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Updated: May 8, 2025
A small, but quite noticeable, example of a scene thus rightly left to the imagination occurred in Mr. Somerset Maugham's first play, A Man of Honour. In the first act, Jack Halliwell, his wife, and his sister-in-law call upon his friend Basil Kent. The sister-in-law, Hilda Murray, is a rich widow; and she and Kent presently go out on the balcony together and are lost to view.
It seems to me that the right answer, in many cases at any rate, to the wife's question, how is she to retain the whole of her husband's interest, is hinted at in Mr. Somerset Maugham's recent play "Penelope" she must be many women to him herself.
The ideal woman does not require to be "many women" to a man of the right kind in the sense suggested in Mr. Maugham's play. She requires rather to be in herself at one and the same time or at different times, mother, wife and daughter. This condition satisfied, behold the ideal marriage.
That is true: but the special importance of a conversion which unties the knot and brings the curtain down seemed to render it worthy of special consideration. Somerset Maugham's Grace the heroine undergoes a somewhat analogous change of heart, coming to love the husband whom she has previously despised. A blind-alley theme, as its name imports, is one from which there is no exit.
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