Places Discussed

(Critical Guide to Settings and Places in Literature)

Chamberlayne flat

Chamberlayne flat. London apartment owned by the Chamberlaynes, in whose drawing room most of the play is set. Although the apartment has an offstage kitchen, there appears to be virtually nothing eat in the apartment, except for a few eggs. The lack of food for the party, or even ordinary meals, symbolizes the lack of provision for any life in this shell of a home. As the play unfolds, both Chamberlaynes prove to live hollow existences that each of them has come to loathe. Relationships that Edward starts with Celia Coplestone and that Lavinia starts with Peter Quilpe prove fruitless and unsatisfying. Once the pretenses of husband and wife are unmasked, they learn to love each other, and are at last “lain” in their “chambers,” as their last name suggests. The last cocktail party held in this home shows that Edward and Lavinia have grown closer together, and Guardians toast to the partial success they have had.

Harcourt-Reilly’s consulting room

Harcourt-Reilly’s consulting room. Office of the psychotherapist Sir Henry Harcourt-Reilly. The office is arranged so that Sir Henry can manipulate the entrances and exits and meetings of people at his will. His consulting room functions like the central office for a spy network. Along with the other two Guardians, Mrs. Julia Shuttlethwaite and Alexander MacColgie Gibbs, these three function like the Greek Fates who shared an eye between them as they wove the tapestry of people’s lives. Sir Harcourt-Reilly sings about “One-Eyed Riley” and Mrs. Shuttlethwaite—whose name suggests weaving—is constantly looking for her glasses with only one lens. Alex completes this seemingly all-knowing trio with his globetrotting habits for gathering information about patients. Sir Henry ultimately sends Celia to her martyrdom, while salvaging the marriage of the Chamberlaynes, and trying to help Peter, whose future remains uncertain at the end of the play. For all of their insights and schemes, the Guardians prove limited in their ability to shape and direct lives.

Historical Context

(Drama for Students)

The Welfare State
After World War II ended in 1945, Great Britain was faced with paying off the bills that had been incurred...

(The entire section is 733 words.)

Literary Style

(Drama for Students)

Setting
While dramas are generally confined to more limited settings than other forms of literature, like novels, which play out...

(The entire section is 1000 words.)

Compare and Contrast

(Drama for Students)

1940s: Psychiatrists treat their patients primarily by trying to understand their past experiences and by talking to them. This...

(The entire section is 247 words.)

Topics for Further Study

(Drama for Students)

Research tribes that practice cannibalism and compare to Eliot's depiction of the people of Kinkanja. How accurate was he?

What...

(The entire section is 146 words.)

Media Adaptations

(Drama for Students)

Although there are no recordings of The Cocktail Party, there are ample recordings of T. S. Eliot reading from his own works. One...

(The entire section is 49 words.)

What Do I Read Next?

(Drama for Students)

After the centennial of Eliot's birth, a number of new essays about his work appeared, giving a more contemporary perspective on his writing...

(The entire section is 183 words.)

Bibliography and Further Reading

(Drama for Students)

SOURCES:
Donoghue, Dems, '"The Cocktail Party,'" in the Third Voice, Princeton University Press, 1959.

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Bibliography

(Great Characters in Literature)

Arrowsmith, William. “Notes on English Verse Drama, II: The Cocktail Party.” Hudson Review 3 (Autumn, 1950): 411-430. The best available article on The Cocktail Party. Offers a lucid analysis of the play’s rich Christian implications and its intricate internal structure. Arrow-smith ranks the work as highly for verse drama as he ranks The Waste Land for poetry.

Jones, David E. The Plays of T. S. Eliot. London: Routledge & Kegan Paul, 1960. In chapter 5, Jones analyzes the play’s relationship to its Greek model, Euripides’ Alcestis, and explains the strengths of a verse drama that is easy to follow and yet profound.

Kari, Daven Michael. T. S. Eliot’s Dramatic Pilgrimage: A Progress in Craft as an Expression of Christian Perspective. Studies in Art and Religious Interpretation 13. Lewiston, N.Y.: Edwin Mellen Press, 1990. Examines Eliot’s steadily improving use of characterization, verse techniques, and stagecraft as an expression of his movement from ascetic to communal models of Christian faith. An innovative and readable critique.

Lightfoot, Marjorie J. “The Uncommon Cocktail Party.” Modern Drama 11 (1969): 382-395. A lucid and revealing article that analyzes the rhythms that make The Cocktail Party so successful on stage. Also discusses why Eliot’s verse drama is seldom understood.

Tydeman, William. “Murder in the Cathedral” and “The Cocktail Party.” Houndmills, Basingstoke, England: Macmillan, 1988. A simple and straightforward interpretation of the plays as dramas. A good choice for directors and actors wishing to perform the play.