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JOHN GALSWORTHY's LIFE and ART Also by James Gindin

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JOHN GALSWORTHY's LIFE and ART Also by James Gindin JOHN GALSWORTHY'S LIFE AND ART Also by James Gindin POSTWAR BRITISH FICTION: New Accents and Attitudes HARVEST OF A QUIET EYE: The Novel of Compassion THE ENGLISH CLIMATE: An Excursion into a Biography of John Gals worthy JOHN GALSWORTHY'S LIFE AND ART An Alien )s Fortress James Gindin Professor of English University of Michigan M MACMILLAN © James Gindin 1987 Softcover reprint of the hardcover 1st edition 1987 978-0-333-40812-4 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright Act 1956 (as amended). Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 1987 Published by THE MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world Typeset by Wessex Typesetters (Division of The Eastern Press Ltd) Frome, Somerset British Library Cataloguing in Publication Data Gindin, James John Galsworthy's life and art: an alien's fortress. I. Galsworthy, John, 1867-1933- Criticism and interpretation I. Title 828' .91209 PR6013.A5Z/ ISBN 978-1-349-08532-3 ISBN 978-1-349-08530-9 (eBook) DOI 10.1007/978-1-349-08530-9 To joan Contents List of Plates IX Preface XI A Retrospective Introduction PART I: APPRENTICESHIP, 1867-1905 2 Galsworthys and Bartleets 15 3 Conventions and Responses 38 4 "You Are just the Person to Write, Why Don't You?" 71 5 "To Invent Depths Is Not Art Either" 95 6 "I'm Not Such a Fool as I Seem" 114 PART II: THE UNCERTAIN PUBLIC EDIFICE, 1906-13 7 "I Feel More Like a Sort of Chemist" 153 8 "We Want No More Bastard Drama" 188 9 "The Opposition (Spiritual) in The Country House" 217 10 "Almost Passionate Impartiality" 242 11 Emotion Elevated 282 12 "Sublimity Is Lost as You Go Down" 318 PART III: DISSOLUTION AND ITS CONSEQUENCES, 1914-22 13 Gals worthy Semi-detached 34 7 14 "But Christ's Not Real, and Hindenburg and Harmsworth Are!" 374 Vll Vlll Contents 15 Three john Galsworthys and "A Wonderful Red Letter Day" 395 16 "Demi-Semi-Royal Progress" 415 17 "The Shores of Permanence" 433 18 "Christ's Vicar in the Theatre" 457 PART IV: THE PRIVATE EDIFICE, 1923-33 19 "I Have Lost Fervour" 477 20 Comedy and Civilization "Above the Plimsoll Line of Property" 500 21 "And john Deserves to be God Too" 526 ~~ 5~ Index 606 List of Plates 1 John Galsworthy, Sr (about 1885) 2 Blanche Bartleet Galsworthy, a painting by her son-in-law, Georg Sauter (about 1895) 3 One of the three houses at Coombe, Surrey, that John Galsworthy, Sr, built and that the family lived in alternately from 1868 to 1886 4 A family group: his parents, Blanche Bartleet Galsworthy and John Galsworthy, Sr, in the centre; sisters, Mabel on the left and Lilian on the right; John Gals worthy at upper right (about 1894) 5 John Galsworthy (about 1895) 6 Ada Cooper Galsworthy (about the time ofher first marriage in 1891) 7 From the left: Mabel Galsworthy, John Galsworthy, Sr, Georg Sauter, Lilian Galsworthy Sauter holding their baby, Rudolf, in Bavaria (summer 1895) 8 John Galsworthy (about 1898) 9 John Galsworthy, Sr, with his grandson, Rudolf Sauter (about 1900) 10 Lilian Galsworthy Sauter with her son, Rudolf, from a painting by her husband, Georg (about 1900) 11 Lilian Galsworthy Sauter, a painting by her husband, Georg (about 1907) 12 John Galsworthy (about 1906) 13 Jessie and Joseph Conrad with sons, John (left) and Borys (right) (about 1908) 14 Hubert Galsworthy and his wife, Lina (about 1905) 15 Mabel Galsworthy Reynolds and her daughter, Veronica (1910) 16 John Galsworthy, with dog, Chris (about 1909) 17 Ada Galsworthy at Manaton (about 1914) IX X List of Plates 18 John and Ada Galsworthy, on the left in the bottom row, with staff and patients at the hospital near Matouret, in southern France, in the winter of 1916-17 19 Rudolf and Viola Sauter (about 1927) 20 Arnold Bennett (left) and John Galsworthy, at Bury, Sussex ( 1929) 21 H. G. Wells 22 John and Ada Galsworthy at Bury, Sussex (about 1930) Plates l-13 and 16--22 are from the Galsworthy Memorial Collection at the University of Birmingham Library, and are reprinted with that library's permission. Preface John Galsworthy's reputation as a novelist and a dramatist first crystallized in 1906, when the confluence of his critically successful first play, The Silver Box, and the striking satire of the Victorian family in his sixth volume of fiction, The Man of Property, seemed to represent an Edwardian avant-garde stance challenging previously sacrosanct Victorian attitudes. His immediately subsequent novels and changing tastes, however, soon made him less "new" as a writer of fiction, and, although Strife and Justice sustained his prominence as a dramatist, other plays were accurately regarded as vapid and conventional. In the years before the First World War, his work was not widely popular; his growing stature was generally more dependent on the social causes he championed than on literary achievement. After the war, however, with his continuation of The Man of Property into the trilogy of The Forsyte Saga and his subsequent trilogies, his fiction became more popular, in England and abroad, while, after an initial burst of enthusiasm around 1922, serious younger critics, as distinct from social historians, increasingly neglected or dismissed his work. The fiction was far from that of resurrected prewar avant-garde novelists venerated as anticipatory exemplars of "modernism". His reputation as a dramatist was uneven: some of his postwar plays were well reviewed and found larger audiences than his drama had found before, others were appropriately ignored. As a new generation began to set literary judgements and standards, he became, in his last years, regarded more as a public figure, a symbol, and an isolated moment in literary history, than as a writer. Since his death in 1933, his reputation has not substantially changed. For the relatively small high-brow critical audience, the work is dated and pedestrian, the fiction one long, slow decline into conventionality from the early peak of The Man of Property. Galsworthy had little connection with "modernism", with its experimental techniques, its conscious hardness, and its Xl xu Priface uses of symbol and legend. To Virginia Woolf, for example, his fiction represented the materialism and superficiality that "modernism" sought to replace. At the same time, the fiction has remained widely and enthusiastically read, the first two trilogies in particular have been frequently reprinted and trans­ lated into many languages throughout the last half century. The persistence of two different Galsworthy audiences was most markedly manifest in response to the twenty-six episode television dramatization of The Forsyte Saga produced for the centenary of his birth in 1967. The drama was watched by millions all over the world; people and groups adjusting other commitments so as not to miss an episode. Yet the commentary did not produce any major or serious reassessment of Gals worthy's achievement, many of the critical comments derogating his appeal as that of high-level soap opera without acknowledging that form's capacity to convey social definition through relationships concerning family, sex, and class with considerable complexity and intelli­ gence. To talk of Galsworthy only in terms of form is to miss accounting for both the appeal and the achievement. Academic critics have seldom treated Galsworthy with the acuity and sensitivity he deserves, for their methods have generally not been hospitable to his work. During the forties and fifties, if treated at all, he was an example of the Edwardian social reformer in the panorama of passing English history. Yet, as a social critic, Galsworthy was neither sufficiently interested in articulating a philosophy nor sufficiently reductive to stand as a simple counter for a social perspective. Treatment of his work as illustrating a social or ethical point of view, a label current during his life which he always rejected as inaccurate, invariably disappoints even a sympathetic attempt, for it converts most of the drama and fiction into positions that are dated and limited, sometimes even trivially idiosyncratic. Academic criticism elevating the avant-garde that led to "modernism", while necessary and justifiable in explaining the previously unknown or misapprehended, can too easily relegate Galsworthy to the role of the alternative immediate predecessor. More recent forms oflinguistic, structural, and theoretical criticism have also not been helpful in promulgating a fuller sense of Galsworthy's work. Although many such forms of literary criticism, when they are not entirely self-reflexive or are not convincing us again that we at least partially invent the texts we read, can contribute new Priface Xlll understanding to particular writers, they rely on forms of analysis to reveal what was previously unknown or invisible. For Galsworthy, whose work is visible, apprehensible, although not therefore necessarily superficial, such methods can seem supererogatory or pretentious in such a way that doubles back to derogate the work itself, rather like breaking butterflies on wheels. Better, in this instance, to appreciate the intricacy of the butterfly itself. Academics, too, are vulnerable to valuing most what our methods can best explain, to demonstrations of our critical skills and insights. A writer like Galsworthy not particu­ larly amenable to further illumination through the methods of the critic is likely to be ignored. Galsworthy was always a seriously committed artist, interested both in what he had to say and in how he might best say it, in both content and form.
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