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Thornton WilderA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Act II takes place three years later, in 1904, after “the sun’s come up over a thousand times” (47). Babies have been born, people have gotten older, and the seasons have come and gone multiple times. Some have found love and married, and children are graduating high school. The day is July 7, just after graduation, when the Stage Manager explains that young people tend to marry. The rain is pouring heavily as Mrs Gibbs and Mrs Webb enter their kitchens to make breakfast. The Stage Manager marvels at the inner strength of these two women, noting how they have remained mentally stable through every chore and child they raised.
Si Crowell, Joe Crowell’s younger brother, is delivering papers now, and Howie is still delivering milk. It appears to be “an ordinary day” (49). The two greet each other, and Howie inquires about any important news, to which Si replies that George Gibbs is giving up baseball to get married. His disappointment is evident, and he points out that the town is losing its best pitcher. Constable Warren enters and mentions how he’s trying to prevent a potential flood occurring at the river from the rain. He and Si exit, but Howie remains to deliver Mrs Gibbs her milk. He expresses his optimism that the rain will end soon and congratulates her on her son’s upcoming marriage. Mrs Gibbs says she hopes Howie’s wife will be able to come to the wedding, to which Howie says, “She’ll be there if she kin” (52). Next, he visits Mrs Webb, who has the same sentiments about the wedding and the rain. Howie exits.
Doc Gibbs sits down to breakfast, and Mrs Gibbs expresses worry that George is too young to get married. Doc Gibbs has a lighter attitude about it, recalling his own naivety at the beginning of their marriage. Mrs Gibbs concedes that she does not want her son to be alone, but she and Rebecca are sad to think of George moving out. George is upstairs getting ready for his wedding and then enters the scene, joking, “only five more hours to live” (56). George is still very young and innocently reports that he is off to see his fiancée (Emily) in the pouring rain. Both of his parents scold him to dress properly, to which he reluctantly agrees.
When George arrives at Mrs Webb’s door, she admonishes him for wanting to see his bride on their wedding day. She goes to wake Emily up and make sure that “she doesn’t come down and surprise you” (58). George is left to sit in awkward silence with Mr Webb but breaks it by asking about the superstition behind not seeing his bride. Mr Webb explains that “a girl’s apt to be a mite nervous on her wedding day” (59). He adds that “a man looks pretty small at a wedding” (59) because it is a day that ensures that a woman will be taken care of for the rest of her life. Mr Webb explains that he’s had a happy marriage because he ignored some terrible advice from his father—“to start out early showing who’s boss” (60). He tells George to “never to ask advice on personal matters” (60), letting him know that he will find his own way. Mrs Webb reenters and explains that Emily does not want to see George on their wedding day, and George returns home.
The Stage Manager interrupts to explain that Emily and George are going to act out the day they decided they were in love, so the audience can see how this wedding came to fruition. He encourages the audience to remember how they felt when they were young and first in love: “like a person sleepwalking […]. Just a little bit crazy” (63). In this scene, George was just elected Class President, and Emily was just elected Secretary and Treasurer. The Stage Manager sets up the scenery: two chairs with a board across them to represent Mr Morgan’s drugstore counter and two stools. Emily and George walk home from school, and George offers to carry her books. George asks Emily why she has become standoffish, to which she replies that George has become stuck up and obsessed with baseball. The two stroll in silence for a moment, then Emily says, “I always expect a man to be perfect and I think he should be” (66). She sees her father as perfect and wants George to be the same, but George insists that men are flawed. Emily feels guilty for what she said to George moments before, and George offers to buy her an ice cream soda. They enter Morgan’s drugstore, and Emily still feels regretful.
The Stage Manager takes the role of Mr Morgan and tries to comfort the forlorn Emily, then serves them their drinks. George thanks Emily for being so honest and assures her that he plans to change his ways. George muses about the idea of skipping Agriculture College and taking over the farm right away. He does not want to leave Emily or the town behind. He confides that he has been watching Emily all year, too nervous to talk to her. He asks if she could be the person for him, and she replies that she always has been. The two realize that a significant conversation has just transpired, and they exit to go home.
The Stage Manager announces that everything is now ready for the wedding, but there is not enough complication in Grover’s Corners to bother with too many fine details. The Stage Manager plays the minister at the wedding, reminding the audience that weddings are important because “like Mrs Gibbs said a few minutes ago: People were made to live two-by-two” (75). He remarks on the millions of ancestors who lived two-by-two and now watch over the wedding today. The actors enter and take their seats in front of a lantern-produced illusion of a stained glass window.
Mrs Webb then addresses the audience directly, explaining how she cannot stop crying over the thought of her daughter leaving home and how Emily cried that morning as well. She worries for her daughter being sent into marriage blind but refrains from giving her any warning, noting “the whole world’s wrong, that’s what’s the matter” (76). George enters looking fearful and tells his mother that he is doubting his decision. He says he does not want to get old and claims that he was pushed into marriage. Mrs Gibbs reminds him that he chose to marry Emily and is becoming a man. She begins to cry, thinking of her boy growing up, and George changes his tune and reverts to his confident state.
Emily amusingly has the same experience when she walks down the aisle, immediately becoming a bundle of nerves and regretting her decision. She even disdains George for a moment and states that she has never felt so alone. Mr Webb walks through the pews and comes to comfort her, bringing her over to George. He asks George directly if he can take care of her, to which George says, “I want to…I want to try. Emily, I’m going to do my best. I love you, Emily. I need you” (80). Emily demands that his love must be forever, and they embrace. All the while, the choir has been singing. They rush back to their places, and the ceremony resumes. As the vows take place, Mrs Soames can be heard chattering about the lovely wedding, making the minister (Stage Manager) almost inaudible for a moment. George and Emily are wed, and the Stage Manager becomes pensive and imparts some final thoughts to the audience before the end of Act II. He remarks that most marriages follow the same pattern and only “once in a thousand times it’s interesting” (82). George and Emily walk down the aisle together, completely elated, as a bright stage light descends upon them and Mrs Soames comments on the importance of happiness.
Act II focuses mainly on the themes of love and family and the cyclical and repetitive nature of human existence. This act shows the progression of life generally in the everyday milestones of the town and specifically in the courtship of George and Emily. The Stage Manager begins by remarking how over a thousand suns have set over Grover’s Corners since Act I. The year is now 1904, and the cyclical nature of life is becoming more apparent. Babies have been born and learned to walk; meanwhile, others are getting old. The Stage Manager notes, “All that can happen in a thousand days” (47). Si has replaced his brother Joe in newspaper delivery—symbolizing change—while Howie continues delivering his milk—symbolizing constancy. Life carries on much the same, even if the people change. The Stage Manager explains that “nature’s been pushing and contriving in other ways, too: a number of young people fell in love and got married” (47). Life has progressed, too, for the Gibbs and Webb families, who are about to experience a significant change in their lives and family dynamics: Emily and George are getting married. However, this change is of greatest consequence only to them as the Minister (Stage Manager) notes that marriage is nothing new. People have been getting married for thousands of years, and the lives of couples are usually very much the same. Mrs Gibbs remarks that “people were made to live two-by-two” (75), implying that George and Emily are fulfilling a sacred obligation and rite of passage that all humans are meant to go through and endure. Emily and George’s story is like many others and is a microcosm of the spiritual and cultural obligations that people fulfill
In sharing how George and Emily first fell in love, the play depicts a relatable and familiar courtship story. The scene in the drugstore reveals Emily and George’s true characters and shows how love can motivate people to change. Emily is brave in her honesty when she tells George that she does not like his new attitude. Rather than becoming angry or defensive, George takes her words to heart and vows to change his ways if only she will be with him. Emily loves George and doesn’t like hearing people say negative things about him—even though she agrees with what is being said. She finds the nerve to confront George about his attitude, but speaking up takes a lot out of her, so much so that she cries. George has been blithely unaware of his arrogance, but when the girl he loves points it out, he sees himself in a new light: “I never thought that such a thing was happening to me. I guess it’s hard for a fellow not to have faults creep into his character” (65-66). In this moment, they represent every person who is made better by a partner’s loving honesty.
Later, another relatable moment is presented during the wedding scene: pre-wedding jitters and doubts. Both George and Emily go through a moment of sheer terror and panic. George says, “I don’t want to grow old Mama! Why’s everybody pushing me so?” (77), even though he decided to get married of his own volition. Similarly, Emily asks, “Why can’t I stay for a while just as I am?” (79). Both sense that significant change is coming—the dawn of their adulthood, the responsibilities of marriage and family life—and for a moment, they hesitate. In a play of absent of realistic details like sets and props, this scene is strikingly realistic in presenting their fears. Emily and George’s panic is meant to resonate with the audience in the same way that their courtship did. Their vulnerability and worry is universal. This scene also signals a shift in the play’s mood with the Stage Manager noting, “For a while now, the play gets pretty serious” (74), a foreshadowing of what awaits in Act III.
By Thornton Wilder