Object Relationships in Spoils

Identify a passage in the Spoils of Poynton in which some subject-object relationship is being described with respect to a major character. Do a close reading of this passage in which you look at what is revealed about the character. What does the depiction of the object -- its qualities, the encounter with or perception of it, the rituals associated with it -- tell us about the character and/or their cultural perspectives?

The smutty maid came in with tea-things, and Fleda, moving several objects, eagerly accepted the diversion of arranging a place for them on one of the tables. […] In spite of ordering tea she had not invited him to sit down; she herself made a point of standing. He hovered by the window that looked into Raphael Road; she kept at the other side of the room; the stunted slavey, gazing wide-eyed at the beautiful gentleman and either stupidly or cunningly bringing but one thing at a time, came and went between the tea-tray and the open door.
[…]
She busied herself with the tea and, to extend the occupation, cleared the table still more, spreading out the coarse cups and saucers and the vulgar little plates. She was aware she produced more confusion than symmetry, but she was also aware she was violently nervous. Owen tried to help her with something: this made indeed for disorder.

In chapter 14, Owen approaches Fleda at her father’s home in the city. Fleda is nervous about his presence in her territory and especially about her being alone with him. When the maid brings in the tea, Fleda moves the objects for the sake of distraction. She continued to make herself busy during the entirety of their conversation, until much closer to Owen’s confession of love. The maid also interacts with the objects, bringing them in one at a time for tea from the kitchen.

The objects she plays with in this scene, part of her father’s tea set, are sexualized by their adjectives—they are originally brought forth by the “smutty maid” and are described as coarse and vulgar. They act as a stand in for the physical interaction which Fleda restrains herself from with Owen. As anyone would when very nervous, Fleda fidgets with the objects. The difference here is that the objects take on a greater meaning as stand-ins for telling Owen the truth as he demands.

A particularly sexualized description of these objects appears in the second portion of the passage: “…spreading out the coarse cups and saucers and the vulgar little plates.” When read aloud, this passage carries the rhythm of an erotica text, but is about dining implements. The tension in this scene between Fleda and Owen is expounded by the interaction with these objects, particularly the word choice of “spread”, “coarse” and “vulgar.”

The fact that the maid is bringing these objects out one at a time is also prolonging the interaction between Fleda and the objects, and giving Owen more of an opportunity to become involved. The “smutty maid” becomes a catalyst for their interaction on a different level, as they both move the objects around to set them.

Owen’s attempt to help Fleda with setting up the objects in a less than symmetrical tea pattern is also representative of their relationship. As Owen bumbles around to help out, he just manages to muss things up to a greater extend for Fleda, increasing her level of nervousness. This happens between them when Owen intends to help things by confessing his love, but instead he manages to make everything messier when he cannot stand up for himself against Mona.

The conservative, traditional ritual associated with tea in Britain also helps to mirror the all-but prude attitude of Fleda when it comes to Owen and marriage. She refuses to buck decency tradition and cross any appropriate boundaries, which Mrs. Gereth is furious about and eventually costs Fleda dearly—Owen. The objects being haphazard and not symmetrical could possibly represent how Fleda feels about the method she’s pursuing with Owen now—contrary to tradition, and haphazard.