زوجة لا تنفعل

by W. Somerset Maugham, سومرست موم

There s something Constance Middleton s friends are dying to tell her: her husband is having an affair with her best friend! Despite their hints, Constance remains ever cool, and seemingly oblivious. Or is she? In this biting comedy of manners, marriages and mistresses, Constance a not-so-desperate housewife - has some ideas of her own about extra-marital activity that surprise everyone in the end!

Genres: Plays, Classics, Fiction, Drama, Audiobook, British Literature, Theatre

Paperback

First published April 2, 1927

About the author

William Somerset Maugham was born in Paris in 1874. He spoke French even before he spoke a word of English, a fact to which some critics attribute the purity of his style.

His parents died early and, after an unhappy boyhood, which he recorded poignantly in Of Human Bondage, Maugham became a qualified physician. But writing was his true vocation. For ten years before his first success, he almost literally starved while pouring out novels and plays.

Maugham wrote at a time when experimental modernist literature such as that of William Faulkner, Thomas Mann, James Joyce and Virginia Woolf was gaining increasing popularity and winning critical acclaim. In this context, his plain prose style was criticized as 'such a tissue of clichés' that one's wonder is finally aroused at the writer's ability to assemble so many and at his unfailing inability to put anything in an individual way.

During World War I, Maugham worked for the British Secret Service . He travelled all over the world, and made many visits to America. After World War II, Maugham made his home in south of France and continued to move between England and Nice till his death in 1965.

At the time of Maugham's birth, French law was such that all foreign boys born in France became liable for conscription. Thus, Maugham was born within the Embassy, legally recognized as UK territory.

Reviews

[Anne · Rating 3 out of 5]

A classic what's good for the goose is good for the gander story.
I listened to the L.A. Theatre Works audio version of this play and thought the cast did a wonderful job of bringing Maugham's play to life.



I'd never heard of this before a friend recommended it to me, so I didn't really know what to expect. I have to say that I was a bit frustrated by Constance at first, as she seemed perfectly content to not only allow her husband's affair with her best friend to roll of her back, but actively encouraged everyone else to be completely ok with it.



She pulled a fast one on him, and basically everyone else in her life, at the end which made up for it, though.
This was one of those really interesting looks at what it meant to be a woman, specifically a married woman, in the not too distant past.
Written in 1927, it has a surprisingly feminist slant to the story. It pokes holes in what women were told was expected of them vs what they were told was expected of their husbands. Men cheat because they can't help it, and women should look the other way and try to make themselves more attractive so they can keep their men interested. You definitely wouldn't have an affair of your own, because that's just not done! After all, your husband is your monetary support system, so you owe them your loyalty. If they stray, well, whatcha gonna do with those silly rascals?



Constance was pragmatic in the way only someone who has been married for a long time can be about things like love & romance, and I respected the hell out of her choices by the end.

[Ola Al-Najres · Rating 4 out of 5]

كان استماعاً ممتعاً لفلسفة مومرست موم في الزواج والعلاقة بين الجنسين ، أبدع فيها في التعبير عن أفكاره في فهم سيكولوجية الرجل والمرأة ، ولو أنه كان من الصعب الاقتناع بوجود امرأة تفكر وتدير شؤونها بهذا البرود المستفز ، إلا أنك حين تفكر بما أراد لها موم أنْ تكون امرأة بعقليّة رجل ، هادئة وفطنة ، حينها ربما ستصلك رسائل موم المبطنة لفهم الرجل و كيفية التعامل مع أفعاله ...

لن أتوانى عن شكرك ، لا لأنكَ أحببتني ، بل لأنكَ ألهمتني الحب .. 🌹

[Obied Alahmed · Rating 3 out of 5]

فن من فنون إعادة السهم لراميها


من مأمنه قامت بأخذه و أصابته في مقتل

[Rahma.Mrk · Rating 2 out of 5]

🔹️اليس كذلك يا حبيبي ؟
▪بلى يا حبيبتي.

🔹️لعل من الطبيعي ان يختلف الزوج مع زوجته حول مدى وسامتي حبيبها المستقبلي-الذي هو امامه-
🔹️بم انني تمتعت بالحرية الإقتصادية ⬅️الأستقلالية
و لم اعد الطفيلة عليك
فاتمتع بالحرية الجنسية
⬅️و الدافع هو عشقه لي و إخلاصه في عشقه
.انني اريد ااتمتع بشعور ان اكون محبوبة
بعد ان اهملتني طيلة شهور.
🔹️هل اعود بعد رحلتي لمدة 6 اسابيع مع رجل لا احبه لكنه يعشقني ؟
▪نعم عودي يا ملعونة




و انا بكل شهامة و كبرياء و رغبة واحدة ان أ دق عنقه و عنقها من الحيرة و الغرابة ...!!!!!!!

رابط استماع :
https://youtu.be/PsjYGywAxCI

10/juil/19 🌹

[Rebecca · Rating 4 out of 5]

(3.5) While I’m a Maugham fan, I haven’t read him in a while and I’ve never explored his work for the theatre. The Constant Wife is a straightforward three-act play with one setting: a large parlour in the Middletons’ home in Harley Street, London. A true drawing room comedy, then, with very simple staging.

Rumours are circulating that surgeon John Middleton has been having an affair with his wife Constance’s best friend, Marie-Louise. It’s news to Mrs. Culver and Martha, Constance’s mother and sister – but not to Constance herself. Mrs. Culver, the traditional voice of a previous generation, opines that men are wont to stray and so long as the wife doesn’t find out, what harm can it do? Women, on the other hand, are “naturally faithful creatures and we’re faithful because we have no particular inclination to be anything else,” she says.

Other characters enter in twos and threes for gossip and repartee and the occasional confrontation. Marie-Louise’s husband, Mortimer Durham, shows up fuming because he’s found John’s cigarette-case under her pillow and assumes it can only mean one thing. Constance is in the odd position of defending her husband’s and best friend’s honour, even though she knows full well that they’re guilty. With her white lies, she does them the kindness of keeping their indiscretion quiet – and gives herself the moral upper hand.

Constance is matter of fact about the fading of romance. She is grateful to have had a blissful first five years of marriage; how convenient that both she and John then fell out of love with each other at the same time. The decade since has been about practicalities. Thanks to John, she has a home, respectability, and fine belongings (also a child, only mentioned in passing); why give all that up? She’s still fond of John, anyway, and his infidelity has only bruised her vanity. However, she wants more from life, and a sheepish John is inclined to give her whatever she asks. So she agrees to join an acquaintance’s interior decorating business.

The early reappearance of her old flame Bernard Kersal, who is clearly still smitten with her, seeds her even more daring decision in the final act, set one year after the main events. Having earned £1400 of her own money, she has more than enough to cover a six-week holiday in Italy. She announces to John that she’s deposited the remainder in his account “for my year’s keep,” and slyly adds that she’ll be travelling with Bernard. This part turns out to be a bluff, but it’s her way of testing their new balance of power. “I’m not dependent on John. I’m economically independent, and therefore I claim my sexual independence,” she declares in her mother’s company.

There are some very funny moments in the play, such as when Constance tells her mother she’ll place a handkerchief on the piano as a secret sign during a conversation. Her mother then forgets what it signifies and Constance ends up pulling three hankies in a row from her handbag. I had to laugh at Mrs. Culver’s test for knowing whether you’re in love with someone: “Could you use his toothbrush?” It’s also amusing that Constance ends up being the one to break up with John for Marie-Louise, and with Marie-Louise for John.

However, there are also hidden depths of feeling meant to be brought out by the actors. At least three times in scenes between John and Constance, I noted the stage direction “Breaking down” in parentheses. The audience, therefore, is sometimes privy to the emotion that these characters can’t express to each other because of their sardonic wit and stiff upper lips.

I hardly ever experience plays, so this was interesting for a change. At only 70-some pages, it’s a quick read even if a bit old-fashioned or tedious in places. It does seem ahead of its time in questioning just what being true to a spouse might mean. A clever and iconoclastic comedy of manners, it’s a pleasant waystation between Oscar Wilde and Alan Ayckbourn.

Originally published on my blog, Bookish Beck.

[Doug · Rating 3 out of 5]

2.5, rounded up.

A month ago I read Maugham's original script and wasn't intending to follow-up with Wade's adaptation - but then I read her deliciously witty stage completion of Austen's The Watsons and curiosity got the best of me. I'd say no more than perhaps 50% of the original remains here, and though Wade does a good job 'ventriloquizing' Maugham's voice in a few places and gets off some zingers - too often for my taste, what was delicate and nuanced in the original becomes ham-fisted, preachy and didactic here. The reviews of this new version, recently at the RSC, were suitably laudatory - but the fact remains the play in no ways NEEDED revision - if it ain't broke, don't fix it!!

https://www.theguardian.com/stage/202...

[Fdwa Omar · Rating 4 out of 5]

تعجبني فلسفة الكاتب وعقلانيته الهادئة في أسلوب التعامل بين الرجل والمرأة.

نموذج المرأة العاقلة،التي تنتزع حقها بكل هدوء وبساطة وتكيل الصاع صاعين...

[Doug · Rating 4 out of 5]

The impetus for reading this (other than that I find Maugham's stage work to be utterly delicious!) is that the RSC recently mounted a much-lauded new production with a script revised by contemporary playwright Laura Wade. Since they didn't change the time period or 'modernize' it in any fashion, I was curious as to why the script NEEDED revising and why they just didn't do it as originally written.

The Guardian review linked below somewhat explains all that, but I stand fast that the script is absolutely terrific just the way it is! And for a work that is nearly 100 years old, it is surprisingly not at all out of date. Oh sure, some of the language and demeanor of the characters is artificial by today's standards - but then drawing-room comedies were always such. But the basic premise (of a woman asserting her rights to an affair after discovering her husband's) is still operable and the droll wit is delightful. I need to read more of Maugham's dramas.

https://www.theguardian.com/stage/202...

[O · Rating 5 out of 5]

Oh, how amazing indeed was this play! I loved it to death. It is a play in three acts, where it is discussed between a mother and daughter that their son/brother-in-law, John Middleton, is having an affair, with his wife Constance's best friend, Mary Louise Durham. They are on the verge of divulging this to her, yet she non-nonchalantly dismisses every attempt, apparently leading her no where closer to the truth. However, in the following act, the temptress' own husband discovers the personal effect of John, and accuses him in the full audience of his wife, Constance's family and close friend Bernard. *inhale-exhale*

I don't want to give away the rest, but one should REALLY watch/read this to find out Constance's reaction, her brilliant retaliation. Oh, it's so good, so wonderful!

[Radwa · Rating 3 out of 5]

كيف للإنسان أن يعرف إذا ما كان يحب-
عزيزتي إني أعرف أن هناك اختبارا واحدا فقط وهو: هل تقلبين أن تستعملي فرشاة اسنانه؟*
!كلا-
إذا فأنتِ لا تحبينه*
:D

[Dihia · Rating 4 out of 5]

“Oh, my dear, you mustn't be offended just because I’ve taken away from you the satisfaction of thinking that you have been deceiving me all these months.”



An amusing play that revolves around marriage and infidelity. Several themes were addressed, including the independence of women and the way society looks at infidelity between men and women. How can we be tolerant of adultery committed by men when it is unforgivable if it concerns women? What is wrong is wrong, no matter who did it.
An entertaining read, I highly recommend it.

[Luke · Rating 5 out of 5]

Ahhh me. There really is nothing like a good dose of intelligence and sheer wit. Especially concerning a well-crafted revenge served cold. Simply delicious. Constance is the model of all that I admire in a woman; manipulating her vulnerable position in society to its fullest free state, not to mention keeping every inch of her dignity the entire way through. John was finished from the beginning, and only knows at the very end just how deeply he's trapped in the web he himself began. And Marie-Louise. Ha. The poor thing, how empty her life must be without this sort of intellectual entertainment. So nice of a read. So nice.

[zeinab · Rating 3 out of 5]

#إذاعة_البرنامج_العام
#الشريف_خاطر
#الأدب_الانجليزى
#زوجة_لا_تنفعل
اصل الاختيار:
نادرا ما كنت أهجر الكتب الصوتية او القراءة أو حتى المسلسلات التاريخية ولكن مع فترة الارهاق والتعب الاخيرة تتبدل الامزجة ولكن عود كريم ...وان شالله ميقطعلنا عادة
الحقيقه انه كان اختيار ممتاز لفت نظرى ليس الاسم وإنما ديما الشريف خاطر المخرج والمترجم وبدايات حبى معه ع اذاعة البرنامج العام منذ كنت طفلة..
حكاية المسرحية:
زوج يخون زوجته مع اعز صديقاتها ولكن ليست هى القضية القضية ان الجميع يعلم ويتوهم انه يخبأالسر ع الزوجة بما فيهم امها وصديقتها من باب ان هذا من المغفور له للزوج وانه نوبه وهتعدى وان لازم ولابد وحتما ان تكون الزوجه هى المقصرة....اما بالنسبه للأخت الصغرى فتستشيط غضبا وتريد معرفة أختها وتواجه زوجها حتى وان تطلب الطلاق ثورة لكرامتها ...الحقيقه ان الزوجة تعلم تمام العلم أن زوجها يخونها لا وتفاجئ الجميع أنها ليست نوبته الأولى ولكنها راضية بل والأدهى والامر حينما يكتشف زوج صديقتها الخيانه ويواجهها بالامر تبرئ صديقتها وزوجها وتسعى لرد اعتبارهم امام زوج الصديقه....فالوقت نفسه الذى يظهر حبيب الزوجة القديم ويطلب منها ترك زوجها لانه مازال ع وعده لها ولكن ذكرته هى أنها من تركته وذهبت لزوجته وقالت ان خيانته عادية ويكفيهم انهم متزوجين منذ 25عام لم يخونها إلا ف العشر الاواخر عندما بدأ الحب يفتر وينظر إلى سيقان السيدات ويزهد إلى مافى يده قالت انها.ممنونه لانه يغدق عليها المال والسيارات والمجوهرات والملابس فهو قد اشترى ولائها منذ زمن حتى وان الزوج شخصيا كان يمكنه أن يشترى أجمل منها بمهر اقل مماتكبدة لديها...لا تفكر الزوجة غير ف الاستقلال المادى تكد ليل نهار وتتعب ف الوقت اى تهاجر فيه الصديقه الخائنه ويتقرب منها المحب القديم جل همها كان ان ترجع الأموال التى صرفها عليها ثم تفهمها ان هناك علاقه بين حبيبها رغم أنها من قال نص لحبيبها انه اشترى تمن اخلاصها
لا تريد سوى ان تراه يتالم مثل المها تحافظ ع البيت لا لأجل البنتين ولكن لانها مازالت تحب زوجها القديم وتكن له انه حارب م اجلها ايام دفع مهرها وكانت اقل من وجهة نظرة وتترك الحبيب قائلة انك دوما وابدا تبدو كرجل انجليزى محترم ووسيم
انطباعى:
لااندم ابدا ع اختيار أعمال الشريف خاطر دوما ماتلعب ع عقلى وعاطفتى

[Ivonne Rovira · Rating 4 out of 5]

I knew about W. Somerset Maugham’s serious novels — The Razor's Edge, The Painted Veil, The Moon and Sixpence, and Of Human Bondage — but I didn’t know he’d written any humorous pieces — nor that he had penned so many plays!

The Constant Wife reminds me of Noël Coward's plays, particularly Blithe Spirit with its surprise ending. In Maugham’s play, a woman with the symbolically bourgeois name of Constance Middleton appears unwitting of her husband’s flagrant affair with Constance’s best friend, Marie-Louise Dunham. Constance’s sister, Martha, wants to enlighten Constance, while Constance’s mother thinks Constance would be better off in ignorance. Constance’s other friends, too, fear that the shock would be too great for her.

Unbeknownst to all parties, Constance secretly knows all about her husband’s adultery. After 15 years of marriage, Constance, now aged 35, has more options than her family and friends give her credit for. And Constance proves that she who laughs last will laugh — and last — best.

This dramatized audio version of The Constant Wife is nearly as good as having had a seat at the Tony Award-winning 2005 Broadway revival, as it has some of the same cast.

[Aisha · Rating 5 out of 5]

الزوجة لم تنفعل، و لكن القارئة انفعلت 🌚.
الزوجة تصرفاتها طول المسرحية تدل على ذكاء فذ، و عقلية تكتيكية جهنمية.
من شخصياتي المفضلة.

[Yasmin · Rating 3 out of 5]

فلسفة الرواية غريبة شوية عن طبيعة النفس البشرية
و لكن أعتقد أنها بتناقش فكرة إن كيدهن عظيم
الزوجة كونستناس المستفزة بطبعها حين علمها بخيانة زوجها لها وصبرها للرد على ما فعله بها فيما بعد
رأيت نفسى فى دور الأخت المندفعة ولكن لكل مقام مقال , كونستانس الزوجة حفظت ماء وجه زوجها حين علم زوج ميرى لويز بالخيانة وإنتقمت منه بمنتهى البرودة وقلب التربيزة

نعم لها حين قالت فى بداية الرواية
هل يمكن لزوج خيانه زوجها دون علمها ؟
ولا نجيب على الأسئلة الصريحة بإجابات صريحة

[Shimaa abdelrhem · Rating 4 out of 5]

She eats well, sleeps well, dresses well and she’s losing weight. No woman can be unhappy in those circumstances.
— The Constant Wife

[Lauren · Rating 5 out of 5]

A copy of this play was shelved in the incorrect section at my local library, where I stumbled upon it and realized I’ve never read any of Mr. Maugham’s work. I decided the universe was telling me to rectify this literary omission. I know nothing about the man, but I do know I really like this play. It’s a 1920s comedy of manners with an unexpected dash of feminism … and misogyny. I finished it not knowing if I should be cheering or appalled. The play opens with friends and family of Constance Middleton debating whether to inform her of her husband’s infidelity (with her best friend). What I adored about this play was the abundance of interesting female characters. This is a play for actresses – not one or two, but a whole company of talented actresses, none of whom are wilting ingénues. Those with a bent towards women’s rights should check out this play and decide for themselves whether its subversive feminism or horrifically chauvinist. Highly recommended.

[Aalaa · Rating 5 out of 5]

" الحرية الوحيدة التي أعرفها هي الحرية الاقتصادية ، الرجل الذي يتولى الدفع سيأتي يوم ويطلب المقابل
والآن استطيع أن أخبرك فلتذهب إلى الجحيم ''

طريقة رد الصاع صاعين على نار هادئة 😂

[عبدالرحمن حافظ · Rating 5 out of 5]

المسرحية العربية بعنوان زوجة لا تنفعل
استطاع سومريست موم أن يظهر الخيانة في حلة مختلفة
ففي مجتمعاتنا الشرقية مثلاً يقولون أنه مجتمع ذكوري يحق فيه للرجل بكل شئ ينافي الأخلاق بينما لا يبيحه للمرأة
استطاعت الزوجة التي لا تنفعل (كونستانس) أن تكشف علاقة زوجها بصديقتها الفاتنة
وبالرغم من كشفها للخيانة إلا أنها صبرت واحتملت بل وأنقذتهما من الموقف أمام زوج صديقتها الثائر في ثبات يحسدها عليه القريب والغريب
واعترفت أمها بأن الرجال علي مختلف الثقافات يريدون تعدد الزوجات
وأدركت أن عليها الاستقلال المادي لأن هذا ما يجعلها تحتاج لزوجها هذا ، وآثرت أن تستمر علاقة زواج قائمة علي المصلحة والمنفعة وأن يفعل كل منهم ما يحلو له
أثارت غيرة زوجها برجل كان خاطبها منذ خمسة عشر عاماً فما منه إلا أن اعترف بأنه في مجتمع ذكوري أيضاً يرضي من الرجل ما لا يرضاه من المرأة

المؤلف
------
منصف
بعيد عن الملل

[سارة shaalan) · Rating 4 out of 5]

سمعتها في البرنامج الثقافي للاذاعة المصرية وكان بصوت ليلي طاهر وحرفيا كان في كمية استفزاز رهيب بسبب هدوء البطلة في كل موقف بس هي فعلا بتحكم الامور بعقلها لدرجة كبيرة وبتنجح في حياتها بسبب ده، وبرضه الرواية بتوضح الفرق بين التفكير الذكوري والأنثوي في العلاقات

[Melissa · Rating 4 out of 5]

Laugh-out-loud funny. I loved Constance!

[Talal · Rating 3 out of 5]

3.5⭐️

[Eirik Bergesen · Rating 4 out of 5]

Breezy, entertaining, well written, feels modern.

[Sarah Kay · Rating 5 out of 5]

I regret not having a hard copy of this play to proudly display in different corners in my house and urge guests to pick it up and read it so we could role play it later.
 
I never read plays before and I’m lucky to have read this as my first 😍
 
Aside from it being classified under comedy, this play is an expose of the economic position of woman within marriage. It also takes in the matter of infidelity and societal expectations regarding gender roles.
 
A message beautifully delivered with a peck of wittiness.

[Jill]

3.5

[Roxanna · Rating 5 out of 5]

Listen here: L.A. Theatre Works production

Written in 1926, almost three decades after Oscar Wilde's death, Maugham's “The Constant Wife” nonetheless felt like an undiscovered play by Wilde, complete with a matron (Mrs Culver), a butler (Bentley) and a mistress (Marie-Louise), who also happens to be the heroine Constance's best friend.

Constance Middleton, married to a successful wealthy surgeon in London for the past 15 years, has been aware of his string of infidelities for some time. The play opens with a discussion between three of Constance's closest and dearest, her mother Mrs Culver, Constance's sister Martha and a friend Barbara Fawcett, pondering whether or not Constance should be told about her husband's affair with her best friend, Marie-Louise. It turns out that Constance has known for some time but has deliberately stalled others from openly telling her.

At an age when women would rather feign ignorance than to suffer the indignity of going through life as a divorced woman, or worse, be without financial security, Constance's decision to turn a blind eye to her husband's affairs wasn't in fact a calculated move to maintain the status quo. Instead, rather than succumb to victimhood, Constance seizes the opportunity to partner with her friend Barbara's interior designing business and re-engage flirtations with a former admirer (Bernard) who is still in love with her. When her husband's affair was about to be exposed, Constance instead chooses to lie, not to protect her husband or her best friend but to "buy time" so she could have the last laugh instead.

Thoroughly witty, with many unexpected twists to delight, I can't wait to see this in the theatre!

[Jesse Field · Rating 4 out of 5]

This kept me company on my Saturday morning, thanks to the production by La Theatre Works. What a fantastic organization they are! The recording from a 2010 live performance features Kate Burton as Constance, a role she had previously honed on Broadway. Now that's acting! (The voice of Kate's Constance is the way I sound to myself, in my head, by the way. A somewhat younger version of her/me would be brilliant as Dorothea Brooks in some impossibly ideal dramatized version of Middlemarch.) Starved for plays in philistine Shenzhen, I'll start really working my way through the LATW back-catalog now.

The Constant Wife isn't promising as it opens. Catty women gossip about a friend of theirs whose husband is having an affair. The play is called an antecedent of Sex and the City, but I was put more in mind of Golden Girls -- pat one-liners and boring middle-class values. However, as the show went on the piece has much to say of marriage, and it scores a few smart points on economic independence of women, as well. One wonders just how edgy it was, endorsing economic and sexual liberation for a wife, in 1926. It certainly does say something about the staying power of the marriage institution that the jokes and conflict remain relevant, nearly a hundred years later. Even gay men, if shacked up long enough, can seldom arrange their own affairs as effectively as Constance.

[Rosi · Rating 4 out of 5]

Constance Middleton’s sister, Martha, believes it is her duty to make Constance aware of her husband, John’s, on-going affair with her best friend, Marie-Louise, however her mother is just as insistent that Martha keep quiet and mind her own business believing no good could come of enlightening Constance.

But they are all surprised when the truth is exposed and it is apparent that Constance knew all along and has an unconventional approach to her husband’s philandering, which she explains.

This play is similar to Oscar Wilde’s comedies and, in order to fully appreciate it, the reader needs to remember it was first published almost 100 years ago in 1926 and was aimed at the upper middle class and above. To arbitrarily compare it to all classes and to the 21st century is to miss out on the fun.

Interestingly, prior to the play’s conclusion, both the narrator of Vanity Fair and Constance Middleton share the same opinion of the upper class wife as a parasite upon the unfortunate upper class husband. What do you think?

[Fatima Khorshid · Rating 4 out of 5]

كونستانس) هي نموذج للبرود الانجليزي)
هي ليست زوجة لا تنفعل و حسب بل هي تفكر و تخطط لأبعد مدي كيف تجرح زوجها بسهمه
سومرست موم مرة اخري يقدم واقع المجتنع الانجليزي و ينتقد معاييره الأخلاقية و يجعلنا نري معني الخيانة من منظور مختلف فلدينا ٤ نماذج نسائية مختلفة في معتقداتها (كونستانس) العاقلة زيادة عن اللازم و الأم التي تتبني التقاليد و العادات الاجتماعية الموروثة و (مارثا) الشقيقة التي ربما تمثلنا جميعا و (ماري لويز) الصديقة الخائنة و التي تمثل الوقاحةالمستفزة
قد نختلف كثيرا مع كونستانس و لكننا نتفق معها علي ضرورة الاستقلال المادي عن الزوج و الذي ربما يرغم الكثيرات للأسف علي الاستمرار في زيجة فاشلة و زوج اعتاد الخيانة