Mrs. Alice Waythorn Character Analysis

Her composure was restful to him; it acted as a ballast to his somewhat unstable sensibilities. As he pictured her bending over the child’s bed he thought how soothing her presence must be in illness: her very step would prognosticate recovery.

He knew that society had not yet adapted itself to the consequences of divorce and that till the adaptation takes place every woman who uses the freedom the law accords her must be her own social justification.

But this other man…it was grotesquely uppermost in Waythorn’s mind that Haskett had worn a made-up tie attached with an elastic. Why should that ridiculous detail symbolise the whole man? Waythorn was exasperated by his own paltriness, but the fact of the tie expanded, forced itself on him, became as it were the key to Alice’s past.

It was as if her whole aspect, every gesture, every inflection, every allusion, were a studied negation of that period of her life.

A man would rather think that his wife has been brutalised by her first husband than that the process has been reversed.

She was ‘as easy as an old shoe’ —a shoe that too many feet had worn. Her elasticity was the result of tension in too many different directions. Alice Haskett—Alice Varick—Alice Waythorn—she had been each in turn, and had left hanging to each name a little of her privacy, a little of her personality, a little of the inmost self where the unknown god abides.

He could have forgiven her for blunders, for excesses; for resisting Haskett, for yielding to Varick; for anything but her acquiescence and her tact.

With grim irony Waythorn compared himself to a member of a syndicate. He held so many shares in his wife’s personality and his predecessors were his partners in the firm.

Her composure was restful to him; it acted as a ballast to his somewhat unstable sensibilities. As he pictured her bending over the child’s bed he thought how soothing her presence must be in illness: her very step would prognosticate recovery.

He knew that society had not yet adapted itself to the consequences of divorce and that till the adaptation takes place every woman who uses the freedom the law accords her must be her own social justification.

But this other man…it was grotesquely uppermost in Waythorn’s mind that Haskett had worn a made-up tie attached with an elastic. Why should that ridiculous detail symbolise the whole man? Waythorn was exasperated by his own paltriness, but the fact of the tie expanded, forced itself on him, became as it were the key to Alice’s past.

It was as if her whole aspect, every gesture, every inflection, every allusion, were a studied negation of that period of her life.

A man would rather think that his wife has been brutalised by her first husband than that the process has been reversed.

She was ‘as easy as an old shoe’ —a shoe that too many feet had worn. Her elasticity was the result of tension in too many different directions. Alice Haskett—Alice Varick—Alice Waythorn—she had been each in turn, and had left hanging to each name a little of her privacy, a little of her personality, a little of the inmost self where the unknown god abides.

He could have forgiven her for blunders, for excesses; for resisting Haskett, for yielding to Varick; for anything but her acquiescence and her tact.

With grim irony Waythorn compared himself to a member of a syndicate. He held so many shares in his wife’s personality and his predecessors were his partners in the firm.