Blithe Spirit

“And if she ever knew, I mean ever recognized, that description of herself. Poor thing… here’s to her, anyhow.”

Ruth points out the inaccuracy of Charles’s descriptions as he fictionalizes people to support the narrative he wants to create. Ruth's utterance describing this woman as a poor thing makes a subtle connection to Elvira, as Ruth uses that phrase frequently to describe her before they meet.

“You won’t die. You’re not the dying sort.”

Once one is familiar with the play's ending, Charles’s line to describe Ruth becomes humorous. In this moment, Charles also seeks to contrast Ruth and Elvira, who throughout the play serve as foils to the other. They are both alike and different.

“I’m afraid not; but I do think it’s interesting how easily people allow themselves to be deceived.”

Ruth is derisively referring to those who believe in the supernatural. Ironically, she will soon find herself in a supernatural situation. This line also makes a metatheatrical reference to the suspension of disbelief required to watch a show.

“We have no reliable guarantee that the afterlife will be any less exasperating than this one, have we?”

A hypothetical for the characters at this point, the characters will soon find out how exasperating this life and the next can be. This question also functions as a question for the audience to ponder after the play has finished.

“Time is the reef upon which all our frail mystic ships are wrecked.”

One of the play’s most quoted lines, Madame Arcati offers a romantic but tragic understanding of life. Ultimately, her vision of wrecked lives mirrors the fate of Charles, Ruth, and Elvira.

“Not dead, Charles. ‘Passed over.’ It’s considered vulgar to say ‘dead’ where I come from.”

Elvira’s coy insistence that she’s offended by vulgar language contrasts with her sexually vulgar nature. Charles, as a gentleman, would want to present himself as proper and, thus, wouldn’t use this word if he knew.

“I shall always love the memory of you.”

Charles does not declare his love for Elvira but instead focuses on the memory of idealized, past Elvira. When Ruth dies, Charles appears to begin doing this with Ruth’s memory as he starts siding less and less with Elvira.

“So that’s your story, is it?”

Charles’s suspicious question also reflects his job as an author. It also continues the play’s interest in performance and art. 

“We were talking too much about Elvira. It’s dangerous to have somebody very strongly in your mind when you start dabbling with the occult.”

Another famous line, the matter-of-fact delivery increases the humor despite Charles’s distress. Throughout the play, Elvira continues to be strongly on his mind, suggesting that might be why she can’t be returned to the afterlife.

“You were hag-ridden by your mother until you were twenty-three, then you got into the clutches of that awful Mrs. Whatever her name was. […] Then there was Elvira. She ruled you with a rod of iron.”

Ruth’s description of Charles’s relationships with women echoes throughout the play. Ruth seems quite critical of these women but later seems more defensive when Charles tries to wield it against her.

“Instead of putting out a gentle comradely hand to guide me, you shouted staccato orders at me like a sergeant-major.”

Charles expresses the period’s understanding of gender roles within marriage. Women should support, guide, and care for their husband’s every need. Instead, Ruth is acting manly by giving orders.

“I refuse to endure months of expensive humiliation only to be told at the end of it that at the age of four I was in love with my rocking-horse.”

This line is an example of the farcical humor in the play. It also functions as another example of Charles’s largest character flaw: his paranoia and fear of being humiliated.

“It’s all your own fault for having married a woman who is incapable of seeing beyond the nose on her face. If she had a grain of real sympathy or affection for you she’d believe what you tell her.”

Elvira’s scheming nature is on full display in her manipulation of Charles. She insults Ruth as a wife before confirming that Charles is logical and correct. This tactic also reveals much about Charles, as these words reassure him.

“Facts very often are [fantastic]. Take creative talent, for instance, how do you account for that? Look at Shakespeare and Michelangelo! Try to explain Mozart snatching sounds out of the air and putting them down on paper when he was practically a baby – facts- plain facts. I know it’s the fashion nowadays to ascribe it all to glands, but my reply to that is fiddlededee.”

Madame Arcati’s description of art aligns it with magic and knowledge. The facts surrounding the ghosts are just as true as artistic genius. Her line also reflects the magic of theatre and how Coward uses it to express human truths.

“Your attitude from the outset has been most unpleasant, Mrs. Condomine. Some of your remarks have been discourteous in the extreme and I should like to say, without umbrage, that if you and your husband were foolish enough to tamper with the unseen for paltry motives and in a spirit of ribaldry, whatever has happened to you is your own fault, and, to coin a phrase, as far as I’m concerned you can stew in your own juice!”

This comment reveals that Madame Arcati is more perceptive than expected. Despite the rudeness of others, her sincere belief drives her. It also suggests that Ruth is not as good a host as she tries to present herself to be.

“I came because the power of Charles’s love tugged and tugged and tugged at me.” 

In describing her spiritual connection to Charles, Elvira uses sexually suggestive language. This comment reflects her sexually aggressive character and demonstrates the wit expected of characters in farce.

“I’ll let you go up just for a little while if you really think it’s your duty.”

Elvira tries to goad Charles by pointedly challenging his sense of duty as a husband. Charles does go to Ruth, suggesting that the confines of marital expectations do carry weight for him.

As far as I can see the position is just as difficult for Elvira as it is for you – if not more so. The poor little thing comes back trustingly after all those years in the other world, and what is she faced with? Nothing but brawling and hostility”

Charles's persistent sympathy for Elvira is at the core of many of the Condomines' fights. While he cannot sympathize with Ruth and understand how the hallucinations or Elvira's presence may upset Ruth, he easily takes Elvira’s side. Charles also underestimates Elvira, not suspecting her and insisting upon her meekness.

“If you were dead it would be her final triumph over me. She’d have you with her for ever on her damned astral plane, and I’d be left high and dry. She’s probably planning a sort of spiritual re-marriage. I wouldn’t put anything past her.”

Ruth describes Elvira’s plan as a marriage. This image underscores Ruth's concern with her household and with presenting herself as a capable and loving housewife.

“There was a time when you’d have welcomed the chance of being with me for ever and ever.”

Elvira’s comment illustrates the fickleness of love. While a couple may initially enjoy each other's presence, their attention soon wanders. Her comment is also ironic. If he had wanted to be with her forever, he would still want to be with her.

“Anyhow, it was only because I loved you. The silliest thing I ever did in my whole life was to love you. You were always unworthy of me.” 

Elvira’s realization that her declarations of devoted love are not working prompt a change in tactic. She begins to insult Charles, revealing that their marriage was not as happy as described.

“On looking back on our married years, Elvira, I see now, with horrid clarity, that they were nothing about a mockery.”

Despite appearances, neither marriage was actually happy. The passage of time clarifies the insincerity, which contrasts sharply with the romanticized stereotype of eternal love.

“When I think of what might have happened if I’d succeeded in getting you to the other world after all – it makes me shudder, it does honestly. It would be nothing but bickering and squabbling for ever and ever and ever. I swear I’ll be better off with Ruth – at least she’ll find her own set and not get in my way.” 

Elvira’s line reflects the play's bleak understanding of loyalty. Loyalty does not equate to a happy relationship. A constant physical presence isn't what she wants, as she prefers Ruth because she will leave and not inhibit her.