The Cocktail Party by T. S. Eliot
"The Cocktail Party" is a play written by T. S. Eliot, first performed in 1949. Set in a London flat, the narrative revolves around a cocktail party hosted by Edward Chamberlayne and his wife, Lavinia, whose unexplained absence creates an air of tension among the guests. Key characters include the enigmatic Alex, who shares exotic tales, and Julia, a family friend known for her sharp commentary but often missing the essence of discussions. As the evening unfolds, it becomes evident that deeper issues are at play, particularly Edward's troubled relationship with Lavinia, which is complicated by his affair with Celia. The arrival of a mysterious stranger introduces themes of psychological insight, suggesting that changes in relationships can lead to unforeseen consequences.
As the story progresses, the characters confront their personal struggles, including fears of love and inadequacy. The play culminates in a realization about the impact of their choices as Lavinia returns, and both she and Edward are forced to reassess their marriage. The closing act hints at the cyclical nature of their lives and relationships, with the characters settling into a routine of mediocrity, while the fate of Celia serves as a poignant reminder of lost potential and sacrifice. "The Cocktail Party" ultimately explores complex human emotions, the intricacies of social interactions, and the profound effects of love and betrayal.
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The Cocktail Party by T. S. Eliot
First produced: 1949; first published, 1950
Type of work: Drama
Type of plot: Comedy of manners
Time of plot: Mid-twentieth century
Locale: London
Principal characters
Edward Chamberlayne , a lawyerLavinia , his wifeJulia Shuttlethwaite , a meddling womanCelia Coplestone , a sensitive young womanPeter Quilpe , in love with CeliaAlexander MacColgie Gibbs , a meddling manSir Henry Harcourt-Reilly , initially unidentified
The Story:
The Chamberlaynes are giving a cocktail party in their London flat. The atmosphere is somewhat strained because Lavinia, the host, is not there, and Edward, her bumbling husband, hastily invents a sick aunt to account for her absence. As usual, Alex has an exotic story to tell, for he travels widely and knows everyone. Julia, a sharp-eyed and sharp-tongued family friend, misses the point of his tale and wonders why Alex and the Maharaja are up a tree. Julia usually misses the point of stories she hears.
The assembly demands that Julia give her inimitable imitation of Lady Klootz and the wedding cake. They have all heard the story before, except possibly Edward, who forgets stories, and an unidentified and unintroduced guest. Somehow Julia goes off on a family who has a harmless son, and the story never gets told. The harmless son is a fascinating person: He can hear the cries of bats. Then Peter tells of a scenario that he wrote and that, unfortunately, never was produced.
To Edward’s relief, the guests prepare to leave. Only the stranger remains. He drinks gin with Edward for a while, and Edward is compelled to confide in him. Lavinia is not really at her aunt’s house; she simply left with no explanation. The stranger points out that her leaving might be a blessing, since she is demanding and practical, but Edward is uneasy, without knowing exactly why he wants her back. The stranger promises that the erring wife will return within twenty-four hours if Edward will ask for no explanations. He warns also that both Lavinia and Edward might be greatly changed. The stranger, full of gin, breaks into song as he leaves the apartment.
Julia, returning for her glasses, has Peter in tow. The glasses are in Julia’s bag all the time, and she departs again, leaving an agitated Peter behind. The young man wants to confide in Edward. He fell in love with Celia after attending many concerts with her, and she was very friendly. Lately, however, she is unresponsive. He asks if Edward will intercede for him. At this juncture, Alex comes gaily back. Edward is irritated. He asks Peter and Alex to lock the door when they leave so no one else will wander in. Alex archly goes to the kitchen, intent on whipping up a meal for the lone Edward. He succeeds in using up all the fresh eggs in some outlandish concoction.
At last, after answering the phone several times, Edward settles down in solitary comfort to play patience. Then the doorbell rings and in comes Celia. She divined that Lavinia left Edward, and now she thinks it would be a good time for Edward to seek a divorce so that he and Celia can marry. Edward agrees, but despite his repeated assurances of continued love, Celia is uneasy, for she senses a change in him. Edward then confesses that Lavinia is coming back and that he almost wants her back. He scarcely knows why he does, for until his wife left he wanted only Celia. Celia is discomfited at her faint-hearted lover. When Julia returns once more, this time to invite Edward to dinner, Celia escapes into the kitchen. There, under pretext of getting a lunch for the lone Edward, she ruins Alex’s concoction completely.
The next day, the stranger returns. Again he warns Edward that by wanting Lavinia to return he sets in motion forces beyond his control. When she returns, she will be a stranger and Edward will be a stranger to her. Edward made his choice, however, and will have to abide by it. After admonishing Edward to receive any visitors who might come, the mysterious stranger leaves by the back stairs.
Celia is the first to arrive. She comes at Julia’s request, apparently in response to a telegram from Lavinia. While they are together, Celia has a chance to look at Edward carefully; he seems to her only a rather comic middle-aged man. She laughs now at her infatuation. Peter arrives in response to Alex’s invitation. Alex also received a wire, ostensibly from Lavinia. He has time for some reproachful remarks to Celia and then announces he is leaving for Hollywood.
Lavinia arrives next, surprised to find Peter and Celia and disclaiming any knowledge of telegrams to Alex and Julia, with whose arrival the mystery deepens. At length the guests depart and Lavinia turns expectantly to Edward. He has little to say beyond reproaching her for her overbearing ways, and she twits him for being unable to make decisions. When she suggests that he is on the verge of a nervous breakdown, he is angered but interested in the possibility. He resolves stoutly not to visit any doctor Lavinia might recommend.
In Sir Henry’s offices, preparations are being made to receive patients. The first is Edward, who is surprised to see that Sir Henry is his mysterious stranger. In the consultation, Edward reveals that he wants Lavinia back because she dominated him so long that he is incapable of existence without her. Sir Henry then brings in Lavinia, so that the whole problem can be threshed out.
During the conversation it is revealed that Lavinia left because of Edward’s affair with Celia. Edward, somewhat shaken to learn that she knows of the affair, grows confident again when Lavinia confesses that she was infatuated with Peter. Sir Henry diagnoses their trouble as mutual fear: Edward is afraid he cannot make successful love to anyone, and Lavinia is afraid she is completely unlovable. The doctor assures them that they have every requirement for a successful life together. They have a mutual fear and hatred of each other, and both are quite mediocre people. They leave, moderately reconciled.
Julia arrives at the doctor’s office to ask how successful her scheming was. It is she who induced Sir Henry to step in, and Alex abetted her. Celia also comes in for a consultation. She has vague feelings of guilt and sin and wants to take a rest cure. After talking with her, Sir Henry recognizes that she is an outstanding person, that her destiny calls her. He advises her to be at ease and do whatever she has to do.
Two years later, the Chamberlaynes are giving another cocktail party for many of the old crowd. They are smugly settled in their mediocrity and even make a pretense of being in love. To them, cocktail parties are their measure of social standing. Peter comes in hurriedly. He is a great success in America and now has money and renown of a sort. His destiny is a material one. Alex arrives next. He is just back from bearing the white man’s burden on a tropical island. He reports Celia’s death. Celia was a nurse on the island and was killed in a native rebellion. Her destiny called her to martyrdom for the love of humanity.
Bibliography
Badenhausen, Richard. “T. S. Eliot Speaks the Body: The Privileging of Female Discourse in Murder in the Cathedral and The Cocktail Party.” In Gender, Desire, and Sexuality in T. S. Eliot, edited by Cassandra Laity and Nancy K. Gish. New York: Cambridge University Press, 2004. This discussion of gender issues in the two plays is included in a collection of essays that examines the treatment of desire, homoeroticism, and feminism in Eliot’s poetry, plays, and prose.
Gordon, Lyndall. T. S. Eliot: An Imperfect Life. New York: W. W. Norton, 1999. An authoritative, thoroughly researched biography that concedes Eliot’s many personal flaws as well as describing his poetic genius.
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. 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.
Moody, A. David, ed. The Cambridge Companion to T. S. Eliot. New York: Cambridge University Press, 1994. Collection of essays, including discussions of Eliot’s life; Eliot as a philosopher, a social critic, and a product of America; and religion, literature, and society in Eliot’s work. Also features the essay “Pereira and After: The Cures of Eliot’s Theater” by Robin Grove.
Raine, Craig. T. S. Eliot. New York: Oxford University Press, 2006. In this examination of Eliot’s work, Raine maintains that “the buried life,” or the failure of feeling, is a consistent theme in the poetry and plays. Chapter 5 focuses on Eliot’s plays.
Tydeman, William. “Murder in the Cathedral” and “The Cocktail Party.” Houndmills, 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.