The Play

(Survey of Dramatic Literature)

At the piano in the well-worn but comfortable Kirby sitting room in a village in the north of England, Wilfred Kirby picks out a tune from a London musical. Sarah, the nurse who tended the Kirby children and has remained a family fixture, informs the bored young man that he does not have the talent his older sister Stella has. Lilian, Dr. Kirby’s second child, has an equally low opinion of her younger brother’s musical ability and tells him so. Wilfred teases his sister about Geoffrey Farrant, who runs a nearby estate, while Lilian questions Wilfred about the barmaid he keeps trying to ring up on the Kirbys’ new telephone. Wilfred admits that he is unhappy wherever he is. He had eagerly anticipated his leave, but now he is beginning to look forward to his return to Nigeria. He is dissatisfied with his work and his life but expects that everything will be better in three or four years. When Sarah shows them the costume, now moth-eaten, that she made for Stella for an amateur performance at the Town Hall, Lilian and Wilfred discuss their sister, an actor whom they have not seen in eight years and have not heard from in three. Against her mother’s wishes, Stella had left home to make the stage her career. In the intervening years, Mrs. Kirby died, and Lilian has assumed the running of the house.

As they put a record on the gramophone, they hear a voice through the door. Stella, the prodigal daughter, has returned home, a little the worse for wear—like the tattered costume. She reveals to Sarah what she cannot admit to her brother and sister. Her career is a disappointment and she considers herself a failure. Dr. Kirby, delighted to see his daughter, whom he wrongly believes to be successful, admits to his firstborn what he has never told anyone else: He has envied her determination to follow her dream. He had the opportunity to make something of himself as a specialist in London, but he gave in to his wife’s wishes and settled for a steady but unexciting existence as a hardworking practitioner in Eden End. He is aware that his heart condition is serious and that he will not live long enough to see the better world he feels certain will be dawning in a year or two.

Alone with her sister, Lilian forces Stella to admit that she is married to an actor with whom she had toured in Australia three years earlier. Although they have not divorced, they had remained together only a year. Stella had lost touch with Charlie Appleby, her husband, but she unexpectedly saw him in her agent’s office in London shortly before traveling north to Eden End. Geoffrey Farrant arrives to see Lilian but is thrilled to learn that Stella is home; Lilian retires with a headache. The act ends with the rest of the family gathered around the piano. Stella is playing a waltz while Wilfred and...

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Eden End Dramatic Devices

(Survey of Dramatic Literature)

Eden End achieves its effect through dramatic irony. The audience knows what lies in store for the Kirbys—and for England—although the Kirbys do not. World War I, not the better life Dr. Kirby anticipates, is only two years away. When Wilfred makes jokes about being victimized with a bayonet, his father tells him that no one need worry about bayonets anymore: The world is more sensible than it used to be . . . and science will enable it to become even better. Whatever bleak thoughts Priestley had in mind as he put that optimistic statement into Dr. Kirby’s mouth, he could hardly have foreseen the destructive power of atomic weapons.

In the preface to the collected edition of his plays, Priestley suggests that his audience may consider a play like Eden End to be entirely naturalistic because of its setting. However, he believes that, like Anton Chekhov, he moved away from conventional realism as the play progressed to concentrate on dramatic color and shape. Mood and atmosphere may bring out the absurdity and pathos of life far better than a complex plot.

Eden End owes as much to Chekhov for its characterization as for its prevailing mood. The sensible, hard-working Lilian suggests Sonya of Dyadya Vanya (pb. 1897; Uncle Vanya, 1914) and Varya of Vishnyovy sad (pr., pb. 1904; The Cherry Orchard, 1908). She even has a brief exchange with Farrant in the third act that is...

(The entire section is 442 words.)

Eden End Bibliography

(Great Characters in Literature)

Sources for Further Study

Cook, Judith. Priestley. London: Bloomsbury, 1997.

De Vitis, A. A., and Albert E. Kalson. J. B. Priestley. Boston: Twayne, 1980.

Evans, Gareth Lloyd. J. B. Priestley: The Dramatist. London: Heinemann, 1964.

Gray, Dulcie. J. B. Priestley. Stroud, England: Sutton, 2000.

Klein, Holger. J. B. Priestley’s Plays. Basingstoke, England: Macmillan, 1988.

Priestley, J. B. The Art of the Dramatist. London: Heinemann, 1957.

Wood, E. R. Introduction to Eden End. London: Heinemann, 1974.