“Squaring the triangle” is a term the playwright hero of S.N. Behrman’s No Time for Comedy flippantly uses to describe what he does writing romantic comedies. I was thinking about this last week watching one of my favorite television shows, The Good Wife. The heroine is back together, at least on the surface, with the husband who betrayed her. Peter Florek is a deeply flawed character, yet I find him likable in many ways, and in last week’s episode I genuinely believed him when he said he’d fallen back in love with his life. I almost found myself wanting their marriage to work out. And that’s despite the fact that I really like Alicia’s colleague and old love, Will, and most of the time I desperately want the two of them to get together.
That’s the key to writing a really fascinating triangle, I think. Having all the characters interesting and sympathetic enough that one is somewhat torn about who ends up with whom. Which of course can create problems with also having a satisfying happily ever after, if such an ending is the goal of the story. As I’ve mentioned before, I think one of my favorite plays/movies, The Philadelphia Story, does this brilliantly in that both Mike and Dexter are sympathetic and possible options for Tracy (both much better than her stuffy fiancé George). I think often the viewer isn’t quite sure who will end up with whom. And yet the ending feels very right (at least to me).
Both Vienna Waltz and The Mask of Night have several triangles. I don’t really want Mélanie/Suzanne to go back to Raoul, at least not in that way (or mostly not in that way, to paraphrase both Charles and Mel in Mask). But I’m very fond of Raoul and I can definitely see that tug between them. As Jeanne adeptly pointed out in last week’s comments, he represents a world in which Mel can practice her talents to the fullest and be herself, whereas in Charles’s world she has to work more behind-the-scenes (though she manages rather a lot of adventure in any case). Raoul ended up much more sympathetic than I had at first envisioned when I wrote Secrets of a Lady, and I think that makes the dynamic among the three of them much more interesting. Not to mention that in addition to the residual romantic tension, there’s a spy dynamic, ideological issues, and a father-son story between Raoul and Charles that takes on more prominence in Mask.
The plot of Vienna Waltz is more or less built on triangles–the triangle of Tatiana, Tsar Alexander, and Metternich which forms the set-up of the murder discovery and investigation; Suzanne/Mel, Malcolm/Charles, and Tatiana (which, whatever else it is or is not, is certainly an emotional tug-of-war); and real life triangles such as both Metternich, the tsar and Wihelmine of Sagan, and Metternich, the tsar, and Princess Catherine Bagration (Metternich and Tsar Alexander definitely carried their rivalry into the boudoir). And then there’s the triangle which is still very much an open question at the end of the book of Dorothée, Count Clam-Martinitz, and Prince Talleyrand. Dorothée isn’t sure at the end of the novel which man she’ll end up with, and that’s certainly a real life triangle in which I can sympathize with all three participants.
What do you think of triangles in books, whether Vienna Waltz and Mask or others? What are some of your favorite literary triangles? Are there times when you’ve been dissatisfied with the resolution of a triangle?
Also feel free to use this space to discuss Vienna Waltz (with or without discussing the triangles in it) and to continue to discuss The Mask of Night.
I’ve just posted a new Fraser Correspondence letter from Raoul to Mel/Suzanne right at the time the events of Vienna Waltz begins.