مسرحية Ideal husband

السلام عليكم ورحمة الله وبركاته
مساء الخيرات
ابغى مساعدة الله يسعدكم ويفتح عليكم
ياليت احد يحط شرح مختصر لمسرحية ideal husband ومن كاتب هالعمل
وانلايز للماجر كاركترز



والله يجزاكم كل خير...

An Ideal Husband premiered in London, England, on January 3, 1895, and was published in 1896. It was the third of Wilde’s four comedic plays to be staged, and it was as big a success with audiences as the previous two. However, critics of the time were not as appreciative as audiences, which was the case for all of Wilde’s social comedies. Critics thought these plays more flippant than substantive; audiences were delighted by the wonderful wit of the dramas. Numerous choice ‘‘one-liners’’ and other pithy witticisms that Wilde’s dramatic characters deliver are still quoted by people today.

An Ideal Husband is often called a ‘‘social comedy’’ because it has both a serious (‘‘social’’) as well comedic plot line. On the one hand, the play is about a prominent politician who is in danger of losing his reputation as a paragon of integrity, owing to a youthful indiscretion that the play’s villain is threatening to expose. Although the politician’s transgression is not exposed, this plot line conveys the idea that there are very few people in the world who are wholly good and to pretend so is hypocritical. This is a message for Wilde’s contemporaries, a late-Victorian group obsessed with purity and goodness but, of course, as imperfect as the people of any other age. On the other hand, the play is supposed to be funny, as it is, thanks to the witty bantering of the characters, especially in moments when the play is not directly concerned with the ‘‘social’’ plot.

Wilde and his play are by now firmly established in the English-language canon of literature, and most libraries hold volumes of the individual or collected plays. The Modern Library editions of Wilde’s collected comedies are the most widespread.

Plot Overview

An Ideal Husband opens during a dinner party at the home of Sir Robert Chiltern in London's fashionable Grosvenor Square. Sir Robert, a prestigious member of the House of Commons, and his wife, Lady Gertrude Chiltern, are hosting a gathering that includes his friend Lord Goring, a dandified bachelor and close friend to the Chilterns, his sister Mabel Chiltern, and other genteel guests.


During the party, Mrs. Cheveley, an enemy of Lady Chiltern's from their school days, attempts to blackmail Sir Robert into supporting a fraudulent scheme to build a canal in Argentina. Apparently, Mrs. Cheveley's dead mentor, Baron Arnheim, convinced the young Sir Robert many years ago to sell him a Cabinet secret, a secret that suggested he buy stocks in the Suez Canal three days before the British government announced its purchase. Sir Robert made his fortune with that illicit money, and Mrs. Cheveley has the letter to prove his crime. Fearing both the ruin of career and marriage, Sir Robert submits to her demands.

When Mrs. Cheveley pointedly informs Lady Chiltern of Sir Robert's change of heart regarding the canal scheme, the morally inflexible Lady, unaware of both her husband's past and the blackmail plot, insists that Sir Robert renege on his promise. For Lady Chiltern, their marriage is predicated on her having an "ideal husband"—that is, a model spouse in both private and public life that she can worship: thus Sir Robert must remain unimpeachable in all his decisions. Sir Robert complies with the lady's wishes and apparently seals his doom. Also toward the end of Act I, Mabel and Lord Goring come upon a diamond brooch that Lord Goring gave someone many years ago. Goring takes the brooch and asks that Mabel inform him if anyone comes to retrieve it.

In the second act, which also takes place at Sir Robert's house, Lord Goring urges Sir Robert to fight Mrs. Cheveley and admit his guilt to his wife. He also reveals that he and Mrs. Cheveley were formerly engaged. After finishing his conversation with Sir Robert, Goring engages in flirtatious banter with Mabel. He also takes Lady Chiltern aside and obliquely urges her to be less morally inflexible and more forgiving. Once Goring leaves, Mrs. Cheveley appears, unexpected, in search of a brooch she lost the previous evening. Incensed at Sir Robert's reneging on his promise, she ultimately exposes Sir Robert to his wife once they are both in the room. Unable to accept a Sir Robert now unmasked, Lady Chiltern then denounces her husband and refuses to forgive him.

In the third act, set in Lord Goring's home, Goring receives a pink letter from Lady Chiltern asking for his help, a letter that might be read as a compromising love note. Just as Goring receives this note, however, his father, Lord Caversham, drops in and demands to know when his son will marry. A visit from Sir Robert, who seeks further counsel from Goring, follows. Meanwhile, Mrs. Cheveley arrives unexpectedly and, misrecognized by the butler as the woman Goring awaits, is ushered into Lord Goring's drawing room. While she waits, she finds Lady Chiltern's letter. Ultimately, Sir Robert discovers Mrs. Cheveley in the drawing room and, convinced of an affair between these two former loves, angrily storms out of the house.

When she and Lord Goring confront each other, Mrs. Cheveley makes a proposal: claiming to still love Goring from their early days of courtship, she offers to exchange Sir Robert's letter for her old beau's hand in marriage. Lord Goring declines, accusing her of defiling love by reducing courtship to a vulgar transaction and ruining the Chilterns' marriage. He then springs his trap. Removing the diamond brooch from his desk drawer, he binds it to Cheveley's wrist with a hidden device. Goring then reveals how the item came into her possession: apparently Mrs. Cheveley stole it from his cousin years ago. To avoid arrest, Cheveley must trade the incriminating letter for her release from the bejeweled handcuff. After Goring obtains and burns the letter, however, Mrs. Cheveley steals Lady Chiltern's note from his desk. Vengefully she plans to send it to Sir Robert misconstrued as a love letter addressed to the dandified lord. Mrs. Cheveley exits the house in triumph.The final act, which returns to Grosvenor Square, resolves the many plot complications sketched above with a decidedly happy ending. Lord Goring proposes to and is accepted by Mabel. Lord Caversham informs his son that Sir Robert has denounced the Argentine canal scheme before the House. Lady Chiltern then appears, and Lord Goring informs her that Sir Robert's letter has been destroyed but that Mrs. Cheveley has stolen her letter and plans to use it to destroy her marriage. At that moment, Sir Robert enters while reading Lady Chiltern's letter, but he has mistaken it for a letter of forgiveness written for him. The two reconcile. The ever-upright Lady Chiltern then attempts to drive Sir Robert to renounce his career in politics, but Lord Goring dissuades her from doing so. When Sir Robert refuses Lord Goring his sister's hand in marriage, still believing he has taken up with Mrs. Cheveley, Lady Chiltern is forced to explain last night's events and the true nature of the letter. Sir Robert relents, and Lord Goring and Mabel are permitted to wed.

Analysis of Major Characters

Sir Robert Chiltern

The play's "tragic" hero, Sir Robert Chiltern is an accomplished government official, considered by all as an ideal husband and model politician. As described in the stage notes, Sir Robert has effected a violent separation of thought and emotion in his personality; moreover, he suffers from divided loyalties. Though a portrait of distinction and good breeding, Sir Robert conceals a blemished past. Extremely ambitious, he succumbed to the nefarious advice of his mentor, Baron Arnheim, in his youth, coming to hold power over others as life's primary pleasure and wealth as the age's weapon toward winning it. To some extent, Sir Robert holds wealth and power in similar esteem today. At the same time, Sir Robert has had to conceal his past from his wife in hopes of keeping her love. As detailed below, Lady Chiltern's love is predicated on the worship of his perfect image; so desperate is Sir Robert to remain in her esteem that he will even agree to resign from government in Act IV. Torn between his true and ideal selves, Sir Robert suffers from a nervous temperament throughout the play.


Sir Robert is a fairly static character, undergoing little development and ultimately receiving salvation through the machinations of Lord Goring. He does, however, give way to one major outburst once the balancing act between his secret past and ideal persona becomes untenable. Unmasked by Mrs. Cheveley at the end of Act II, he curses Lady Chiltern's impossibly worshipful love as causing their ruin: in other words, because of her worship he could not descend his pedestal, so to speak, and admit his crimes to her earlier. Sir Robert considers himself a victim of what he identifies as "feminine" adoration. In contrast, he loves in a "masculine" fashion—that he can love his lover's human imperfections and then forgive her faults. Sir Robert thus becomes the vehicle of one of the play's primary pronouncements on the theme of marriage. Like his wife, his is largely a melodramatic voice, the conventional nature of his speech—that is, conventional in terms of the popular Victorian stage—reflecting the conventional nature of its content.

Lady Gertrude Chiltern

Lady Chiltern is the play's upright and earnest heroine, embodying the ideal of Victorian new womanhood Wilde elaborated while editor of the Women's World magazine in the late 1880s. This new woman was best represented by an educated wife involved in women's issues and supportive of her husband's political career. Lady Chiltern certainly embodied these characteristics, and unlike Sir Robert, Lady Chiltern is not self-divided, but perfectly virtuous. Though a poised, charming, and dignified society wife, Lady Chiltern is naïve when it comes to the machinations around her. In this sense, she is Mrs. Cheveley's ready victim.
Lady Chiltern undergoes a rather simple development through the course of the play, specifically with respect to the theme of marriage and, more precisely, the question of how women should love. Toward the end of Act I, she melodramatically delivers a speech to Sir Robert that introduces the idea of the "ideal husband" and establishes the nature of her love, a love described from the outset as "feminine." As a woman, Lady Chiltern loves in the worship of an ideal mate, a mate who serves as model for both her and society at large. Thus she rejects Sir Robert upon the revelation of his secret past, unable to brook neither his duplicity nor the justification of his dishonesty as necessary compromise.
Ultimately she will learn from her counselor, Lord Goring, that the loving woman should not so much idealize the lover as forgive him his faults. Goring will also teach her that Sir Robert—as a man—lives by his intellect and requires a successful public life. Thus Lady Chiltern will forgo her rigid morals and allow her husband to continue his career despite its ill-gotten beginnings.
Mrs. Cheveley

Foil to the earnest Lady Chiltern, Mrs. Cheveley is the play's femme fatale: bitingly witty, fabulously well dressed, cruel, ambitious, opportunistic, and, above all, duplicitous. Repeatedly the play describes her as the product of "horrid combinations," evoking her dangerous deceitfulness. Thus Lady Basildon recoils from her "unnatural" union of daytime genius and nighttime beauty; later, Cheveley appears as a "lamia-like" villainess—that is, part woman and part snake. Whereas Lady Chiltern is pure and undivided, Mrs. Cheveley is defined by deception, artifice, and falsehood.




Cheveley returns from Vienna as a sort of ghost from the past, at once an old enemy of Lady Chiltern's from their school days, the traitorous fiancée of the young Lord Goring, and a disciple of the deceased Baron Arnheim, Sir Robert's seductive corrupter. Even more than Sir Robert, she fiercely subscribes to Arnheim's philosophy of power and gospel of wealth, treasuring the domination of others above all. Thus she unscrupulously wreaks havoc in the Chiltern's married life to secure her fortunes and dismisses marriage as a mere transaction. Thus, within the moral scheme of the play, she stands opposed to the sentimental notions of conjugal life embodied by the Chilterns and Lord Goring.

With this in mind, Mrs. Cheveley's undoing in Act III avenges her crimes against the conjugal household. Called to account for a past crime, she finds herself trapped for a stolen wedding gift—the diamond brooch—by her ex-fiancé. The poetic justice in her arrest is clear. Moreover, this undoing also unmasks her as a monster. Once trapped by Lord Goring, Cheveley dissolves into a "paroxysm of rage" her loss of speech giving way to an agony of terror that distorts her face. For a moment, a "mask has fallen," and Cheveley is "dreadful to look at." Her veneer of wit and beauty thus give way to the hidden beast.

Lord Goring

Described as the first well-dressed philosopher in history, Goring is the dandified hero of the play and a thinly veiled double for Wilde himself. As the stage notes from Act III indicate, he is in "immediate relation" to modern life, making and mastering it. He thus serves as bearer of Wilde's aestheticist creed stressing amorality, youth, pleasure, distinction, idleness, and onward in rebellion against Victorian ideals. An Ideal Husband emphasizes Goring's modernity by posing him in a number of comic dialogues with his father, Lord Caversham—in which the former urges his son to marry and claim responsibility while the latter outwits him with his repartee.
Within the play's moral scheme, Goring delivers a number of the play's more sentimental pronouncements on love and marriage, serving as helpmate to the Chilterns and teacher to the impossibly upright Lady Chiltern in particular. Thus he extols the importance of forgiveness and charity in married life, reconciling the Chilterns' marriage according to new ideals of man and wife. At the same time, however, his own union with Mabel Chiltern is far less conventional, dispensing with the questions of duty, respectability, and the ideal roles of man and wife entirely. Alike in their amoral posture, Goring and Mabel thus stand as foils to the Chilterns and their newly ideal marriage.

للاستزادة

http://www.sparknotes.com/drama/idealhusband/canalysis.html

مشكووووورة,,,,الله يرفع قدرك دنيا واخرة
http://img412.imageshack.us/img412/4...1mj2bq4cj4.gif