The Forsyte Saga - Complete - The Original Classic Edition. Galsworthy John

       Looking back on the Victorian era, whose ripeness, decline, and 'fall-of ' is in some sort pictured in "The Forsyte Saga," we see now that we have but jumped out of a frying-pan into a fire. It would be difficult to substantiate a claim that the case of England was bet-ter in 1913 than it was in 1886, when the Forsytes assembled at Old Jolyon's to celebrate the engagement of June to Philip Bosinney. And in 1920, when again the clan gathered to bless the marriage of Fleur with Michael Mont, the state of England is as surely too molten and bankrupt as in the eighties it was too congealed and low-percented. If these chronicles had been a really scientific study

       of transition one would have dwelt probably on such factors as the invention of bicycle, motorcar, and flying-machine; the arrival of a cheap Press; the decline of country life and increase of the towns; the birth of the Cinema. Men are, in fact, quite unable to control their own inventions; they at best develop adaptability to the new conditions those inventions create.

       But this long tale is no scientific study of a period; it is rather an intimate incarnation of the disturbance that Beauty effects in the

       lives of men.

       The figure of Irene, never, as the reader may possibly have observed, present, except through the senses of other characters, is a concretion of disturbing Beauty impinging on a possessive world.

       One has noticed that readers, as they wade on through the salt waters of the Saga, are inclined more and more to pity Soames, and to think that in doing so they are in revolt against the mood of his creator. Far from it! He, too, pities Soames, the tragedy of whose life is the very simple, uncontrollable tragedy of being unlovable, without quite a thick enough skin to be thoroughly unconscious of the fact. Not even Fleur loves Soames as he feels he ought to be loved. But in pitying Soames, readers incline, perhaps, to animus against Irene: After all, they think, he wasn't a bad fellow, it wasn't his fault; she ought to have forgiven him, and so on!

       And, taking sides, they lose perception of the simple truth, which underlies the whole story, that where sex attraction is utterly and definitely lacking in one partner to a union, no amount of pity, or reason, or duty, or what not, can overcome a repulsion implicit in Nature. Whether it ought to, or no, is beside the point; because in fact it never does. And where Irene seems hard and cruel, as in the Bois de Boulogne, or the Goupenor Gallery, she is but wisely realistic--knowing that the least concession is the inch which precedes the impossible, the repulsive ell.

       A criticism one might pass on the last phase of the Saga is the complaint that Irene and Jolyon those rebels against property--claim spiritual property in their son Jon. But it would be hypercriticism, as the tale is told. No father and mother could have let the boy marry Fleur without knowledge of the facts; and the facts determine Jon, not the persuasion of his parents. Moreover, Jolyon's persuasion is not on his own account, but on Irene's, and Irene's persuasion becomes a reiterated: "Don't think of me, think of yourself !" That Jon, knowing the facts, can realise his mother's feelings, will hardly with justice be held proof that she is, after all, a Forsyte.

       But though the impingement of Beauty and the claims of Freedom on a possessive world are the main prepossessions of the Forsyte Saga, it cannot be absolved from the charge of embalming the upper-middle class. As the old Egyptians placed around their mummies the necessaries of a future existence, so I have endeavoured to lay beside the figures of Aunts Ann and Juley and Hester, of Timothy and Swithin, of Old Jolyon and James, and of their sons, that which shall guarantee them a little life hereafter, a little balm in the hurried Gilead of a dissolving "Progress."

       If the upper-middle class, with other classes, is destined to "move on" into amorphism, here, pickled in these pages, it lies under

       glass for strollers in the wide and ill-arranged museum of Letters. Here it rests, preserved in its own juice: The Sense of Property.

       1922.

       THE MAN OF PROPERTY

       by JOHN GALSWORTHY

       "........You will answer

       The slaves are ours....."

       --Merchant of Venice. TO EDWARD GARNETT

       7

       PART I

       CHAPTER I--'AT HOME' AT OLD JOLYON'S

       Those privileged to be present at a family festival of the Forsytes have seen that charming and instructive sight--an upper middle-class family in full plumage. But whosoever of these favoured persons has possessed the gift of psychological analysis (a talent without monetary value and properly ignored by the Forsytes), has witnessed a spectacle, not only delightful in itself, but illustrative of an obscure human problem. In plainer words, he has gleaned from a gathering of this family--no branch of which had a liking for the other, between no three members of whom existed anything worthy of the name of sympathy--evidence of that mysterious concrete tenacity which renders a family so formidable a unit of society, so clear a reproduction of society in miniature. He has been admitted to a vision of the dim roads of social progress, has understood something of patriarchal life, of the swarmings of savage hordes, of the rise and fall of nations. He is like one who, having watched a tree grow from its planting--a paragon of tenacity,

       insulation, and success, amidst the deaths of a hundred other plants less fibrous, sappy, and persistent--one day will see it flourishing with bland, full foliage, in an almost repugnant prosperity, at the summit of its efflorescence.

       On June 15, eighteen eighty-six, about four of the afternoon, the observer who chanced to be present at the house of old Jolyon

       Forsyte in Stanhope Gate, might have seen the highest efflorescence of the Forsytes.

       This was the occasion of an 'at home' to celebrate the engagement of Miss June Forsyte, old Jolyon's granddaughter, to Mr. Philip Bosinney. In the bravery of light gloves, buff waistcoats, feathers and frocks, the family were present, even Aunt Ann, who now but seldom left the corner of her brother Timothy's green drawing-room, where, under the aegis of a plume of dyed pampas grass in a light blue vase, she sat all day reading and knitting, surrounded by the effigies of three generations of Forsytes. Even Aunt Ann was there; her inflexible back, and the dignity of her calm old face personifying the rigid possessiveness of the family idea.

       When a Forsyte was engaged, married, or born, the Forsytes were present; when a Forsyte died--but no Forsyte had as yet died; they did not die; death being contrary to their principles, they took precautions against it, the instinctive precautions of highly vitalized persons who resent encroachments on their property.

       About the Forsytes mingling that day with the crowd of other guests, there was a more than ordinarily groomed look, an alert, inquisitive assurance, a brilliant respectability, as though they were attired in defiance of something. The habitual sniff on the face of Soames Forsyte had spread through their ranks; they were on their guard.

       The subconscious offensiveness of their attitude has constituted old Jolyon's 'home' the psychological moment of the family history,

       made it the prelude of their drama.

       The Forsytes were resentful of something, not individually, but as a family; this resentment expressed itself in an added perfection of raiment, an exuberance of family cordiality, an exaggeration of family importance, and--the sniff. Danger--so indispensable in bringing out the fundamental quality of any society, group, or individual--was what the Forsytes scented; the premonition of danger put a burnish on their armour. For the first time, as a family, they appeared to have an instinct of being in contact, with some strange and unsafe thing.

       Over against the piano a man of bulk and stature was wearing two waistcoats on his wide chest, two waistcoats and a ruby pin, instead of the single satin waistcoat and diamond pin of more usual occasions, and his shaven, square, old face, the colour of pale leather, with pale eyes, had its most dignified look, above his satin stock. This was Swithin Forsyte. Close to the window, where he could get more than his fair share of fresh air, the other twin, James--the fat and the lean of it, old Jolyon called these brothers-- like the bulky Swithin, over six feet in height, but very lean, as though destined from his birth to strike a balance and maintain an average, brooded over the scene with his permanent stoop; his grey eyes had an air of fixed absorption in some secret worry, broken at intervals by a rapid, shifting scrutiny of