degree much of its emotional power is drawn from Galsworthy’s own life, particularly his affair with Ada. Their rendezvous in the countryside of Devon mirror the manner in which Forsyte seeks to relocate his wife and; though theirs was a much healthier relationship, there are clear similarities. By examining the fragile nature of the class system and those moving within it Galsworthy offered an important perspective on the relationships between material wealth, personal happiness and obsession, and the manner in which these change over time. His contemporaries widely regarded the publication of this novel as marking the end of Victorianism. His friend Conrad praised it as “indubitably a piece of art” and, though the notoriously risqué D.H. Lawrence lamented the novel’s timidity in the face of sexuality and sensuality, he considered it potentially “a very great novel, a very great satire”.
Though he continued to write both plays and novels, it was his work as a playwright for which he was most celebrated by his contemporaries. Indeed, his next novel, The Country House, seems uncharacteristically unfocused, its satirical view of those belonging to the country set comparatively unremarkable and weakly characterised, while at times the tone of satire becomes one of ironic detachment. In 1909 he published Fraternity, an exploration of of the various connections between urban society and the social classes therein, though its representation of lower-class Londoners is utterly unconvincing and ill-informed. Remaining with the subject of the landed gentry and the society surrounding it, in 1915 he published The Freelands, which does not stray far from conservative discussions of capitalism, the rural economy and their interrelationship.
His drama, however, featured a convincingly muted realism, directed at a relatively small, educated and politically-aware audience. His social agenda is prevalent here too, and is represented in a simple and static manner producing arresting instances of high drama. This talent for creating moments of captivating theatre is complimented by an instinctual sense of balance enabling his narratives to vacillate between their emotional high- and low-points, ultimately reaching conclusive equilibrium. This is particularly evident in one of his most popular plays, Strife, published in 1909 and examining the antagonists in a strike at a Cornish tin mine. In this, and in 1910’s Justice, he approaches his subject with sympathy, irony and balance, which establishes a position of narrative authority while garnering the audiences trust that he is representing his characters and their motives justly. Justice condemns the use of solitary confinement in prisons, a reformist agenda which caught the liberality of his contemporary audiences along with the home secretary, Winston Churchill. Despite he was careful to disassociate himself with politics and professed himself apolitical, he and his work were nevertheless aligned with the views of the Liberal establishment. He spent much of the duration of the First World War working in a field hospital in France as an orderly having been passed over for military service.
Despite the popularity and brilliance of his work, it was only in 1920 that he had his first true commercial success with The Skin Game, a melodrama dealing with ethics, property and class. The play was adapted by Alfred Hitchcock in 1931. Galsworthy, meanwhile, had turned down a knighthood in 1918, considering his work not sufficient to be made a knight of the realm. He did, however, accept the Belgian Palmes d’Or in the following year. In 1920 he published the second novel in the Forsyte Saga, In Chancery, in which he resumes many of the themes of the first novel, focusing on the marital disharmony between Soames Forsyte and his wife. Katherine Mansfield considered it “a fascinating, brilliant book” in her review in The Atheneum. Then, in 1921, he was elected as the PEN
Though he continued to write both plays and novels, it was his work as a playwright for which he was most celebrated by his contemporaries. Indeed, his next novel, The Country House, seems uncharacteristically unfocused, its satirical view of those belonging to the country set comparatively unremarkable and weakly characterised, while at times the tone of satire becomes one of ironic detachment. In 1909 he published Fraternity, an exploration of of the various connections between urban society and the social classes therein, though its representation of lower-class Londoners is utterly unconvincing and ill-informed. Remaining with the subject of the landed gentry and the society surrounding it, in 1915 he published The Freelands, which does not stray far from conservative discussions of capitalism, the rural economy and their interrelationship.
His drama, however, featured a convincingly muted realism, directed at a relatively small, educated and politically-aware audience. His social agenda is prevalent here too, and is represented in a simple and static manner producing arresting instances of high drama. This talent for creating moments of captivating theatre is complimented by an instinctual sense of balance enabling his narratives to vacillate between their emotional high- and low-points, ultimately reaching conclusive equilibrium. This is particularly evident in one of his most popular plays, Strife, published in 1909 and examining the antagonists in a strike at a Cornish tin mine. In this, and in 1910’s Justice, he approaches his subject with sympathy, irony and balance, which establishes a position of narrative authority while garnering the audiences trust that he is representing his characters and their motives justly. Justice condemns the use of solitary confinement in prisons, a reformist agenda which caught the liberality of his contemporary audiences along with the home secretary, Winston Churchill. Despite he was careful to disassociate himself with politics and professed himself apolitical, he and his work were nevertheless aligned with the views of the Liberal establishment. He spent much of the duration of the First World War working in a field hospital in France as an orderly having been passed over for military service.
Despite the popularity and brilliance of his work, it was only in 1920 that he had his first true commercial success with The Skin Game, a melodrama dealing with ethics, property and class. The play was adapted by Alfred Hitchcock in 1931. Galsworthy, meanwhile, had turned down a knighthood in 1918, considering his work not sufficient to be made a knight of the realm. He did, however, accept the Belgian Palmes d’Or in the following year. In 1920 he published the second novel in the Forsyte Saga, In Chancery, in which he resumes many of the themes of the first novel, focusing on the marital disharmony between Soames Forsyte and his wife. Katherine Mansfield considered it “a fascinating, brilliant book” in her review in The Atheneum. Then, in 1921, he was elected as the PEN
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