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52 pages 1 hour read

Arnold Bennett

The Old Wives' Tale

Fiction | Novel | Adult | Published in 1908

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Book 4Chapter Summaries & Analyses

Book 4: “What Life Is”

Book 4, Chapter 1 Summary: “Frensham’s”

The narrative introduces a new character, Matthew Peel-Swynnerton, sitting at dinner in the Frensham Pension amid a long conversation with Mr. Mardon (a long-suffering prospective buyer of the pension). Matthew has a connection with Bursley, being one of Cyril Povey’s close friends. He knows the story of Cyril’s long-lost aunt, and during his brief interaction with Sophia, he puts the pieces together and realizes who she is. He returns to England and relates this information to Constance. She nearly swoons in the street, and when she recovers, Matthew describes the whole experience of meeting Sophia. Constance is filled with mixed emotions at the news:

It seemed to him that gladness should have filled the absurd little parlor, but the spirit that presided had no name; it certainly was not joy. […] He did not know ten thousand matters that were rushing violently about in the vast heart of Constance (477).

The chapter then shifts to the viewpoint of Sophia, back in Paris. She doesn’t know that her identity has been revealed, but she suspects the possibility, having realized Matthew’s Bursley connections. She begins to regret having stayed out of contact with her family for so long: “[S]he had been guilty of the capital folly of cutting herself off from her family. She was ageing, and she was alone in the world. […] She was the most solitary person on earth” (480). Eventually, a letter arrives from Constance, and the reminder of her sister resurrects many old feelings. Though she initially resists the idea of uprooting herself, she begins arrangements to sell the Frensham Pension to Mr. Mardon.

Book 4, Chapter 2 Summary: “The Meeting”

Constance and Sophia reunite. Constance is making her house ready to receive Sophia, assisted by her domestic servant, Amy. Constance meets Sophia at the train station and has a first impression of her as “a beautiful and aristocratic woman” (497). They quickly perceive, however, the commonalities between them, particularly in the unchanging Baines heritage that they both see in each other. As they ride back into town, they spot an elephant along the way, standing in a circus yard. Back in Bursley, they confer with Mr. Critchlow, who has managed a portion of the estate left to Sophia in her absence. She and her sister are both sufficiently well-off from estate money and their own business ventures to be entirely self-sufficient for the rest of their lives. The status of Sophia’s husband, Gerald, might bear on such matters, but she has had no knowledge of him since their parting. Although Sophia enjoys returning to the scenes of her youth, she’s struck by Bursley’s smallness and shabbiness: “She thought: ‘It would kill me if I had to live here. It’s deadening. It weighs on you. And the dirt, and the horrible ugliness! And the way they talk, and the way they think!” (511).

Book 4, Chapter 3 Summary: “Towards Hotel Life”

The difficulties of some minor affairs at the Bursley house, along with Constance’s chronic health condition (sciatica), push Sophia toward suggesting an alternative arrangement. It begins with tension between the servant, Amy, who tends to make careless errors, and Sophia, whose experience running a guesthouse makes Amy’s conduct seem intolerable. After Sophia rebukes Amy in front of Constance, Amy submits a notice of resignation, and they begin looking for a new servant. Meanwhile, Constance’s sciatica flares up again, and when the local doctor comes by, he reveals his belief that a change of residence would help Constance’s issues: “She needs to be jolly. Why doesn’t she go to some seaside place, and live in a hotel, and enjoy herself?” (531). This idea forms the kernel for Sophia’s plan, which she proposes to Cyril when he’s pressured into a visit.

The next scene opens with Sophia and Constance at a luxury hotel, having left the Bursley house empty while they awaited their new servant. Unfortunately, a letter arrives from the servant relating that she has changed her mind, which sparks a crisis for Constance: “Constance felt that this actually and truly was the deepest depth of her calamities. There she was, far from a dirty home, with no servant and no prospect of a servant” (550). Sophia takes the opportunity to suggest that rather than returning to Bursley, they go on a permanent holiday and live in hotels. Constance resists this idea, unable to imagine life anywhere but her home in Bursley. She breaks down in tears, and Sophia is left regretting having pushed so hard for a change of which her sister was incapable.

Book 4, Chapter 4 Summary: “End of Sophia”

The narrative moves nine years past the events of Chapter 3. Sophia has resigned herself to Constance’s intractability in where to live, so the two have continued living together in Bursley. Sophia resents having to stay there, which adds an undernote of tension to the household: “Buried at the root of the relations between the sisters was Sophia’s grudge against Constance for refusing to leave the Square” (560). One day, while the doctor is calling on Constance, Sophia receives a telegram from Manchester that her husband, Gerald, is there and is dangerously ill.

Dick Povey (the son of Samuel’s executed cousin, Daniel) and his fiancée, Lily, offer to drive Sophia to Manchester. Once there, she’s greeted by one of Gerald’s distant relatives, who recently became aware of Sophia’s presence in Bursley. The relative tells Sophia that Gerald has already died, and when she goes to see his body, she’s shocked at the ravages of time upon his frame: “What affected her was that he had once been young, and that he had grown old, and was now dead. That was all. Youth and vigor had come to that. […] Everything came to that” (577). Profoundly struck by this experience and the pain of recalling of memories from a life that now seemed to her terrible, she accepts Dick and Lily’s offer of a ride back to Bursley. On the way, however, she suffers an incapacitating attack and is unresponsive when they get back. She lies comatose for several hours in Constance’s house and then passes away. The following morning, Constance observes the young Lily sleeping there and, seeing Sophia’s body, is struck by the cruel transformations of age and the emptiness of Sophia’s fate: “A brief passion, and then nearly thirty years in a boarding-house! […] And she had ended—thus! This was the piteous, ignominious end of Sophia’s wondrous gifts of body and soul. Hers had not been a life at all” (585).

Book 4, Chapter 5 Summary: “End of Constance”

One year after Sophia’s death, Constance’s health continues to deteriorate, as she experiences repeated bouts of sciatica and rheumatism. Dick and Lily have grown closer to Constance and are kind to her in person, but in private they reveal that they’re humoring her, treating her as an “old lady” who doesn’t understand the modern world: “The secret attitude of both of them towards her was one of good-natured condescension” (614). Constance, is fond of them but, likewise, regards them as blind to the realities of life.

Two major disruptions occur in the Bursley house. First, Maria Critchlow (the former Miss Insull) attempts death by suicide, having been driven to depression by the growing losses of business at the draper’s shop. Mr. Critchlow allows a business selling premade clothes, Midland Clothiers Company, to take over the shop and hang its own sign out in the square. As they need more space, Constance is notified that she must leave her home. The second major disruption is a push for federating Bursley with its surrounding communities into a single city. Constance is against the proposition: “Her hatred of the idea was intensified into violent animosity; insomuch that in the result she died a martyr to the cause of Bursley’s municipal independence” (601). When the day for the referendum comes, Constance ventures out, ignoring her frail condition, and walks all the way to the town hall and back again. Constance’s health is so broken that she never recovers. She dies, and Cyril doesn’t make it to the funeral. Despite the referendum on federation not passing, Bursley officials find a way to press forward in joining the Five Towns into one city.

Book 4 Analysis

Book 4 brings the parallel patterns of Constance and Sophia’s lives back together again. Just as Mrs. Baines resigned her business to go live with her sister at the end of Book 1, Sophia does the same here. Despite the many differences between the lives they’ve lived, Constance and Sophia share many qualities: Both are single, now middle-aged to elderly; both have had some success in business and therefore are financially secure; and most importantly, both still reflect the old Baines temperament: “Nothing could change a Baines” (498). Nevertheless, they continue to surprise one another with their thoughts and actions, a pattern that supports Bennett’s theme on the mystery of other minds.

Bennett’s theme of the changes of life hits its peak in Book 4. On the one hand, the main characters’ personalities are relatively stable despite external changes: “Powerful individualities remain undisfigured by no matter what vicissitudes” (498). Even the outward circumstances of life, which have seen many changes, are brought back in line with the initial conditions of the two girls’ stories, as they once again are living together in the family house where they grew up. On the other hand, the transformations in their appearance and physical condition are striking at this stage of the story. Bennett draws direct contrasts between their former youth and beauty and their current state as elderly ladies. Sophia feels the pain and pathos of this transformation as she looks at the aged corpse of her husband, Gerald, now worn by time: “Youth and vigour always came to that. Everything came to that” (577). The unchanging nature of the girls’ personalities, coupled with the radical changes to their bodies and to how others perceive them—humoring them, believing that they don’t understand the modern world—add to the sense of unfairness in moving from youth to old age. Although they’re still the same people on the inside, they look quite different on the outside and are treated differently by those around them, from good-natured friends like Dick and Lily to careless, self-absorbed young people like their domestic servants.

The theme of the effects of place on one’s life remains prominent in Book 4. Much time passed from the close of Book 3 to the beginning of Book 4, and in that time, Sophia grew accustomed to life in Paris. Her reactions to French culture have shifted from an instinctual revulsion at French passions to a parental fondness. When Sophia moves back home, she has difficulty readjusting, as Bursley now seems tiny and drab by comparison, and the people who live there seem small-minded and narrow in their interests. She pushes Constance to embark on a different sort of life, one more inclined to her current tastes, by traveling and living in hotels. For Constance, however, the shaping influence of the house on St. Luke’s Square is inescapable. She can’t conceive of any other place as home, so she remains. Sophia, who has been shaped by the more adaptable patterns of living in boardinghouses, is the one who bends, taking up permanent residence with Constance in the old Bursley house. Only at the very end of the story do circumstances at the house change significantly: As Constance nears death, the house is taken over by the expanding clothing business next door, and Bursley itself is being subsumed into a federation of the Five Towns. This radical change in the outward features of geography and locale signify the close of an era and make a fitting end to the story.

The symbol of elephants reappears briefly in Book 4, Chapter 2, as Sophia spies a live elephant in a circus yard on their way into Bursley. This brings the story full circle, as a dead elephant in a traveling circus played a role in the events that led to Sophia leaving Bursley in the first place. In addition, signage reappears in Chapter 5 to symbolize change when Mr. Critchlow sells the draper’s shop, as the new company changes the sign when they move in. This marks another significant transition in the story, as the business that was a perpetual presence in Constance’s life now changes in nature and in ownership. Not only the local enterprise but the whole manner of doing business changes—the need for draper’s shops ends as people begin to buy premade clothes, and the town itself is undergoing change. These changes parallel the end of Sophia and Constance’s lives as the passing of an age.

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