Look Back in Anger LitChart

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Look Back in Anger

Soup with Barley are thematically similar to Look Back in Anger,
INTR
INTRO
O chronicling working class disillusionment and frustration.
Novels ascribed to the movement include John Braine’s 1957
BRIEF BIOGRAPHY OF JOHN OSBORNE Room at the top and Allan Sillietoe’s 1958 Saturday Night and
John Osborne was born in southwest London to lower middle Sunday Morning. Both follow working class British
class parents, a barmaid and an advertising copywriter. His protagonists as they struggle to achieve their goals and create
father died in 1941, when Osborne was twelve. Osborne meaningful lives. British New Wave film of the 1960s, which
briefly attended a public (non state-run) high school, but was dealt with similar themes, is also considered an offshoot of the
expelled after two years when he struck a school administrator movement.
who had tried to discipline him. He wrote his first play at the
age of twenty-one, in 1950. Around that time, Osborne also KEY FACTS
married his first wife, the actress Pamela Lane. Look Back in
Anger is loosely based on their tumultuous relationship. • Full Title: Look Back in Anger
Osborne wrote it in 17 days while on vacation, and it was first • When Written: 1955
produced in 1956. The production catapulted the 26-year-old • Where Written: Osborne wrote much of the play in the beach
Osborne to fame, and ushered in a new era of British theater town of Morcambe in Lancashire, England. He was living in
showcasing working class protagonists in the contemporary, London at the time.
post-World War 2, era. Osborne went on to write many more • When Published: The play premiered on May 8, 1956 at the
plays and a two-volume autobiography (in which he reveals a Royal Court Theater in London. It was first published in 1957
vehement dislike for his mother). Osborne married five times, by Faber and Faber.
ending his life happily married to the art critic Helen Dawson.
• Literary Period: Theatrical realism. The play kicked off British
He died in 1994 due to complications from diabetes. His last theater’s “Angry Young Men” movement.
word, to Dawson, is said to have been “sorry.” Look Back in
• Genre: Dramatic stage play
Anger remains by far his most famous work.
• Setting: A working class apartment in the Midlands, a region in
the center of Britain sometime during the early 1950s.
HISTORICAL CONTEXT
• Climax: Alison loses her baby to a miscarriage and returns to
World War 2 ended in 1945, and Britain faced the task of her husband, Jimmy.
rebuilding their infrastructure, which had been decimated by
• Antagonist: Both Jimmy and Alison can be considered
German bombs, and propping up a struggling economy. Partly antagonists, as they fight with and antagonize each other. A
as a result of these difficulties, Britain withdrew from their broader thematic antagonist is post-war malaise in Britain.
colonies in India, Sri Lanka, and Myanmar in 1947. The 1956
Suez Crisis, in which Britain invaded Egypt and eventually EXTRA CREDIT
withdrew due to political and economic pressure, led to a
humiliating recognition that the country was no longer a world Quotable old press officer. The origin of the phrase “angry
power. Further changing the social context in the country, the young men” to describe playwrights comes from a 1957 Daily
1944 Mass Education Act in Britain had made secondary Telegraph article by Royal Court Theater press officer George
education free, opening of the possibility of higher education to Fearon. Fearon had predicted that his own generation was
the working classes. This created more class mobility in the likely to hate Look Back in Anger, while Osborne’s generation
post-war era than had existed before it, and economic recovery would love it. “If that happens,” Fearon said to Osborne, “you
in the 1950s furthered this trend. At the same time, British will become known as the ‘Angry Young Man.’ In fact, we
class structure remained somewhat static, resulting in a decided then and there that henceforth he was to be known as
generation of educated children of the working class who that.”
found it difficult to put the education they had received to good
use. The Ironing Board. Osborne’s play was revolutionary in that it
brought a new type of realism to the stage. In fact, audiences
RELATED LITERARY WORKS were so shocked to see an ironing board when the curtain went
up on opening night that an audible gasp could be heard in the
Other playwrights of the Angry Young Men movement include Royal Court Theater.
Bernard Kops, Arnold Wesker, and John Arden. Kops’s 1956
The Hamlet of Stepney Green and Wesker’s 1958 Chicken
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Jimmy and Cliff come in to eat. When he hears that Helena and
PL
PLO
OT SUMMARY Alison are going to church together later that day, Jimmy also
becomes convinced that Helena is out to take Alison away from
Look Back in Anger follows a young husband and wife, Alison
him. He lets fly a series of outrageous insults against Alison’s
and Jimmy Porter, as they attempt to navigate class conflict
mother. Helena tries, and fails, to reason with him, and Jimmy
and deal with a deteriorating marriage in 1950s England. Alison
asks whether she has ever watched someone die. He tells the
comes from a traditional upper class background. Jimmy comes
story of watching his father die from wounds received fighting
from a working class background, though he is highly educated.
in the Spanish Civil war when he was ten years old, and claims
The couple lives with Cliff Lewis, an affable working class man
that this taught him more about life than Helena and Alison
and Jimmy’s longtime friend. The scene opens on a Sunday
know even now. Near the end of the scene, Jimmy leaves to go
morning in the apartment. Alison irons clothes while Cliff and
get the telephone. While he’s gone, Helena tells Alison that she
Jimmy read the newspaper.
has sent a message to Colonel Redfern asking him to come pick
The play’s first act largely consists of Jimmy’s angry tirades Alison up. Alison doesn’t protest. When Jimmy returns, he says
against upper class complacency and his wife’s lack of that Hugh’s mum, the working class woman who set him up in
“enthusiasm.” Jimmy thinks that suffering is the only way to his candy stall and for whom he harbors deep affection, is dying
experience true human emotion, and that Alison and other of a stroke. He asks Alison to come to the hospital with him.
upper class people are therefore less “alive” than he is. He also Instead, she goes to church. Jimmy is left alone on stage.
seems to have some nostalgia for a past age in Britain when the
In the next scene, Colonel Redfern helps Alison pack to leave.
country had more power. Jimmy’s attempts to shock his wife
He reveals that he thinks he and Alison’s mother reacted too
into some display of emotion escalate as the act progresses—he
strongly to her marriage with Jimmy, and that Jimmy might
insults her family and complains that all women are out to
have been right to be angry with them. He says he thinks that
destroy men. Cliff, attempting to cheer Jimmy up, begins to
Jimmy could be right that he, Redfern, is a relic of an old version
banter and roughhouse with his friend. The two fall against
of England that has ceased to exist. He also says that he and
Alison’s ironing board, and she burns her arm. Jimmy
Alison have a tendency to stay neutral and not take a strong
apologizes, but she yells at him to leave, and he exits.
stand on things. She is surprised to hear this from him, and as
Cliff helps Alison treat the burn, and she reveals to him that she she finishes packing she briefly re-considers her move. Then
is pregnant with Jimmy’s child. She hasn’t told Jimmy yet, Helena enters, and Alison decides to go. She says goodbye to
because she is afraid that he’ll feel trapped and angry. Cliff Cliff. Helena stays behind because she has a work meeting the
comforts Alison, and tells her that Jimmy loves her. He kisses following day. Alison and Colonel Redfern exit, and Cliff, angry
her. Jimmy enters while they are kissing, but doesn’t that Helena has disrupted their life, leaves before Jimmy comes
acknowledge or object (the three live in a non-traditional set- back. Jimmy returns a few moments later, furious, having seen
up that would have been shocking to audiences at the time). Alison leaving with her father on his way home. Helena gives
Soon after, Cliff leaves to get some cigarettes, and Alison and him a letter that Alison wrote explaining her decision. Jimmy is
Jimmy share a tender moment. They play their “bear and angry at her polite, restrained language. Helena tells him that
squirrel” game, which allows them to escape into affection Alison is going to have a baby. He says that he is not overcome
while pretending to be animals. Then Cliff returns and says that with emotion at this news, and insults Helena, who slaps him.
Helena Charles, one of Alison’s upper class friends, is on the This causes Jimmy to collapse in despair. Then Helena “kisses
phone. Jimmy’s mood immediately darkens. When Alison says him passionately,” and the act ends.
that Helena wants to stay with them, Jimmy explodes. He says
The scene opens several months later, looking very similar to
he wishes that Alison would have a baby that would die so that
the beginning of Act 1, except that it is now Helena who is
she could experience true suffering.
ironing. Jimmy and Cliff joke and discuss newspaper articles.
The second act begins with Helena and Alison sharing the They roughhouse, and Cliff dirties his shirt. Helena leaves to
womanly duties of the home while Jimmy plays his trumpet off clean it, and while she is off stage, Cliff tells Jimmy that he is
stage. Alison tells Helena about her first months with Jimmy. moving out. Jimmy wonders why he always chooses women
They lived with his working class friend Hugh Tanner, and over male friendship, even though he value’s Cliff’s company
spent time going on “raids” to parties of Alison’s upper class more highly than he values Helena’s. Helena comes back with
friends. She says that she felt like “a hostage from those the shirt, and Cliff leaves to dry it in his room. Helena tells
sections of society they had declared war on.” Helena asks why Jimmy that she loves him, and he asks her desperately to never
they got married, and Alison says that it seemed to be largely leave him. Then Alison appears at the door, looking sick and
because Alison’s mother and her father Colonel Redfern disheveled.
disapproved. That made Jimmy want to marry her no matter
The next scene opens a few minutes later, with Jimmy playing
what.
his trumpet off stage. Alison tells Helena that she is not angry

with her, and is not trying to break up the new couple. Helena, affectionate relationship that borders on a sexual one, but both
however, says that Alison’s presence has reminded her that of them are content with comfortable fondness rather than
what she is doing is wrong. Alison has also had a miscarriage, burning passion. Cliff eventually decides to leave to pursue his
and Helena considers this a “judgment” on her relationship. She own life, rather than staying in Jimmy’s apartment.
calls Jimmy back, and tells him that she is leaving. Jimmy says Helena Charles – Alison’s upper class friend, who comes to
that he always knew Helena wasn’t strong enough for true love, stay with the couple while acting in a play, and ends up having
which requires “muscle and guts.” Helena leaves. an affair with Jimmy after Alison leaves him. She is described as
Alison apologizes, and Jimmy says that she should have sent having a “sense of matriarchal authority” that “makes most men
flowers to Hugh’s mum, and remembers his first meeting with who meet her anxious.” Helena has a strong code of middle
her, when he thought that she had a “wonderful relaxation of class morals that eventually force her to leave Jimmy.
spirit.” This turned out to be just complacency, he says. Alison Colonel Redfern – Alison’s father, a former colonel in the
lets out a cry, and tells him that the loss of their child has made British army stationed in the English colony of India (back
her understand the depth of emotion that he wanted her to before 1947, when India still was a colony of England). He is
have all this time. She tells him that she wants to be “corrupt “gentle” and “kindly,” but also “brought up to command respect.”
and futile,” and collapses at his feet. Jimmy can’t bear to see her After leaving his post in India, “he is often slightly withdrawn
this way, and kneels to help her. Then, “with a kind of mocking, and uneasy” because he lives “in a world where his authority
tender irony,” he launches into their bear and squirrel imaginary has lately become less and less unquestionable.” Jimmy says
game. “Poor squirrels,” he says to Alison, and she responds, that the Colonel is stuck in a past version of England, and the
“poor, poor, bears.” Colonel himself agrees with this. When the Colonel comes to
help Alison pack to leave Jimmy, he shows himself to be self-
aware and incisive, commenting that both he and Alison like to
CHARA
CHARACTERS
CTERS stay neutral and avoid showing emotion, to their detriment.
Jimm
Jimmyy P Porter
orter – Jimmy is the “angry young man” of the play, Hugh TTanner
anner – Jimmy’s friend, who took Alison and Jimmy into
usually found spouting tirades against the complacency of the his apartment in the first months of their marriage. He was
British upper classes, and especially against his wife Alison and Jimmy’s partner when they went on “raids” against Alison’s
then his lover Helena. Born working class but highly educated, upper class friends at fancy parties, and Jimmy saw him as a co-
like his friend and roommate Cliff, but has an ambivalent conspirator in the class struggle. Then Hugh decided to leave
relationship with his educated status, seeing himself mostly as a for China to write a novel, and Jimmy felt betrayed. This reveals
working class man and yet frustrated that his education can do Jimmy’s deep traditional values (he was angry that Hugh
nothing to affect his class status. “He is a disconcerting mixture abandoned his mother, Mrs. Tanner) and his sense of
of sincerity and cheerful malice, of tenderness and freebooting patriotism.
cruelty.” Jimmy “alienates the sensitive and insensitive alike,” Mrs. TTanner
anner – The mother of Hugh Tanner, called “Hugh’s
and his “blistering honesty, or apparent honesty…makes few mum” by Jimmy, she helped set Jimmy up with his sweet stall.
friends.” Jimmy is a frustrated character, railing against his Jimmy loves her, and Alison thinks this is just because she is
feelings of alienation and uselessness in post-war England. lower class and “ignorant.” In the middle of the play, Jimmy
Alison PPorter
orter – A woman from an upper class background, and learns that Hugh’s mum has had a stroke, and Jimmy goes to
Jimmy’s wife. She is drawn to Jimmy’s energy, but also visit her in the hospital. In one of his few expressions of true
exhausted by their constant fighting. Jimmy accuses her of vulnerability, he asks Alison to come with him. She refuses, and
being too complacent and lacking “enthusiasm,” and her own leaves him shortly thereafter. Jimmy is offended that Alison
father, Colonel Redfern, agrees that she has a tendency seems to see Hugh’s mum only in terms of her class, and not as
towards too much neutrality. She feels stuck between her a person. He thinks that society in general ignores the
upper class upbringing and the working class world of her humanity of working class people, and that Alison’s and other’s
husband. Alison eventually leaves Jimmy, but returns to him treatment of Hugh’s mum is a prime example.
later in the play after she loses their child to a miscarriage. This Webster – The only one of Alison’s friends that Jimmy thinks
suffering changes her, and causes her to commit more fully to has any value. Webster plays the banjo and is able to talk in
the intense emotion inherent in Jimmy’s world. Jimmy’s “dialect.” Jimmy believes that Webster is gay.
Cliff LLewis
ewis – A kind man of working class background, and a Madeline – Jimmy’s first love, a woman ten years older than he
good friend and roommate to both Jimmy and Alison. He lives is. He sees her as an example of the “enthusiasm” that Alison
with the couple, and helps to keep them together. Cliff is “easy lacks.
and relaxed, almost to lethargy, with the rather sad, natural
Nigel – Alison’s brother, a politician. Jimmy considers him “just
intelligence of the self-taught.” He and Alison have an
about as vague as you can get without actually being invisible.”

Alison wishes that she could have reached out to Nigel during built on shaky ground, and that they might fall back into the
the difficult first months of her marriage, because he would cycle of anger and fighting that they enact throughout the play.
have been affectionate and loving to her. Alison and Jimmy may make their relationship work for now,
Alison
Alison’s
’s mother – Alison’s mother strongly disapproved of but the divisions between them run too deep to ever fully heal.
Jimmy and Alison’s marriage, and went to great lengths to In Look Back in Anger, truces across class boundaries are
prevent it. She did this out of a protective love for Alison. ultimately brief and inadequate.
However, Colonel Redfern says that he thinks his wife went
too far in her actions. 2 SUFFERING AND ANGER VS. COMPLACENCY
Miss Drury – The couple’s landlord. Alison is worried that she’ll Suffering and anger are highly associated with lower class-ness
evict them for being too rowdy, while Jimmy considers her a in the play, and complacency with upper class-ness. Jimmy
thief, reflecting his negative view of people with financial believes that lower class people, who have suffered as he has,
power. have an insight on the world that upper class people lack. He
berates Alison for lacking “enthusiasm” and “curiosity.” He
suggests that her complacency makes her less human, less
THEMES connected to life than he is. He sees this suffering and anger as
an important part of his identity. At a climactic moment in the
In LitCharts each theme gets its own color and number. Our play, Alison says of Jimmy, “don’t try and take his suffering away
color-coded theme boxes make it easy to track where the from him—he’d be lost without it.”
themes occur throughout the work. If you don't have a color
printer, use the numbers instead. In the end, Alison finally experiences the suffering that Jimmy
thinks she has been lacking: she loses their child to a
miscarriage. This, she believes, forces her to experience the fire
1 CLASS AND EDUCATION of emotion that Jimmy had always wished she had. But the play
Look Back in Anger was published in the post World War II leaves us unsure whether their suffering will actually lead to
period in England, in 1956. In 1944, The British Mass any redemptive knowledge. The circular structure of the
Education Act had made secondary education free for play—the beginning of the first and third acts mirror each
everyone in the country. This meant that whole new swaths of other—undermines the sense that Jimmy’s life is really as
British society were now equipped to write about their lives. dynamic as he suggests that it is. He seems to be stuck in a
John Osborne was one of these. His play broke into a world of routine. Osborne’s voice in the play, seen in his stage directions,
British theater that had previously been a polite, upper class also tells us that Jimmy’s fiery energy can be self-defeating. In
environment, and brought a new angry energy and previously his first stage direction describing Jimmy, Osborne writes, “to
unencountered point-of-view to the stage that startled some be as vehement as he is is to be almost non-committal.” When
theatergoers. We see evidence of that new class mobility, and Alison finally breaks down and tells him that she wants to be
the new reality it created, in the play. Jimmy Porter comes from “corrupt and futile,” Jimmy can only “watch her helplessly.” The
a working class background, but has been highly educated. He play ultimately suggests that Jimmy’s anger is an expression of
went to a university (though not one of Britain’s finest— his his social discontentment and suffering, but not an answer to
upper class wife, Alison, notes that it was “not even red brick, his problems. He doesn’t channel it in any political direction,
but white tile.”) And though Jimmy went to a university, he is joining a party or holding meetings or organizing his similarly
still stuck running a sweet stall. He has in some ways left his angry friends, or even conceive of any way that it can be
background behind, but he also doesn’t feel fully comfortable channeled. Though it springs from a moral fervor, it dissolves
and hasn’t been accepted into the upper classes. He uses big into a diffuse attack on many fronts, rather than pointedly
words and reads the newspaper, but he sometimes has to look targeting and taking down any oppressive systems.
those words up in a dictionary, and he says that the Sunday
papers make him feel ignorant. 3 DISILLUSIONMENT AND NOSTALGIA
Alison and Jimmy’s relationship is the main place where class Look Back in Anger is the archetypical play of the “angry young
tension unfolds. Alison comes from an upper class background men” movement in British theater, which was marked by
very different from Jimmy’s. Both portray the struggle between working class authors writing plays about their disillusionment
the classes in military terms, focusing on the ways that these with British society. In Osborne’s play, we see this in Jimmy’s
two sectors of society fail to blend. Jimmy and his friend Hugh sense of political emptiness. Jimmy complains that, in the
see her as a “hostage,” and they spend time in the early years of Britain of the 1950s, “there aren’t any good, brave causes left.”
Alison and Jimmy’s marriage going to upper class parties to Helena observes that he was born in the wrong time—“he
“plunder” food and drink. Though Alison and Jimmy try to make thinks he’s still in the middle of the French Revolution.” Jimmy’s
their relationship work in the end, we get the sense that it’s angry fervor is out of place in modern society, and this leaves

him feeling useless and adrift. Other characters also feel a masculinity, as first Alison and then Helena are drawn to him
sense of nostalgia for the past, but for different reasons: they sexually. Yet there is something destructive in it as well, as both
long for an era characterized by a leisurely life for rich Britons also end up leaving him. Further complicating the gender
and greater worldwide power for the British Empire. Many of dynamics, women, too, are portrayed as having a destructive
these themes of nostalgia revolve around Alison’s father, power over men. Jimmy says he’s thankful that there aren’t
Colonel Redfern, who had served in the British army in colonial more female surgeons, because they’d flip men’s guts out of
India. Jimmy says that Colonel Redfern is nostalgic for the their bodies as carelessly as they toss their makeup
“Edwardian” past — early 20th century England, before World instruments down on the table. He likens Alison’s sexual
War I, when things were supposedly simpler and more passion to a python that eats its prey whole. At the end of the
peaceful. play, he says that he and Cliff will both inevitably be “butchered
In the end, the play argues that the characters’ disillusionment by women.”
is legitimate. Post-war Britain was marked by a stagnant The muddled gender roles in the play add to the sense of
economy and declining world power, partly due to the fact that realism that made it such a sensation when it was first
it no longer had many lucrative colonies around the world performed. Characters defy social convention. Alison disobeys
(India, where Colonel Redfern served, gained its independence her parents to marry Jimmy. Helena slaps Jimmy at the very
in 1947). The play argues that these factors have left the start of their affair, and later walks out on him. An unmarried
country’s young people adrift and disempowered. Jimmy’s man (Cliff) lives with a married couple. He flirts with Alison, but
anger is therefore justified. Both Jimmy and Colonel Redfern, Jimmy doesn’t particularly mind. The fluid and shifting gender
from their different places in society, have nostalgia for a time roles in the play reflect the more fluid realities of post-War
when Britain was more powerful on the world stage. The British society, portrayed for the first time in the traditionally
passing away of Britain’s imperial power is thus painted in a staid and upper-class medium of theater.
negative light—and though Look Back in Anger voices a
revolutionary social critique of class conditions in England, it 5 LOVE AND INNOCENCE
stops short of criticizing Britain’s exploitation of its colonies.
Jimmy believes that love is pain. He scorns Cliff and Alison’s
Instead, it argues that the decline of the empire has led to the
love for each other, which is a gentle sort of fondness that
disenfranchisement of the men of Osborne’s generation, and
doesn’t correspond to his own brand of passionate, angry
gives those disenfranchised citizens a strong and angry voice in
feeling. When Helena decides, suddenly, to leave him at the end
Jimmy Porter.
of the play, Jimmy reacts with scorn and derision. Love, he says,
takes strength and guts. It’s not soft and gentle. To some extent,
4 GENDER Jimmy’s definition of love has to do with the class tensions
During World War II, many British women had stepped into between Jimmy and Alison. Alison tells her father that Jimmy
new roles in the labor force. After the war ended, most were married her out of sense of revenge against the upper classes.
expected to move back into their traditional roles in the In asking her to leave her background, he laid out a challenge
household, but many still held jobs outside the home. The play for her to rise to, and their passion was partly based on that
takes a conflicted view of gender that parallels these shifting sense of competition between classes. This subverts a
dynamics. On the one hand, Jimmy’s angry, destructive, and traditional love story—Jimmy’s anger at society overshadowed
typically masculine energy drives much of the action and his feelings for Alison, at least in her eyes.
dialogue. On the other hand, women are given agency, and It’s clear that Jimmy and Alison’s relationship isn’t
female characters act in their own interests, independently of characterized by much tenderness. However, the two do
men (most notably, both Alison and Helena leave Jimmy). manage to find some when they play their animal game. Jimmy
Femininity in the play is highly associated with upper class- and Alison as the bear and squirrel are able to express more
ness, and masculinity with lower class-ness. This leads to simple affection for each other, but only in a dehumanized
clashes between the genders that also have an economic state, when they leave their intellects behind. In the final scene,
dimension. Sticking to conventional gender roles means Jimmy describes their game as a retreat from organized
sticking to the propriety and politeness of British society society. They’ll be “together in our bear’s cave, or our squirrel’s
(which also means acting along with your class role). For drey.” Jimmy and Alison are not able to enjoy love as a simple
example, in stealing Alison away from her family to marry her, human pleasure. Their relationship is buffeted by class
Jimmy took on the traditional male role of a “knight in shining struggle, anger, and suffering. Only when they remove class
armor.” But, Alison says that “his armor didn’t really shine markers and withdraw from society in their animal game are
much,” subverting this traditional gender role by adding a class they able to reach some level of innocence.
dimension to it. Jimmy was almost heroic, but not quite. There is This reflects a broader loss of innocence in a generation of
clearly something attractive in Jimmy’s virile, lower class post-war Britons that had seen the hydrogen bomb dropped on

Japan and 80 million soldiers and civilians die during World situation—Helena positively likes the smell, while Alison is
War II. Their parents and grandparents were able to grow up merely “used” to it. While living with her parents in the third act
with some measure of peace of mind, but these characters (and of the play, the smell of pipe smoke reminds Alison of Jimmy,
the real Britons of their generation) cannot. This affects them and soon after, she comes back to him. Once in the apartment,
even in fundamental parts of their domestic lives, like love and she absentmindedly cleans up the ashes from the pipe,
marriage. They have trouble experiencing these things as reflecting the fact that she retains her upper class sense of
simple pleasures, because the world surrounding them is so respectability and order, even as she returns from her parents’
difficult and complex. Only by leaving their society, their home to live in Jimmy’s world. The pipe thus becomes a litmus
human-ness, behind, can they find the innocence to enjoy test of Helena and Alison’s relationship with Jimmy throughout
simple love. the play.
BEAR AND SQUIRREL

SYMBOLS
Alison and Jimmy’s bear and squirrel game gives them a way to
Symbols appear in red text throughout the Summary and access a simple affection for each other that they cannot
Analysis sections of this LitChart. achieve in normal life. The bear is associated with Jimmy, and
the squirrel with Alison. The animals symbolize the fact that
NEWSPAPERS social norms and conventions interfere with the love that these
two characters have for each other. Their relationship is a site
Jimmy and Cliff read newspapers throughout Act 1 and Act 3, of class and societal conflict, and this means that their love
and they are a major visual feature in the apartment. Jimmy becomes fraught with anger and fighting. When they act like
uses the newspaper as a symbol of his education. They are a
animals, whose only concerns are food, shelter, cleanliness, and
way for him to mimic the habits of the upper class, university- sex, they can forget that conflict and feel a simpler version of
educated elite. He repeatedly comments on what he is reading, love for each other. The fact that they keep stuffed animal
sometimes using erudite vocabulary. He also uses newspaper versions of the bear and squirrel in the apartment reflects a
articles as a way to belittle the intelligence of Cliff and Alison, childlike innocence that these characters find it difficult to
which is one of the tactics he employs to make himself feel maintain in their troubled world, but that they still hope for.
smarter and more worthwhile. Yet, Jimmy’s relationship with
newspapers also shows his ambivalent relationship to his
educated status. He says that the newspapers make him “feel CHURCH BELLS
ignorant,” and he often mocks “posh” papers, which, in his mind, The church bells symbolize a respectable middle class morality
are out of touch with the real concerns of working class men that Jimmy finds oppressive. Helena subscribes to this version
like him. The newspapers in the apartment also form a “jungle,” of morality, which posits that some things are clearly right,
showing that, in a working class environment, this status while others are wrong and “sinful.” Jimmy, on the other hand,
symbol becomes something that upper class characters like believes that the rules of respectable society are something to
Alison would consider chaotic and dangerous. This reflects the struggle against. In his mind, it is moral to act in allegiance with
way that greater social mobility has caused social upheaval in his oppressed class, and to feel emotions as keenly and
Britain. intensely as possible. The church bells chime from outside the
window at various points in the play, reflecting the fact that
PIPE these middle class rules are a fact of life in most of the world,
and that they often intrude into the apartment, and into
Jimmy’s pipe is another example of an upper class symbol that Jimmy’s life. He curses and yells when he hears them, reflecting
Jimmy uses instead to reflect his working class status. Pipes his anger at this system of morality. Alison leaves for church
call to mind old, educated, university professors. Jimmy’s pipe is with Helena in the middle of act 2, following Helena back into a
a way for him to dominate the scene and assert himself as a middle class world.
rebellious force in the world (and he uses his force largely to
rail against upper class norms). His pipe smoke fills the room,
and creates a smell that other characters come to associate TRUMPET
with him. Alison says in the first act that she has “gotten used” Jimmy’s jazz trumpet can be heard off stage at various points in
to it, reflecting the way that she adapts her values and the play. Jazz has traditionally been protest music, and is
sensibilities depending on the context that she is in. Helena associated with the working classes. It symbolizes Jimmy’s
later says that she has grown to “like” the smell, reflecting the desire to be a voice of resistance in society, but it also shows
attraction that she feels to Jimmy, and also the fact that she the futility of that dream. It serves largely to annoy and
retains more of a sense of self than Alison does in the same antagonize those around him, not to call a movement to

attention. Like Jimmy’s pipe smoke, the trumpet also allows •Mentioned or related char
characters
acters: Alison Porter, Cliff Lewis
Jimmy to assert his dominance non-verbally. He disrupts his •Related themes
themes: Suffering and Anger vs. Complacency
domestic scene (playing the trumpet only inside), but makes
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little headway truly disrupting the world around him.
2
QUO
QUOTES
TES
She’ll go on sleeping and devouring until there’s nothing left of
The color-coded and numbered boxes under each quote below
me.
make it easy to track the themes related to each quote. Each
color and number corresponds to one of the themes explained •Speak
•Speaker
er: Jimmy Porter
in the Themes section of this LitChart. •Mentioned or related char
characters
acters: Alison Porter
•Related themes
themes: Suffering and Anger vs. Complacency,
ACT 1 QUOTES Gender, Love and Innocence
He is a disconcerting mixture of sincerity and cheerful malice, •Theme T
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of tenderness and freebooting cruelty; restless, importunate,
full of pride, a combination which alienates the sensitive and 2 4 5
insensitive alike. Blistering honesty, or apparent honesty, like
his, makes few friends. To many he may seem sensitive to the
point of vulgarity. To others, he is simply a loudmouth. To be as I hate to admit it, but I think I can understand how her Daddy
vehement as he is is to be almost non-committal. must have felt when he came back from India, after all those
years away. The old Edwardian brigade do make their brief little
•Mentioned or related char
characters
acters: Jimmy Porter world look pretty tempting. All homemade cakes and croquet,
•Related themes
themes: Class and Education, Suffering and Anger vs. bright ideas, bright uniforms…What a romantic picture. Phoney
Complacency too, of course. It must have rained sometimes. Still, even I
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own, it’s rather pleasant to regret the passing of someone
1 2 else’s.
•Speak
•Speaker
er: Jimmy Porter
Alison: He actually taunted me about my virginity. He was quite •Mentioned or related char
characters
acters: Alison Porter, Colonel
angry about it, as if I had deceived him in some strange way. He Redfern
seemed to think an untouched woman would defile him. •Related themes
themes: Disillusionment and Nostalgia
Cliff: I’ve never heard you talking like this about him. He’d be
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quite pleased.
•Speak
•Speaker
er: Alison Porter, Cliff Lewis 3
characters
acters: Jimmy Porter
•Related themes
themes: Suffering and Anger vs. Complacency, There’s hardly a moment when I’m not—watching and wanting
Gender, Love and Innocence you. I’ve got to hit out somehow. Nearly four years of being in
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sweat breaking out when I see you doing—something as
2 4 5 ordinary as leaning over an ironing board. Trouble is—Trouble is
you get used to people.
Oh heavens, how I long for a little ordinary human enthusiasm. •Speak

•Speaker
er: Jimmy Porter
Just enthusiasm—that’s all. I want to hear a warm, thrilling •Mentioned or related char
characters
voice cry out Hallelujah! Hallelujah! I’m alive! I’ve an idea. Why •Related themes
themes: Suffering and Anger vs. Complacency, Love
don’t we have a little game? Let’s pretend that we’re human and Innocence
beings, and that we’re actually alive.
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•Speak
•Speaker
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2 5

Pusillanimous. Adjective. Wanting of firmness of mind, of small •Related themes
themes: Disillusionment and Nostalgia, Love and
courage, having a little mind, mean spirited, cowardly, timid of Innocence
mind. From the Latin pusillus, very little, and animus, the mind. •Theme T
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That’s my wife! That’s her, isn’t it? Behold the Lady
Pusillanimous. 3 5
•Speak
•Speaker
er: Jimmy Porter
characters
acters: Alison Porter If you could have a child, and it would die. Let it grow, let a
•Related themes
themes: Class and Education, Suffering and Anger vs. recognisable human face emerge from that little mass of
Complacency, Love and Innocence indiarubber and wrinkles. Please—if only I could watch you face
that. I wonder if you might even become a recognisable human
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1 2 5 •Speak
•Speaker
er: Jimmy Porter
characters
When you see a woman in front of her bedroom mirror, you •Related themes
realise what a refined sort of butcher she is…Thank God they and Innocence
don’t have many women surgeons! Those primitive hands •Theme T
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would have your guts out in no time. Flip! Out it comes, like the
powder out of its box. Flop! Back it goes, like the powder puff 2 5
on the table.
•Speak
•Speaker
er: Jimmy Porter ACT 2, SCENE 1 QUOTES
characters
acters: Alison Porter We could become little furry creatures with little furry brains.
•Related themes
themes: Gender, Love and Innocence Full of dumb, uncomplicated affection for each other…And now,
even they are dead, poor little silly animals. They were all love,
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4 5 •Speak
•Speaker
er: Alison Porter
characters
I don’t think I’d have the courage to live on my own again—in •Related themes
spite of everything. I’m pretty rough, and pretty ordinary really, and Innocence
and I’d seem worse on my own. And you get fond of people too, •Theme T
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worse luck.
2 5
•Speak
•Speaker
er: Cliff Lewis
•Related themes
and Innocence Everything about him seemed to burn, his face, the edges of his
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were so blue and full of sun. He looked so young and frail, in
2 5 spite of the tired line of his mouth.
•Speak
•Speaker
er: Alison Porter
I can’t think what it was to feel young, really young. Jimmy said •Mentioned or related char
characters
the same thing to me the other day…I suppose it would have •Related themes
themes: Class and Education, Suffering and Anger vs.
been so easy to say “Yes, Darling, I know just what you mean. I Complacency, Love and Innocence
know what you’re feeling.” It’s those easy things that seem to be
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so impossible with us.
•Speak
•Speaker
er: Alison Porter 1 2 5
characters

One day, when I’m no longer spending my days running a •Speak
•Speaker
er: Cliff Lewis
sweet-stall, I may write a book about us all…and it won’t be •Mentioned or related char
characters
acters: Jimmy Porter, Alison Porter
recollected in tranquility either, picking daffodils with Auntie
•Related themes
Wordsworth. It’ll be recollected in fire, and blood. My blood.
Complacency, Love and Innocence
•Speak
•Speaker
er: Jimmy Porter •Theme T
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acters: Alison Porter, Cliff Lewis,
Helena Charles 1 2 5
•Related themes
Complacency, Disillusionment and Nostalgia, Gender ACT 2, SCENE 2 QUOTES
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code: I think you may take after me a little, my dear. You like to sit on
the fence because it’s comfortable and more peaceful.
1 2 3 4
•Speak
•Speaker
er: Colonel Redfern
characters
Anyone who’s never watched somebody die is suffering from a
•Related themes
pretty bad case of virginity.
Complacency
•Speak
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er: Jimmy Porter •Theme T
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acters: Helena Charles
1 2
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I always believed that people married each other because they
2 were in love. That always seemed a good enough reason to me.
But apparently, that’s too simple for young people nowadays.
They have to talk about challenges and revenge. I just can’t
Oh, don’t try and take his suffering away from him. He’d be lost believe that love between men and women is really like that.
without it.
•Speak
•Speaker
er: Colonel Redfern
•Speak
•Speaker
er: Alison Porter
characters
acters: Jimmy Porter, Alison Porter
characters
•Related themes
•Related themes
themes: Suffering and Anger vs. Complacency Disillusionment and Nostalgia, Love and Innocence
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2 2 3 5
I rage, and shout my head off, and everyone thinks “poor chap!” You’re hurt because everything is changed. Jimmy is hurt
or “what an objectionable young man!” But that girl there can because everything is the same. And neither of you can face it.
twist your arm off with her silence. Something’s gone wrong somewhere, hasn’t it?
•Speak
•Speaker
er: Jimmy Porter •Speak
•Speaker
er: Alison Porter
characters
acters: Alison Porter •Mentioned or related char
characters
acters: Jimmy Porter, Colonel
•Related themes
themes: Suffering and Anger vs. Complacency, Redfern
Gender •Related themes
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2 3
Where I come from, we’re used to brawling and excitement.
Perhaps I even enjoy being in the thick of it. I love these two
people very much. And I pity all of us.

ACT 3, SCENE 1 QUOTES Helena: There’s no place for people like that any longer—in sex,
or politics, or anything. That’s why he’s so futile. Sometimes,
I suppose people of our generation aren’t able to die for good
when I listen to him, I feel he thinks he’s still in the middle of the
causes any longer. We had all that done for us, in the thirties
French Revolution.
and the forties, when we were still kids. There aren’t any good,
brave causes left. •Speak
•Speaker
er: Alison Porter, Helena Charles
•Speak
•Speaker
er: Jimmy Porter •Mentioned or related char
characters
characters
acters: Cliff Lewis •Related themes
Complacency, Disillusionment and Nostalgia
•Related themes
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2 3
I don’t want to be neutral, I don’t want to be a saint. I want to be
a lost cause. I want to be corrupt and futile!
Why, why, why, why do we let these women bleed us to death?
•Speak
•Speaker
er: Alison Porter
•Speak
•Speaker
er: Jimmy Porter
characters
characters
acters: Cliff Lewis, Helena Charles
•Related themes
•Related themes
themes: Gender, Love and Innocence
Complacency, Love and Innocence
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1 2 5
ACT 3, SCENE 2 QUOTES

He wants one world and I want another, and lying in that bed
The heaviest, strongest creatures in this world seem to be the
won’t ever change it. I believe in good and evil, and I don’t have
loneliest.
to apologize for that.
•Speak
•Speaker
er: Jimmy Porter
•Speak
•Speaker
er: Helena Charles
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characters
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2 Complacency, Love and Innocence
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It’s no good to fool yourself about love. You can’t fall into it like 1 2 5
a soft job, without dirtying up your hands. It takes muscle and
guts.
At least, I still believe in right and wrong! Not even the months
•Speak
•Speaker
er: Jimmy Porter in this madhouse have stopped me doing that. Even though
characters
acters: Helena Charles everything I have done is wrong, at least I have known it was
•Related themes
themes: Suffering and Anger vs. Complacency, Love wrong.
and Innocence •Speak
•Speaker
er: Helena Charles
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Complacency, Gender
2 5
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Helena: Do you know—I have discovered what is wrong with 1 2 4

Jimmy? It’s very simple really. He was born out of his time.
Alison: Yes. I know.

Jimmy complains that the Jimmy claims his status as a
SUMMARY AND ANAL
ANALYSIS
YSIS Sunday papers are boring, and well-educated man by saying
also that they make him “feel that the papers are too boring for
The color-coded and numbered boxes under each row of
ignorant.” He taunts Cliff for him, but then immediately
Summary and Analysis below make it easy to track the themes
not being smarter, then taunts rejects that status, saying that
throughout the work. Each color and number corresponds to
Alison, asking her if the papers they’re also too difficult. This
one of the themes explained in the Themes section of this
make her feel stupid, too, even points to the way that mass
LitChart.
though she’s not a “peasant” education has made class
like Cliff. Alison says that she boundaries more difficult to
ACT 1 hasn’t read them. Cliff tells define. The idea of the “white
The play is set in a one-room The shabby furnishings mark this Jimmy to leave Alison alone man’s burden” was used to justify
apartment at the top of an old apartment as a working class while she works. Jimmy asks if British imperialism and
Victorian house. When the space. The newspapers, which “The White Woman’s Burden” exploitation of non-white people,
curtain rises, we see Jimmy represent Jimmy’s attempt to live makes it too hard for Alison to but here Jimmy twists it to insult
Porter and Cliff Lewis, seated like a member of the well- speak. He complains that his Alison and her privilege,
on opposite sides of he stage educated elite, as does his pipe talk seems to bore them, and suggesting that Alison has a
and reading newspapers. smoking, nevertheless make the tells Alison to “go back to destructive power, as the British
There are others beside them apartment seem less civilized, as sleep.” Alison, still at her empire used to.
and between them, forming “a they form an indoor “jungle.” The ironing board, finally snaps
jungle of newspapers and bear and the squirrel, which that she “can’t think,” and 1 3 4
weeklies.” Jimmy is smoking a return in the couple’s more Jimmy says that she “hasn’t
pipe. A tattered stuffed bear affectionate moments but whose had a thought for years.”
and squirrel sit on a chest of significance is not clear at this Jimmy’s angry energy is again
Jimmy decides that he’s
drawers at the end of a double point in the play, add some self-defeating—it burns him up,
hungry, to which Cliff replies
bed, which takes up most of whimsy to the scene.
that he’ll get fat. Jimmy denies rather than giving him life.
the back wall. The furniture is this: “people like me don’t get
simple and somewhat shabby. 1 3 5 2
fat,” he says, “we just burn
In the first stage direction, Right away, we sense that Jimmy everything up.”
Osborne describes Jimmy as has a strong, but unfocused, Cliff, unlike Jimmy, is kind and
Cliff reaches up to grab
“a disconcerting mixture of energy. His vehemence is self- gentle with Alison. His affection
Alison’s hand (she is still at her
sincerity and cheerful malice” defeating, turning it into for her is not destructive, though
ironing board beside him). He
and says, “to be as vehement something “non-committal.” he, like Jimmy comes from a
says that she should sit down
as he is to be almost non- Alison’s high-class background is different class background than
and join them. Alison smiles,
committal.” He describes Cliff evident, even though she wears she does. Cliff’s flirtation, which
and says she still has work to
as much more gentle—Jimmy Jimmy’s clothes. She can’t hide takes place in front of Alison’s
do. Cliff “kisses her hand and
tends to push people away, the status that she was born into. husband, shows that traditional
puts her fingers in his mouth.”
while Cliff draws them to him. He tells Jimmy that Alison is a gender and family roles are fluid
Jimmy’s wife Alison Porter 1 2
beautiful girl. Jimmy responds, in this play. Jimmy and Alison
stands ironing clothes on the “that’s what they all tell me,” share a charged moment in the
left side of the stage, near Cliff. and his eyes meet his wife’s midst of Cliff’s come-ons—the
She is wearing Jimmy’s shirt, across the stage. Cliff says that competition seems to add to
and looks elegant in this he is going to bite off Alison’s their attraction to each other.
working class apartment. “lovely, delicious paw.” Alison
says not to—she’ll burn the 1 4 5
shirt she’s ironing. Jimmy tells
Cliff to “give her her finger
back, and don’t be so
sickening.” Then he asks more
about what Cliff’s reading in
the paper.

Letting go of Alison’s hand, Jimmy voices his feeling that Jimmy says that he hates Jimmy is disillusioned by his
Cliff says that he’d been Alison is cold and unemotional, Sundays. “Always the same routine. His youth isn’t marked
reading a “moving” article by not given to anger and feeling, as ritual. Reading the papers, by heroism or excitement, but by
Bishop Bromley, who said that Jimmy himself is. When he reads drinking tea, ironing…Our tea and ironing. His education
Christians should aid the Bishop Bromley’s article, he sees youth is slipping away.” When has lifted him up out of the
manufacture of the hydrogen it as an attempt by the upper he realizes Alison isn’t working class viewpoint, while
bomb. Jimmy asks if this classes to deny the fact that listening, he says, “casually,” his situation gives him no outlet
moves Alison, and she says working class people are living “damn you, damn both of you, to use it. He takes his feelings out
that it does. He claims difficult lives. He makes this damn them all.” Cliff suggests on Alison, Cliff, and the world at
surprise. Reading the column conflict personal by tying it to that they go to the movies. large. Yet, Jimmy denies Cliff’s
himself, Jimmy announces that Alison’s family’s vision of Alison says that she can’t, but offer of a distraction (the
the Bishop denies any England—they too are blind to that Jimmy might like to. movies). His anger again leads
differences between working class difference, to their own Jimmy says no, and steers the nowhere constructive, but he
class people and others. He benefit. conversation back to nevertheless wants to maintain
quotes from the article, in newspaper articles. it.
which Bromley argues that this 1 2 3
idea is a lie propagated by the 2 3
working classes, presumably He launches into a speech Jimmy launches into his
for their own gain. Jimmy says blaming Cliff and Alison’s lack recurring argument that he is
that this sounds like the kind of of intellectual interest on more alive than anyone else, and
argument Alison’s father, “sloth.” He says they’ll drive particularly more so than Cliff
Colonel Redfern, would make. him mad with longing for a and Alison. His long, angry
Jimmy asks Alison to make Jimmy attempts to control his little “human enthusiasm” on speech is meant to show that he
some tea. She looks up at him, wife by forcing her into a their part. He suggests a game: believes he, at least, has the
and asks if he wants tea. He traditionally domestic role, “Let’s pretend that we’re virtue of “human enthusiasm.”
says he doesn’t, and when though he doesn’t even want tea. human beings, and that we’re
There is a sense that he wants actually alive.” 2
Alison asks Cliff, Jimmy
interrupts and says that Cliff the power that the upper class Cliff brings the conversation Edwardian England was peaceful
doesn’t want any, either. Then have but doesn’t know what he back to newspapers. Jimmy and prosperous, a time when
Jimmy asks Alison how much would do with it, as he rejects the summarizes another article England dominated much of the
longer she’ll be ironing. She upper class’s culture in rejecting that he says was written by a world with its far-flung colonies.
says it’ll be a while longer. the tea. He also bullies Cliff by man like Colonel Redfern Jimmy distances himself from
denying him the right to answer “casting well-fed glances back Colonel Redfern’s nostalgia for
for himself. His angry energy to the Edwardian twilight from that era. He suggests that the
dominates the room. his comfortable, people who long for that time are
disenfranchised wilderness.” out of touch—they believe things
2 4 5
Then he asks Cliff what’s were better long ago, even
wrong with the wrinkled though they are still “well-fed”
trousers that Cliff is and “comfortable” today. And yet
wearing—he looks like a even as Jimmy dismisses that
“savage.” He asks what Cliff is viewpoint, he also insists that
going to do about them. Cliff keep his clothes looking
good. Jimmy doesn’t want to be
seen as a savage by the upper
class he scorns.
1 3

Cliff grins, looks at Alison, and Cliff’s flirtation with Alison Neither Cliff nor Alison Webster is one of Alison’s rich
asks what he should do. She happens in a domestic context, responds to his tirade, even friends who doesn’t seem to fall
says that he should take his not a sexual one. He takes off his when Jimmy gives Cliff a kick. prey to the complacency of the
trousers off. Jimmy agrees. pants only for her to iron them. Jimmy changes the subject, upper classes. This makes
Alison says she can iron them Jimmy again does not protest asking whether Alison’s friend Jimmy’s constant criticism of
now. Cliff agrees, and starts Cliff’s come ons, reflecting the Webster is coming over that Alison even more cutting,
taking off his pants, emptying more liberal gender rules in this night. Jimmy likes because it suggests that there
keys, matches, and a household. Jimmy’s pipe is Webster—he speaks a could be a way out, if only she
handkerchief from his pocket. another way for him to assert “different dialect” but the could find it.
Jimmy grabs the matches and control, as its smell dominates “same language.” Webster,
lights his pipe. Cliff complains the room. Alison has “gotten Jimmy says, has “enthusiasm.” 1 2 4 5
of the smell, but Alison says used” to his ways. Instead of
Jimmy begins to say that he Now, instead of being nostalgic
she’s gotten used to it. Jimmy seeing that as a good thing for
hasn’t felt that enthusiasm for Edwardian England, Jimmy is
says that Alison is “a great one them as a couple, Jimmy sees
since—and Alison interrupts nostalgic for a more enthusiastic
for getting used to things.” this as another example of her
him, saying that it was when he love interest than his wife Alison.
She’d get used to it quickly tendency to be complacent and
was with his old mistress, He seems to always want
even if he died, he claims. Cliff to lack “enthusiasm.” Jimmy sees
Madeline, whom he dated something more or different than
hands Alison his trousers and conflict, sees refusing to get used
when he was eighteen. Cliff what he has. The fact that she
asks for a cigarette. Jimmy to things, as essential to being
remembers Madeline—“was was so much older to him adds
protests that the doctor said alive.
she the one all those years another dimension to Jimmy’s
Cliff shouldn’t smoke, but then
older than you?” Jimmy says tendency towards
gives up—“they’re your ulcers.”
that she was ten years older. unconventional social norms.
Alison hands Cliff a cigarette,
and they both light up. She 2 3 4 5
continues to iron. Cliff sits
down in his pullover and boxer Cliff says that he’s sleepy, and Running the sweet stall—a small
shorts and begins to read. doesn’t feel like going to work candy store--is Jimmy’s source of
at the sweet stall tomorrow. livelihood, even though it doesn’t
Jimmy begins to scan the Though he earlier scorned Jimmy changes the subject require his higher education.
Radio Times for a concert, and Colonel Redfern’s nostalgia for back to Madeline—“she had Going to university gave him a
finds one by Vaughan Williams. Edwardian England, Jimmy now more animation in her little broader outlook and more
He says this is “strong” and says that he understands it. He finger than you two put knowledge, but didn’t allow him
“simple” British music. He says, expresses some patriotism by together.” She took delight in to work in a better job. Jimmy
“I hate to admit it, but I think I appreciating “strong” British “being awake.” Jimmy says that repeats his argument about
can understand how her music, and bemoans Britain’s fall Webster, while not as thrilling Webster and Madeline (working
Daddy [Colonel Redfern] must from power by observing that as Madeline, is “all right…in his class characters) having more
have felt when he came back they are now in an “American way.” He’s the only one of “guts” and “sensitivity” than
from India…the old Edwardian age.” Still, he believes that this Alison’s friends that’s worth Alison’s upper class friends.
brigade do make their brief image of the old world is much, Jimmy says, and then
little world look pretty “phoney.” He longs for the stands to look out the window. 1 2
tempting.” That picture was simplicity that he sees in Britain’s Webster has both “guts” and
“phoney,” though, Jimmy past golden age, but he also “sensitivity,” unlike the rest,
observes: “it must have rained knows that this image of who have neither.
sometimes.” Now, Jimmy says, simplicity is a lie. This leaves him
they’re all living in the with no way out of his current Alison asks Jimmy, “very This is a moment of almost-
“American Age.” disillusionment. quietly and earnestly,” not to tenderness between Alison and
go on. He turns from the Jimmy. That he ultimately
3 5 window to look at her. Her refuses to cease his angry jabs at
“tired appeal” has made him her shows that simple love and
pause momentarily, but then affection can’t flourish in their
he gathers for a fresh round of relationship—conflict devours
insults on Alison’s friends. He them instead.
walks to center stage and
stands behind Cliff. 2 5

Cliff tries to get Jimmy to back Jimmy’s assault on Alison is Alison continues ironing—this Though Jimmy has just let fly
off from the tirade, but Jimmy based on his sense that she, as a is the only sound in the room. another angry speech, nothing
says that he couldn’t provoke member of the complacent upper “Cliff stares at the floor.” changes in the apartment. His
Alison anyways, not even by class, can’t actually feel anything. Jimmy recovers from his anger is impotent. He needs a
dropping dead. He returns to Calling her friends “militant” tirade by again looking out the reaction from Alison, even if it is
his attack on her friends, highlights the struggle that he window. It starts to rain. Then one of hurt—it is one of his ways
saying that they’re “militant,” sees between the upper classes Jimmy returns to his takedown of expressing and feeling love. His
like Alison’s mother and and the working classes. They’re of Alison’s family—Jimmy has erudite insults reveal his strong
Colonel Redfern, and also also “vague,” suggesting that this “been cheated out of his educational background but also
“arrogant and full of malice. Or lack of emotion makes them response, but he’s got to draw his anger at what it has given him
vague.” Alison, he says, is stupider than Jimmy himself is, blood somehow.” He says that (and, interestingly, parallels a
“somewhere between the two.” and yet Jimmy sees that both Alison and Nigel are comment of Caliban’s from
somehow their vagueness works “sycophantic, phlegmatic, and Shakespeare’s The Tempest in
to their advantage as they fit in pusillanimous.” Cliff asks if he which Caliban, Prospero’s
with the other vague upper class should put the Vaughan enslaved servant, claims that all
people in way that the angry Williams concert on the radio. he gained from the education
Jimmy doesn’t. given to him by Prospero was to
learn to use it to curse.)
1 2 5
1 2 5
Jimmy turns his attack to For Jimmy, Nigel is an example of
Alison’s brother Nigel, saying the ways that upper class people Jimmy says that he looked up Again, Jimmy undercuts his own
that he “is just about as vague get power. He doesn’t have much the word pusillanimous intellect by saying that he had to
as you can get without being substance (and is in fact almost recently, and found that it’s a look up the word “pusillanimous.”
actually invisible.” Nigel wants “invisible), but he has learned to perfect descriptor of his wife. As Alison tries to avoid losing it,
to be a politician, and Jimmy “plunder” people through his He calls her “the Lady Jimmy encourages her to go over
thinks he’ll end up a success, high-class education. This reveals Pusillanimous,” as if she is the edge: he thinks suffering and
though he and his political pals Jimmy’s disillusionment with “some fleshy Roman matron.” anger is better and more real
have been “plundering and those in power in Britain. Alison leans against the than her controlled emotions.
fooling everybody for ironing board, closes her eyes,
generations.” In order to keep 1 2 3 and says, “God help me, if he 1 2 5
this ruse going, Jimmy says doesn’t stop, I’ll go out of my
that Nigel takes sanctuary in mind in a minute.” Jimmy
stupidity, which is what he encourages her to do so—“that
learned at his fancy prep would be something, anyway.”
school.
Jimmy picks up a dictionary. Jimmy reveals some insecurity
He tells Cliff that if he’s about Alison’s higher-class
pronouncing pusillanimous status. Then he insults her again
wrong, Alison will probably by reading the definition of the
correct him publicly. He reads word that, in his view, so
the definition out loud: perfectly describes
“wanting of firmness of mind, her—cowardly and timid. And it
of small courage, having a little must be acknowledged: Alison
mind, mean spirited, cowardly, has thus far been the most timid
timid of mind.” presence in the room, and she
doesn’t assert any bravery here in
response to Jimmy’s jabs. His
insults may be over the top, but
they have a grain of truth to
them.
1 2 5

Jimmy is watching Alison from Jimmy is hoping that Alison will Cliff returns to the Jimmy’s inability to rest in a
across the room. Her “face give him the emotion that he newspapers, and Alison to her tranquil domestic scene shows
seems to contort, and it looks craves, but she remains in ironing. After a while, Jimmy that calm surfaces can cover up
as though she might throw her control. The scene stays in its snaps at both of them for bubbling anger and
head back, and scream.” She usual domestic pattern. Jimmy making too much noise. His disillusionment, but only for a
doesn’t. The stage direction turns on the “strong” British foot twitches. Then he gets up while—a broader argument
says that she’s used to Jimmy’s music that he had discussed and crosses towards Alison to about Britain’s post-war society.
attacks, and won’t give him the earlier, in an attempt to bring turn off the radio. He says he By comparing curtain drawing to
reaction that he wants tonight. something exciting into his usual can’t focus with all the a battleship, Jimmy disrupts
Jimmy crosses and turns on routine. distraction. He tells Cliff that traditional gender roles—Alison is
the radio—Vaughan Williams is Alison is always clumsy with like a soldier, and when she puts
playing. Jimmy sits back in his 2 3 5 household tasks, drawing the on makeup, she is like a surgeon.
chair to listen. Alison gives curtains “in that casually Jimmy’s need to point out the
Cliff back his ironed trousers. destructive way of hers.” He ways that his wife would fail in
compares it to launching a these traditional male roles is a
Cliff thanks Alison, and calls Cliff’s love for Alison is much
battleship. All women, he says, way for him to claim his own
her “you beautiful, darling girl.” more affectionate and less
are as noisy and clumsy. He masculinity—and the vehemence
Then he “puts his arms round fraught than Jimmy’s is, and he
says it’s a good thing there with which me makes these
her waist, and kisses her. She can express it more directly.
aren’t many female surgeons, claims suggests that he may
smiles, and gives his nose a tug. Jimmy refuses to take part in this
because they’d flip mens’ guts actually be insecure about his
Jimmy watches from his chair.” easy fondness and any sense of
from their bodies in the same own manliness.
He doesn’t react. Alison community by turning down a
way that the take a powder
suggests to Cliff that they have cigarette. In calling Jimmy “your 1 2 4 5
puff out of its box.
a cigarette, and offers one to lordship” Cliff ironically calls out
Jimmy, too. He declines—he’s how Jimmy mocks the upper The church bells begin to ring Jimmy’s scorn for the landlord
trying to listen to the concert class and yet seems to want to outside. Jimmy yells out the speaks to his feeling that those
on the radio. “Sorry, your both control others (as the upper window at them to stop. Alison with financial power are out for
lordship,” Cliff says. class does) and to focus on things tells him to be quiet—she their own gain, have in fact
of “high culture” such as the radio doesn’t want the landlord, stolen from those with less
concert rather than share a Miss Drury, to come upstairs. power. Alison, in contrast, cares
cigarette. Jimmy says he doesn’t care more for social niceties and being
about Miss Drury, who is “an polite. This is one of the things
1 2 5 old robber.” Cliff closes the about her that Jimmy objects to.
window. He suggests that they
go out for a drink. Jimmy says 1 2
the bar won’t be open on
Sunday.
Cliff, fooling around, says to Cliff’s attempt to break the
Jimmy, “well, shall we dance?” tension highlights the fact that
He begins to push Jimmy Jimmy and Alison’s relationship
around the apartment floor, is full of struggle more than it is
but Jimmy isn’t in the mood. full of affection. Yet, even with his
Cliff attempts to banter with friend Cliff, Jimmy has trouble
Jimmy, pretending that they expressing fondness. Jimmy’s
are in a bar, and when Jimmy accusations may have truth
tries to get away, Cliff holds behind them, but Cliff is also
him “like a vice.” He says that right: they’re nasty and
he won’t let Jimmy go until he unproductive.
apologizes for being nasty to
everyone. 2 5

Jimmy and Cliff begin to fight. The fight between Jimmy and Cliff says that Alison shouldn’t Alison shows that she hurts
They fall onto the floor in the Cliff isn’t malicious—it’s a way to give up, and offers to put a Jimmy intentionally, just as he
center of the stage, near break the tension in the room. bandage on her arm. He goes hurts her. However, her way of
where Alison is ironing. Alison For Alison, however, it is tiring over to Alison’s dressing table hurting her husband is to be
says that it’s getting “more like and frustrating, partly because it to get one. As he walks away, silent rather than to yell. This
a zoo every day.” Jimmy pushes doesn’t conform to her upper Alison says that she’s suggests that Jimmy’s feeling
Cliff towards Alison, and the class social norms. This bubbling forgotten what it’s like to feel that his wife’s lack of emotion is
ironing board collapses up of working class culture ends young. Jimmy said something wrong and bad may partly come
beneath him. All three fall into up hurting Alison physically, similar the other day, and from the fact that it is her way of
a pile. Alison “cries out in pain.” highlighting both the difficulty Alison pretended not to listen lashing out at him. When he asks
Cliff stands up to ask Alison if that the classes have in to him, in order to hurt him. He for “enthusiasm,” he is also asking
she’s all right, and she snaps, understanding each other, and “got savage, like tonight.” She for love.
“well, does it look like it?” She the ways that Jimmy’s anger says that it would have been
has burnt her arm on the hot causes Alison personal pain. easy to sympathize with him, 2 3 5
iron. Jimmy apologizes, and but she didn’t: “It’s those easy
starts to say that he didn’t do it 1 2 5 things that seem to be so
on purpose, but Alison tells impossible with us.”
him to get out. Jimmy exits.
Cliff, his back to Alison, Cliff’s image of “tearing the
Cliff brings Alison to an Cliff’s attention towards Alison wonders aloud how long he insides out” recalls Jimmy’s
armchair, where she sits. He shows that a more simple form of can go on watching the couple speech about Alison as a
says he’ll go down to the love is possible across class lines. “tearing the insides out of each butchering surgeon. Cliff,
bathroom to get some soap to The fact that Alison’s emotional other.” Alison asks if Cliff however, balances the statement
wash her wound. Cliff exits. break occurs when Jimmy is not would leave the house, and he by saying that they are both
Alison, alone on stage, takes a watching shows that his belief says no. He begins to bandage doing this to each other—neither
deep breath and looks up at that she has no emotion is her arm. As he’s doing so, is the main aggressor. The fact
the ceiling. She “brings her unfounded—but also confirms Alison begins to tell him that Alison reveals her pregnancy
hands up to her face,” and his suspicion that she is something, then stops. He asks to Cliff before she reveals it to
“winces as she feels the pain in suppressing her feelings. her what it was, and she says, Jimmy shows that the marriage
her arm.” She says, “in a hesitating, that she is has very little emotional
clenched whisper,” “Oh, God!” 1 2 5 pregnant. Cliff waits a few intimacy. The fact that Jimmy
Then Cliff comes back in with moments, then asks for the resents being unable to support a
the soap. scissors. He goes over to the child shows that he does want a
dressing table to get them, and more financially stable life, but is
Cliff kneels next to Alison and Alison makes the same argument
asks when Alison found out. also another reason why he
runs the soap gently over her about herself that Jimmy made
She says she’s known for a few might be angry about British
arm. He says she’s a brave girl. about her—namely, that she is a
days. They never intended to society that gave him an
She says she doesn’t feel coward. Cliff believes this about
have a baby, she says, because education and then gave him no
brave, and that she doesn’t himself, too. This shows that
they don’t have the resources options other than to be working
think she can “take much Jimmy’s taunts have had the
to support it. Jimmy resented class and run a sweet stall.
more.” Cliff puts his arm effect of cowing his wife and his
this aspect of their poverty.
around her and massages the friend, not inspiring them to 1 4 5
Cliff assumes that Alison
back of her neck. He says that greater emotion, as he might
hasn’t told Jimmy yet, and she
he doesn’t think he’d “have the hope. Alison also has come to
confirms this.
courage” to move out of their associate love with anger, but she
shared house. He’s “rough” and is beginning to find this
“ordinary,” and has become unbearable.
“fond” of the couple, in spite of
their constant fighting. Alison 2 5
says, “I don’t think I want
anything more to do with
love…I can’t take it on.”

Cliff finishes tying Alison’s The idea that Alison might get an Alison tells Cliff, to his The fact that Jimmy didn’t sleep
bandage, and she gets up to abortion, and that Osborne surprise, that she and Jimmy with Alison before marrying her
fold the ironing board. Cliff would talk about this on stage, didn’t sleep together before highlights the fact that he does
begins to ask a question but would have been shocking to a marrying. Once they were not have a “loose” morality, as
isn’t able to make himself finish 1950s audience. This is an married, Jimmy taunted Alison her mother would think. Yet,
it, so Allison does: is it too late example of the ways that the for being a virgin, and felt Jimmy likes to think of himself as
to have an abortion? She says play flouted traditional societal deceived. Alison says, “He rejecting the morality of the
that there may still be time to norms to show a new sector of seemed to think an untouched upper classes—hence, a virginal
terminate the pregnancy. Cliff British society on the stage. woman would defile him.” Cliff bride threatens his sense of self –
asks what she’ll do if it is too says that Jimmy would be he wants someone who has
late, and Alison, her head 1 4 “quite pleased” to hear Alison “lived” and been “passionate” and
turned away from Cliff, “simply talk about him this way, and had experiences and been
shakes her head.” she agrees. scarred. This kind of frank,
cutting talk would endear Alison
Cliff suggests that Alison tell Cliff’s vision of how things might
to Jimmy, but she doesn’t talk
Jimmy now —“after all, he does proceed—that because Jimmy
this way in front of him, further
love you. You don’t need me to loves Alison, he will accept her
highlighting their inability (or
tell you that.” Alison leans pregnancy—suggests an
refusal) to make each other
down to fold the clothes that innocence that Alison has moved
happy.
have fallen off the ironing far beyond. She understands that
board. She says that it might Jimmy would feel oppressed and 2 4 5
be okay for a night after she threatened by the pregnancy,
told Jimmy the news, but then even though it was unintended. Alison gets up, holding the The fact that Jimmy has rich
he would start to suspect that This parallels his feeling of being folded clothes. She asks Cliff relatives might have alienated
she got pregnant out of malice, unfairly limited by his working whether he thinks Jimmy is him from the lower classes, but
“as if I were trying to kill him in class status, and given his focus right about “everything.” Cliff instead, he and Cliff share a
the worst way of all.” She says on the “class war” he would likely responds that he and Jimmy solidly working class culture. This
that Jimmy has “his own see the pregnancy as a way for are both working people, and shows the high value Jimmy
private morality,” which Allison to punish or mock Jimmy that they therefore think alike places on being working class.
Alison’s mother would call for being working class. Jimmy about some things. Jimmy’s Cliff also avoids saying that he
“loose,” but which is also has strong feelings about right mother’s relatives were disagrees with Jimmy’s
“harsh.” and wrong in the world, even “pretty posh, but he hates assessment of Alison, further
though his ideas don’t conform them as much as he hates suggesting that there might be
to the social norms of people like yours. Don’t quite know why.” some merit in Jimmy’s opinion of
Alison’s mother. But Jimmy and Cliff get along his upper class wife.
because they’re “common.”
1 2 5 1 2

Alison asks if she should tell Cliff and Alison’s relationship Alison goes to look for one in Cliff, Alison, and Jimmy get a
Jimmy about the baby. Cliff escalates to a kiss. Jimmy is her handbag. Jimmy, “trying to moment of respite from their
puts his arm around her and unfazed by this, though many re-establish himself,” begins to angry bickering when they revert
says that it’ll be all right. He men would consider it a grave tease Cliff, who is getting to a game that lets them act like
kisses her. Jimmy enters, and insult. This suggests that his “more like a little mouse every animals rather than like humans.
“looks at them curiously, but anger at other points in the play day.” Alison says that Cliff is The choice of the mouse as Cliff’s
without surprise.” They don’t might be about something indeed a mouse, and Cliff plays animal recalls Jimmy’s claims
acknowledge that they notice deeper than a bad temper along, squeaking and dancing that Cliff and Alison are overly
him. Jimmy sits down in the (namely, it might reflect a around the table saying, “I’m a timid, but in this context, those
armchair next to them. He legitimate class grievance). The mouse, I’m a randy little words don’t wound. This
begins to look at the paper. moment also makes clear the mouse.” He starts to tease moment, in which the characters
Without looking at Alison, he non-traditional set-up of the Jimmy back, calling him a delight in the innocence of being
asks how her arm is. She says relationship between these three “horrible old bear.” Cliff grabs animals, highlights the ways that
that it’s fine. Cliff says that characters. They rely on each Jimmy’s foot, and they begin to class conflicts and the human
Alison is beautiful, and Jimmy other in ways that defy the usual fight. Alison watches, “relieved society that creates them, make
says, “you seem to think so.” categorizations. and suddenly full of affection.” the characters unable to relate
Cliff and Alison have their simply and easily to each other
arms around each other. 2 4 5 during most of the play.
Cliff says he doesn’t know why Cliff’s belief that he isn’t the one 1 5
the hell Alison married Jimmy, for Alison suggests that he sees
and Jimmy asks if the two of her relationship with Jimmy as Alison discovers that she Again, physical fighting is a way
them would have been better having a particular spark—they doesn’t have any more for Jimmy and Cliff to strengthen
off together. Cliff says that’s love each other, even through the cigarettes, and Jimmy yells to their friendship. Cliff taunts
he’s not Alison’s type, and anger. Jimmy elevates his own Cliff (who is “dragging Jimmy Jimmy for being both domestic
Alison says she’s not sure what intellect in a somewhat tongue- along the floor by his feet”) to and associated with the upper
her type is. Jimmy says that in-cheek manner by suggesting go buy some. Cliff agrees, classes when he yells that he
they should sleep together—“I that he would like his wife to drops Jimmy’s legs, and takes should make some tea. Jimmy
can’t concentrate with you two sleep with his best friend so that some money from Alison. He rejects both of those roles by
standing there like that.” he can focus more on the kisses her forehead on his way threatening violence. This
newspaper. out, and says, “don’t forget.” exchange shows that both Jimmy
Then he pauses at the door to and Cliff want to reject
1 5 yell back to Jimmy, “Make a feminization and maintain a
nice pot of tea.” Jimmy says working class identity.
Cliff says that he thinks Alison Jimmy’s comments about
that he’ll kill Cliff first, and Cliff
is beautiful, and that Jimmy Alison’s parents are meant to 1 4
says, grinning, “That’s my boy!”
does too, but is “too much of a suggest that, even though Jimmy
Cliff exits.
pig to say so.” Jimmy says that himself is common, Cliff is even
Cliff is just being flirtatious (a more so. This strategy of
“sexy Welshman”). He says elevating himself over Cliff shows
that Alison’s parents are Jimmy’s back and forth
already scandalized that he’s movement between class
married to their daughter, and boundaries—sometimes he
that they’d “collapse” if they claims upper classness, and
saw her flirting with Cliff, too. sometimes working classness. At
They might “send for the the same time, it emphasizes
police.” Then he asks if Alison they way he is in-between the
has a cigarette. classes, raised up by education
and forced down by continuing
social hierarchy, and therefore
stuck in a kind of limbo.

Jimmy stands beside Alison, Still feeling close after their Jimmy puts his head against Alison refuses to have sex with
who is still rummaging in her animal game, Jimmy and Alison Alison’s stomach, but she is Jimmy out of a sense of
purse. “She becomes aware of are able to treat each other with “still on guard a little.” Then he propriety—it wouldn’t be right to
his nearness, and, after a few love. Jimmy’s “fooling about” — looks up, and they kiss, have sex when Cliff might walk in
moments, closes it.” Jimmy his roughhousing play with Cliff, “passionately.” Jimmy asks on them. This kind of thinking
holds her arm and asks her which reflected their shared what they should do tonight. has been associated with her
how it feels, and she says that working class culture — has hurt Alison asks what he wants to upper classness and her
it’s fine. “All this fooling about Alison, and he apologizes, do (“Drink?”) and Jimmy says femininity, and Jimmy’s
can get a bit dangerous,” recognizing that for her, that type that he knows what he wants disagreement (his view that there
Jimmy says. Then he holds her of play was “dangerous.” This is a to do now (implying that he isn’t a “proper” time) shows that
hand, and apologizes. She moment where reconciliation wants to have sex). Alison their class and gender conflicts
accepts his apology. He says seems possible, both between “takes his head in her hands remain, even in the presence of
that he hurt her on purpose, Jimmy and Alison and between and kisses him,” then says that strong emotion (a “passionate”
and Alison says, “yes.” the class backgrounds that they he’ll have to wait until “the kiss).
represent. proper time.” Jimmy says there
isn’t any proper time, and 1 2 4 5
1 5 Alison reminds him that Cliff
Jimmy says that he can hardly Previously, Jimmy equated will be back soon.
get through a moment without Alison’s ability to “get used to Jimmy asks what Cliff meant Jimmy had previously scorned
feeling attracted to Alison, and things” with her lack of by saying “don’t forget,” when Cliff and Alison’s affection,
that because of that, “I’ve got “enthusiasm,” which he thinks he left the room. Alison says thinking that love should be
to hit out somehow.” Even makes her less human. Here, vaguely that it was about passionate and fiery, as his is.
after four years living together though, he “gets used” to her “something I’ve been meaning Here, he begins to demand that
in close quarters, he says, “I while maintaining the high levels to tell you.” Jimmy kisses her softer “fondness” from Alison
still can’t stop my sweat of emotion (and physical again, and remarks that Alison towards Hugh’s mum, who he
breaking out when I see you attraction) that he considers is fond of Cliff. She agrees. sees as an embodiment of
doing—something as ordinary important. This suggests a flaw in Jimmy says that Cliff is his only goodness in the world. This
as leaning over an ironing Jimmy’s view that becoming friend—people seem to always suggests that there is a gendered
board.” “Trouble is you get comfortable with things be disappearing from his life. element in Jimmy’s demand for
used to people,” Jimmy says, dampens your ability to feel Then he remembers Hugh’s “enthusiasm.” He sees a
and then all their smallest strong emotions. It seems mum, who he says has also relationship between two women
traits become simultaneously possible that he might love been a good friend to the as a place where “fondness” is
“indispensable” and “a little Alison even more as he gets used couple. She is letting Jimmy acceptable. This suggests that his
mysterious.” to her. pay her back for his sweet stall views on the necessity of
in his own time, and she has suffering are not just about class,
2 5 but also about the way that he
always been “fond” of Alison.
Jimmy says he doesn’t know thinks love should work.
why Alison hasn’t returned the
affection. 1 2 4 5

Alison is worried by “this Jimmy and Alison’s bear and Jimmy’s mood has changed. Cliff returns to his jab about the
threat of a different mood,” but squirrel game is clearly a Cliff jokes that Jimmy was tea, which represented upper
Jimmy goes on to call her “a longstanding part of their supposed to makes some tea, classness and femininity, but
beautiful, great-eyed squirrel.” relationship. They use less and when he doesn’t respond, Jimmy is no longer in the mood
Alison “nods brightly, relieved.” educated language when they asks what the matter is. Jimmy to joke. He has re-aligned himself
Jimmy begins to compare her play this game than they do at says “that bitch,” referring to with working class identity by
further to a squirrel, with shiny other times, and they express Helena. Cliff asks who she is, calling Helena his “natural”
fur and a bushy tail. Alison simple joy and care for each to which Jimmy replies that enemy. Though in the animal
plays along, pretending to other. They are stripped of class she is one of Alison’s old game, Jimmy had rejected class
munch nuts, and shouting, markers—in the animal world, friends, and one of Jimmy’s markers, he now suggests that
“Wheeeeeee!” Jimmy says that there is no such thing as class. “natural enemies.” He also they are just part of who he is.
he envies her. Then she calls This suggests that it is only by comments that Cliff is now Jimmy’s suspicion of Helena also
him a “jolly super bear.” He retreating away from their sitting in his chair. Cliff tries to reflects his misogynistic feeling
agrees that bears and squirrels humanity that they can find change the subject to where that women are out to get him.
are “marvellous.” Alison begins innocence, and especially they are going out for a drink,
to do a squirrel dance, innocent love. It also suggests but Jimmy is stuck on Helena. 1 4 5
complete with “paw gestures.” that perhaps Jimmy is right after He wonders why she would
Jimmy asks what she’s doing, all that suffering is an integral call, and says that it can’t be for
and she says it’s “a dance part of being human, as their any good reason.
squirrels do when they’re suffering drops away when they
Jimmy remarks that just a few Jimmy shows his educated
happy.” briefly throw off their humanity.
minutes ago, things seemed to status by referencing these works
1 2 5 be going well. Quoting of literature to discuss his views
Shakespeare, he says that he’s of women. Shakespeare’s sonnet
Jimmy asks why she thinks The animal game almost led to a “just about had enough of this 129 discusses the “expense of
she’s happy, and Alison says, moment of real intimacy ‘expense of spirit’ lark, as far as spirit” (semen, and also vital life
“everything just seems all right between Jimmy and Alison, but women are concerned.” force) and argues that lustful sex
suddenly.” Then she begins to again, that intimacy seems Referring to French novelist always leads to regret, but men
return to the topic of her always just out of reach in the Andre Gide, who was are still unable to resist it. For
pregnancy, but Cliff comes play. Class concerns, in this case homosexual, he says, “I almost this reason, Jimmy envies men
back and interrupts the embodied by Helena, Alison’s envy old Gide and the Greek like Gide, who aren’t attracted to
moment. He says that Miss upper class friend, interrupts Chorus boys.” Jimmy says that women. He suggests that in
Drury stopped him before he their shared moment. while gay men have a hard life, associating with women, men
could leave the house, and that “plenty of them do seem to like him lose their “revolutionary
someone named Helena is on 1 5
have a revolutionary fire about fire.” This is part of Osborne’s
the phone for Alison. Alison them, which is more than you overall argument about post-war
thanks him, and leaves to take can say for the rest of us.” British society: men of Jimmy’s
the call. social station are disempowered
and adrift, with no strong causes
or social purpose to guide them.
1 3 4

Jimmy says that Webster, who Many modern critics point to this Jimmy says to Alison that he This is Jimmy’s strongest
he thinks is gay, is one example. passage of the play as hopes she will one day learn statement yet that Alison needs
He believes that Webster homophobic, because of the suffering. He wants something to learn suffering in order to
doesn’t like him, and says it’s simultaneously flippant and to “wake [her] out of [her] become a full person. His curse
because Jimmy doesn’t treat aggressive way that Jimmy talks beauty sleep.” He wishes that on her unborn child smacks of
Webster differently as a result about Webster showing off his she would have a child, but dramatic irony for the audience
of his sexuality. Webster is like sexuality. Jimmy’s statement that that it would die. The baby (we know that Alison is pregnant,
a man with a birthmark who he has his own “strawberry mark” would form a “recognisable but Jimmy doesn’t, and so what
always wants to show it off to suggests that he, too, has things human face,” and when it died, he is saying holds a brutal horror
horrify people, Jimmy says. that make it difficult for him to he says to Alison, “you might for both Allison and the
Jimmy himself has his own exist in modern British even become a recognisable audience). Yet Jimmy’s
“strawberry mark,” but it isn’t society—likely his lower class human being yourself. But I helplessness after his attack
homosexuality. status. doubt it.” Alison is stunned, and shows once again that his anger
retreats to the stove. Jimmy is self-defeating.
1 4 stands “rather helplessly”
alone. 2 5
As he speaks, Jimmy has been Jimmy is going out of his way to
picking through Alison’s find sources of conflict and to Jimmy says, ostensibly to Cliff Jimmy’s python image suggests
handbag. Cliff asks him if that confirm his suspicion that his but also partly to himself and that Alison’s lack of emotion is
isn’t Alison’s private property, wife is out to get him. He Alison, that he has “never destroying him (note that a
and Jimmy says that it is, but suspects that his wife disdains known the great pleasure of python is cold-blooded, too,
that living with his wife has him and thinks that he is beneath lovemaking when I didn’t further linking it with lack of
made him “predatory and her. The transition between his desire it myself.” Alison has emotion). In his own imagination,
suspicious.” He wants to look speech about disempowerment some passion, he says, but it is Jimmy becomes like the baby in
through her things for signs of and his rummaging in Alison’s “the passion of a python.” She her belly, further showing his
betrayal. In the handbag, he purse suggests that Jimmy eats him whole, the way a sense of powerlessness. Alison,
finds a letter from Alison’s blames women, and particularly python eats its prey. He points too, is powerless by the end of his
mother, in which, Jimmy says, Alison and her mother, for his to her stomach, and says that speech. She tries to respond, but
“I’m not mentioned at all feelings of impotence and lack of he himself is “that bulge can’t form the words. The act
because my name is a dirty power. around her navel…smothered ends by highlighting the stagnant
word.” Alison enters. Speaking in that peaceful looking coil.” nature of their relationship.
both to his wife and to Cliff, 3 4 5 Jimmy feels assaulted by Alison’s
Though he’s “indigestible,” he
Jimmy says that Alison says, eating him whole doesn’t placid emotions. When
responds to her mother with bother Alison’s indigestion. confronted with Jimmy’s anger,
longs letters that also don’t She could go on sleeping and Alison feels unable to respond,
mention Jimmy. Then he eating until Jimmy completely though we know that his words
throws the letter at her feet. vanished. Alison throws her cause her suffering. They have
Jimmy asks Alison what Again, Jimmy uses militant head back as if about to speak moved through a full act of the
Helena wanted. Alison says imagery to describe class or scream, and then stands play, and nothing has changed,
that Helena is coming over. conflict. This suggests first that open mouthed until the curtain representing the way that
Helena is working with an domestic issues among men and falls on Act I. Osborne sees post-war British
acting company nearby, and women have become a stand in society as being “stuck.”
has nowhere to stay. Jimmy for other types of political action.
2 3 4 5
asks if Helena is bringing her It also shows that Jimmy doesn’t
“armour,” as she is “going to conform to traditional views that
need it.” Alison asks him, women should be protected—he
“vehemently,” to shut up. sees them as dangerous
aggressors trying to hurt him.
1 4

ACT 2, SCENE 1 Alison asks if Helena Helena and Alison’s shared
“managed all right” with the understanding that the
The act opens two weeks later, Jimmy’s jazz trumpet is a symbol
dinner, and Helena says yes. apartment is “primitive” shows
in the same apartment. Alison of his suffering (jazz has
She’s already cooked a lot their common class context.
is at the stove pouring boiling traditionally been music of
during her weeklong stay. Although Alison might appear to
water into a teapot. She wears protest and struggle). His anguish
Alison says that it’s been be fitting into the working class
a slip and no shoes. Jimmy dominates the scene even while
“wonderful” to have another apartment, she still retains some
plays the trumpet from across he is not physically present. His
woman around to help with sense of scorn for it. The fact that
the hall. The table in the center efforts to disrupt domestic peace
the housework. Helena says Cliff usually helps Alison with the
of the room is set for four, and are certainly succeeding, though
that it’s been fun, although feminine labor points to the non-
Alison crosses to put the his ability to disrupt any social
she’s not used to having to traditional gender roles in this
teapot there. The “Sunday dynamics outside his home has
fetch water from the household, and also to the
paper jungle” is still strewn yet to be proven.
bathroom downstairs. “It is feminization of working class
about the room. Alison crosses
2 primitive, isn’t it?” Alison says, men that the play finds
to her dressing table and sits
and Helena agrees. Alison objectionable.
down beside it to put on her
notes that Cliff, at least, takes
stockings. Helena enters. 1 4
care of himself. Helena says
Helena is “ the same age as The contrast between Helena’s she hadn’t noticed that, and
Alison, medium height, and Alison’s attire suggests that Alison suggests that this is
carefully and expensively Alison has assimilated more to because Helena has been
dressed.” She has a “sense of working class culture, while helping her in the ways that
matriarchal authority” that Helena retains her middle-class Cliff normally does.
“makes most men who meet status. At the beginning of the
Alison comments that Helena Helena and Jimmy have
her anxious,” because she gives previous act, Alison’s rich
has “settled in so easily strangely similar reactions to the
of a sense of “visiting royalty.” upbringing was apparent in this
somehow,” despite not being idea of Alison’s getting “used to”
The stage direction identifies backdrop, but with Helena as a
“used to” the surroundings. things. Jimmy had previously
this as the “royalty of middle- foil, we can see that Alison has
Helena asks if Alison is “used scorned his wife as a “great one
class womanhood.” This shed class markers more fully
to” things. Alison replies that for getting used to things” when
“royalty” is so sure of its own than Jimmy’s tirades would have
things have changed now that she said she no longer minds his
power that it can allow men us believe. Helena’s strength
she’s not on her own. Alison pipe smoke, and Helena is
some measure of freedom, but comes from her class and her
asks if Helena has told Jimmy similarly scandalized that Alison
nevertheless expects to gender. The stage direction
that tea is ready. She says that could get “used to” a situation
receive respect from all implies that women are
she knocked on the door of that, to her, seems intolerable.
people, including other women tyrannical by nature—women
Cliff’s room, where Jimmy is This suggests that Alison may,
like Alison. “In Jimmy,” the like Helena allow men “freedom”
playing the trumpet, but that indeed, be particularly prone to
stage direction says, Helena only when they are sure that this
he didn’t answer. Cliff is avoiding the conflict and
“arouses all the rabble-rousing freedom will not interfere with
nowhere to be found. Alison “suffering” that Jimmy hopes she
instincts of his spirit.” She has their power. This also speaks to
says she wishes Jimmy would experiences – she gets “used” to
thus far been able to defend Osborne’s feeling that working
stop playing the trumpet. things, rather than fully
herself from him with class men are not allowed their
Helena says, drily, “I imagine experiencing them, liking them or
“strength and dignity,” though full masculinity.
that’s for my benefit.” Alison disliking them. Her reaction to
she’s getting tired of it. Helena Miss Drury (and Jimmy’s
1 4 worries that Miss Drury will
carries a salad colander. comparative disregard for the
kick them out of the apartment
for making too much noise, and landlady) speaks again to Alison’s
says she’s glad that the urge to calm the waters rather
landlady isn’t there at the than making waves.
moment.
2

Helena asks Alison if Jimmy Helena’s statement that hatred is Alison confirms that she and This lack of energy is what Jimmy
drinks. Alison, “rather startled,” “oddly exciting” speaks to the fact Cliff feel some attraction, but finds so frustrating about Cliff
says that he isn’t an alcoholic. that Jimmy’s anger is sexually says that it’s not a passionate and Alison’s relationship, too—he
There is a pause while both attractive. It isn’t just Alison and feeling. They’re comfortable thought it showed too much
women listen to Jimmy’s Jimmy who feel this mixing of with each other, and don’t complacency and too little
trumpet. Then Helena says the hatred, sexuality, and love—the want “to bother moving for the feeling. Yet Helena’s questions
music makes it sound like he’d fact that Helena feels this way sake of some other pleasure.” suggest that she finds Jimmy’s
like to kill her. She isn’t used to too suggests that the couple’s Helena says it’s hard to believe tolerance of a non-traditional
seeing “such hatred in volatile love might be the result they’re so lazy, and asks cultural standard to be a
someone’s eyes,” and she finds of class difference rather than of whether Jimmy approves. different kind of complacency.
it both “horrifying” and “oddly a simple personality clash. Alison says, “it’s what he would This shows their class
exciting.” Alison turns to face call a question of allegiances.” conflict—they can’t agree on
the mirror at her dressing 1 2 5 Then she explains, using which battles are most
table, and brushes her hair. confusing and circuitous important, even if they both
language, that all of the people object to the laziness of the
Helena asks if Cliff is in love Helena tries to find a logical
that Jimmy loves or has loved relationship. According to Alison,
with Alison. Alison “stops explanation for the non-
in the past (even old flames) Jimmy sees his class allegiance to
brushing for a moment,” then traditional dynamic between
are part of the calculation that Cliff as more important than his
says that she doesn’t think so. Cliff and Alison: he is in love with
he makes in thinking about need to defend his wife against
Helena asks if Alison is in love her. Alison doesn’t agree, showing
Cliff and Alison. Alison asks if Cliff’s flirtations. Alison doesn’t
with Cliff, and that they behave that Helena can’t understand the
Helena understands, and share his view. She retains, deep
strangely together, “by most complexity of their relationship.
Helena replies by asking if down, a more traditional view of
people’s standards.” “You mean This, and the fact that Cliff feels
Alison does. Alison says that, gender.
you’ve seen us embracing each less able to embrace Alison
around Helena, implies that their though she’s tried to put
other?” Alison asks. Helena 1 2 4
non-traditional love is something herself in Jimmy’s shoes, she
says it doesn’t seem to be
that is possible in a working class “can’t believe that he’s right
happening as much since she’s
context, but that upper class somehow.”
around. “Perhaps he finds my
presence inhibiting—even if norms are more traditional and Alison continues that her This passage suggests that Cliff
Jimmy’s isn’t.” Alison says that constricting. relationship with Cliff is a and Alison’s relationship
she and Cliff are just “fond of “fluke.” They get along well shouldn’t be taken to suggest
each other,” but Helena says 1 4 5 because of Cliff’s kind that peaceful relationships
that’s nonsense—they must be temperament. It was different across class lines are
physically attracted to each with Hugh Tanner, Jimmy’s possible—Cliff is the outlier.
other, too. childhood friend (Hugh’s mum Alison’s scorn for Jimmy’s non-
helped Jimmy start his sweet elite university reminds the
stall). The couple moved in audience that his education has
with Hugh soon after Jimmy brought him only tenuous
graduated from university. acceptance into a higher echelon
Alison says that the university of society.
wasn’t a prestigious one—“it’s
not even red brick, but white 1 5
tile.”

Alison says that she met Hugh Jimmy’s hope that Alison and Helena says that she can’t Helena notices Alison’s
on her wedding night and Hugh would get along is a understand why Alison acted ambivalence, and can’t identify
disliked him immediately. poignant memory. Outwardly, at that way—or why she married with it. She is a character who
Jimmy was “pathetically least, he seems to have given up Jimmy. Alison says that “there sticks to her values, which are
anxious” that his friend and his on bringing Alison into his world must be about six different solidly middle class. Alison’s
wife would get along. They all without conflict, believing answers.” For one thing, her mention of India suggests a
got drunk on “cheap port,” and instead that the classes will family, and her father Colonel connection between her
the conversation deteriorated. inevitably clash. The imagery of Redfern in particular, were relationship with Jimmy and
Alison says that she felt she Alison as a “hostage” conforms to “unsettled” after returning Britain’s fall from imperial power.
was “cut off from the kinds of this view, as well. Alison’s use of from India. When Alison met The “unsettled” state of things,
people [she’d] always known.” the words “jungle” and “savage” Jimmy at a party, he was both in her home and in the
She says, “I suppose I must be again point to her scornful class- sunburnt, and “everything country, laid the groundwork for
soft and squeamish, and based view of how Jimmy lives. about him seemed to burn…his her marriage. Alison knew that
snobbish, but I felt as though eyes were so blue and full of the relationship might destroy
I’d been dropped in a jungle. I 1 3 the sun.” She says that she her, but still wanted it. For
couldn’t believe that two knew she might not be able to Jimmy, the fight with her parents
people, two educated people, “bear” the relationship, but was more important than love.
could be so savage.” She adds that it seemed inevitable. It Their relationship is “unsettled”
that Jimmy and Hugh thought was her family’s negative partly because love is secondary
of her as a “hostage from those reaction that sealed things for to anger and pain.
sections of society they had Jimmy, she says, “whether or
declared war on.” not he was in love with me.” He 1 2 3 5
The class conflict here is wanted to marry her as much
Helena asks what they were
dramatized still further, with the as her family wanted to stop it.
doing for money at this time,
working class men launching “Frail and full of fire,” Alison
and Alison says that her
targeted attacks on upper class says, Jimmy fought for her like
mother had taken stewardship
bastions, in an attempt to steal a knight in shining armor,
of Alison’s wealth after the
their resources. There is a certain “except that his armor didn’t
marriage. Instead, Jimmy and
simplicity to the plan that speaks really shine very much.”
Hugh started using Alison’s
connections to invite to the genuine idealism that Helena brings the Jimmy’s anger rarely takes on an
themselves to parties, hoping underlies Jimmy’s anger. The conversation back to Hugh. explicitly political edge. Here, it
to find money or food. Alison complicating factor is Alison. She Alison says that her does—but then Hugh abandons
again uses military language to adopts Jimmy’s values: like her relationship with him only got the cause. This seems to Jimmy a
describe their expeditions, husband, Alison wishes that her worse, and that Hugh and betrayal, and that fact reveals his
saying that they would launch friends would have “guts.” Yet, Jimmy even disrupted some of underlying patriotism and
“raids on the enemy.” She says she hopes this so that their plan Nigel’s political events. Then traditional sense of family duty.
she even hoped a host “would of attack will fail (a plan that she Hugh, who was writing a novel, Hugh goes off into the future,
have the guts to slam the door herself helped to orchestrate). decided to go to China, while Jimmy remains stuck and
in our faces, but they didn’t. Alison has consistently chosen because England didn’t hold angry, unable to create political
They were too well-bred.” ambivalence rather than any more appeal for him. change in his country.
Hugh and Jimmy hated her choosing sides in the class Jimmy fought with him about
friends for their conflicts that arise. this, and “accused Hugh of 2 3
cowardice—but Hugh enjoyed giving up” and abandoning his
his role as a “barbarian 1 2 mother. In the end, Hugh left
invader.” Alison says that he for China “to find the New
once even got a man to give Millennium on his own,” and
them money for rent, though Jimmy and Alison moved to
they were kicked out of their current apartment.
another party when Hugh
flirted with a young girl.

Alison suspects that Hugh’s Alison here criticizes Jimmy’s Helena grabs Alison’s arm. She Helena urges Alison to action, as
mum and Jimmy both blame view of right and wrong. He says that Alison must fight, or Jimmy has before. Her presence
her for the quarrel, and for equates poverty with moral escape—otherwise, Jimmy will makes it clearer in this act than it
Hugh’s leaving the country. superiority, and wealth with kill her. Cliff enters. He asks if was in the first that Alison has
She doesn’t dislike Hugh’s moral corruption. Alison is right the tea is ready. Alison says it neither fully abandoned her
mother, she says, though she to find this simplistic, but she is, and Cliff calls Jimmy, saying upper class ideals, nor embraced
believes that Jimmy likes her also proves that she does look “hey, you horrible man! Stop Jimmy’s working class fervor.
“principally because she’s been down upon people who are of a that bloody noise.” Cliff asks Cliff’s surprise that the women
poor almost all her life.” Alison lower class status than her. Helena if she and Alison are are going to church illuminates
says that, though she knows it Helena’s reaction is practical: going out. Helena replies, to the way that Helena’s presence is
sounds “snobbish,” she Jimmy’s morality doesn’t Cliff’s surprise, that they are changing Alison’s behavior—she
considers Hugh’s mother particularly matter to her, going to church. She invites is being pulled back to her old life
“ignorant.” Helena says that it’s because she, unlike Alison, is sure him to come, but he offers the of traditional values .
time for Alison to make up her of her own. lame excuse that he hasn’t
mind—she has a baby to think finished reading the papers. 1 2
of now, and she can’t keep 1 Cliff sits down at the table, and
going on in this situation. Helena sets the salad on it.
Alison says that she’s “so tired.” Alison sits at the dressing table
doing her makeup. Jimmy
Helena asks why Alison hasn’t Alison thinks that the baby will
enters.
told Jimmy about the baby, make Jimmy feel trapped, but
and Alison assures her that it Helena doesn’t understand Jimmy says that “anyone who Jimmy embraces jazz as a
couldn’t be another man’s this—she thinks that Jimmy doesn’t like real jazz, hasn’t any working class art form, and
child—“I’ve never really wanted should just accept his child and feeling either for music or voices his opinion that working
anyone else.” Helena says that his wife. In her middle class people,” and sits down at the class people are more in touch
she should tell Jimmy about world, values like social table with Cliff and Helena. with the real, emotional side of
the baby, and that he’ll either disruption and class conflict Helena says that’s “rubbish,” life. Webster, the only one of
react well, or Alison will have don’t enter into the domestic and Jimmy says she’s just Alison’s friends who he considers
to leave. Alison points to the equation. Jimmy, on the other proved him right. They briefly worthwhile, also accesses this
bear and squirrel on a dresser, hand, thinks of his marriage discuss Webster’s banjo emotion through music. Jimmy
and says that the animals partly as a battleground for the playing. Then Cliff asks Jimmy turns around immediately,
represent her and Jimmy. She working class. Alison makes if he can borrow a paper, and however, and claims the mantle
tells Helena that it’s a game explicit the way that their bear Jimmy snaps that he should of the educated man, taunting
they play, and Helena responds and squirrel game allows the buy it himself. Then he asks Cliff for being both too ignorant
by looking “rather blank.” The couple to escape into simpler why Cliff would want it, given and too high-faluting. The
game doesn’t seem to be affection. She implies, however, that he has “no intellect, no exchange typifies Jimmy’s
working lately, Alison says. that this type of love is not strong curiosity.” Cliff agrees that he strained relationship to his own
Helena asks if it’s her arrival enough to survive in the real is “nothing,” and Jimmy education and how to it placed
that has made things go world. She has come to believe responds that Cliff “ought to him in a position that is stuck
downhill. Alison says no—it Jimmy’s idea that social conflict be Prime Minister,” if he has a between working class and
began as an escape after Hugh must enter into personal high-faluting intellectual middle class.
left. It was a way for them to relationships. thought such as that.
show “dumb, uncomplicated 1 2
affection,” and “a silly 1 2 5
symphony for people who
couldn’t bear the pain of being
human beings any longer.” She
says that the creatures have
died now—“they were all love,
and no brains.”

Then Jimmy launches into Here, Jimmy argues that Alison’s Jimmy says he’s thought of a Jimmy counters Helena’s
another attack on Alison’s friends’ high education keeps new song, one that is from the politeness by acting overly
friends, while Cliff and Helena them from understanding earth- perspective of a prostitute bawdy and brash. Yet he also
eat their meal and don’t bound pleasures like sex. He turning away a customer paints himself as an intellectual,
respond. He says that her rich suggests that Cliff is like them in named Mildred. He asks if a person who composes music
friends “sit around…discussing his desire to keep the peace. He Alison likes it, and she says and writes poetry on the fly. He
sex as if it were the Art of thus rejects both his wife’s that she does. Jimmy tells quotes famous authors like Eliot
Fugue” (a musical composition absent friends and his own friend them all the lyrics, which and Dante, but then writes a
by Bach). The stage direction at the table, leaving himself discuss the prostitute deciding poem with a very earth-bound
notes that Alison and Helena’s socially isolated—Jimmy values to give up on her work. It name (“The Cess Pool”) thus
“silent hostility” has made him his ideals over people. Helena’s includes the refrain “just pass differentiating himself from
combative, and that though he calm politeness during Jimmy’s me the booze.” Cliff agrees Alison’s friends, who compare sex
“looks cheerful,” his voice outburst recalls the high-class that it’s good. Jimmy says that to classical music. This speech
suggests otherwise. Jimmy composure that Jimmy detests in he wrote a poem while at the also calls to mind Osborne’s
says that Cliff is “too anxious Alison, and shows Helena’s market the day before. He says project with the play itself. He
to please,” and then he offers strong belief in the value of that Helena will like it—“It’s takes a formerly high-class art
Helena tea. She thanks him, politeness. soaked in the theology of form—drama—and fills it with
and he pours. He says that Cliff Dante, with a good slosh of realistic, working class content.
will end up “evil minded and 1 2 Eliot as well.” (Dante wrote the Jimmy’s poem, like Osborne’s
vicious.” Helena takes the full famous epic poem The Divine play, might be a legitimate
cup of tea and thanks him Comedy, describing hell, political statement—while also
again. Jimmy says that Alison’s purgatory, and paradise. T.S. reflecting the particular and
friends are, among other Eliot won the Nobel Prize for possibly limited worldview of its
things, “pusillanimous.” Helena literature in 1948 and was a creator.
asks if Alison will have her tea, poet whose famous works
and Alison says she “won’t be include The Waste Land and 1
long.” The Love Song of J. Alfred
Prufrock.) Jimmy calls his poem
“The Cess Pool.”
Helena asks why Jimmy is Lady Bracknell is a stuffy old
being so “unpleasant,” Victorian woman from Wilde’s
“offensive,” and “tiresome.” play The Importance of Being
Jimmy “roars with laughter,” Earnest, so Jimmy’s comparison
and teases Helena for being suggests that he finds Helena
stuck up, like the Oscar Wilde old-fashioned. He sees himself as
character Lady Bracknell. Then a modern man, and people like
Jimmy’s “curiosity about her as outdated. His curiosity
Alison’s preparations at the about Alison speaks to the
mirror won’t be denied any intense and often uncomfortable
longer.” He asks if she’s going nature of their love. Though he
out, and she says that she is. has been trying to ignore her, he
He asks where, and she rebuffs fails.
him. Then she sits down at the
table. Helena says that they 1 2 5
are going to church. Jimmy, like
Cliff, is “genuinely surprised.”

Then Jimmy lets fly an attack Jimmy sets himself up as a Jimmy gives an example of Jimmy mocks Alison’s mother’s
against Helena, saying that rescuer, showing the idealism Alison’s mother’s dirty tactics suspicion of him, but he has been
this is a cheap trick to win that he feels about his role in the of motherly protection. She equally suspicious of Alison,
Alison to her side. He turns to class conflict. Alison turns this jumped to terrible conclusions snooping in her handbag and
Alison, saying that he’s sick to back upon him sarcastically, about Jimmy due to his long reading her letters. His morality
think how much he endured to suggesting that she thinks this is hair, and had him watched by a isn’t actually superior to that of
get her out of her parents’ a perverted version of a classic private detective. She did all this upper class character.
house, only to see her go back love story. Jimmy himself this so that Jimmy couldn’t Jimmy’s statement that his mare
to Helena. Alison sees that an recognizes that it’s not a “carry her daughter off” on a gave up under Alison’s weight
explosion is coming, and traditional story of valor—the horse decked with “discredited suggests that his quest to
responds sarcastically, saying charger was “off white.” This passions and ideals.” “The old improve his working class lot is
that Jimmy rescued her on a reflects his inability to find a gray mare that actually once failing, and that this is largely due
“charger,” and that she’d still be valiant cause to hold on to, a led the charge against the old to his marriage.
“rotting away at home” if he situation that contributes to his order” could hardly carry
hadn’t. Jimmy calms down general disillusionment. Jimmy’s weight, he says, and 1 2 3
when he hears Alison getting gave up when he loaded Alison
riled up, and says that she’s not 1 3 5 on her back, too.
too far off—though the
Jimmy asks Alison if Helena Calling Alison’s mother a “bitch”
charger was “off white,”
has really won her back. and painting a vivid, disgusting
Alison’s mother had
Helena cuts in—“You’ve no picture of her worm-eaten corpse
effectively locked her
right to talk about her mother seems to show unbridled hatred
daughter up in a castle.
like that.” Jimmy says he has rather than a moral or political
Jimmy says that he knew from Jimmy’s offensive language every right, and, of Alison’s statement. Yet, Jimmy wants
the moment he met Alison’s ratchets up a notch when he mother, says, “that old bitch Alison to defend her mother, and
mother that she would stop at speaks about Alison’s mother, should be dead.” Then he asks her husband—the insult is also a
nothing to keep him from her suggesting that his dislike of her Alison to confirm his test of his wife’s moral fortitude.
daughter. He compares her to may be misogynistic as well as statement, and asks why she This moral purpose is muddied,
a “rhinoceros in labor,” whose idealistic. Here, he suggests that doesn’t come to her mother’s however, by Jimmy’s personal
“bellow” makes male rhinos her motherly protectiveness defense. Cliff gets up from the hatred of Alison’s mother, and
run away and “pledge celibacy.” makes her sexually unattractive, table and tries to stop Jimmy the word “bitch” adds an element
Yet, he says he “under- and that her un-ladylike from continuing, but Jimmy of gendered hatred, as well.
estimated her strength.” “roughness” makes her pushes him away, then “sits Jimmy cannot be said to be
Hoping to shock Helena, he comparable to a prostitute. down helplessly, turning his purely an idealistic social
says that Alison’s mother is as head away on to his hand.” crusader. His “helplessness” in
“rough as a night at a Bombay 1 2 4 Jimmy says that Alison the midst of his slew of insults
brothel, and as tough as a wouldn’t come to his defense, shows the self-defeating nature
matelot’s arm.” (A matelot is a either, if someone were of his anger.
sailor.) attacking him. Then he begins
to picture Alison’s mother 1 2 4
dead, and being eaten by
worms. “What a bellyache
you’ve got coming to you, my
little wormy ones…she will
pass away, my friends, leaving
a trail of worms gasping for
laxatives behind her.”

Jimmy smiles at Alison, who is Again, Jimmy plays up his Jimmy asks why Helena is still Alison’s strong negative reaction
still at her dressing table, and education and intellect. Yet he around, given that her play has to the word “why” speaks to the
“hasn’t broken.” Helena is the also rejects the feminization that already finished up. Helena fact that she doesn’t understand
only one who meets his gaze. he sees in Wordsworth, who was says that Alison asked her to her own actions. She is still stuck
She says that she feels “sick famous for his meditations on say, and Jimmy asks what they between truly accepting her
with contempt and loathing.” nature. Jimmy plans to write are “plotting.” Jimmy tells husband’s world, and staying in
Jimmy says that when he’s out about social situations, which are Alison that she doesn’t believe her own. Helena’s presence is
of the sweet-stall business, “I his primary concern and a “in anything,” and asks why she bringing that conflict slowly to its
may write a book about us all. primary cause of his pain. Like is letting Helena “influence” climax. Church has become a
It’s all here. Written in flames a “fire,” Jimmy’s vision of his life her. Alison begins to show flash point for Alison’s
mile high.” It won’t be a can both give energy, and signs of stress, covers her ears allegiance—with Jimmy, she
peaceful poem of the type that consume or damage people. with her hands, and says that avoids it, but with Helena, she
“Auntie Wordsworth” the word “why” is “pulling [her] doesn’t.
(referring to poet William 1 2 3 4 head off.” Jimmy says that he’ll
Wordsworth, who wrote The continue to use it, and turns to 1 2
Prelude, “I wandered lonely as a Helena to tell her that the last
cloud,” and other poems). time Alison went to church
Instead, “it’ll be recollected in was on her wedding day.
fire, and blood.” Jimmy did not take the wedding
Jimmy says that on that day,
Helena decides to try “patient Jimmy insult about Helena’s they were in a hurry to seriously, further showing the
reasonableness,” and says that cleverness suggests that his marry—it seems hard to ways that his values diverge from
a little thing like going to bravado about his own believe now. They avoided the the traditional values of people
church doesn’t merit all this intelligence is overblown. Alison’s city registrar because he was a like Alison’s parents (who
fuss. Jimmy says that if she statement that Jimmy would be friend of Colonel Redfern’s, apparently feel it would be
can’t understand that, she isn’t “lost” without his suffering shows and chose a vicar who was less improper not to show up for
so “clever” after all. Helena her clear understanding of the likely to know Alison’s parents. ceremony, even though they
says to Jimmy, “you think the fact that the anger that he often But Colonel Redfern and disapprove). The fact that Jimmy
world’s treated you pretty directs at her is something that Alison’s mother found out doesn’t remember saying his
badly, don’t you?” Alison cuts he needs. It gives him a sense of nonetheless, and came “to vows suggests that the marriage
in, “Oh don’t try and take his purpose and direction that he watch the execution carried was more about his fight with
suffering away from him—he’d otherwise has no way to find. out.” Jimmy had drunk beer for Alison’s parents than it was
be lost without it.” Jimmy breakfast, and picked a about marrying Alison herself.
“looks at her in surprise,” but 1 2 3 stranger at the bar for his best Jimmy’s sense that Colonel
then keeps his focus on man. Alison’s mother looked Redfern was nostalgic for the
Helena. like a dead rhino, he said, and colonial past while watching his
Colonel Redfern looked as daughter marry a working class
though he was “dreaming of his man dramatizes the idea that
days among the Indian Jimmy and Alison’s relationship
Princes.” He says that he can’t signals the end of a certain era of
remember the wedding after British history. In modern times,
that, except throwing up later Colonel Redfern is no longer a
in the vestry. Helena asks “prince,” and his precious
Jimmy again whether he’s daughter marries a working-class
done talking yet. man like Jimmy.
1 3 5

Jimmy asks Alison if she’s Jimmy’s use of economic Helena says, calmly, that if Helena has previously shown
going to be swayed by Helena. language to describe Helena’s Jimmy weren’t so far away, little inclination to respect or
Her friend, he says, is “a cow.” worldview suggests that he sees she’d have slapped him. Jimmy obey Jimmy, so the fact that she
Cliff says that Jimmy has gone her as an embodiment of the asks Helena if she has ever sits when he tells her to suggests
too far, but Helena says that he social and political forces in seen somebody die. She begins that his statement about seeing
should go on. Jimmy accuses Britain that are trying to erase to stand, and he tells her not to someone die comes across as
Cliff of defecting to Helena’s the plight of the poor and the move. She sits. Jimmy says that more powerful and true than his
side, too. He says that Helena working class. He accuses her of death “doesn’t look dignified previous tirades. His reminder
will “make it pay off,” because living in a way that denies reality, enough for you.” Helena says that death isn’t “dignified” is
she is “an expert in the New and bringing Britain back to the that she’ll slap him if he comes powerful evidence for his belief
Economics.” Continuing to use “Dark Ages.” This is, more close, and Jimmy replies that that politeness isn’t connected to
economic language, he says broadly, his critique of society. He he isn’t a gentleman, and has the real things in life. As is often
that the era of Reason and thinks that the powerful forces in “no public school scruples the case, however, his legitimate
Progress is over, and that old England are disconnected to the about hitting girls.” If she moral statement begins to mix
traditions and beliefs are struggles of people like himself, slapped him, he would slap her with misogyny when he scorns
getting more valuable. “The and intent upon preventing back. Helena says that this Helena’s “frail little fists.” He says
Big Crash is coming,” he says, progress. doesn’t surprise her. Jimmy that this is about his working
so people should go to responds that he hates class moral outlook—he doesn’t
Helena’s side to avoid disaster. 1 3 violence, and that’s why, “if I have the politeness that those
“Helena and her kind” have find some woman trying to who went to fancy “public
overrun Britain, he says. “They cash in on what she thinks is schools” would have. Yet Helena
spend their time mostly my defenseless chivalry by sees through him, noting that
looking forward to the past.” lashing out with her frail little this might be about a “subtle”
The “Dark Ages” seem to her fists, I lash back at her.” Helena moral critique, but it also might
the lightest time, and she lives asks if that’s “subtle, or just be “just plain Irish”—a scornful
in her own “soul,” “cut right off plain Irish?” Jimmy smiles, and and classist (and even racist) way
from the ugly problems of the says that they seem to to say that it might just be about
twentieth century altogether.” understand each other. Jimmy’s natural inclination
towards belligerence.
1 2 3 4

Jimmy says that Helena hasn’t Jimmy’s criticism of Alison’s Without looking at Alison, Jimmy’s emotional pain, and his
answered his question, and virginity takes on a different Jimmy asks why she lets belief that he has given Alison a
she replies that she has never meaning here, when he suggests people do these things to him, good life, shows that, in his mind,
seen anybody die. “Anyone that “virginity” means one hasn’t when, he says, “I’ve given you he treats her this way out of love.
who’s never watched suffered. This gives us an idea of just everything.” Jimmy’s voice His rage is again “disabled,”
somebody die is suffering from his vision of sex, which he must has weakened. “His axe- powerless. Alison’s emotional
a pretty bad case of virginity,” see as partly an act of suffering. swinging bravado has break, and her statement that
Jimmy says. He loses his “good British soldiers who fought in the vanished, and his voice she just wants “peace,” show that
humor” as he falls into a Spanish Civil War did so for crumples in disabled rage.” He his love of passion and suffering
memory. When he was ten, he idealistic reasons, and Jimmy says that Helena is taking has had the effect of pushing her
said, he watched his father die bemoans that lack of idealism in Alison away, and his wife is “so away. At the same time, it shows
for a year. He had been fighting his own generation. His father bloody feeble” that she’ll allow that Alison really may be closed
in the (Spanish Civil) war in and others like him had the it to happen. “Suddenly,” Alison off to passion and suffering. She
Spain. He was wounded in chance to fight for important flings her cup to the floor. She just wants things to be easy.
battle, and Jimmy knew that he causes, but that also caused looks at the pieces, and at
would die. He says that he was them grave suffering; Jimmy’s Jimmy, and then crosses the 2 5
“the only one who cared,” and generation cannot be ignorant of stage to put on a dress. “As she
turns to look out the window. the costs involved, and has thus is zipping up the side, she feels
The rest of the family was lost some sense of innocence. giddy, and she has to lean
embarrassed, he says. His Jimmy’s mother had the against the wardrobe.” Eyes
mother “was all for being “fashionable” values that he closed, Alison says, “all I want is
associated with minorities, derides in Alison and Helena, so a little peace.”
provided they were the smart, this gives us an idea of the
Jimmy is “hardly able to get his Jimmy is emotional to the point
fashionable ones,” and his psychological origin of his
words out.” “My heart is so full, of discomfort, but, as we have
father’s conviction that he outlook—which involves, again,
I feel ill—and she wants seen many times before, he
should fight for democracy in both scorn for a woman in his
peace!” Alison puts on her prefers this to “peace,” which he
Spain was not well-received by life, and a valid critique of upper
shoes. Cliff moves from the translates as upper class
society at large. Jimmy says class complacency.
table to an armchair and looks complacency. Jimmy argues that
that his family sent money
1 2 3 5 at a paper. Jimmy has regained he might seem crazy, but Alison’s
every month, “and hoped he’d
his composure slightly, and silence could make her the crazy
get on with it quietly, without
says that people find his yelling one, too. This is one of the
too much vulgar fuss.”
objectionable, “but that girl arguments that the play has
His mother may have pitied his Jimmy himself ties the origin of there can twist your arm off been taking seriously. Though
father, Jimmy says—but she his anger to “helplessness,” with her silence.” He says that Jimmy’s anger makes him seem
didn’t care as he did. “At the further driving a sense that his Alison callously ignores his unhinged, he also has flashes of
end of twelve months,” he says, vitriol is partly about frustration, feelings. “One of us is mean real ideological clarity. Alison, the
“I was a veteran.” He learned rather than about arguing for a and stupid and crazy,” he says. calm one, is also occasionally
through that experience “what just cause. Yet, his statement But is it him, “standing here shown to be a coward. The play
it was to be angry—angry and that he learned hard lessons at like an hysterical girl, hardly suggests that some iconoclastic
helpless.” He claims, “I knew ten years old seems also to be able to get my words out?” Or thinkers might be personally
more legitimate. Helena and Alison is it Alison, “sitting there, distasteful, as Jimmy often is.
about—love…betrayal…and deny him the pleasure of a putting her shoes on to go
death, when I was ten years response. out?” Jimmy turns to Cliff, and 2 3 4
old than you will probably ever says that he should try loving
know in all your life.” The group 2 Alison. Then he goes over to
sits silently. Then Helena gets watch Alison rummaging for
up and says that she and her gloves.
Alison should go to church.
Alison nods, and Helena leaves
to get her things.

Jimmy says that Alison might The fact that Helena witnesses Helena tells Alison that she Alison reacts to Helena’s extreme
want to return to him only Jimmy’s angry statement has sent Colonel Redfern a gesture with the “vague” attitude
someday. When that happens, that Alison’s face should be wire, telling him to come pick that Jimmy detests. Helena’s
he says, “I want to stand up in “rubbed in the mud” parallels the up his daughter the next day. past tense statement that Alison
your tears, and splash about in way that upper class observers Alison responds, her voice “didn’t mind” shows a desire to
them, and sing.” Helena enters often see only the ugly side of “numbed and vague”: “Oh?” avoid conflict (she doesn’t ask
with two prayer books in her Jimmy’s anger. The two prayer Helena springs into action. She about Alison’s feelings in the
arms. Jimmy says that he books symbolize the upper class says that she felt that she had presence, but assumes her
hopes to someday see Alison’s respectability that Helena brings to do something, and then retroactive approval). Alison’s
“face rubbed in the mud.” with her. says, “gently,” “you didn’t mind, decision to leave seems to come
There is a short pause, and did you?” Alison says that she from a sense of inevitability. As
then Helena tells him that 1 2 doesn’t, and thanks Helena. Jimmy fears, Helena is indeed in
there is a phone call waiting for Her friend asks if she will go charge. This is beginning to have
him. Jimmy says that can’t with her father when he real, potentially disastrous,
mean anything good, and exits. comes, and Alison says, after a effects for the couple.
pause, that she will. Helena is
Helena asks if Alison is ready Helena draws the battle lines 2 5
relieved. She says that Colonel
to leave, and whether she feels according to gender, not
Redfern will arrive around
all right. Helena says that she class—Alison’s problem is “men.”
“tea-time” the next day. She
is shocked to think of how hard Cliff, on the other hand, suggests
hopes that Alison’s departure
things will be for Alison during that it is indeed a matter of class.
will cause Jimmy to “come to
her pregnancy, and how it’s all He confirms that Jimmy’s way of
his senses, and face up to
due to “these men.” She turns speaking is partly a result of his
things.”
to Cliff, and berates him for class upbringing, and that Cliff
sitting there and doing himself doesn’t find it offensive, Alison asks who was on the Cliff springs into action in a
nothing. Cliff agrees: “I just sit given their shared context. He phone. Helena says it was moment of conflict, asking what
here.” Helena asks what’s seems resigned to the fact that “Sister somebody.” Alison he can do to help, and calling
wrong with him. Cliff says that love entails conflict. He expresses speculates that it was a Jimmy a taxi. Alison, who
he may not agree with Jimmy, pity, which seems to be an overall hospital, as Jimmy is unlikely actually knew Hugh’s mum, can
but that doesn’t mean that he’s pity for the human condition. to know anyone in a convent. only apologize repeatedly.
on Helena’s side. Her presence Cliff’s resigned attitude, and his She says they should get going. Though they at times have
has made things worse in the love for both Jimmy and Alison, Jimmy enters, and Cliff asks if similarly unemotional responses
house than they’ve ever been. suggests that he doesn’t see their he’s all right. To Alison, Jimmy to Jimmy’s tirades, Cliff holds up
It was always a “battlefield,” fights as a problem to solve in the says that the call was about much better under strain here
but his presence has meant way that Helena does. Hugh’s mum, who has had a than Alison does. We are meant
that the couple can stay stroke. After a “slight pause,” to dislike Alison in this
together. “Where I come from,” 1 2 4 5 Alison says that she’s sorry. moment—she seems as
Cliff says, “we’re used to Jimmy sits down on the bed. emotionally callous as Jimmy
brawling and excitement.” He Cliff asks how bad it is, and often says that she is. Cliff’s
adds, “I love these two people Jimmy says that it sounds like different reaction shows that
very much. And I pity all of us.” she’s dying, and that it “doesn’t Alison’s behavior is due to
Helena asks if he is including make any sense at all.” Cliff cowardice, and not to a peace-
her in that statement, but asks if there’s anything he can loving nature.
keeps speaking to avoid giving do. Jimmy says he should call a
him the chance to reply. taxi. Cliff gets up to do this, 2 5
then asks if Jimmy would like
him to come to London. Jimmy
says, “it’s not for you to go,”
given that Cliff had hardly
known Hugh’s mum. “Helena
looks quickly at Alison,” who
says nothing. Cliff exits.

To Alison, Jimmy says that he Jimmy’s admission of weakness ACT 2, SCENE 2
remembers Hugh’s mum’s is the emotional climax of this
The scene opens the next Right away, Colonel Redfern’s
reaction to their wedding scene. He has allowed himself to
evening, with Alison packing demeanor points to the fact that
photo. She rhapsodized over become fully vulnerable, and to
her suitcase and Colonel he represents an old world order
how beautiful Alison was. admit that he relies on Alison.
Redfern sitting by. “Brought up that has lost its power. He
Alison is standing by the This could be a moment of
to command respect, he is doesn’t understand Jimmy’s way
dressing table with her back to affection and love between them,
often slightly withdrawn and of talking. He’s used to being
him. He asks for his shoes. She but Alison remains emotionally
uneasy now that he finds respected, but Jimmy instead
kneels to hand them to him. closed. The church bells call her
himself in a world where his finds him contemptible. His high-
Looking at his feet, he asks if away with their respectable
authority has lately become class status has shifted beneath
she’s coming to London with appeal—she follows, and returns
less and less unquestionable.” him and come to represent
him. He says, “I…need you…to with Helena to her old life,
Though Alison’s mother would something different, and less
come with me.” Jimmy meets leaving Jimmy alone. In this
find this situation exciting, admirable, in England than it did
her gaze, but Alison turns away moment, it is Alison, and not
Colonel Redfern is “disturbed in India.
and stands. The church bells Jimmy, who is an aggressor.
and bewildered by it.” He says,
begin to ring. Helena watches. 3
2 5 to both himself and Alison, that
Finally, Alison crosses to pick
this is beyond him. Jimmy
up the prayer book. “She
“speaks a different language
wavers, and seems about to
from any of us.” He asks where
say something,” but then turns
Jimmy has gone.
towards the door. In a soft
voice, she says to Helena, “let’s Alison says that Jimmy is Colonel Redfern refuses to
go.” seeing Hugh’s mum, because engage with Alison’s attempts to
she’s had a stroke and her son insult Hugh’s mum. He also
Alison and Helena exit. Jimmy The bear symbolizes Jimmy
is away. She says that Jimmy implies that she should have
“looks about him himself. He and it fall at the same
had hoped she would go with gone with her husband to visit
unbelievingly,” rising to lean time, full of immense suffering
him. Colonel Redfern her. He brings an energy that is
against the dresser. The teddy and disbelief. The fact that he
remembers that it was Hugh’s similar to Cliff’s with Jimmy,
bear is nearby. Jimmy lifts it flings it to the ground himself
mum who gave Jimmy the attempting to calm Alison’s
“gently,” then throws it to the suggests the way that he
sweet-stall, and asks whether anger. In these first moments
floor, where it makes a welcomes suffering, however
she’s anything like her son with her father, then, it seems as
“rattling, groaning sound.” painful it may be.
(Hugh Tanner). Alison says though Alison has become more
Jimmy falls onto the bed, his
2 that she’s “ordinary. What like Jimmy than like her parents.
face in the covers.
Jimmy insists on calling
working class.” Colonel 2 5
Redfern replies, “so you didn’t
go with him?” and Alison
confirms that she did not.

The Colonel asks who is The Colonel’s lack of reaction to Alison says that he shouldn’t This is the climactic moment of
looking after the sweet stall, Cliff’s presence in the apartment blame himself, and the Colonel the play in terms of our
and Alison says that Cliff is. is unexpected—a true agrees that everyone involved understanding of Alison’s
Her father asks if Cliff lives traditionalist would object. He deserves some blame. Yet he complacency. Jimmy, Alison’s
here too, and Alison says yes. does, however, wonder why says that Jimmy is “honest mother, and Helena all fight
The Colonel says that a sweet Jimmy is not using his education enough” and that Alison’s strongly for their various beliefs
stall “does seem an for better things. This is not a mother “acted in good faith as and values, even when those
extraordinary thing for an malicious observation, however. well.” Of Alison and himself he values come into conflict.
educated young man to be The Colonel seems to have a high says, “Perhaps you and I were Colonel Redfern suggests that
occupying himself with.” He’s opinion of Jimmy’s intelligence. the ones most to blame.” This Alison (and himself) do not.
never been able to understand This view from an outsider (and a surprises Alison. “I think you Alison herself sees her
it, and thinks that Jimmy is former enemy, at that) adds may take after me a little, my relationship as a radical act, but
probably “quite clever in his credibility to charitable dear. You like to sit on the the Colonel points out that she
way.” Alison says, without interpretations of Jimmy’s anger, fence because it’s comfortable has not fully committed to this
interest, that Jimmy has tried a though it perhaps also suggests and more peaceful.” Alison course of action. His alignment
variety of careers, and seems the ways that the upper class are rejects this interpretation, with Jimmy in his assessment
to be “as happy doing this as blind to the fact that the working saying that she married Jimmy that Alison should defend herself
anything else.” Her father says class may not have the option of even though her parents more, and his indictment of
that he has often wondered doing “something better” despite vehemently disapproved. Her himself, makes this seem a very
what her living situation is like, their education.. father says that this is true, but credible accusation. Jimmy is
because Alison was reticent on that it may have been better if right that Alison’s temperament
this point in her letters. 1 2 she had cut off communication is not as radical, nor as honest, as
after the fact, given the dislike Jimmy’s is.
Alison says that there wasn’t Again, Alison has taken a middle
between Jimmy and her
much to say, and the Colonel path that ends up leaving her to 1 2
parents. He “looks at her
interprets this to mean that betray both Jimmy and her
uncomfortably,” and
she was “afraid of being parents. Writing at all was
apologizes, but “glances at her
disloyal” to Jimmy. Alison disloyal to Jimmy, but she also
nervously, a hint of accusation
laughs at this, saying that refrained from giving her parents
in his eyes, as if he expected
Jimmy thought she was the information that they desire.
her to defend herself further.
disloyal to write to her parents This shows her cowardice. The
She senses this, and is more
at all. The Colonel remarks, Colonel explains his objection to
confused than ever.”
blandly, that Jimmy really does the “fuss” over the wedding in
hate them. Alison agrees that moral terms, but also suggests Alison tells the Colonel what Again, the Colonel’s reaction to
he hates “all of us.” The Colonel that he was ruffled by conflict, Jimmy said about her mother Jimmy’s language mirrors Cliff’s.
says that this is a “pity,” and showing an upper class and the worms. The Colonel He is not overly offended by
that the fuss about the sensibility. He, like Alison, mixes responds with a mild “I see,” Jimmy’s overblown insults. His
marriage was “unfortunate and upper class and working class and asks what Jimmy says comment that Jimmy “has quite
unnecessary. I’m afraid I can’t ideas. He also shows some of about him. Alison says that he a turn of phrase” also adds
help feeling that he must have Alison’s tendency to avoid isn’t as insulting. He calls the retroactive clout to Jimmy’s
had a certain amount of right entering an argument. He has Colonel “one of those sturdy tirades, reminding the audience
on his side.” This confuses not questioned or intervened old plants left over from the that, while he is volatile and
Alison. He says that he thinks with Alison’s mother, though he Edwardian Wilderness that angry, he is also astute and
that he and Alison’s mother disagrees. can’t understand why the sun intelligent.
deserve some blame for the isn’t shining anymore.” The
nasty battle. He has “never 1 2 Colonel says that Jimmy “has 1 2
said anything,” but he thought quite a turn of phrase,” and
that Alison’s mother “went too then, “simply and without
far.” He confirms that Alison’s malice,” asks why he and Alison
mother did hire private ever had to meet, and why
detectives, and that he tries Jimmy decided to marry her.
now to pretend that it never
happened.

Alison says that she believes it Alison and Jimmy’s angry, Alison is about the put the Seeing the squirrel reminds
was for “revenge.” Colonel volatile love is a modern squirrel in her suitcase, but Alison of the moments of
Redfern looks baffled. Alison phenomenon, and reflects a then puts it back. “For a few affection that she has shared
confirms that “some people do general loss of innocence and moments, she seems to be with Jimmy, and this makes her
actually marry for revenge.” “simplicity” in their generation. standing on the edge of doubt her decision to reject him
Jimmy, she says, complicated Colonel Redfern, like many of the choice.” Then she turns to and his lifestyle. That moment of
her life by throwing down the theatergoers who first saw Look Colonel Redfern and begins doubt makes us all the more
“gauntlet.” Colonel Redfern Back in Anger, feels alienated by crying. He tells her that she’s clear that it is Helena, and not
says, “your husband has their anger. He speaks here for taking a big step, and asks if Alison, who feels strongly that
obviously taught you a great those members of society who do she’s sure that this is what she upper class values are correct.
deal…what any of it means, I not feel class conflict as acutely wants. Then Helena enters, Alison and Colonel Redfern
don’t know. I always believed as the younger generation does. saying that she came to see if remain stuck taking the path of
that people married each His comments reflect a sadness she could help. Alison closes least resistance.
other because they were in about this state of affairs that her suitcase, and says that
love.” It seems, he says, “that’s runs through the play as a whole. she’s ready. Cliff is going to 2
too simple for young people send the rest of her stuff to
nowadays,” and that her love is 1 2 3 5 her, but he hasn’t returned
instead about “challenges and from the sweet stall.
revenge.” Alison says that this
The Colonel says that they We have seen that the Colonel is
is only true for some people,
should get going—Alison’s not sure that Alison’s leaving
and the Colonel wonders why
mother will be worried, and Jimmy is a good idea, yet he
it should be true for her.
she’s ill. Helena says that she treats Helena with the reflexive
Colonel Redfern says that Alison’s statement that both hopes the telegram isn’t to courtesy of an upper class
Jimmy might be right—he Jimmy and her father are “hurt” blame, and the Colonel says gentleman, telling her that he is
might be a relic of the by the state of the country that it isn’t, and thanks her for glad that she sent the telegram.
Edwardian past. He left encapsulates the play’s sending it. He asks if he can As with Alison, Colonel Redfern
England for India in 1914, he argument about disillusionment take her suitcase, and Helena has a difficult time offending or
didn’t see the country again and nostalgia. The end of says, to Alison’s surprise, that hurting others, and this leads him
until 1947. He heard rumors Britain’s imperial age has left she is staying the night. Cliff to be dishonest about his
that it was “going to the dogs,” both the old guard and the new enters. Helena says that she thoughts.
but he was also too busy guard adrift, and suspicious of must stay, because she has a
commanding an army to think each other. Jimmy and Colonel work appointment the next 1 2
about it much. He loved his life Redfern each have no feeling of day. Alison greets Cliff and
in India, and “it looked like purpose and meaning. Yet, their introduces him to her father.
going on forever…Those long common feeling does not give They exchange awkward
cool evenings up in the hills, them common cause—cultural greetings. Then the Colonel
everything purple and rifts leave them blaming each says goodbye, and exits to pack
golden…I think the last day the other for their own sorry state. the car.
sun shone was when that dirty
little train steamed out of that 2 3
crowded, suffocating Indian
station.” Alison replies, “you’re
hurt because everything is
changed. Jimmy is hurt
because everything is the
same…Something’s gone
wrong somewhere, hasn’t it?”
The Colonel agrees that it has.

Cliff says that Jimmy will Cliff, here, is a moral center. He Helena asks if he’s staying. Cliff exits because of his concern
return soon, and asks Alison to sees (presciently) that Helena is Cliff says that he’s leaving, in for Jimmy’s feelings, but
wait for him. She refuses, and not going to leave the apartment case Jimmy is about to come in nevertheless, the move seems
Helena says that she’ll tell (perhaps indicating that he sees from the London train. He’s callous. He and Alison both feel
Jimmy what has happened, if her attraction to Jimmy), and he had a hard day, and wants to unable to face Jimmy’s anger.
she’s still there. Cliff says, thinks that Alison should do right eat and drink before he sees Helena, who has experienced less
“quietly,” “you’ll be here.” He by Jimmy, and face up to her Jimmy devastated. He tosses of it than they have, is ready and
asks Alison if she thinks she difficult decision. Alison, Alison’s letter to Helena, and willing to face him—Jimmy
should tell Jimmy the news however, has fully embraced her says “I hope he rams it up your ascribes this to bravery. The
herself. She hands him a letter. “conventional” persona. This nostrils!” Then he exits. Helena teddy bear symbolizes Jimmy
He says that’s a “bit moment of Alison’s exit is a puts out her cigarette, and a himself, and Helena’s casual
conventional,” and Alison second damning example of her door slams downstairs. She embrace of it suggests both a
confirms, “I’m a conventional cowardice and inability to take a looks around the room, and latent tenderness for Jimmy, and
girl.” He crosses to embrace strong stand. Though Jimmy has eventually picks up the teddy the fact that she is about to
her, and over Alison’s shoulder, driven her to this action, the play bear, and lies down on the bed displace Alison.
tells Helena that he hopes here paints him as the wronged with it. Jimmy enters with a
she’s right. To Alison, he says party, and Alison as the coward. crash, and throws his raincoat 2 5
that the apartment will be off- down. “He is almost giddy with
balance without her. She kisses 2 5 anger.” Jimmy says that
him, and says she’ll be in touch. Colonel Redfern almost hit
She tells Cliff to take care of him with the car on his way
Jimmy, and glances around the out. It was “fitting,” he says,
room. Helena kisses her cheek, that Alison was the
and says she’ll see her soon. “passenger.” Then Cliff avoided
Alison nods, and exits. him on his way out the door.
He asks if Helena was “the only
Helena asks Cliff if he would Cliff’s anger at Helena suggests
one who’s not afraid to stay,”
like some tea. He says no, and that class tension has been
and she gives him the letter.
she says that she’ll make simmering beneath his calm
herself some. Cliff asks if she’s surface. This further drives home Jimmy reads Alison’s letter: “I Again, Jimmy desires
staying, and she says yes. She the fact that Jimmy’s anger is need peace so desperately, authenticity from Alison, and
asks what Jimmy will do when justified—even the unflappable and, at the moment, I am sees her lettter as a way to avoid
he finds out, and wonders if he Cliff feels that Helena has willing to sacrifice everything intense feeling. She is being
might look up Madeline. Cliff unfairly disrupted their world. for just that…I shall always “phoney” and “polite.” For Jimmy,
says that he doesn’t think so, Helena also attacks Jimmy for have a deep, loving need of love is not “need,” but rather the
and when Helena asks him being improper and you.” Jimmy says this makes choice to feel deeply with
why, he breaks. “Why the hell impolite—walking around the him “puke.” She should have another person.
should I know,” he says, in a apartment shirtless in front of written angry words, but
voice that indicates that “for ladies. She implies that he is only instead “she has to make a 2 5
the first time in the play, his out for sex. Cliff sees Jimmy more polite, emotional mess of it.”
good humour has completely fully than Helena does, and He rips Alison’s dress from the
deserted him.” Helena is knows that ideological concerns wardrobe, saying, “Deep,
surprised. She asks if Jimmy is are perhaps even more important loving need! I never thought
private about these to him than sex is. she was capable of being as
things—she would be phoney as that!”
surprised, given how many 1 2 5
“souls stripped to the waist”
she has seen in the apartment.
Cliff turns to leave.

Helena says that Jimmy Helena has previously thought Jimmy asks if his pipe smoke Alison in Act 1 said that she had
should stop being so selfish, that Jimmy should love his child bothers Helena, and she says “gotten used” to the pipe, but
and tells him that Alison is and his wife unconditionally, but that she likes it. Jimmy Helena positively likes it. As in
going to have a baby. He he here argues that love should summarizes the week’s news the previous act, she takes a
doesn’t reply, and she asks if be given based on merit, and that for Cliff, which has to do with stronger stand than Alison did,
that means anything to him. He Alison has not earned it. Helena midnight rituals for the “Coptic and this provides the audience
says that he’s surprised, but responds to Jimmy with the Goddess of fertility.” He with a sense of hope—perhaps
isn’t going to “collapse with anger that he craves from Alison, wonders if Miss Drury has Helena will be able to stand up to
remorse.” He doesn’t care and her reaction releases his “dabbled” in witchcraft, and Jimmy in a way that Alison
about the baby, and asks if that despair. This suggests both that asks if Helena has. Laughing, didn’t.
disgusts her. Then he reminds Jimmy might not be able to she says that she hasn’t “lately.”
her of their previous withstand the anger that he Jimmy says that it sounds like 2 5
conversation, and says that he himself dishes out, and that his her cup of tea, or “cup of blood,
has spent the day watching anger is in fact an expression of I should say.”
someone die. “And you think I vulnerability. The fact that
Jimmy says that he suspects Jimmy still has the sense that he
should be overcome with awe Helena kisses him underscores
“somebody’s been sticking pins suffers more than anyone else
because this cruel, stupid girl is the seductive power of his raw
into my wax image for years.” does—he here ascribes it to
going to have a baby!” Jimmy honesty and emotion, and
Then he says that it must be voodoo. The upper class imagery
calls Helena an “evil-minded perhaps also indicates (now that
Alison’s mother. He imagines (hat pins and bridge) shows that
little virgin,” and she slaps him. there is a pattern of upper class
that she does this with a he ties his personal suffering to
He looks horrified, then his women falling for him) that
hatpin, and that it might have his class status. He also mentions
face fills with pain. “A muffled passion such as his really is
“ruined her bridge game.” Alison briefly—her presence still
cry of despair escapes him” as lacking in the upper classes.
Helena suggests that Jimmy hangs in the air.
he covers his face with his
2 5 should try it himself. Jimmy
hand. Helena pulls his hand 1 2
says that’s a good idea—they
away, “and kisses him
could sacrifice Cliff over the
passionately, drawing him
stove.
down beside her.” The curtain
falls on Act 2. The “whole point of a sacrifice,” Jimmy makes an incisive
Jimmy says, “is that you give psychological commentary about
ACT 3, SCENE 1 up something you never really people’s tendency to
wanted in the first place.” congratulate themselves too
Several months have passed, The allusion to Act 1 is clear in People gain unfair recognition much for too little. He also pities
and it is once again a Sunday. this moment. Helena has taken for sacrifices of this kind, he those who must fake values,
Helena’s belongings have on Alison’s exact role in the believes. He says that rather rather than truly having them.
replaced Alison’s in the household, and Jimmy has even than admiring them, he should His subtle jab at Helena’s upper
apartment. Cliff and Jimmy sit laid claim to her with his shirt. feel sorry for them. Then he class “blue blood” status goes
in armchairs reading the paper, This suggests that the cycle of returns to his joke, and says unremarked upon, but suggests
as they did in Act 1. Helena is conflict will continue, because that they could also drink that the same tensions as were
ironing. She looks “attractive” Helena has not changed Jimmy’s Helena’s blood, which must be present in Act 1 are present now.
and “smart,” but “in an world—he as changed hers. There a “pale Cambridge blue.” Then
unpremeditated, careless way; is also a sad feeling of stagnancy they could invoke the fertility 1 2
she wears an old shirt of to the scene. goddess. Cliff grumbles that
Jimmy’s.” Cliff says that Jimmy doesn’t need to invoke
Jimmy’s pipe is stinking, and 3 5
that goddess, and Jimmy says
Jimmy says that Cliff stinks. that he’s right. He asks for the
Then he wonders why he “posh paper,” where there is a
spends so much time reading “savage correspondence”
papers on Sundays. about Milton that he wants to
read.

Cliff says that he has just read Jimmy’s fatherly interest in Cliff’s Jimmy changes the subject to Jimmy’s tendency to make up
that, and Jimmy says, “I think intellect paints him as a certain a song that he made up that songs is one of the things that he
you’re actually acquiring kind of old, upper class patriarch, day, then suggests some takes pride in, as evidenced also
yourself a curiosity, my boy.” revealing again his subtle names for a band they could by the fact that his names are
He summarizes some gossipy nostalgia for Britain’s past. form together, but dismisses too smart for their own good.
articles about Shakespeare, Jimmy’s attack on Helena reveals them as “too intellectual.” Cliff This comic break shows the easy
and Helena laughs. She tells that he wants to keep her under begins to brainstorm names, fondness that exists between
Cliff that she’s gotten more his thumb—he doesn’t like feeling too, and then they fall into a people of the same class
adept at telling when Jimmy is laughed at. His reminder that she routine, pretending to be a pair background—Jimmy and Cliff.
being serious, and when he’s has wronged her friend is a way of performers. The scene has a Helena’s playing nobody is a
joking. Cliff says he’s not sure of reminding her that she is a vaudeville air, with two men small jab at her, and an erasure
Jimmy always knows himself. hypocrite. He uses a moral trying to find a man named of a woman in this male
Jimmy tells him to shut up, and argument to hurt Helena, and “nobody.” In the end, it turns dominated dynamic. The song
asks Helena if she’s going to the pain he causes seems out that Helena is to play lyrics recall Jimmy’s love with
church that evening. “Taken gratuitous—it’s not really about nobody. Jimmy throws a pillow Alison, and his decision to stop
aback,” she says that she isn’t. ideals. at her, pretending that it is an the song suggests that thinking of
Jimmy asks if it’s “living in sin” instrument case, and it hits her Alison might still be painful,
that makes her stay away. 1 3 5 ironing board. Jimmy and Cliff though it looks on the surface like
Helena “can hardly believe that launch into a song and dance he’s moved on.
this is an attack,” and is “shaken routine, like the famous British
by the sudden coldness in his performers Flanagan and 1 4
eyes.” He soon resumes his Allen. They sing about a suitor
cheerful joking with Cliff. wanting to marry a middle
class woman, even though her
Then Jimmy asks if he saw Jimmy’s sarcasm reveals that he
mother doesn’t like him. Jimmy
Helena talking to a reverend thinks religion is “phoney”
tires of the song, and tells Cliff
the other day. She says that it morality. He paints himself as the
to make some tea.
was indeed a reverend, and he weaker man in order to suggest
says that she’s acting that the reverend is Cliff and Jimmy begin to fight Like Alison, Helena has taken on
defensive. Jimmy asks why overcompensating for a failing. and roll on the floor, and the role of womanly guardian
they shouldn’t have the parson The scene from the first act is Jimmy begins to gain the upper over two men who act like
over for tea, and whether it’s beginning to re-play. Though hand. He dirties Cliff’s shirt, ruffians. In this way, the dynamic
because his moral manliness Helena has a stronger tie to her and tells him to make some tea. of the household is intractably
would overtake Jimmy, the own values than Alison did, it is Cliff rises, and appeals to traditional.
“liberal skinny weakling.” becoming clear that what Jimmy Helena, who says that she’ll
Helena asks why they can’t really wants is for a woman to wash the dirty shirt. Cliff 4
have “one day, just one day, give up her politeness and “hesitates” before giving it to
without tumbling over religion reserve and fight him toe to toe, her, then takes it off. Helena
or politics,” and Cliff chimes in to step onto his ground as a full exits with the shirt.
his agreement. and honest combatant in love.
2 4 5

Jimmy “flops into his armchair,” Jimmy misogynistically Jimmy suggests that Helena Cliff subtly rejects the idea that
and says that Cliff looks like compares women to “meals,” and find Cliff a rich friend, because he wants a girl like Helena, and
“Marlon Brando” (in A Streetcar suggests that his dislike of that’s what he wants. Cliff this creates the hope that one of
Named Desire). Then he Helena is different from his says, noncommittally, the characters in the play might
remarks that Cliff doesn’t like dislike of Alison. Yet, Cliff never “Something like that.” Jimmy find a simple, loving relationship.
Helena. Cliff reminds him that disliked Alison, so he has already says that they could find a It also suggests, however, that
he once felt the same way. But accepted the truth of what respectable woman to clean such relationships cannot exist
then says, “quickly,” that it’s not Jimmy says. It is Jimmy himself him up, and then he says, “I across class lines. Jimmy
the same. Jimmy agrees who seems stuck in a hopeless seem to spend my life saying questions his own reaction to
“irritably” that it isn’t, because pattern. Cliff, as he himself good-bye.” Cliff says that his Cliff’s leaving, noting that he
“today’s meal is always states, is ready to get out. feet hurt, and Jimmy suggests values this male friendship more
different from yesterday’s and washing his socks. Jimmy says, than he values Helena, but he
the last woman isn’t the same 4 5 “slowly,” that Cliff has been a still lets Cliff go. This shows, for
as the one before.” Cliff sits on “loyal, generous, and a good one thing, the low value that he
the edge of the armchair, and friend.” And yet, he is “quite places on women. He uses them
says that he thinks he’s going prepared” to let him go, “all for a selfish need, while he sees
to leave the apartment because of something I want his friend as a person in his own
somewhere soon. Jimmy asks from that girl downstairs, right.
why, not betraying any something I know in my heart
emotion. Cliff says he wants to she’s incapable of giving.” Cliff 1 2 4 5
try something different. is worth six Helena’s to him, he
says, and yet they would both
Cliff goes on to say that the Cliff’s sarcastic reasoning about
let the other go, given the
sweet stall suits Jimmy the sweet stall is meant to show,
same situation. He looks to
because he is “highly gently, that he isn’t suggesting
Cliff for affirmation, and Cliff
educated,” but he needs that Jimmy himself needs to get
agrees.
something “a bit better.” The out and find something better.
other thing, he says, is that This implies that Cliff knows that Jimmy asks, “why, why, why, This speech crystallizes the play’s
Helena finds it difficult to look Jimmy wonders whether he is why do we let these women argument about the threads of
after two men, and that Cliff selling himself short by staying in bleed us to death?” He says love and anger that have been
should find a girl for himself. one place. that it might be because interweaving throughout the
Jimmy says that sounds like a “people of our generation play. Jimmy creates drama and
good idea, if he can find 1 4 aren’t able to die for good anger in his relationships with
someone “stupid enough” to go causes any longer. We had all women because he doesn’t have
for it. that done for us, in the thirties a political outlet for his
and the forties.” He falls back frustration. He wants to feel the
into the brooding mood that anguish and suffering of a
he has been in for much of the righteous cause, but instead, he
play, and observes, “There picks fights.
aren’t any good, brave causes
left.” This means that “there’s 1 2 3 4 5
nothing left for it, my boy, but
to let yourself be butchered by
the women.”

Helena enters and hands Cliff Though Jimmy has already Jimmy says that he’ll close the For a moment, Jimmy is able to
his shirt. He thanks her, and shown his attempts to dominate sweet stall, and they’ll leave picture a future that has moved
she says that he should dry it in Helena, here he tries to release together. Helena agrees. He beyond the static picture that we
his room. Cliff exits. Helena her from a traditional female role says that he’ll make “such love have seen throughout the play.
crosses back to the ironing in order to unleash her passion to [her, she’ll] not care about Alison’s return, however, reminds
board, and Jimmy says that for him. His misogynistic anything else at all.” She says us that the suffering and anger
he’s “sick” of seeing her tendencies conflict with his that she just has to change her that we have seen throughout
ironing. He tells her to get desire for genuine emotion—his shirt, and Jimmy says that he’ll has a human cost. Jimmy is once
“glammed up” so that they can dominating tactics can be self- tell Cliff to get a move on. again stuck, and it is becoming
go out. Helena asks if defeating. Then the door opens, and clear that he always will be.
something is wrong. Jimmy there is Alison, wearing a
says that she shouldn’t frown, 2 4 5 raincoat. “Her hair is untidy, 1 2 5
but rather should look “as if and she looks rather ill.” After a
[her] heart stirred a little” pause, Alison says hello. Jimmy
when she looks at him. Helena says, to Helena, “friend of
says that it does. yours to see you,” and exits.
Jimmy says that Cliff is Both Cliff and Helena are able to
leaving, and Helena says that give love more freely than Jimmy ACT 3, SCENE 2
he’s already told her. She says himself is. Here, when Helena The scene opens just a few Jimmy has retreated into the
she’s sorry he’s leaving, and says that she loves him, Jimmy minutes later. Jimmy is playing wordless anger of his jazz
Jimmy agrees that “you can does not return her answer his jazz trumpet across the trumpet, which is in some ways
forgive somebody almost immediately. For him, conflict hall. Helena is standing at the the equivalent of the animal
anything” if they have a big and love are hopelessly table pouring tea. Alison sits in game—it lets him express his
heart, as Cliff does. He has intermixed. It is initially hard to an armchair. She bends to pick feelings in a non-intellectual way.
learned how to love. Jimmy accept Helena’s freely given love. up Jimmy’s pipe, and drops the Alison is still inclined to clean up
beckons Helena to him, and Yet, his admission of vulnerability ash from it into an ashtray. She the apartment, suggesting that
she comes over to his chair, (don’t let anything go wrong!) notes that he still smokes the she retains some upper class
and puts out her hand. He suggests that he has been able pipe, and says that she had sensibilities. Now she, like Jimmy
“runs it over his head,” and says occasionally to give up his come to miss it. Last week at and Colonel Redfern, has fallen
that Helena has always been combative stance, and accept the movies, she sat behind a into nostalgia, missing her old
the first one to put out her Helena’s love. Yet, he still requires man who was smoking the life.
hand to him. He says that she her to be “with him” against the same pipe. Helena brings her a
expected “nothing, or worse world. The conflict may not be cup of tea and says that it 2 3 5
than nothing, and didn’t care.” between them, but they must be should help. Alison takes it, and
He says that she was a “worthy on the same side in a broader thanks her.
opponent.” Helena says that societal conflict.
she loves him. Jimmy says, “I
think perhaps you do.” He says 1 2 5
that she loves him especially
when he’s “heartily sick of the
whole campaign,” and lying in
her arms. They embrace, and
he says, “don’t let anything go
wrong!” She calls him “darling,”
and he says, “either you’re with
me, or against me.” She says
she has always wanted him,
and they kiss.

Alison says that she must be Alison and Helena are retreating Alison says that she regrets The question of Alison’s muted
“mad” to show up at the into a polite, restrained way of coming here, and that she emotions still has not been
apartment, and apologizes to talking to each other, but Alison didn’t intend to break up resolved. She is not operating
Helena. Helena says that also notes that her decision to Helena and Jimmy. Helena under either Jimmy’s or Helena’s
Alison, of all people, doesn’t return has a flavor of Jimmy to it. says that she believes that, but moral code, both of which would
need to apologize. Alison She showed up unannounced to that it makes things seem even require outrage. Yet, she seems to
protests that it was “unfair and provoke strong feelings and worse. Alison “should have have developed a moral narrative
cruel” to return. She has reactions. The audience is not yet been outraged,” but wasn’t. of her own that doesn’t quite
adopted Jimmy’s sense of sure whether Alison’s time away Helena says that she feels ascribe to either of their visions.
dramatic timing, she says, but has resolved Alison’s identity ashamed, and that Alison Helena retains her strong and
it is in “bad taste.” She says that crisis over working class and sounds like she is “quoting” traditional moral sense, as
she has often prevented upper class values. Jimmy. “At last, I still believe in indicated in her belief in the
herself from coming, but that right and wrong,” Helena says. wrongness of her relationship
today, she finally made it. She 1 2 5 “Even though everything I with Jimmy.
says that she has often have done is wrong, at least I
thought of the apartment, but have known it was wrong.” 1 2 4
that it seemed like another
Alison says that Helena wrote Alison has adopted the view that
world. She says that Helena
that she loved Jimmy, and insults and anger can be the
makes a good cup of tea, then
Helena confirms this. Alison result of love. Grappling with the
covers her face. “You must all
says that she couldn’t believe love between Jimmy and Helena
wish me a thousand miles
this at first, but then she has helped her reach this
away,” she says.
realized that Helena used to realization.
Helena says that Alison has Alison’s protestation that the say lots of very harsh things
“more right” to be there than rules of marriage don’t apply, and about Jimmy, and that made it 2 5
Helena does. Alison protests, the fact that she felt this way easier to believe. Helena
“Helena, don’t bring out the before meeting Jimmy, suggest agrees that she was “over-
book of rules,” and Helena says an iconoclastic streak that might emphatic.”
that Alison is Jimmy’s wife, and be stronger in her than we had at
Helena says that she has Helena’s observation emphasizes
that she has never forgotten first realized. Her comment on
discovered “what is wrong the fact that Jimmy’s strong
her friend’s “right” to him. “constitutional monarchy”
with Jimmy…He was born out idealism is out of place in the
Alison says that she “gave up reflects the fact that British
of his time.” Alison agrees. modern state of British society.
believing in the divine rights of society, like her love life, has
Helena says that there’s no Jimmy wishes for a time when he
marriage long ago. Even become more chaotic as it
place for him in the world now, could have had a “brave cause,”
before I met Jimmy.” Now, she becomes freer.
but that he should have been and the fact that his fervor has
says, it’s a constitutional
1 2 5 in a time like the French no place in the modern world
monarchy. You are where you
Revolution. This means that leads to a deep and abiding sense
are by consent.” She, on the
he’ll never get anywhere. of disillusionment. Yet, Jimmy
other hand, has been
Alison says that he’s an himself understands that his
displaced.
“Eminent Victorian.” nostalgia is false (that rain fell
even in Edwardian times).
Helena and Alison paint a
simpler picture of a man born in
the wrong decade, but Jimmy
knows that a thinking man will
always find something to be
disillusioned about.
Nevertheless, he still wishes that
he could find a “brave” cause to
align himself with.
1 2 3

Helena says that she sees now Helena has had a strong moral The trumpet eventually stops, Jimmy’s statement that he
that it’s “over” between her code for the duration of the play, and Helena calls Jimmy to doesn’t want others to be ill or in
and Jimmy. Alison’s presence and though she has strayed into speak with them. Jimmy asks if pain shows that his view of
reminds her how wrong the “sin” by having an affair, her Alison is still there, and Helena suffering isn’t just confined to the
situation is. She says, “he wants action here accords with the says that he shouldn’t be moral realm—he also succumbs
one world and I want another, standards that she has set for stupid. Alison is worried that to genuine emotion, as he does
and lying in that bed won’t ever herself. She begins and ends the he doesn’t want to see her, but when he sees Alison’s pale face.
change it! I believe in good and play with the same upper class Helena tells her to stay. Jimmy The miscarriage has softened
evil, and I don’t have to values. Yet, Alison’s more flexible enters. He says that Alison him as it has softened Helena,
apologise for that.” By her own moral code might make her able should sit down, because she but it has not shocked him—this
moral code, her actions have to find happiness with Jimmy looks “ghastly.” Helena begins is a privilege reserved for those
been unconscionable. She’s where Helena couldn’t, even if to explain, but Jimmy says that who have not suffered much and,
leaving, and she thinks Alison Helena believes she won’t find she doesn’t have to “draw a to Jimmy, differentiates those
would be a “fool” to stay, but happiness overall. As opposed to diagram.” He can tell that who understand the world from
she won’t stand in her way. Helena, Alison and Jimmy would Alison has had a miscarriage. those who don’t.
Alison protests that Jimmy will not be “lying in that bed” with Helena asks if that means
be all alone. Helena says that two totally different worlds in something to him, and Jimmy 1 2
Jimmy will find another mind. Alison has been trying to says that he isn’t glad to think
woman. “I know I’m throwing bend her imagination to include of anyone being ill or in pain,
my book of rules at you,” she Jimmy’s world. and that it was his child too.
says, but Alison won’t be happy But, he says with a shrug, “it
without it. Helena has tried 1 2 5 isn’t my first loss.”
living that way, and “it just
Alison replies that it was her Jimmy unknowingly cursed
doesn’t work.”
first loss. Jimmy looks at her, Alison’s unborn child in the first
Helena says that seeing Alison The fact that Helena takes then looks back at Helena. She act, and now, his prophecy has
at the door made everything Alison’s miscarriage as a crosses to him, and says that it come true. Alison has suffered as
come clear to her, and that she “judgment” suggests that her isn’t Alison’s fault. Jimmy asks he hoped that she would.
“didn’t know about the morality is partly religious, what she means. Helena says Helena’s decision to remove
baby…It’s like a judgment on meaning that it comes from the that she doesn’t “want a brawl,” herself from “suffering” suggests
us.” Alison says that she “lost upper class world that Jimmy and Jimmy tells her to get on that her morality also has a tinge
the child. It’s a simple fact. scorns. Yet, she has no desire to with it. Helena says that she is of what Jimmy would call
There is no judgment, there’s question it. She also takes a more “going downstairs to pack [her] cowardice—she doesn’t want to
no blame.” Helena says that feminist view than Alison, and is things.” It was her own take part in the darkest side of
she still feels it, and that unwilling to conform to Jimmy’s decision, but she realized that life. Alison has deepened her
though it isn’t “logical,” it’s highly demanding view of what a she couldn’t be happy doing emotional capacity by opening
“right.” Offstage, “the trumpet woman should be. something “wrong” and her life to Jimmy, but Helena
gets louder.” Alison says that hurtful. She says that she won’t chooses not to.
Helena shouldn’t leave Jimmy, 1 4 love anyone else like Jimmy,
because he needs her. He but “I can’t take part—in all this 2
wants something specific from suffering. I can’t!” Jimmy “looks
women, she says—a “cross down at the table, and nods.”
between a mother and a Greek
courtesan, a henchwoman.”
Helena tells Jimmy to stop his
“damned noise.”

Helena says that she’ll get Jimmy’s statement that love Jimmy asks if Alison For perhaps the first time in the
Alison a hotel room. Jimmy takes “muscle and guts” is an remembers the first night they play, we perceive what Jimmy’s
says that he always knew that indictment of the cowardice that saw each other. He said that personal, emotional goals might
Helena would eventually leave Helena has just displayed. The she seemed to have “a be. He hopes to achieve a state of
him when the going got too upper classes maintain their wonderful relaxation of “relaxation” through sweat and
tough. “It’s no good trying to sense of self-worth because they spirit…You’ve got to be really suffering. Failing that, true love
fool yourself about love,” he ignore the very real plight of the brawny to have that kind of will do. His anger is meant to
says. “You can’t fall into it like a working class people around strength—the strength to achieve both, even as,
soft job, without dirtying up them. The bells ringing symbolize relax.” He says that once they throughout the play, it has been
your hands. It takes muscle the peal of middle class morality, married, he realized he had pushing them away.
and guts.” If Helena doesn’t which has caused Jimmy, and the misread her. “In order to relax,
want to dirty her soul, he says, working class in general, so much you’ve first got to sweat your 2 5
she could become a pain. guts out,” which Alison had
saint—“because you’ll never never done. Alison lets out a
make it as a human being.” As 2 3 cry, and moves to lean on the
he says this, he takes a dress table. Jimmy says, “I may be a
out of the closet, crosses the lost cause, but I thought if you
room, and gives it to her. loved me, it needn’t matter.”
Helena takes it, and exits. The
Alison is crying. She yells out, In the face of Alison’s emotional
church bells begin to ring
“it doesn’t matter! I was wrong, break, Jimmy’s anger dissolves
outside, and he curses them.
I was wrong! I don’t want to be into helplessness. He has driven
Alison says that she’s sorry, Jimmy here berates Alison for neutral, I don’t want to be a her to this point, and both he and
and Jimmy says that she never not showing simple human saint. I want to be a lost cause. the audience are shocked by the
sent any flowers to Hugh’s decency by reaching out to I want to be corrupt and depth of pain that his anger and
mum. She starts to move, but Hugh’s mum for her funeral, futile!” Jimmy watches tirades have caused. The
stops when he speaks. He says suggesting that to him, politeness “helplessly.” She says that the moment is cathartic, suggesting
that the world is full of is about human connections, not “human being inside [her] that Jimmy may have been right
injustice, with “the wrong about social rules. This might, body” has gone. She had never to invite such powerful
people dying.” Alison moves however, lead him to a lonely life. known pain like that—she emotion—perhaps it will lead to
again, and he turns to her. He His plight is that of any person wanted to die. She thought of the release and love that he
says that “the heaviest, who stands out from society—he Jimmy. “This is what he’s been craves. Yet, it is also terrible to
strongest creatures in this might alienate others as he tries longing for me to feel…I’m in behold. The question of whether
world seem to be the loneliest.” to change the way the world the fire, and I’m burning.” She Jimmy is right that suffering is
works. says that the cost was the the most essential human
child, and all her future emotion remains open at the end
2 3 children, but that it was worth of the play—it is attractively
it, because this was what powerful, but we also wonder
Jimmy had wanted. She looks whether all this pain would have
up at him, and says, “don’t you been better off avoided, if it
see! I’m in the mud at last! I’m could have been avoided.
groveling! I’m crawling!” She
collapses on the floor. Jimmy 1 2 5
kneels to her. He says, “Please
don’t…I can’t,” and tells her that
she’s all right. She “relaxes
suddenly.”

Jimmy says “with a kind of The irony of the couple’s return
mocking, tender irony,” that to the bear game is that they HOW T
TO
O CITE
they’ll go be happy in their both now know that such a It's easy to cite LitCharts for use in academic papers and reports.
bear’s cave and squirrel’s drey. simple world is impossible.
They’ll write songs, and live on Before, Alison hoped to remain MLA CIT
CITA
ATION
honey and nuts, and she’ll help forever in affectionate love, but
him stay clean. He’ll see that now that she has known Helm, Sally. "Look Back in Anger." LitCharts. LitCharts LLC, 26 Aug
suffering, that more shallow 2015. Web. 26 Oct 2016.
she keeps her tail looking nice,
and that he’ll watch her, existence is closed to her. The
because she’s beautiful and tender embrace between the CHICA
CHICAGO
GO MANU
MANUAL
AL CIT
CITA
ATION
“none too bright,” so they have couple leaves us with a sense of Helm, Sally. "Look Back in Anger." LitCharts LLC, August 26, 2015.
to be careful of traps. “Poor hope. It seems possible that they Retrieved October 26, 2016. http://www.litcharts.com/lit/look-
squirrels,” he says. “Poor will unite their worlds and form a back-in-anger.
bears,” Alison says, and then, happy relationships—but it is
tenderly, “Oh poor, poor, equally possible that they will
bears.” She embraces him. The launch into a cycle of suffering
curtain falls. and reconciliation. The class
factions that they represent
might find a way to live in
harmony—or they might remain
perpetually at war.
1 2 3 5

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Look Back in Anger

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BEAR AND SQUIRREL

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Oh heavens, how I long for a little ordinary human enthusiasm. •Speak

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ACT 3, SCENE 2 QUOTES

Helena: Do you know—I have discovered what is wrong with 1 2 4

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