The Forsyte Saga by John Galsworthy (acx book reading txt) 📕
Description
Between 1906 and 1921 John Galsworthy published three novels chronicling the Forsyte family, a fictional upper-middle class family at the end of the Victorian era: The Man of Property, In Chancery, and To Let. In 1922 Galsworthy wrote two interconnecting short stories to bind the three novels together and published the whole as The Forsyte Saga.
While the novels follow the Forsyte family at large, the action centers around Soames Forsyte—the scion of a nouveau-riche London tea merchant—his wife Irene, and their unhappy marriage. Soames and his sprawling family are portrayed as stereotypes of unhappy gilded-age wealth, their family having entered the industrial revolution poor farmers and emerged as wealthy bourgeoise. Their rise was powered by their capacity to acquire, won at the expense of their capacity for almost anything else.
Thematically, the saga focuses on the mores of the wealthy upper-middle class, which was still a newish feature in the class landscape of England at the time; duty, honor, and love; and the rapidly growing differences across generations occurring in a period of war and social change. The characters are complex and nuanced, and the situations they find themselves in—both of their own making, and of the making of society around them—provide a rich field for analyzing the close of the Victorian age, the dawn of the Edwardian age, and the societal frameworks that were forged in that frisson.
Galsworthy went on to win the Nobel Prize for Literature in 1932 for The Forsyte Saga, one of the rare occasions in which the Swedish Academy has awarded a prize for a specific work instead of for a lifetime of work.
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- Author: John Galsworthy
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Thus had passed Montague Dartie in the forty-fifth year of his age from the house which he had called his own.
When Winifred came down, and realised that he was not in the house, her first feeling was one of dull anger that he should thus elude the reproaches she had carefully prepared in those long wakeful hours. He had gone off to Newmarket or Brighton, with that woman as likely as not. Disgusting! Forced to a complete reticence before Imogen and the servants, and aware that her father’s nerves would never stand the disclosure, she had been unable to refrain from going to Timothy’s that afternoon, and pouring out the story of the pearls to Aunts Juley and Hester in utter confidence. It was only on the following morning that she noticed the disappearance of that photograph. What did it mean? Careful examination of her husband’s relics prompted the thought that he had gone for good. As that conclusion hardened she stood quite still in the middle of his dressing-room, with all the drawers pulled out, to try and realise what she was feeling. By no means easy! Though he was “the limit” he was yet her property, and for the life of her she could not but feel the poorer. To be widowed yet not widowed at forty-two; with four children; made conspicuous, an object of commiseration! Gone to the arms of a Spanish Jade! Memories, feelings, which she had thought quite dead, revived within her, painful, sullen, tenacious. Mechanically she closed drawer after drawer, went to her bed, lay on it, and buried her face in the pillows. She did not cry. What was the use of that? When she got off her bed to go down to lunch she felt as if only one thing could do her good, and that was to have Val home. He—her eldest boy—who was to go to Oxford next month at James’ expense, was at Littlehampton taking his final gallops with his trainer for Smalls, as he would have phrased it following his father’s diction. She caused a telegram to be sent to him.
“I must see about his clothes,” she said to Imogen; “I can’t have him going up to Oxford all anyhow. Those boys are so particular.”
“Val’s got heaps of things,” Imogen answered.
“I know; but they want overhauling. I hope he’ll come.”
“He’ll come like a shot, Mother. But he’ll probably skew his Exam.”
“I can’t help that,” said Winifred. “I want him.”
With an innocent shrewd look at her mother’s face, Imogen kept silence. It was father, of course! Val did come “like a shot” at six o’clock.
Imagine a cross between a pickle and a Forsyte and you have young Publius Valerius Dartie. A youth so named could hardly turn out otherwise. When he was born, Winifred, in the heyday of spirits, and the craving for distinction, had determined that her children should have names such as no others had ever had. (It was a mercy—she felt now—that she had just not named Imogen Thisbe.) But it was to George Forsyte, always a wag, that Val’s christening was due. It so happened that Dartie, dining with him a week after the birth of his son and heir, had mentioned this aspiration of Winifred’s.
“Call him Cato,” said George, “it’ll be damned piquant!” He had just won a tenner on a horse of that name.
“Cato!” Dartie had replied—they were a little “on” as the phrase was even in those days—“it’s not a Christian name.”
“Hallo you!” George called to a waiter in knee breeches. “Bring me the Encyc’pedia Brit. from the Library, letter C.”
The waiter brought it.
“Here you are!” said George, pointing with his cigar: “Cato Publius Valerius by Virgil out of Lydia. That’s what you want. Publius Valerius is Christian enough.”
Dartie, on arriving home, had informed Winifred. She had been charmed. It was so chic. And Publius Valerius became the baby’s name, though it afterwards transpired that they had got hold of the inferior Cato. In 1890, however, when little Publius was nearly ten, the word “chic” went out of fashion, and
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