Galsworthy - to Let
Ga
John Galsworthy (1867 — 1933)
TO LET (1922)
This novel is the last volume of the Forsyte Saga. It marks both the end of the first stage in the development of the Forsytes and the beginning of the second, post-war stage in the chronicles of their doings. That final stage is the subject of Galsworthy's second trilogy, the Modern Comedy, where the younger generation of the Forsytes are depicted against the background of England's post-war decay. In the following extract the novelist holds up to ridicule the decadence of modem art. He puts his ideas into the mouth of Soames Forsyte whom he formerly satirized as the "man of property". Soames's scornful bewilderment at sight of Expressionist paintings renders to a certain degree the feelings of the novelist himself.
CHAPTER I
Encounter
Arriving at the Gallery off Cork Street, however, he paid his shilling, picked up a catalogue, and entered. Some ten persons were prowling round. Soames took steps and came on what looked to him like a lamp-post bent by collision with a motor omnibus. It was advanced some three paces from the wall, and was described in his catalogue as "Jupiter". He examined it with curiosity, having recently turned some of his attention to sculpture. "If that's Jupiter," he thought, "I wonder what Juno's like." And suddenly he saw her, opposite. She appeared to him like nothing so much as a pump with two handles, lightly clad in snow. He was still gazing at her, when two of the prowlers halted on his left. "Epatant"[1] be heard one say. "Jargon!" growled Soames to himself. The other boyish voice replied: "Missed it,[2] old bean;[3] he's pulling your leg. When Jove and Juno created he them,[4] he was saying: “I’ll see how much these fools will swallow”. And they’ve lapped up a lot.”[5] “You young duffer[6]! Vospovitch is an innovator. Don’t you see that he’s brought satire into sculpture? The future of plastic art, of
John Galsworthy (1867 — 1933)
TO LET (1922)
This novel is the last volume of the Forsyte Saga. It marks both the end of the first stage in the development of the Forsytes and the beginning of the second, post-war stage in the chronicles of their doings. That final stage is the subject of Galsworthy's second trilogy, the Modern Comedy, where the younger generation of the Forsytes are depicted against the background of England's post-war decay. In the following extract the novelist holds up to ridicule the decadence of modem art. He puts his ideas into the mouth of Soames Forsyte whom he formerly satirized as the "man of property". Soames's scornful bewilderment at sight of Expressionist paintings renders to a certain degree the feelings of the novelist himself.
CHAPTER I
Encounter
Arriving at the Gallery off Cork Street, however, he paid his shilling, picked up a catalogue, and entered. Some ten persons were prowling round. Soames took steps and came on what looked to him like a lamp-post bent by collision with a motor omnibus. It was advanced some three paces from the wall, and was described in his catalogue as "Jupiter". He examined it with curiosity, having recently turned some of his attention to sculpture. "If that's Jupiter," he thought, "I wonder what Juno's like." And suddenly he saw her, opposite. She appeared to him like nothing so much as a pump with two handles, lightly clad in snow. He was still gazing at her, when two of the prowlers halted on his left. "Epatant"[1] be heard one say. "Jargon!" growled Soames to himself. The other boyish voice replied: "Missed it,[2] old bean;[3] he's pulling your leg. When Jove and Juno created he them,[4] he was saying: “I’ll see how much these fools will swallow”. And they’ve lapped up a lot.”[5] “You young duffer[6]! Vospovitch is an innovator. Don’t you see that he’s brought satire into sculpture? The future of plastic art, of