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 ******, 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 ****** truth, which underlies the whole story, that where *** 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 here- after, 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
