pain, tries to follow, but finds her husband gone.
At the opening of Act III Wilde introduces Phipps, the Ideal Butler, and describes the scene
inside Lord Goring's house where he and Phipps discuss the relevance of his buttonhole as Goring
prepares to head out for the evening. Goring receives an unexpected letter from Lady Chiltern
urgently stating that she wants him, needs him, and is coming to him. Surprised, he prepares for
her arrival. However, Lord Caversham suddenly arrives and is determined to talk about the
direction of his son's life. Lord Goring discreetly tells Phipps that he expects a lady visitor and to
bring her into the drawing room if she arrives when Lord Caversham is still visiting. A lady does
appear, but it is Mrs. Cheveley rather than Lady Chiltern. Phipps does not know who was
expected and assumes Mrs. Cheveley is the visitor Lord Goring spoke of. While waiting to be
taken into the drawing room, Mrs. Cheveley finds Lady Chiltern's letter to Lord Goring and tries
to steal it but does not have the opportunity.
Sir Robert arrives after Lord Caversham leaves and begs Lord Goring for help. He is in a
desperate state and wants advice. Just as Lord Goring is about to escort his friend out, a chair
falls in the drawing room, and Sir Robert wants to know who has been listening. Lord Goring tries
to keep him from seeing who is in the room, for he believes Lady Chiltern occupies it. Sir Robert
finally manages to get into the room, and when he sees Mrs. Cheveley he leaves the house in
disgust. Lord Goring is completely surprised when he realizes Mrs. Cheveley was in the drawing
room rather than Lady Chiltern. They begin talking, and Mrs. Cheveley tries to convince Lord
Goring to marry her by offering to give him Sir Robert's letter in return. He refuses the offer and
tells her she has desecrated the idea of love, and for that she is beyond forgiveness. Lord Goring
shows Mrs. Cheveley the brooch he found at the Chiltern party, and she explains that it is hers
and that she misplaced it. Knowing the origin of the brooch, Lord Goring accuses her of stealing it
from his cousin Lady Berkshire, whom he gave it to. She denies the theft, but the brooch is in fact
a bracelet with a hidden clasp and after Lord Goring clamps it onto her arm, Mrs. Cheveley
cannot remove it. Lord Goring threatens to call the police if Mrs. Cheveley does not give him Sir
Robert's letter. Beaten in her own game, Mrs. Cheveley hands over the letter, but before angrily
leaving his house, secretly steals Lady Chiltern's urgent letter when Lord Goring is not looking.
In Act IV Lord Caversham informs Lord Goring of Sir Robert's speech denouncing the Argentine
Canal scheme. All the papers are praising Sir Robert. Shortly thereafter, Lord Goring proposes to
Mabel Chiltern, and she accepts him. Then, he tells Lady Chiltern that Sir Robert is safe because
he has possession of the letter to Baron Arnheim. However, he warns her that Mrs. Cheveley has
the letter Lady Chiltern had sent to him the previous night and plans to send it to Sir Robert. The
two plans to intercept the letter before it reaches him. However, Sir Robert soon bursts into the
room with the letter in hand, believing his wife had written it to him directly. She plays along and
he is overjoyed. The two reconcile, and Sir Robert agrees that he must now leave the field of
politics due to his disgraceful beginnings. Lord Caversham enters with the news that Sir Robert
has been offered the empty cabinet seat. Although tempted, he declines the offer because he
believes his wife wants him to retire from public life. However, Lord Goring convinces Lady
Chiltern to urge her husband to accept the empty seat, as forcing her husband to abandon his
profession will not lead to a happy life or marriage. Finally, with his wife's encouragement, Sir
Robert accepts the position. Lord Goring informs the group that he intends to marry Mabel, but
Sir Robert refuses permission based on Mrs. Cheveley's presence at Lord Goring's house the
previous night. Lady Chiltern admits that it was she that Lord Goring expected, and that the letter
Sir Robert believes to be his was written to Lord Goring. Sir Robert understands, forgives his wife
for not revealing this to him immediately, and gives permission for the marriage. The play ends
with Lady Chiltern proclaiming a new beginning.
Characters
Sir Robert Chiltern
Under-Secretary for Foreign Affairs, a member of English society, and married to the honest
and respectable Lady Chiltern, Sir Robert Chiltern is the hero of the play. Early in his public career
Chiltern sold state secrets to Baron Arnheim, from which he became quite rich. The past comes
back to haunt him when Mrs. Cheveley arrives at his home and blackmails him with evidence of
his wrongdoing. Chiltern, who is powerfully dependent on his ill-gotten wealth, struggles
between succumbing to Mrs. Cheveley's blackmail and living and honest life. Fortunately, he is
saved from disgrace through a variety of happenstance occurrences, and in fact discovers an
even greater happiness in his marriage and government work than he had known before his
status and professional career were threatened.
Lord Goring
Lord Goring is a very clever and dashing man who lives a life of simple luxury and avoids
professional pursuits. He is always impeccably dressed in the most up to date fashion and
demonstrates substantial intelligence and a penchant for acute analysis of human behaviour.
Ironically, he also prides himself on rejecting the expectations of society. A close friend of Sir
Robert Chiltern, Goring wisely counsels him after Mrs. Cheveley, who Goring was once engaged
to, reveals her blackmail scheme. He also works to heal the wounds between Lady Chiltern and
her husband and to destroy Mrs. Cheveley's evil scheme. Lord Goring is quite successful in these
endeavours and in fact proves to be a hero of the play. In the final scenes of the play, he
proposes to Mabel Chiltern, who accepts him.
Lady Gertrude Chiltern
Sir Robert Chiltern's extremely beautiful twenty-seven-year-old wife, champion of the Higher
Education of women, a member of the Woman's Liberal Association, and a moral, upstanding
citizen. Lady Chiltern also attended school with Mrs. Cheveley and knows her to be dishonest and
unkind. Lady Chiltern expects perfection from her husband, which makes it difficult for her to
understand that he might have mistaken in his past. However, she loves her husband dearly and
finally accepts that every man is somehow flawed.
Mrs. Cheveley
Mrs. Cheveley, who attended school with Lady Chiltern, is dishonest, selfish, and
manipulative. The villain of the play, she arrives at the Chiltern's party and blackmails Robert
Chiltern with a dishonest letter he wrote early in his public career that reveals state secrets for
monetary gain. Mrs. Cheveley revels in wielding power over others and tells Sir Chiltern that in
order to prevent her from publishing the letter, he must support her current financial scheme,
the Argentinean Canal. Later, Lord Goring tricks her into admitting theft and successfully foils her
scheme to destroy Robert Chiltern and his marriage.
Mabel Chiltern
Sir Robert Chiltern's sister. Mabel constantly teases Lord Goring and flirts with him throughout
the play. She complains often that Tommy Trafford proposes to her in a most unpleasant
manner. In the final scenes of the play, Lord Goring proposes to her and she accepts his hand.
Lord Caversham
Lord Goring's father, Caversham prides himself on dignity and honour. Caversham constantly
belittles his dandy of a son publicly and privately, accusing him of an idle life and urging him to
begin a professional career and marry.

Lady Basildon
Mrs. Marchmont's primary companion at the Chiltern party, she is a frequent complainer. The
two women discuss a variety of "current" social issues, are highly superficial, and act as very
basic, decorative characters in the plot.
Mrs. Marchmont
Lady Basildon's primary companion at the Chiltern party. The two women discuss a variety of
"current" social issues, are highly superficial, and act as very basic, decorative characters in the
plot.
Lady Markby
A pleasant woman who is friends with Mrs. Cheveley and brings her to the Chiltern home.
Lady Markby is very traditional in her views, rejecting higher education for women and longing
for more simple days where women simply wished for the attention of a husband.
Phipps
Lord Goring's butler, Phipps represents the "dominance of form". He is known for his
complete reticence, making him the "ideal butler".
Vicomte de Nanjac
A guest at the Chiltern's party, the Vicomte talks with many of the women. He asks Mabel to
dance with him, recognizes Mrs. Cheveley from knowing her in Berlin five years previous, and
excessively, almost comically, compliments the English language.
Mr. Monford
A secretary to Sir Robert Chiltern, also described as a dandy.
Mason
Sir Robert Chiltern's Butler, he announces all guests at the Chiltern home.
James
A footman
Harold
A footman for Sir Robert Chiltern
Social corruption
In “An Ideal Husband”, Oscar Wilde presents a very critical and cynical view of society. The
play's irony relies more on the biting cynicism of political and social corruption than anything
else. There are four major institutions the play portrays as corrupt.
 Marriage -The Chiltern marriage is predicated on Lady Chiltern's belief that Sir Robert must be
morally above reproach. Rather than showing concern or sympathy for Sir Robert when he
clearly is in great distress after Mrs. Cheveley's visit, Lady Chiltern forces him to remain true to
his public image in a way that makes one wonder whether she is trying to protect herself or her
husband. Self-interest clearly plays a huge role in the play, and within the sphere of marriage, it
threatens the happiness of both the Chilterns. Wilde's language suggests that marriage is a
dangerous institution. Mrs. Cheveley comments dryly that the London season is full of those
hunting for husbands or trying to avoid them. The sentiment suggests a type of predatory nature
to marriage that contributes to Wilde's already cynical tone.
Media/Information - The media holds immense power through the commodity of
information, but it does not always give the public all the information it needs. In the first three
acts of the play, newspapers represent a threat to Sir Robert's public image and career, for the
information Mrs. Cheveley holds would be deadly in the hands of the press. Yet, without ever
receiving this information, the newspapers help Sir Robert's career in the final act, praising his
speech denouncing the Argentine Canal scheme. Clearly, the newspapers have the power to
influence careers of public figures, but rarely is their coverage complete.
Materialism - Wilde constantly criticizes the materialistic values of his characters. Sir Robert's
corruption is fuelled by his desire for money, but as the plot soon reveals, his greed leads him to
the brink of scandal and unhappiness. Lady Chiltern's materialistic values are more obscure but
are certainly present in her dedication to Sir Robert's public image. Social status defines her
husband and separates him from the rest of England's politicians. Not until they both embrace
love in its truest form does the play reach a happy conclusion.
Morality - Most of the characters throughout the play are either morally corrupt or extremely
hypocritical. Lady Chiltern's moral corruption lies in the subtle hypocrisy of her actions. She
maintains a posture of moral rectitude, but throughout the play has trouble with the concept of
forgiveness and what Lord Goring calls charity. The moral lesson he teaches her prevents the
collapse of her marriage and allows her to find happiness. Mrs. Cheveley represents the most
obvious moral corruption, and her constant theft and blackmail speak for her complete lack of
moral principle. However, in the end, her lack of morality leaves her with nothing. Sir Robert's
lack of morality is demonstrated through his political corruption, but by sticking to his principles
and denouncing the canal scheme, regardless of the result, he is finally rewarded. Wilde criticizes
these corrupt aspects of society, but also gives directions away from them. The play suggests
that love leads to happiness, and the plot seems to reward those characters willing to learn and
improve upon their moral imperfections.
Themes
Political Corruption
Political corruption dominates the plot in An Ideal Husband. Sir Robert's flawless career is
threatened by the corruption of his youth. One of the play's ironies is that the happy ending
relies on Sir Robert's corruption remaining hidden from public view. The offer of a cabinet seat
would never stand if the public had knowledge of his past. Yet, because he successfully hides this
past, he feels absolved of his crime. Even Lady Chiltern forgives him for it. The reader can also
certainly understand the folly of youth and imperfections of humanity, especially in the face of
temptation. However, Wilde's play observes the relevant point that the modern political playing
ground was emerging into one where corruption often went hand in hand with politics. The
morals of many people, and some of the plays major characters, are based more on the fear of
public detection and retaining social status than on pure values of right and wrong. He criticizes
this society throughout the play.
Institution of Marriage
Wilde treats marriage as a complicated and imperfect relationship in his play and mocks the
Chilterns' attempt to create the perfect marriage based on social status. Lady Chiltern constantly
states that her husband cannot afford to support the Argentine Canal scheme because he
represents the best of English life. Both Lady Basildon and Mrs. Marchmont complain about their
marriage because they are too perfect and are therefore uninteresting. In any marriage,
problems arise, but in the best marriages, love remains constant. Lord Goring is the play's
champion of love, and his relationship with Mabel allows for imperfections rather than focusing
on ideals. Mrs. Cheveley tries to make Lord Goring marry her, but she represents evil and self-
interest, and as Lord Goring notes, desecrates the word of love. Thus, he does not even imagine
accepting her suggestion, and maintains true to himself and his love. The survival of marriage
and the proposal of entering into married union is front and center throughout the plot and
highlights the characters' imperfections.
The Triumph of Love
At the very end of Act, I, the final scene ends with the great chandelier illuminating the
tapestry of the Triumph of Love. This description certainly foreshadows the rest of the play, for in
the remaining three acts, love does in fact triumph. Part of the play's final line is "Love, and only
love." With the help of Lord Goring, Lady Chiltern learns about the power of love and comes to
understand life through the lens of love. Many of the other characters also examine differing
ideas of love. Lord Goring speaks of love as the only path to truly understand and living life, and
in the end pledges his love to Mabel. Lady Chiltern believes her love is contingent upon her
husband's moral perfection, but learns that perfection is impossible, and that love will endure
even when flaws are acknowledged. The plot is a battleground between the forces of love versus
the forces of evil. In Act III, Mrs. Cheveley, the representation of evil, twice wears a look of
triumph. However, despite evil's best efforts, Lady Chiltern finally understands that love is
powerful enough to withstand imperfection. Moreover, Sir Robert moves from viewing wealth as
all-important to understanding love and his marriage are the most important things in his life.
Thus, love, rather than wealth or evil, leads to happiness and triumphs all.
Modernity
The characters in the play are highly concerned with the fashions of the day. Lady Markby
comments that Mabel is becoming increasingly modern and warns her of the danger associated
with such change, as a tendency towards modernity allows for more rapidly becoming out of
date. Likewise, Lady Markby preoccupies herself with the modern infatuation with curates, and
notes that the citizens of overpopulated England tend to jostle and scramble a great deal
nowadays. Wilde references modernity throughout the play, regardless of topic or scene, and
often associates it with unpleasantness. Notably, Sir Robert comments that every modern
fortune is built on private information, thus arguing for the necessity of political corruption.
Moreover, Lord Goring comments that Mrs. Cheveley is most likely one of those modern women
who fancy new scandals. The general fear of modernity suggests a social weakness of an inability
to accept change. Most of the play's characters, despite claiming an interest in modern culture,
seem to wish for social conformity.
Forgiveness
 The question of forgiveness runs throughout An Ideal Husband. As Sir Robert angrily tells his
wife that she has placed him up on a monstrous pedestal, he tells her that it is when men are
wounded that they are most in need of love and forgiveness. As he puts it, love forgives. Much
like the question, "Are you a pessimist or an optimist?" the decision to forgive determines the
quality of the characters' moral fortitude. Mrs. Cheveley stands as the one character beyond
forgiveness. In Act III, Lord Goring explains that Mrs. Cheveley's attempt to kill Lady Chiltern's
love for her husband is an unforgivable act. However, when Sir Robert appears at Lord Goring's
house in desperate need of advice, believing he has killed his wife's love for him, Lord Goring
maintains that she will forgive him. Lord Goring understands that the act of forgiveness is a
crucial part of marriage, and through it we acknowledge universal human imperfection.
Therefore, love and forgiveness are inseparable throughout the play. When love is present, there
is the possibility of forgiveness. Human imperfection inherently requires love and forgiveness
from others.
The Past
The past constantly remains in the characters' consciousness, and thus also in the readers. In
the first act, Mrs. Cheveley tells Sir Robert that he cannot buy back his past; he must face his
mistakes. Similarly, Lady Chiltern defines Mrs. Cheveley by the dishonesty she exhibited and
thefts she committed during her schooldays. In fact, Lady Chiltern believes the past defines a
person, and reveals true character. Mrs. Cheveley's past finally catches up with her as well, when
Lord Goring finds the piece of jewellery she stole from Lady Berkshire. It ruins her plan to
blackmail Sir Robert and leaves her helpless against Lord Goring's demands. Even Lord Goring's
past briefly haunts him. Many years previous he was briefly engaged to Mrs. Cheveley. Sir Robert
discovers the woman in his house, and afterwards refuses Lord Goring his sister Mabel's hand.
Fortunately, Lord Goring and Lady Chiltern explain the events of that evening and Sir Robert
blesses the marriage. Lord Caversham, Lord Goring's father and a figure of the past, constantly
compares modern day society with his own generation, which leaves him wondering at the state
of his country. The past looms large for all the characters and profoundly affects their present
lives.
The Role of Women in Society
Much of the play provides commentary on the role of women in society. Sir Robert asks Mrs.
Cheveley if she thinks science can grapple with the problem of women, which sets up the play's
suggestion that women are highly complex. In the final act, Lord Goring gives a speech to Lady
Chiltern about the role of women in society and in marriage, stressing the importance of
supporting a husband in pursuing what he loves rather than stifling his desires. She takes his
advice to heart and urges her husband to continue his public service. Lord Goring often draws a
clear distinction between the role of men and women in society and in marriage. In Act III, he
thinks to himself that all women should stand by their husbands. Lord Caversham suggests that
only men, and not women, are endowed with common sense.
Although many of the male characters have problems with the women, many women have
problems with the men. Lady Basildon and Mrs. Marchmont are miserable with their husbands
and fed up with their perfection. Mrs. Markby and Mrs. Cheveley believe that men need
education but doubt their capacity to develop. Lady Markby and Lady Basildon, and Mrs.
Marchmont also comment on the role of women. Lady Markby talks about modern women,
deriding their higher education, a topic that Lady Chiltern rigorously defends. She explains that in
the past, women were taught not to understand anything, but that the modern woman is far
 more knowledgeable. Thus, women have a complex role within the play. The coexistence of men
and women often seems a constant struggle, but one that is ultimately beneficial to all.
A glowing future by Ruth Rendell
A man called Maurice had got two stories with different women. One was his ex- couple and
the other was Patricia, his new love. But he returned to his first home to take his belongings He
wanted to send his things to Patricia as a present. He was in London with Betsy, his ex-couple
and he had to send everything to Australia where Patricia lived and where he had met her when
he was working for a year. He had gone to work, and he had left Betsy with promises of coming
back and love, but it was not true. So, Betsy was really angry with him when he came back home
but he didn´t want any kind of argument and he didn´t answer her. Although, they fought a lot
and in one morning while he was packing and preparing to travel Betsy drove mad and hit him
with a lamp on his forehead many times. He fell down and died He had written a note in the box
full of his things to Patricia and Betsy wanted to send it to her but instead of sending her all the
ornaments and cutlery, she put the dead man inside . So, when the men who had to carry the
box appeared at 10 o´clock, they sent the box to Australia with the note and the terrible thing
inside … that said “for Patricia”
Characters
Betsy: she was a woman in love with Maurice, she was alone, and she was furious because his
couple had abandoned her for another woman, and he had left her alone with promises of
coming back. She was desperate and crazy about him. She didn’t know what to do to have him
again but when she started to hate him, she took the most terrible decision and killed him.
Maurice: he was a disloyal man, very selfish and a liar. He was cruel with Betsy and he only
thought about him and his new love, Patricia.
Patricia: she was a woman in love, maybe she didn’t know anything about Maurice and Betsy
as a couple. Or perhaps, she didn´t care about Maurice’s past and at the moment when she
received the present she would feel terrible to.
The way up to heaven
Summary Analysis
Mrs. Foster has an “almost pathological fear” Mrs. Foster is a sympathetic character, with just one
of being late, especially for a trip. While not unlucky quirk: like an eye twitch, her fear is a hindrance
otherwise a nervous woman, just thinking that she cannot help. She is portrayed as deferential to
about being late makes her so nervous that her husband: she must “flutter and fidget” from room
her eye twitches. This has grown into a to room while he makes her wait. The power imbalance
“serious obsession”—a half hour before in their relationship is established immediately.
leaving for anything, Mrs. Foster emerges fully
ready and frets until her husband, Mr. Foster,
(“who must have been well aware of her
state”) is ready to go.
While it’s reasonable that Mr. Foster might be Mr. Foster’s habit of making his wife wait makes him
irritated by Mrs. Foster’s nervousness, it’s not somewhat suspicious: he is either uncaring and does
an excuse for deliberately making her wait. not notice, or he does notice and is being deliberately
This is not necessarily what he is doing, but he cruel. Either way, Mrs. Foster has learned over the
is always precisely a minute or two late, and he years that she cannot even tell him to hurry without
is so nonchalant that it seems like he is risking his anger and further cruelty. He is taking
“inflicting a nasty private little torture” on his advantage of the power dynamic.
wife. What’s more is she would never dare to
bring it up because he “disciplined her too well
for that.”
If indeed Mr. Foster was deliberately making Mrs. Foster is undeserving of her husband’s treatment,
her wait, this behaviour was “doubly having “served him loyally” for over thirty years. This
unreasonable” since Mrs. Foster has been a characterization again adheres to stereotyped gender
good wife for over thirty years who had roles. There is a suggestion of disloyalty on the part of
“served him loyally and well.” She is such a Mr. Foster, but nothing is certain yet.
good and modest woman that she hasn’t
allowed herself to believe that her husband
could be torturing her on purpose, but more
recently, she has found herself beginning to
wonder.
Mr. Foster and his wife live in a six-story house Mr. and Mrs. Foster are part of the upper class, which is
in Manhattan with four servants. Normally, the why they are able to employ several servants, and they
place is quite grim, but today it is abuzz. are often concerned with propriety. The fact that Mrs.
Servants are draping furniture and bringing Foster only dares to complain in front of the butler
down suitcases while Mrs. Foster is dithering shows how complete Mr. Foster’s control over her is.
about nervously, fearing she will miss her
plane and repeatedly asking the butler the
time. They are supposed to leave at nine
fifteen and the plane takes off at eleven.
Mrs. Foster is headed to Paris to visit her Mr. Foster’s cruelty in regard to this trip is especially
daughter and finally meet her grandchildren of distasteful: his wife only wants to see their daughter
whom she has only seen pictures. It took her and their grandchildren. It is not a selfish trip and it is
months to persuade her husband to “allow” one that a good mother (and grandmother) would
her to go, and she fears that if she misses the certainly want to make, so it’s inexplicable and sinister
plane he will cancel the trip. He insisted on that he’s trying to stop her.
seeing her off at the airport, so she is, again,
waiting for him.
More and more, Mrs. Foster finds herself As a devoted parent, Mrs. Foster is a sympathetic
wishing that she could live in Paris to be with character. Mr. Foster, in comparison, expresses no
her grandchildren all the time. She holds their interest in seeing his family. Furthermore, the question
photographs dear and, more than anything of disloyalty emerges here: if Mrs. Foster is disloyal for
else, she longs to visit them, take them on merely thinking about being a benevolent grandmother
walks, buy them presents, and watch them while living elsewhere, what, in comparison, is Mr.
grow. But this would involve living in Paris and Foster in his cruelty?
her husband would never agree, so she
dismisses this these thoughts as disloyal.
Finally, Mr. Foster emerges and says casually Mrs. Foster’s hysteria is even clearer in comparison to
that they should probably get going. Mrs. Mr. Foster’s calm, calculating nature. Her desperation is
Foster replies that the butler has his coat and exacerbated by his cruelty, and it also has to do with
reminds him that the car is waiting. He her powerlessness thanks to the unequal power
examines her carefully, squirrel-like in his dynamic. His stalling by washing his hands and
movements, and then calmly insists on pretending to examine the weather reveal his insistent
washing his hands first. Mrs. Foster asks deception and disloyalty.
Walker (the butler) if she’ll make it in time,
and he reassures her that he thinks she will.
Mrs. Foster hurries to the car and Mr. Foster
walks slowly behind, saying he wouldn’t be
surprised if the flight were already cancelled.
As they drive, Mr. Foster says that he arranged Mr. Foster is distrustful of his own servants and opts
everything with the servants, giving them half- not to keep any of them on while Mr. and Mrs. Foster
pay for six weeks, and he will telegram when are away, even though it would be convenient for the
he wants them back. He will be staying at the Fosters in several respects. This reveals his cheapness
club while she is gone, only occasionally and a certain class bias, and it also shows that Mr.
stopping by the house to get the mail. Mrs. Foster has a suspicious nature, unlike his trusting wife.
Foster meekly suggests that their butler could Even though Mrs. Foster seem to have a point about
stay and do that, but Mr. Foster refuses the value of keeping them around, she is again cowed
because he’d have to pay Walker full wages by her husband’s authority.
and he wouldn’t trust him alone in the house.
Mrs. Foster asks if Mr. Foster write back to her
while she’s gone but he tells her probably not.
The fog thickens as they approach the airport Mr. Foster’s cruelty again comes through in his
and it seems unlikely that Mrs. Foster will fly insensitivity to his wife’s misery and preoccupation. He
that day. Mr. Foster tells her to stop fussing, abuses his power by talking down to her, bullying her,
his tone somehow changed. He tells her to and browbeating her, repeating that she will miss her
resign herself to missing her flight, and Mrs. flight. She catches a glimpse of his dishonesty in his
Foster notices to her horror that her husband strange change of tone, but she cannot clearly read his
is staring at the place where her eye twitches. expression, so she suspends disbelief about the
intentional nature of his cruelty since she can’t prove it.
Though visibility is poor, they keep driving, Mr. Foster’s cruelty is emphasized by the driver’s
guided by the driver’s single yellow lamp, and neutrality. While Mr. Foster is eager to see them stuck,
then they finally stop. Mr. Foster cries that the driver is a neutral party that calmly intervenes.
they must be stuck, but the driver tells them
they are at the airport. Mrs. Foster rushes out
of the car and is told that her flight is
postponed but that she should stay there and
wait.
Mrs. Foster runs back to tell her husband the Mrs. Foster does not stay at the airport because of her
news and they agree that there’s no point in sense of propriety and class, and also because of her
him staying. He says goodbye to her. She waits gender. It would not be “ladylike” to find a place to
all day at the airport, checking with the clerk sleep at the airport. It’s odd and troubling, though, that
every thirty minutes or so until she is told she would rather sleep at the airport than go to her
around six o’clock that the flight is postponed own home. She still relies on her husband, which is
till eleven o’clock the next morning. Exhausted, shown by her decision to call him.
Mrs. Foster would like to just sleep in the
airport, but she realizes this would be a
ridiculous thing for an elderly lady to do, so
instead she calls her husband.
Mrs. Foster wants to get a hotel, presumably Mrs. Foster proposes staying at a hotel because the
near the airport, but her husband tells her to servants have gone and she relies on them, indicating
use their house. He insists on staying with her, her class status. Mr. Foster is cruel here, berating his
browbeating her for her anxieties about there wife with gendered language (he insists that she always
not being food in the house and the servants wants to “fuss” and calls her “woman”) with no
being gone. She meekly accepts and goes sympathy for her anxiety about making the plane.
home. The fog is slowly clearing up. Again, in keeping with their adherence to strict gender
roles, Mrs. Foster acquiesces to his desires. He is being
essentially disloyal by insisting that she come back to
the house when she would be much happier and more
likely to have a smooth trip if she were to stay at a
hotel.
Mrs. Foster arrives home, tells her husband of Taking advantage of his wife’s exhaustion, Mr. Foster
her new departure time, and that the weather craftily finds another way to interfere in his wife’s
is clearing. Mr. Foster says he has ordered a travel plans, showing the extent of his cruelty and
car for nine o’clock the next morning. He won’t disloyalty. Mrs. Foster is starting to realize his cruelty,
come see her off again, but he insists that she which manifests in her feeling that he is “suddenly so
drop him off at the club on her way. Mrs. small and far away that she couldn’t be sure… even
Foster suddenly feels he is a million miles away what he was.” He has already ordered the car for nine
and that she doesn’t even know him. She o’clock in the guise of taking care of her, but again he is
reminds him that the club is out of the way, forsaking his duties as a good partner by insisting that
but he says they’ll have plenty of time. As they go first to the club.
always, she acquiesces
The next morning, Mrs. Foster is again ready Mr. Foster, with his insistence on bringing his cigars and
long before nine, but her husband does not his “curiously cut Edwardian jacket,” becomes a
appear until just after the hour. He asks about grotesque caricature of a wealthy but sadistic husband.
coffee and her luggage, as nonchalant as ever. Mrs. Foster’s assessment of his “goat’s legs in… narrow
She, on the other hand, is even more stovepipe troupers” shows her slowly changing
desperate than the previous morning. He perspective on her husband and makes him seem all
insists on getting some cigars and meanders the more ridiculous, foreshadowing his downfall. Mr.
outside, telling her perhaps she’ll be lucky this Foster’s disloyalty and cruelty manifest themselves in
time. his slow walk to the car and in his nonchalant comment
that perhaps his wife will be lucky this time, as if he
himself isn’t the reason she is always delayed.
They are already a few minutes behind, and Since Mr. Foster cares so little for his daughter and
Mrs. Foster asks the driver to please hurry. grandchildren, his sudden commitment to giving his
Just as they are about to leave, Mr. Foster daughter a gift is perplexing and suspicious. Mrs. Foster
stops the driver. He claims he can’t find the pleads with him to leave it, in her desperate state
small gift, a white paper box that he wanted revealing her thoughts on her husband’s gift-giving
Mrs. Foster to give to their daughter. He abilities. While this is the smallest of slights, it is not
doesn’t find it in his jacket and concludes he permitted in their relationship and he yells at her
must have left in the bedroom. Mrs. Foster because she has forgotten herself “for once.” This
says she never saw such a box and she begs implies that he is very much aware of how often she
him to leave it: they can mail it, it’s only a silly accepts his abuse. There is also the issue of propriety
comb anyway. Mr. Foster blows up, furious and class: as a wealthy man, it is more embarrassing for
that she has “forgotten herself for once.” He his wife to slight him in front of “the help.”
commands her to stay in the car while he
returns to the house to look.
Mrs. Foster pleads with him to be quick, and Finally, Mrs. Foster discovers how deep her husband’s
she asks the driver again if they have enough sadistic streak runs, since there is no way to interpret
time, to which he responds, “Just about.” Then this besides that he has hidden the gift on purpose to
she spots something wedged down in the make her late. In this, her long-held suspicions of his
crack of the seat and realizes it is the gift that cruelty are confirmed. He has been deceiving her
her husband was talking about, but it seems throughout the story, but the trick of the box feels
awfully deep in the crack of the seat to be particularly nasty since it is in the guise of gift giving, an
placed there by accident. She tells the driver to act of goodwill.
go and get him, but the door is locked, and she
realizes it’ll be faster if she does it herself.
Sliding the key into the keyhole, Mrs. Foster Though the reader will only become aware of it later,
suddenly stops, all franticness gone, listening this is where Mrs. Foster enacts her revenge. She hears
for some unnamed sound. She stays there for her husband get stuck in the elevator, and, knowing no
over ten seconds, then suddenly springs to life one will come for him, makes the decision to leave him
again and runs back down the steps, telling the there to die. This revenge is a long time coming,
driver it’s too late and she has to go. Her justified by her husband’s abuse, and it’s strikingly
husband will get a cab to the club. Her whole deceptive, because no one will be able to prove that
attitude seems to have changed, becoming she did it. It also indicates the shift in the balance of
somehow harder and more authoritative, but power in their marriage. Mrs. Foster is now speaking
the driver hardly notices. with authority and has lost that “soft and silly look”
about her. She takes control of her fate and her
husband’s.
Mrs. Foster urges the driver to go quickly, and Mrs. Foster’s revenge frees her in both the literal and
she makes her plane with a few minutes to figurative sense. She finally feels comfortable and
spare. She is finally relaxed, in a strange, calm strong, and she can interact with her daughter and
new mood. She feels wonderful and strong. In grandchildren, unburdened by her abusive marriage.
Paris, she enjoys herself with her She reminds her husband to eat his meals, but this is an
grandchildren, buying them presents, telling ironic touch when she knows that he’s starving in an
them stories, and taking them for walks. She elevator. She has been disloyal towards her husband,
writes to her husband every Tuesday, but she has become loyal to herself and remains loyal
reminding him to eat his meals regularly. After to the rest of her family.
six weeks, she returns, but with an air of
someone who will be back soon
Arriving back in New York, there is no car to Mrs. Foster’s trick is finally revealed: she heard the
meet Mrs. Foster. She gets a cab, but no one elevator get stuck and decided to leave her husband in
answers the door at their house. With an there while she was away for six weeks, killing him. She
amused and calm air, she opens the door, only behaves with the utmost propriety, calmly calling the
to find a huge pile of mail, clearly untended. elevator service. Her revenge, likewise, has been very
The place is dark and cold, with a strange intentional, but within the realms of propriety for her
atmosphere and a peculiar, unfamiliar smell. class status, because no one knows that she did it. She
She briefly disappears to a certain corner of can be just as cruel and disloyal as her husband, it turns
the house and returns with a “glimmer of out, but she only chooses to do so in retaliation for his
satisfaction” on her face. Then she calmly picks years of making her suffer.
up the phone and dials the elevator repair
company, asking them to come fix the lift,
which is stuck between the second and third
floors.

Character analysis
Mr. Foster, whose first name is Eugene, is a domineering, cunning, and abrasive man who has
retired from his “many enterprises,” which allowed him to afford a private six-story house in
Manhattan with several servants. He is generally unkind to his wife, often ordering her around,
calling her “foolish” or “stupid,” or speaking to her in a condescending tone. He is indifferent to
his daughter and grandchildren, and to his wife’s obvious distress at potentially arriving late for
things. He refuses to allow the servants to continue their upkeep of the house in the couple’s
absence, because it would cost him more money, and he suspects they might get up to untoward
things without them there, revealing his classist nature. The extent of his cruelty is clearest when
Mrs. Foster finds that he hid the gift for their daughter in the seat of the car to purposely make
her late for her flight to Paris, and his death, though gruesome, is justified.
Mrs. Foster is the protagonist of the story. For thirty years of marriage, she has been a “good
and loving wife” to her husband, Mr. Eugene Foster. She and Mr. Foster live in New York, while
their only daughter lives in Paris. Mrs. Foster is meek, but kind-hearted and loyal, and she has an
“almost pathological” fear of being late. This fear drives her nearly to the point of hysteria,
physically manifesting in a persistent eye twitch. At the beginning of the story, she is planning to
board a plane to see her daughter in Paris and meet her grandchildren for the first time, but Mr.
Foster is careless about being on time, as he always seems to be. As the story progresses, she
begins to suspect more and more that he may be making her late on purpose to inflict a kind of
psychological torture on her. This suspicion is confirmed when he runs into the house to look for
their daughter’s gift, but she finds it hidden in the seat of the car, presumably so that she would
miss her flight. When Mrs. Foster runs to the door to tell him, she hears something that makes
her return to the car and tell the driver to take her to the airport without her husband. At the
end, Dahl implies that Mrs. Foster heard the sound of their elevator getting stuck between floors
and she left anyway, knowing that her husband would die trapped there. This decision brings out
a new confidence and satisfaction in Mrs. Foster, doing away with her prior nervousness.