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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She was sitting on one of the two rush-seated chairs, with her back to the door, when he came in, and she said at once—
“Sit down, Jon, I want to talk seriously.”
Jon sat on the table by her side, and without looking at him she went on:
“If you don’t want to lose me, we must get married.”
Jon gasped.
“Why? Is there anything new?”
“No, but I felt it at Robin Hill, and among my people.”
“But—” stammered Jon, “at Robin Hill—it was all smooth—and they’ve said nothing to me.”
“But they mean to stop us. Your mother’s face was enough. And my father’s.”
“Have you seen him since?”
Fleur nodded. What mattered a few supplementary lies?
“But,” said Jon eagerly, “I can’t see how they can feel like that after all these years.”
Fleur looked up at him.
“Perhaps you don’t love me enough.”
“Not love you enough! Why—!”
“Then make sure of me.”
“Without telling them?”
“Not till after.”
Jon was silent. How much older he looked than on that day, barely two months ago, when she first saw him—quite two years older!
“It would hurt Mother awfully,” he said.
Fleur drew her hand away.
“You’ve got to choose.”
Jon slid off the table on to his knees.
“But why not tell them? They can’t really stop us, Fleur!”
“They can! I tell you, they can.”
“How?”
“We’re utterly dependent—by putting money pressure, and all sorts of other pressure. I’m not patient, Jon.”
“But it’s deceiving them.”
Fleur got up.
“You can’t really love me, or you wouldn’t hesitate. ‘He either fears his fate too much!’ ”
Lifting his hands to her waist, Jon forced her to sit down again. She hurried on:
“I’ve planned it all out. We’ve only to go to Scotland. When we’re married they’ll soon come round. People always come round to facts. Don’t you see, Jon?”
“But to hurt them so awfully!”
So he would rather hurt her than those people of his! “All right, then; let me go!”
Jon got up and put his back against the door.
“I expect you’re right,” he said slowly; “but I want to think it over.”
She could see that he was seething with feelings he wanted to express; but she did not mean to help him. She hated herself at this moment and almost hated him. Why had she to do all the work to secure their love? It wasn’t fair. And then she saw his eyes, adoring and distressed.
“Don’t look like that! I only don’t want to lose you, Jon.”
“You can’t lose me so long as you want me.”
“Oh, yes, I can.”
Jon put his hands on her shoulders.
“Fleur, do you know anything you haven’t told me?”
It was the point-blank question she had dreaded. She looked straight at him, and answered: “No.” She had burnt her boats; but what did it matter, if she got him? He would forgive her. And throwing her arms round his neck, she kissed him on the lips. She was winning! She felt it in the beating of his heart against her, in the closing of his eyes. “I want to make sure! I want to make sure!” she whispered. “Promise!”
Jon did not answer. His face had the stillness of extreme trouble. At last he said:
“It’s like hitting them. I must think a little, Fleur. I really must.”
Fleur slipped out of his arms.
“Oh! Very well!” And suddenly she burst into tears of disappointment, shame, and overstrain. Followed five minutes of acute misery. Jon’s remorse and tenderness knew no bounds; but he did not promise. Despite her will to cry, “Very well, then, if you don’t love me enough—goodbye!” she dared not. From birth accustomed to her own way, this check from one so young, so tender, so devoted, baffled and surprised her. She wanted to push him away from her, to try what anger and coldness would do, and again she dared not. The knowledge that she was scheming to rush him blindfold into the irrevocable weakened everything—weakened the sincerity of pique, and the sincerity of passion; even her kisses had not the lure she wished for them. That stormy little meeting ended inconclusively.
“Will you some tea, gnädiges Fräulein?”
Pushing Jon from her, she cried out:
“No—no, thank you! I’m just going.”
And before he could prevent her she was gone.
She went stealthily, mopping her gushed, stained cheeks, frightened, angry, very miserable. She had stirred Jon up so fearfully, yet nothing definite was promised or arranged! But the more uncertain and hazardous the future, the more “the will to have” worked its tentacles into the flesh of her heart—like some burrowing tick!
No one was at Green Street. Winifred had gone with Imogen to see a play which some said was allegorical, and others “very exciting, don’t you know.” It was because of what others said that Winifred and Imogen had
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