The introduction of Stanhope and the officer’s first meal together serves to establish various details in the stage direction about Stanhope’s physical appearance and a number of contrasts are suggested: he is strong and broad shouldered but ‘no more than a boy’; He is good looking but ‘dark shadows can be licensed under his eyes’. His mood is significant and illustrates at once the dichotomy conveyed in the Hardy-Osborne dialogue because he criticizes the untidy and slack regime of hardy whilst calling for a bottle of whisky. In this he is typically forthright, ‘dam the soup! Bring me some whisky!’
Sheriff effectively creates a moment of great dramatic impact when Stanhope first sees Raleigh: ‘Stanhope (in a low voice) how did you – get here?’ this brief moment of tension is the first of many crises in the play when the relationship of Stanhope and his officers is tested to the limit. Significantly this crisis is resolved by Osborne who talks about their food. This also serves to introduce the corpulent character Trotter whose banter with Mason frequently affords some comic relief.
After the initial embarrassment of Stanhope’s silence, conversation turns to details of their food. Throughout the whole play the subjects of the conversation provide welcome relief from moments of conflict between the characters. For a modern audience less used to the formality of dining, these scenes maybe slightly amusing.
The dramatic structure of Journey’s End is sensitively craft throughout the work Sheriff orchestrates, numerous tensions gradually build up to their climax and are then resolved.
At the end of Act 1 Stanhope’s deepest fears that Raleigh will reveal his weaknesses to his fiancée make him pronounce a fierce and bitter attack, ‘What’s that bloody little prig of a boy matter? Do you see?’
As well as the obvious relationship, and source of conflict, between Stanhope and Raleigh, Stanhope also has a close relationship with Osborne, the ‘uncle like’ figure in the play. R.C Sheriff makes it seem inevitable that Osborne and Raleigh, ‘the boy with everything to live for’ should be doomed. Ironically this is contrasted with Stanhope who has survived luckily for years in the desperate hope of returning back home.
Overcome with drink Stanhope resolves to censor any letters Raleigh may have written. Exhausted Stanhope retires to bed and in an unguarded moment when he asks Osbourne to ‘tuck him into bed and kiss him goodnight’, he is revealed as a young boy seeking a parent’s reassurance. The curtain is brought down on a tranquil scene in which the audience can see the lights twinkling off stage, and symbolically Osbourne winding his watch; this signifies the passing of time.
In Act 2 Stanhope’ believes that Raleigh will indicate him of being a drunk, coward and a failure. This is all in his head, he is paranoid and suspicious because he realizes his weaknesses and that he is not the man he thought he was. Seeing Raleigh reminds Stanhope of his old self image where he was strong and courageous but the dramatic effects of war have made him question his strength as an individual.
There are many dramatically tense moments in the play that develop Stanhope’s character. An example of this is shown in Act 2 when Raleigh and Osborne have been chosen to go ‘over the top’ to raid the German trench. At this moment we see Stanhope’s compassion for Raleigh as he argues with the Sergeant Major about sending Raleigh because he is too young and ‘new to it all’. This is symbolic as it portrays Stanhope and Raleigh’s relationship in the past.
Raleigh as usual is in high spirits and is very excited about the attack. Osborne however is more understanding to the situation and does not underestimate the task ahead. He leaves his ring behind "…in case anything should happen" so that Stanhope can pass it on to his wife. The audience would feel very uneasy now realizing the true danger that the men face and the fact that they might not return. Again Sheriff displays the determination and desperation of Stanhope’s character ‘you’re coming back, old man. Damn it! What on earth should I do without you?’
In act 2 when Stanhope confronts Hibbert, Sheriff develops Stanhope’s character further by creating various elements of suspense and dramatic tension ‘I swear I'll never go in those trenches again! Shoot!’ When Stanhope doesn’t shoot the reader again sees the understanding and compassionate side of Stanhope’s character. This scene also displays Stanhope’s effectiveness as a leader as he is able to persuade Hibbert back to the front line.
When Osborne dies Sheriff displays another influential element of Stanhope’s character. The fact that Stanhope almost seems to blame Raleigh for Osborne’s is instantly deciphered by the Victorian audience as immoral and wrong ‘Must you sit on Osborne’s bed?’
Through out the play Stanhope seems to drift further and further away from Raleigh until the climax where Raleigh is dying and their true relationship is portrayed.
The true nature of Stanhope’s character is expertly conveyed to the audience by Sheriff. The relationship between Stanhope and Raleigh is shown through the understanding and compassionate side of Stanhope. ‘Sure! I’ll bring a candle and get another blanket’ this is important as it concludes the reader’s judgment of Stanhope which has been building up through out the play.
In conclusion I think Stanhope’s character is displayed very effectively by Sheriff thus being appealing to the Victorian/Jacobean audience. The contrast between Stanhope’s ‘dark’ side and his rather more appealing compassionate side is displayed by Sheriff in a number of subtle ways which I think is the key to the development of Stanhope’s character.
