On the Dartmoor

Introduction of Writer:

Neil Forbes Grant was an English journalist, memorialist, and playwright. Before being known as a dramatist, Grant had an extensive career as a journalist, serving as foreign editor of The Morning Post for seven years. His most successful play, Possessions, was first performed in January 1925, at London.

 

Works :

Possessions
On Dartmoor
The Age of Leisure

Character List:

Muriel Armstrong

Leonora Astley

Bill Syme

Albert Read

Fred Lee

 

Analysis:

On Dartmoor may appear to be a crime play, but actually it’s a satire on a certain type of idealism which may be called fashionable, modern idealism or armchair idealism. Muriel Armstrong and Leonora Astley are two well-to-do bluestockings (The term bluestocking was first used in the 18th century to refer to a group of English women who decided they'd rather have intellectual conversations with educated guests than sit around playing cards and chatting), who in order to while away their time have developed an interest in criminals. They call themselves "integral anarchists," (a person who believes in or tries to bring about (anarchy- in a situation in which there is no government control in a country)) and they hate all institutions that deal with crime and criminals. They have intentionally (a person who helps and supports you, especially when other people are against you) They rented a house in the neighbourhood of a prison in the hope of helping escaped criminals.

When the play opens, 

LEONORA the slighter of the two. LEONORA, seated left, is fast asleep on divan near fire; 

MURIEL, smoking cigarette, is seated centre, half reading, half dozing. The blinds are drawn. Telephone bell goes.

Muriel is informed by the police about the escape of a criminal with instructions to inform them of the dialogue between the friends, 

Muriel - lakes up receiver. Hullow! Who? 

Police - yes. 

[Leonara half rises] Escaped prisoner! 

No. No. Heard or saw nothing of him. [pause]. Well, I'll see about that. [severely]. Good-bye. [rings off].

LEONORA: who has jumped up]. An escaped prisoner?

MURIEL: Yes.

In the course of which we are made familiar with their ideas. The function of the exposition or the beginning is to impart information about the main characters and the situation from which the play is to develop. This, the exposition does in the play, and what happens subsequently seems quite natural to us.

As the friends are talking, the escaped prisoner enters their home. They are all sympathy and help. They feed him, give him whisky and money, and plan his escape. They seem to be having a time of their life. In their excitement, and in their ignorance of the real world, they do not notice the skill with which the escaped convict leads them on, and plays upon their sentiments. They fail to notice certain things, which to an experienced person may have revealed that the escaped convict was a fake. But modern thieves are also very clever. Living by their ability to use words in a clever and amusing way in a very strong feeling against something or somebody's world is not an easy job. The plan to deceive these girls has been thoroughly worked out and wins support. The so-called Bill Syme is a very clever, intelligent and sharp judge of human nature, and handles the two girls in a manner that is a treat.

The appearance of the detective with his over-officious behaviour also fails to make them suspicious. The whole scene is a piece of fine craftsmanship. It is only when they discover the theft that their eyes are opened. Then their behaviour presents a strange contrast to their ideas with which we are made familiar in the opening. And when the real escaped convict, a miserable wretched man, appears, they fall on him like wild cats, their idealism and "integral anarchism" evaporating at the first touch of reality.

The satire is not direct but is made evident with the help of contrasted situations. The dramatist seems to imply that impractical idealism cannot solve the problems of society. Most of the people who pose as idealists are the idle rich who are not very serious in any work on these things to kill time and to get some excitement in their otherwise dull and uninteresting, fashionable lives. Such idealists, since they are divorced from reality, often come to grief.

The play basically says: talking about changing the world is easy, but doing it is hard. Fancy ideas without real action don't amount to much. And those who talk the loudest about helping others are often just the bored rich playing games.

Talk is Cheap, Action Matters, The play shows that it's easy to talk about big ideas and change, but actually making a difference is way harder. The two women think they're helping criminals, but they're really just playing a game and getting fooled.

Lack of experience Can Get You in Trouble: The play warns us to be careful about trusting people too easily or believing in things without really understanding them. The women are so focused on their ideas that they don't see the real world around them, and they end up getting hurt.

Not Everyone Lives in the Same World: The play shows how rich folks can be out of touch with the struggles of everyday people. The women don't understand crime or poverty because they've never had to deal with it, and their attempts to help end up making things worse.

Tricksters Are Everywhere: The play reminds us that there are always people out there who will try to take advantage of others. The con man (a man who cheats or tricks someone by gaining their trust a man who cheats or tricks someone by gaining their trust) in the play is a smooth talker who knows how to manipulate people's feelings to get what he wants.

Idealism Can Crash Hard: The play shows that when your big dreams about how the world should be meet the harsh reality of how it really is, it can be a big disappointment. The women have to face the fact that their ideas aren't working, and it's a tough lesson.

Boredom Can Lead to Bad Choices: The play suggests that sometimes people do crazy things just because they're bored or looking for excitement. The women are kind of bored with their lives, so they start playing with fire by helping criminals, and it backfires.

Themes:

1.Idealism and Reality:

The play explores the theme of idealism, particularly the impracticality of armchair or fashionable idealism. Muriel and Leonora, despite their self-proclaimed status as "integral anarchists," are portrayed as disconnected from the harsh realities of the world. The contrast between their ideals and the actual events in the play highlights the playwright's commentary on the limitations of idealistic thinking.

2.Class and Privilege:

The characters of Muriel and Leonora represent the idle rich who, in their pursuit of excitement, engage in idealistic endeavours. The play subtly addresses issues of class and privilege, suggesting that these idealists are insulated from the real challenges faced by society. Their ability to dabble in such pursuits as a form of entertainment underscores the detachment of the privileged class from the struggles of everyday life.

3.Deception and Cunning:

The play skillfully portrays the theme of deception. The escaped convict, Bill Syme, exhibits intelligence and cunning, manipulating Muriel and Leonora for his own benefit. This theme underscores the idea that even those who claim to be champions of justice and idealism can be easily deceived, especially when their idealism blinds them to practical considerations.

4.Satire on Intellectualism:

The term "bluestockings" traditionally refers to educated and intellectual women. The play satirises intellectualism by depicting Muriel and Leonora's interest in criminals as a form of intellectual pastime. The playwright seems to suggest that these intellectual pursuits may be shallow and disconnected from the real issues facing society.

Setting:

The scene takes place in a well-furnished room of a bungalow on Dartmoor, owned by two affluent young women, Muriel Armstrong and Leonora Astley. The room is modernist in style, indicating the characters' wealth and taste. The atmosphere is intensified by the dark night outside, heightened by drawn blinds. The stage is set with two doors (centre and right), windows on each side of the centre door, a fireplace on the left, a telephone on a table to the right of the centre door, a sideboard on the right wall, and an escritoire on the left wall.

Characters:

Muriel Armstrong:

Muriel is portrayed as someone who has big dreams and strong beliefs. She's really interested in criminals and doesn't like how the systems dealing with crime work. However, the play shows us that Muriel might not understand the real world very well. When faced with a real situation, her actions don't match her lofty ideals. This emphasises the idea that having big dreams is good, but it's also important to understand and deal with the practical aspects of life.

Leonora Astley:

Leonora is quite similar to Muriel. She's also wealthy and enjoys thinking about big ideas, but more as a form of entertainment than a serious pursuit. The play highlights that Leonora is easily influenced and tricked by the escaped convict. This suggests that individuals like Leonora, who are privileged and engage in idealistic pursuits, might lack a profound understanding of the complexities of the world. It's a commentary on how the idle rich might indulge in idealism without truly comprehending its real-world implications.

Bill Syme (the escaped convict):

Bill Syme is a centre character who embodies the artful and deceptive forces at play. He skillfully manipulates Muriel and Leonora, exploiting their idealism for his own benefit. The play underlines that intelligence and shrewdness are not confined to any particular moral belief. Bill Syme challenges the stereotype that people engaged in criminal activities lack intellectual depth. This character serves as a reminder that appearances can be deceiving and that one should be cautious in making judgments based on preconceived notions.

The Detective:

The detective adds another layer to the satire. Despite his over-empathetic authority and serious behaviour, he fails to raise suspicion in Muriel and Leonora. This character serves as a critique of individuals in positions of power who may not necessarily possess the competence or insight required to effectively address societal issues. The detective's ineffectiveness underscores the theme that those in authoritative roles might not always be provided to understand the complications of the real world.