44 pages • 1 hour read
Summary
Background
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
The servants continue to prepare for the pageant, which is about to start. In the courtyard, villagers assemble to watch the play. Isa thinks about how she is constricted by the simultaneous love and hate she feels for her husband.
Mrs. Swithin invites William to look at the house. She shows him pictures hanging on the walls of the Olivers’ ancestors but struggles to remember their names and the names of those who built the house. She then shows him the room where she was born, singing an old nursery rhyme as she sits on the bed. Afterward, she apologizes to William for taking him from his friends. He considers kissing her hand and thanking her for her kindness, but he does not. Mrs. Swithin then sees Mr. Streatfield arrive and realizes it is time for the pageant.
Soon after, the play begins. First, a small girl named Phyllis Jones appears on stage. She addresses the audience and says that she is England. The audience members conclude that this part of the play is the prologue. Phyllis forgets her lines, and Miss La Trobe gives her the lines quietly from a nearby bush. Phyllis, acting as a personification of England, says she was separated from Germany and France when she became an island and is still vulnerable as a new island and country. The gramophone then plays a song, and the villagers sing along. Mrs. Swithin arrives with William and apologizes for being late. The carpenter’s daughter, Hilda, then appears on stage and, with Miss La Trobe prompting her with her lines, says that she is England—she has grown beautiful and wears flowers in her hair. Mrs. Swithin theorizes that she is meant to be the period in which Chaucer wrote The Canterbury Tales. The actors then appear as Canterbury pilgrims on a journey to the shrine of the saint Thomas Becket. They toss hay and sing a song. Mrs. Manresa states that they are performing “Scenes from English history” (44).
Eventually, the play reaches the Elizabethan period. Tobacco seller Eliza Clark enters the stage as Queen Elizabeth I. The audience reacts to her appearance and speech with joyous laughter and applause. This is followed by a play in the style of Shakespeare about a duke and a princess. The pageant’s representation of the Elizabethan period then ends, and a voice on the speaker tells the audience to disperse for a tea interval.
Mrs. Manresa takes the lead, and the other villagers follow her to get tea. Mrs. Swithin and Bart walk together, and Isa keeps quoting the speaker, who said, “Dispersed are we” (51). Miss La Trobe comes out of hiding and hopes she has gotten the other villagers to see what she wants them to see, but she concludes that they do not and that she has failed. Giles heads to the barn, kicking stones along the way. He finds a snake trying and failing to swallow a toad. It reminds him of an inverted birth and, disturbed by this, he crushes the snake and toad to death with his foot. Though his shoes are covered in blood, he feels good about his action, preferring it to passivity.
The servants and helpers enter the barn to serve the tea and food. Mrs. Manresa gets her tea and speaks to another woman named Mrs. Parker while looking for Giles and William in the crowd. William approaches Isa, and the two of them discuss poetry and the play. George then runs to her, and she gives him milk and cake.
Mrs. Manresa soon gets away from Mrs. Parker, finding women in her social class boring, and she sees Giles with his bloody shoes. She finds him heroic and appealing. Mrs. Manresa and Giles meet with Bart and Mrs. Swithin. Isa, William, and Mrs. Parker join them. Isa sees Giles’s shoes and tells him she does not admire him for his action—rather, she finds him silly and immature. Mr. Streatfield then appears, and Mrs. Parker congratulates him on his work with the village and the pageant. Isa and William then go to the greenhouse and talk, and Isa feels that she has known him forever. In the distance, they hear someone practicing the scales and a nursery rhyme playing. Giles finds Bart and Mrs. Swithin at the house, but they soon leave to return to their seats outside.
The audience returns to their seats and the play continues. The play then portrays the Restoration Period, during which Queen Anne ruled England. The scene begins with the nursery rhyme Isa heard during the interval playing on the gramophone. One of the villagers, Mabel Hopkins, appears onstage, but the audience is not sure who she is supposed to be. The villagers sing and then a Restoration-style play begins. One of the villagers, Mrs. Elmhurst, explains to her husband in the audience that the play is titled, “Where There’s a Will there’s a Way” (64). In the play, Lady Harpy Harraden tells Sir Spaniel Lilyliver, with whom she is in love, that her brother’s will states that he will give his inheritance to his daughter Flavinda if she marries a man Lady Harraden likes. Sir Spaniel is in love with Flavinda and finds Lady Harraden repulsive. Lady Harraden offers to have Sir Spaniel marry Flavinda, and she says he and Lady Harraden will share Flavinda’s inheritance—she says she has always been fond of him, and she recalls him being fond of her. Sir Spaniel agrees to this arrangement. They then embrace, but, in an aside, Sir Spaniel complains of her stench.
An old woman in the audience laughs as they wait for the next scene. Flavinda appears and waits by an orange tree for her lover Valentine. She then recalls her father’s inheritance and her times with Valentine. When she sees him coming, she hides behind the orange tree. Valentine looks for her and believes she has not shown up. He touches his sword, and Flavinda fears that he will stab himself with it, so she reveals herself to him. They then embrace. Then, the villagers appear and start singing songs that are not connected to the play. To save time, Miss La Trobe has omitted a scene from the play in which Lady Harraden and Sir Spaniel try to get Flavinda, but Valentine saves her. Mrs. Manresa thinks this was a good decision.
In the last scene of Where There’s a Will There’s a Way, Lady Harpy Harraden is alone in her room. She is furious that her niece tricked her and went away with Valentine. Sir Spaniel is also upset because Valentine called him old. Lady Harraden tries to get him to calm down and offers to marry him. Sir Spaniel spitefully rejects her, calling her old, in turn. She is offended and rebukes him. He then leaves, complaining about his gout pain. She then calls for her maid, but she is gone too. Lady Harraden laments that her niece, the man she loves, and her maid are all gone now, leaving her alone and miserable. The play then ends with the moral: “Where there’s a will there’s a way” (75). The actors all come onto the stage and bow, and there is another interval. Giles finds courage in the play’s moral and asks Mrs. Manresa if she would like to accompany him to the greenhouse. She accepts.
Mrs. Elmhurst then says that the next scene in the pageant will be the Victorian period. As Miss La Trobe prepares the next scene, Mrs. Swithin goes up and talks to her about how fulfilling it has been for her to help with the pageant and then see it performed. She remarks that her help makes her feel like she could have played Cleopatra. Miss La Trobe is unsure what to make of this statement and then returns to her work directing the villagers in setting up the scene. Miss La Trobe tells the villagers to play the next tune on the gramophone.
In these chapters, the narrative thread continues to be important, but the pageant takes center stage, highlighting why Between the Acts is often characterized as theater fiction. The pageant is a series of plays and musical acts that depict various historical periods within the novel. The pageant sequences in the novel are sprinkled with and interrupted by events and dialogue outside of the plays, which is a characteristic of theater fiction. The novel focuses on the preparation and execution of the pageant, interweaving it with the characters’ thoughts and interactions, and showing how it affects their relationships. This section of the novel portrays the first two pageant sequences with an interval separating them, which allows the novel to explore more of the relationships between the characters. In the novel’s universe, it also provides a realistic way for the audience members to refresh and nourish themselves before the pageant continues. The interval is structurally and narratively significant in providing an external space outside the pageant for the characters to interact and for the plot to develop, making the novel’s title Between the Acts all the more fitting.
By highlighting the performative aspects of theater and linking them to the characters’ actions, the novel also highlights how human interactions also have an element of theatricality to them. For instance, Giles dramatically and aggressively stomps the snake and toad to death. His action is viewed in contrasting ways by Isa and Mrs. Manresa, establishing them as foils. Mrs. Manresa admires Giles’s aggression and believes it makes him seem tougher and more masculine. She calls him her “sulky hero” and believes that “he had proved his valour for her admiration” (56). This leads to the two of them having a sexual encounter in the greenhouse in the next section. In contrast, Isa sees Giles’s action as an act of insecurity and a pitiful attempt to gain validation as a man. She openly admits to him that she does not admire him, and she calls him a “silly little boy, with blood on his boots” (58). This widens the gap between Isa and Giles, and they both seek connections with other people during the pageant intervals. Giles is inspired by the “moral” of the Restoration comedy in the pageant—“Where there’s a will there’s a way” (75)—to boldly ask Mrs. Manresa to join him in the greenhouse, once again pointing to how the elements of theater in the pageant affect the characters in the novel.
Gender Roles and Expectations continue to cause conflicts between characters. Giles’s contempt for femininity reaches its peak during the first interval—he kills the snake and toad because the snake’s struggle to swallow the toad reminds him of “birth the wrong way round” (52). This reminder of the birth process fills him with rage. By killing the animals, he is able to vent this anger, thinking, “But it was action. Action relieved him” (52). His aggressive action is rewarded by Mrs. Manresa, who admires this violence as evidence of Giles’s masculinity. However, Isa finds his action pathetic and ridiculous and openly expresses her disdain toward him. While Mrs. Manresa is overtly sexual and breaks many of the societal rules of the time about how women—especially married women—were expected to behave, she still accepts her gender role by using her sexuality as a social tool and performing her femininity. She also sees women within her social class as boring, and she thinks that women around her are competitors for the attention of men. This shows that she has internalized misogynist and patriarchal ideas.
The theme of The Inevitability of Change also becomes increasingly important in this section. The pageant's presentation of England’s growth from a child to a maturing young woman shows the ever-changing nature of countries and people over time. The pageant also includes a Shakespearean play as well as a Restoration-style comedy, showing how art and literature also evolve over time. The cultural and political history of England is steeped in change, which foreshadows the coming changes that will take place with the impending war. In addition to the pageant’s focus on change, the novel also highlights that the characters’ lives are in a state of flux. When Mrs. Swithin takes William on a tour of Pointz Hall, she shows him the different rooms and pictures but struggles to remember names and details about her ancestors. This highlights how the various people and histories through the ages are forgotten because of the sheer number of changes through time. Likewise, the characters’ relationships themselves are on the brink of change, particularly those of Isa and Giles, who constantly think about how their feelings for one another have changed over time; as a result, they seek romantic and sexual connections with people outside their marriage, which changes the nature of their marriage itself.
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By Virginia Woolf