HEARTBREAK HOUSE
“A Fantasia in the Russian Manner on English Themes”
This play was written between 1916 and 1917 however it was not performed until 1920. This was because of World War 1. Shaw spends much of the 48-page introduction to this play discussing how the entire nature of the theatre changes during war time. Heartbreak House would not have been welcomed on the London stage first, because of the economical changes during the war, and also because audiences who used to enjoy the serious dramas of Chekho, Ibsen, and Shakespeare now craved silly jokes, pretty girls and above all, a distraction. The literal bomb drop in the final scene was too much for audiences filled with soldiers and civilians to whom bomb scares were too much of a reality. For these reasons, Shaw waited until the war was done before he allowed the play to be performed.
The play revolves around Ellie Dunn, who arrives at the house (which she later dubs “Heartbreak House”) intending to marry a rich older man for money. This man, Mangan, gave Ellie’s father money to start a business, and then gave him more money when the business fell apart. Ellie is extremely grateful, and also believes that this generosity makes him a good man (and, in theory, a good husband.)
The house has an air of confusion and chaos. Ellie is not greeted when she arrives. She is stuck on the porch with her luggage for hours. After arriving, she quickly confesses to Mrs. Hushaby that she is in love with another man. A man she met at a concert, and again at an art museum. This man told her stories of the fantastic adventures he had been on.
Then this man arrives. It turns out, the man that Ellie is in love with is Hesione’s husband. He enjoys telling stories and charming women. All women fall in love with him. This is Ellie’s first heartbreak, which she recovers from rather quickly.
After dinner, Ellie and Mangan discuss their engagement. They are both well aware that they are no Romeo and Juliet, but they will both benefit from the marriage. In the middle of this discussion, Mangan reveals that he ruined Ellie’s father. This is her second heartbreak. He gifted her father money to start a new business, knowing he was extremely passionate and equally ignorant. “The surest way to ruin a man who doesn’t know how to handle money is to give him some.” Knowing this, Ellie will marry him anyway- “why not?”
Why not? Mangan is in love with another woman and Ellie is in love with another man. A power struggle ensues. Ellie, determined to marry him anyway threatens that if he does not agree to marry her, she will keep him from seeing the woman he loves ever again. At the end of this conversation, Ellie hypnotizes him and puts him to sleep. He sleeps through the following conversation during which the monologue takes place.
Ellie confronts Hesione, who doesn’t think Ellie should marry for money, and voiced that opinion to Ellie’s father. They argue, insult each other, all while trying to maintain an air of elegance and class. Finally, Ellie reaches her breaking point. But she doesn’t break- she wakes up Mangan instead. He has heard their entire argument and immediately launches into a rage. Hesione tries to calm him down, Ellie just watches this unfold. Hesione eventually leaves, and Ellie confirms that she still intends to marry Mangan, frustrating him even more.
Enter: a burglar. They catch him but after getting to know him, will not turn him into the police. He says he will turn himself in unless they pay him not to.
The conversation returns to the subject of marrying for money- should Ellie marry Mangan or not? At this point, the maid warns everyone that an air-raid is about to happen. Mangan and the burglar retreat, but the rest of the crew is apathetic. So much so that they turn all the lights on. A bomb lands in the garden, killing Mangan and the burglar. The bombs pass overhead, missing the house completely. Ellie and Hesione hope that the bombs return the next day.
Today we are looking at
ELLIE
She’s determined to grow up. She wants to marry Mangan for his money, for an easier way of life, and to repay her father. She’s made this decision before the play even begins, and she never wavers. Yet she has to defend her choice to all of these people who believe they are older, wiser, and know better than she does. This is one of a few times in the play when she confronts these people, confronts her own heartbreak, and defends herself and her ideals.
Oh, don't slop and gush and be sentimental. Don't you see that unless I can be hard- as hard as nails- I shall go mad. I don't care a damn about your calling me names: do you think a woman in my situation can feel a few hard words?
I suppose you think you're being sympathetic. You are just foolish and stupid and selfish. You see me getting a smasher right in the face that kills a whole part of my life: the best part that can never come again; and you think you can help me over it by a little coaxing and kissing. When I want all the strength I can get to lean on: something iron, something stony, I don't care how cruel it is, you go all mushy and want to slobber over me. I'm not angry; I'm not unfriendly; but for God's sake do pull yourself together; and don't think that because you're on velvet and always have been, women who are in hell can take it as easily as you.
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