Elinor Quarles

Philip Quarles

Elinor and Philip are a married couple struggling with emotional distance and intellectual detachment in their relationship.

Everard Webley

Elinor is drawn to Everard's forceful, charismatic masculinity, creating a tense romantic attraction that threatens her marriage.

Spandrell

Spandrell exerts a morbid fascination over Elinor, acting as a dark, manipulative influence who preys on her emotional vulnerability.

Mrs. Bidlake

Elinor and Mrs. Bidlake are polite acquaintances connected through family and social circles, with no deep emotional bond.

Philip Quarles

Elinor and Philip are a married couple struggling with emotional distance and intellectual detachment in their relationship.

Everard Webley

Elinor is drawn to Everard's forceful, charismatic masculinity, creating a tense romantic attraction that threatens her marriage.

Everard Webley

Elinor is drawn to Everard's forceful, charismatic masculinity, creating a tense romantic attraction that threatens her marriage.

Philip Quarles

Elinor and Philip are a married couple struggling with emotional distance and intellectual detachment in their relationship.

Spandrell

Spandrell exerts a morbid fascination over Elinor, acting as a dark, manipulative influence who preys on her emotional vulnerability.

Spandrell

Spandrell exerts a morbid fascination over Elinor, acting as a dark, manipulative influence who preys on her emotional vulnerability.

Mrs. Bidlake

Elinor and Mrs. Bidlake are polite acquaintances connected through family and social circles, with no deep emotional bond.

Mrs. Bidlake

Elinor and Mrs. Bidlake are polite acquaintances connected through family and social circles, with no deep emotional bond.

VI

Reflects on her marriage, her role as Philip's emotional interpreter, and her desire to leave him.

XIV

Converses with Philip about his writing, teases him about his intellectual detachment, and reads the Arabian Nights.

Chapter XVIII

Accompanies Philip in Port Said; engages in shopping while Philip wanders off; previously discussed Philip's emotional shell with Mrs. Quarles.

XIX

Excited to return home and see her son, but becomes troubled by the realization of the many ancestral influences shaping Little Phil's character.

XX

Converses with Mrs. Quarles about her son, Little Phil, revealing her lack of natural maternal instinct and her secular worldview, which contrasts sharply with her mother-in-law's religious piety.

XXI

Attempts to provoke Philip's jealousy by praising Everard Webley, feels frustrated by Philip's indifference, and discusses Lucy's bad reputation with Marjorie.

XXIII

The object of Webley's letter; he accuses her of being cold and aloof, and threatens reprisals.

XXIV

Defends little Phil against Philip's strictness, accusing Philip of being too adultly serious to manage a child.

XXVII

Daughter of John and Janet, raised on classical literature and philosophy, developing a cynical innocence and irreverence toward her mother's ideals.

XXVIII

Contemplates taking Everard Webley as a lover; her mind consents but her body and instincts resist physical contact.

XXIX

Drives with Everard Webley, feeling torn between her past exultation at his power and her present discomfort.

Chapter XXX

Attempts to persuade her father John Bidlake to paint, but he refuses.

XXXII

Alone in her house, anxiously arranging roses and anticipating Everard's visit, knowing she must make a decisive choice.

XXXV

Experiences intense relief when little Phil briefly recovers, then descends into despair as his condition worsens; feels guilt and helplessness.

XXXVI

Mentioned as being broken down by the illness of her son.