User:LogansPop22/sandbox: Difference between revisions

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In both characterization and structure, then, the play works against the recognition of Dorothy as a serious woman, a competent journalist, a war correspondent. Malcolm Cowley asserted in his review of the play that “if Philip hadn’t left her for the Spanish people, he might have traded her for a flask of Chanel No. 5 and still have had the best of the bargain”(qtd. in Trogdon 213), thereby wittily suggesting her triviality, decorative quality, and stereotypical femininity.

But just as Dorothy does not catch on to Philip’s secret life, perhaps neither does Philip catch on to Dorothy’s. Though she is never represented as writing, only once sitting down at her typewriter and then only for a moment (as though to emphasize her disengagement from it), she somehow writes three articles during the play’s time period, not merely the one article whose potential completion Preston doubts, saying, “You never do work anyway” (10). Philip shares this judgment, labeling her “lazy” (83). In the final scene of the play she is presented in the stage directions as returning “home” (81) to her room at the Hotel Florida—but from where? Her activ- {{pg|391|392}}

But just as Dorothy does not catch on to Philip’s secret life, perhaps neither does Philip catch on to Dorothy’s. Though she is never represented as writing, only once sitting down at her typewriter and then only for a moment (as though to emphasize her disengagement from it), she somehow writes three articles during the play’s time period, not merely the one article whose potential completion Preston doubts, saying, “You never do work anyway” (10). Philip shares this judgment, labeling her “lazy” (83). In the final scene of the play she is presented in the stage directions as returning “home” (81) to her room at the Hotel Florida—but from where? Her activ- {{pg|391|392}} ities outside the confines of her room, if occasionally referenced, are never dramatized like Philip’s.

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	In both characterization and structure, then, the play works against the recognition of Dorothy as a serious woman, a competent journalist, a war correspondent. Malcolm Cowley asserted in his review of the play that “if Philip hadn’t left her for the Spanish people, he might have traded her for a flask of Chanel No. 5 and still have had the best of the bargain”(qtd. in Trogdon 213), thereby wittily suggesting her triviality, decorative quality, and stereotypical femininity.		In both characterization and structure, then, the play works against the recognition of Dorothy as a serious woman, a competent journalist, a war correspondent. Malcolm Cowley asserted in his review of the play that “if Philip hadn’t left her for the Spanish people, he might have traded her for a flask of Chanel No. 5 and still have had the best of the bargain”(qtd. in Trogdon 213), thereby wittily suggesting her triviality, decorative quality, and stereotypical femininity.

	But just as Dorothy does not catch on to Philip’s secret life, perhaps neither does Philip catch on to Dorothy’s. Though she is never represented as writing, only once sitting down at her typewriter and then only for a moment (as though to emphasize her disengagement from it), she somehow writes three articles during the play’s time period, not merely the one article whose potential completion Preston doubts, saying, “You never do work anyway” (10). Philip shares this judgment, labeling her “lazy” (83). In the final scene of the play she is presented in the stage directions as returning “home” (81) to her room at the Hotel Florida—but from where? Her activ- {{pg\|391\|392}}		But just as Dorothy does not catch on to Philip’s secret life, perhaps neither does Philip catch on to Dorothy’s. Though she is never represented as writing, only once sitting down at her typewriter and then only for a moment (as though to emphasize her disengagement from it), she somehow writes three articles during the play’s time period, not merely the one article whose potential completion Preston doubts, saying, “You never do work anyway” (10). Philip shares this judgment, labeling her “lazy” (83). In the final scene of the play she is presented in the stage directions as returning “home” (81) to her room at the Hotel Florida—but from where? Her activ- {{pg\|391\|392}} ities outside the confines of her room, if occasionally referenced, are never dramatized like Philip’s.