Critical Context

The Circle belongs within the dramatic tradition of the comedy of manners, which began in late seventeenth century England. Among its early playwrights, Sir George Etherege, William Wycherley, and William Congreve produced a series of sparkling comedies celebrating upper-class life in London at the expense of provincial country life. The tradition continued in the eighteenth century with the dramas of Richard Brinsley Sheridan, who avoided the coarse and licentious tone of Restoration comedy. After a long period of neglect, the genre was revived in the late nineteenth century in the drawing-room comedies of Oscar Wilde, whose works featured witty conversation as their dominant convention, with irony and satire of upper-class morals and manners. The Wilde tradition continued in the plays of W. Somerset Maugham and his contemporary Noël Coward.

Critics often consider The Circle Maugham’s dramatic masterpiece. Written near the end of a successful series of comedies that began with Lady Frederick (pr. 1907, pb. 1912), it shares their themes and techniques but is thematically more complex. Lady Frederick, a strong-minded heroine, dissuades a young suitor from marrying her, despite her financial need, and as a consequence later secures an appropriate husband. Keenly aware of women’s dependence on men in society, Maugham admired heroines who could act independently, as his plays often stress the need for women to be financially...

(The entire section is 424 words.)