This paper examines the late musical compositions of Dame Ethel Smyth in the context of British society and culture between the two World Wars. It focuses on Smyth\u27s large-scale works, especially her operas The Boatswain\u27s Mate (1914) and Entente Cordiale (1923-1924) and her oratorio The Prison (1930). Using these works as examples of the composer\u27s mature style, I draw attention to a number of Smyth\u27s original artistic choices as well as her sophisticated use of social commentary. Also considered in this research are certain anticipated roles for women as composers at the time, Smyth\u27s other passions and pursuits, and her interactions with her contemporaries. Her activities as a composer reflected an evolving social landscape for British women in addition to new musical developments
