Blithe Spirit

The play’s setting establishes much about the characters. Like many Coward plays, the play takes place in a singular setting. The set indicates the upper class status of the characters. Unlike the stereotypical haunted house, the living room is “attractive and comfortably furnished” with “french windows opening on to the garden,” “open fireplace,” and “double doors leading to the hall, the dining-room, the stairs, and the servants’ quarters” (1). The comfort and security of an upper-class lifestyle sharply contrasts with the supernatural chaos that will soon unfold. Like how Charles uses respectability to mask his true character, the tidy house masks the strife in the household.

The play begins with a discussion that establishes both Edith and Ruth’s characters. Edith’s “struggle” with the ice and her constant rushing presents her as something of a buffoon (1). This scene suggests that Edith will function as a comedic device and plot convenience. Ruth’s precise and nitpicky directions foreshadow Charles’s declaration that Ruth is domineering.

In their first conversation, Charles and Ruth discuss the night’s plans. While they allude to Madame Arcati and a gathering, their talk focuses on how it will “probably be funny, but not awful” (3). Charles insistence that they “must be dead serious and if possible a little intense” (3) foreshadows the play’s dark humor and dramatic resolution. In addition, his use of the phrase “dead serious” serves as a dark pun on Ruth’s eventual fate as a critical spirit.

The discussion of Charles’s two books establishes many of the play’s primary concerns. “The Unseen” can refer to both the invisible spirits and the hidden reality of Charles’s character. It also suggests that the characters cannot see the truth about their relationships. Their reflections upon his first book further cement the play’s thematic interest in relationships. Ruth wonders if the inspiration for his other book “ever [knew], [...] ever recognized, that description of herself” (3). The fictional creation of the woman in the novel mirrors Charles’s creation of himself as a genteel husband and his expectations for his wives. Charles focuses on how she “came in very handy,” even though he still must “wonder who she was” (3). Charles uses and disposes of not only the women in his books but also in his life. He plans to do the same with Madame Arcati. He disposes of Ruth when Elvira suits him better but then rejects them both when they fail to serve his every need.

Ruth and Charles’s descriptions of Charles’s first marriage initially paint them as a happily married couple who acknowledges the other’s past marriages. Ruth wishes that “[she]’d known her” because “she sounds enchanting” (4), but despite her claims that she has “never for an instant felt in the least jealous of” Elvira (4), Ruth seems concerned about Charles’s first marriage. When she meets Elvira later in the play, the insincerity of her statements becomes apparent. In addition, Charles’s proclaimed apathy about his wife and his resulting guilt will also be questioned later. When Ruth prods by asking if “it still hurts” when he thinks of Elvira” (4), Charles says it doesn’t, but “almost wish[es] it did” (4). Charles’s continued fibs about his memory of Elvira and his relationship with Ruth seem to be the charming reassurance of a doting husband, but these quips will eventually be revealed to be misogynistic beliefs.

Before she even appears onstage, Elvira is described as an alluring and magnetic figure. She is “fascinating” and “maddening” (4). She played games poorly and got absent when she lost. She had “gay charm” when she got her way and “extreme acidity when she didn’t” (4). Her “physical attractiveness” was “tremendous,” but “her spiritual integrity” was “nil” as she was “morally untidy” (4). Despite the passage of seven years, Charles still vividly recalls her. Her memory looms over the play just as much as her spirit will later.

Coward’s wit is on display in Charles’s discussion with Ruth about their first marriages. He facetiously declares his love and provokingly asks for her response and comment upon her behavior. He quips that it has been said that Julius Caesar had a “waspish female psychology” (5). This wittiness upsets Ruth, who declares he is “awfully irritating when [he is] determined to be witty at all costs” (5). He gives her a “comradely kiss” to “mollify” her (5), which further upsets Ruth. This dark wit is indicative of Coward’s style and contributes to the dark, farcical humor.

Dr. Bradman and Mrs. Bradman are another upper class couple. The characters are in many ways a plot convenience; even Charles describes them as present simply because there “must be more than three people and we couldn’t have the Vicar and his wife” (3). Each of them fills a role in a typical ghost story. Mrs. Bradman is talkative and social, like the town gossip. She is eager to discuss Madame Arcati and participate in the séance. Dr. Bradman is more reserved. He fills the role of the educated skeptic. He asks for “tangible results” to prove Charles’s aunt was a medium (8). They counter the chaotic change the Condomines are about to experience.

The Condomines express their disbelief in mediums like Madame Arcati. Charles describes Madame Arcati as a “real professional charlatan” (8). While they are critical of her actual abilities, Charles hopes to benefit from her performance. As she has been a “professional in London for years” (8), Charles hopes to learn “a few tricks of the trade” from her “to refresh [his] memory” for his book about a fraudulent, murderous medium. Charles’s own hypocrisy in deceiving her for his own professional gain goes uncommented upon. When Mrs. Bradman asks them if there is “anything really genuine about it all” (8), Ruth ascribes belief in the supernatural to “how easily people allow themselves to be deceived” (8). Her claims are particularly ironic, given the impending supernatural events and Ruth’s fate.

Madame Arcati’s books reflect the stereotypes surrounding her profession and gender. She writes “whimsical children’s stories about enchanted woods filled with highly conventional flora and fauna” and “enthusiastic biographies of minor royalties, very sentimental, reverent and extremely funny” (9). Madame Arcati uses her spiritual skills to communicate with the subject of her next book, Princess Palliatani. Unlike Charles’s researched, realistic novels, these books are fantastical and emotional. Despite the differences in their books, both Charles and Madame Arcati are creators as authors and as humans: Madame Arcati performs séances, while Charles performs as a loyal husband in a happy marriage.

Madame Arcati’s concern about red meat is played for laughs, but it also reflects the physical world’s effect on the spiritual world. Red meat “sometimes has an odd effect” on her work (12). Her diet keeps her from spontaneously falling into trances as Ruth asks. The brandy used to wake Madame Arcati up also reflects the connection between the physical and spiritual world. Brandy “on top of a trance might have been catastrophic” according to her (23). She criticizes Dr. Bradman, a man of physical sciences for not understanding and preventing this risk. This interactivity is important, as it foreshadows the spirit world’s ability to affect the physical world, like Elvira does in her plot.

The events that happen between the two scenes reflect the social standards of the upper class. They must follow expectations, such as having a nice dinner. Ruth worries that the “mousse wasn’t quite right” (15). The women and men separately take their refreshments. Ruth must act as a hostess, even when her guests drone on like Madame Arcati does. Only after the niceties of high society are observed can the night’s activities proceed.

Madame Arcati’s ritual is played to humorous effect. The rapid, short lines suggest a high energy exchange between characters that helps build to the main event. Her imprecise fussing and commands are amusing both to the other characters and the audience, as no one expects the séance to have actual results. She rearranges and stages the room for the event, including the sound and light. Her childish rhyme and dependence on a young girl as a contact further contribute to the scene’s broad humor. While the truthfulness of her performance is yet to be decided, Madame Arcati’s preparations are theatrical and amusing.

The comical confusion over the identity of the spirit suggests the events that are about to unfold are genuine. Charles and Ruth make two suggestions of recent, close deaths to them. If Madame Arcati were a fraud, she could have pretended it was one of these two. Earlier in the evening, Dr. Bradman notes Madame Arcati’s recent arrival in town, which would suggest she wouldn’t know about Elvira. Charles is the one who names her after recognizing her voice. As a result, it is likely that Madame Arcati genuinely believes she has contacted a spirit.

Charles’s accusations that others are playing tricks reflect his character: He’s called Madame Arcati to observe her “tricks of the trade” (8). Ruth is “playing tricks” on him when he hears Elvira’s voice. His later duplicity is reflected in his distrust of those around him. Ruth’s worry that he is the one playing tricks to “try to frighten” them also shows his questionable character (21). Ultimately, Charles does end up lying, saying he “was only pretending” (22) because to admit there is actually a spirit would be hypocritical, and he knows none of the other characters would believe him.

Madame Arcati’s unfulfilled premonition about her bike tires predisposes the audience to disbelieve her feeling that “something tremendous has taken place” and that there is “someone else physic in this room” (23).These feelings reflect the appearance of Elvira and the later reveal that Edith has spiritual powers.

After the unusual events, the group returns to the social expectations of the upper class. They wish each other well, offer a ride to Madame Arcati, and thank her for her visit. These pleasantries contrast sharply with the private behavior of Ruth, Charles, and Elvira in the rest of the scene.

Dr. Bradman’s diagnosis of “hysteria” reflects the sexist response to women’s concerns and medical issues (25). In the 19th century, hysteria was a medical diagnosis based on women’s predisposition to mental defects and stresses. In the 20th century, the diagnosis began to be thought of as a mental illness and was studied by scientists, such as Sigmund Freud. This diagnosis wouldn’t begin to fall out of favor until the end of World War II, about five years after the premiere of this play. Dr. Bradman’s diagnosis dismisses Madame Arcati’s thoughts and words, ascribing them to illness instead of observation or perception.

Elvira’s physical effect on Ruth and the Bradmans further supports her new semi-corporeality. Her entrance into the room causes Ruth to feel “a draught” (25). These comments also communicate to the audience that Charles is not imagining Elvira, but she is actually there. Her visibility to the audience includes them in Charles’s experience, as the audience has the awareness of events that Ruth and others do not have.

The first extended interaction between Charles, Ruth, and Elvira creates a stark contrast between the two women and between the different versions of Charles. Ruth attempts to get him to relax while Elvira attempts to seduce him. Charles is dismissive to Ruth while talking with Elvira. These interactions reveal much about the characters while also contributing to the broad humor. The exaggerated miscommunication, quick and overlapping dialogue, and broad physical actions are all aspects of the play’s genre, farce.

Elvira appears to win this first fight with Ruth over Charles. After Charles appears to call her a “guttersnipe” (29), Ruth goes to her bedroom, which leaves Charles with Elvira alone. Describing the fight as “one of the most enjoyable half-hours [she has] ever spent” (29), Elvira relishes in the conflict. Charles focuses on practical questions surrounding her presence while Elvira wants him to be “amiable” to her (29).

Elvira’s loyalty is not stopped by death, as she wants Charles to still love her even though she “doesn’t believe” he loves her (29). Even after recalling how he “hit [her] with a billiard cue,” she still declares, “I loved you very much” (30). Their marriage seems much more tumultuous than Charles and Ruth’s. Despite this conflict, the “strangely peaceful” feeling Charles experiences suggests that Elvira’s passionate sexuality still fulfills one of Charles’s needs.

The act’s final image of Elvira gently stroking Charles’s hair further cements the physical nature of their relationship. While Ruth comforts Charles with drinks and physical rest, Elvira uses physical touch. Elvira rejects social conventions, as reflected by her vulgar response saying, “To hell with Ruth” (31). This language also reflects the unintended murder of Ruth.