The Good Soldier

- By Ford Madox Ford
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English writer and publisher (1873–1939) Ford Madox Fordc. 1905 photoBornJoseph Leopold Ford Hermann Madox Hueffer(1873-12-17)17 December 1873Merton, Surrey, EnglandDied26 June 1939(1939-06-26) (aged 65)Deauville, FrancePen nameFord Madox FordOccupationNovelist, publisherPeriod1873–1939SpouseElsie Martindale HuefferPartnerViolet HuntStella BowenJanice BialaChildren3RelativesFrancis Hueffer (father)Catherine Madox Brown (mother)Oliver Madox Hueffer (brother)Juliet Soskice (sister)Frank Soskice (nephew)Ford Madox Brown (maternal grandfather)Lucy Madox Brown (half-aunt)Olivia Rossetti Agresti (cousin)Johann Hermann Hüffer (paternal grandfather) Ford Madox Ford (né Joseph Leopold Ford Hermann Madox Hueffer (/ˈhɛfər/ HEF-ər);[1] 17 December 1873 – 26 June 1939) was an English novelist, poet, critic and editor whose journals The English Review and The Transatlantic Review were important in the development of early 20th-century English and American literature. Ford is now remembered for his novels The Good Soldier (1915), the Parade's End tetralogy (1924–1928) and The Fifth Queen trilogy (1906–1908). The Good Soldier is frequently included among the great literature of the 20th century, including the Modern Library 100 Best Novels, The Observer′s "100 Greatest Novels of All Time", and The Guardian′s "1000 novels everyone must read". Early life[edit] Ford was born in Wimbledon in Surrey[2] to Catherine Madox Brown and Francis Hueffer, the eldest of three; his brother was Oliver Madox Hueffer and his sister was Juliet Hueffer, the wife of David Soskice and mother of Frank Soskice. Ford's father, who became music critic for The Times, was German and his mother English. His paternal grandfather Johann Hermann Hüffer was first to publish Westphalian poet and author Annette von Droste-Hülshoff. He was named after his maternal grandfather, the Pre-Raphaelite painter Ford Madox Brown, whose biography he would eventually write. His mother's older half-sister was Lucy Madox Brown, the wife of William Michael Rossetti and mother of Olivia Rossetti Agresti. In 1889, after the death of their father, Ford and Oliver went to live with their grandfather in London. Ford attended the University College School in London, but never studied at university.[3] In November 1892, at 18, he became a Catholic, "very much at the encouragement of some Hueffer relatives, but partly (he confessed) galled by the 'militant atheism and anarchism' of his English cousins."[4] Personal life[edit] In 1894, Ford eloped with his school girlfriend Elsie Martindale. The couple were married in Gloucester and moved to Bonnington in Kent. In 1901, they moved to Winchelsea.[3] They had two daughters, Christina (born 1897) and Katharine (born 1900).[5] Ford's neighbours in Winchelsea included the authors Joseph Conrad, Stephen Crane, W. H. Hudson, Henry James in nearby Rye, and H. G. Wells.[3] In 1904, Ford suffered an agoraphobic breakdown due to financial and marital problems. He went to Germany to spend time with family there and undergo treatments.[3] In 1909, Ford left his wife and set up home with English writer Isobel Violet Hunt, with whom he published the literary magazine The English Review. Ford's wife refused to divorce him and he attempted to become a German citizen to obtain a divorce in Germany. This was unsuccessful. A reference in an illustrated paper to Violet Hunt as "Mrs. Ford Madox Hueffer" gave rise to a successful libel action being brought by Mrs. Elsie Hueffer in 1913. Ford's relationship with Hunt did not survive the First World War.[6] Ford used the name of Ford Madox Hueffer, but changed it to Ford Madox Ford after World War I in 1919, partly to fulfil the terms of a small legacy,[7] partly "because a Teutonic name is in these days disagreeable", and possibly to avoid further lawsuits from Elsie in the event of his new companion, Stella, being referred to as "Mrs Hueffer".[8] Between 1918 and 1927, he lived with Stella Bowen, an Australian artist 20 years his junior. In 1920, Ford and Bowen had a daughter, Julia Madox Ford.[9] In the summer of 1927, The New York Times reported that Ford had converted a mill building in Avignon, France into a home and workshop that he called "Le Vieux Moulin". The article implied that Ford was reunited with his wife at this point.[10] In the early 1930s, Ford established a relationship with Janice Biala, a Polish-born artist from New York, who illustrated several of Ford's later books.[11] This relationship lasted until the late 1930s. Ford spent the last years of his life teaching at Olivet College in Olivet, Michigan, US. He was taken ill in Honfleur, France, in June 1939 and died shortly afterward in Deauville at the age of 65. Literary life[edit] Blue plaque, 80 Campden Hill Road, Kensington, London One of Ford's most famous works is the novel The Good Soldier (1915). Set just before World War I, The Good Soldier chronicles the tragic expatriate lives of two "perfect couples", one British and one American, using intricate flashbacks. In the "Dedicatory Letter to Stella Ford" that prefaces the novel, Ford reports that a friend pronounced The Good Soldier "the finest French novel in the English language!” Ford pronounced himself a "Tory mad about historic continuity" and believed the novelist's function was to serve as the historian of his own time.[12] However, he was dismissive of the Conservative Party, referring to it as "the Stupid Party."[13] Ford was involved in British war propaganda after the beginning of World War I. He worked for the War Propaganda Bureau, managed by C. F. G. Masterman, along with Arnold Bennett, G. K. Chesterton, John Galsworthy, Hilaire Belloc and Gilbert Murray. Ford wrote two propaganda books for Masterman; When Blood is Their Argument: An Analysis of Prussian Culture (1915), with the help of Richard Aldington, and Between St Dennis and St George: A Sketch of Three Civilizations (1915). After writing the two propaganda books, Ford enlisted at 41 years of age into the Welsh Regiment of the British Army on 30 July 1915. He was sent to France. Ford's combat experiences and his previous propaganda activities inspired his tetralogy Parade's End (1924–1928), set in England and on the Western Front before, during and after World War I. Cover of The Fifth Queen: And How She Came to Court (1906) by Ford Madox Ford, then known as Ford Madox Hueffer Ford wrote dozens of novels as well as essays, poetry, memoirs and literary criticism. He collaborated with Joseph Conrad on three novels, The Inheritors (1901), Romance (1903) and The Nature of a Crime (1924, although written much earlier). During the three to five years after this direct collaboration, Ford's best known achievement was The Fifth Queen trilogy (1906–1908), historical novels based on the life of Catherine Howard, which Conrad termed, at the time, "the swan song of historical romance."[14] Ford's poem Antwerp (1915) was praised by T. S. Eliot as "the only good poem I have met with on the subject of the war".[15] Ford's novel Ladies Whose Bright Eyes (1911, extensively revised in 1935)[16] is a Time travel novel, like Twain's classic A Connecticut Yankee in King Arthur's Court, only dramatising the difficulties, not the rewards, of such idealised situations. When the Spanish Civil War broke out, Ford took the side of the left Republican faction, declaring: "I am unhesitatingly for the existing Spanish Government and against Franco’s attempt—on every ground of feeling and reason...Mr Franco wishes to establish a government resting on the arms of Moors, Germans, Italians. Its success must be contrary to world conscience."[17] His opinion of Mussolini and Hitler was likewise negative, and he offered to sign a manifesto against Nazism.[17] Promotion of literature[edit] In 1908, Ford founded The English Review. Ford published works by Thomas Hardy, H. G. Wells, Joseph Conrad, Henry James, May Sinclair, John Galsworthy and W. B. Yeats; and debuted works of Ezra Pound, Wyndham Lewis, D. H. Lawrence and Norman Douglas. Ezra Pound and other Modernist poets in London in the teens particularly valued Ford's poetry as exemplifying treatment of modern subjects in contemporary diction. In 1924, he founded The Transatlantic Review, a journal with great influence on modern literature. Staying with the artistic community in the Latin Quarter of Paris, Ford befriended James Joyce, Ernest Hemingway, Gertrude Stein, Ezra Pound[18] and Jean Rhys, all of whom he would publish (Ford was the model for the character Braddocks in Hemingway's The Sun Also Rises[19]). Basil Bunting worked as Ford's assistant on the magazine. As a critic, Ford is known for remarking "Open the book to page ninety-nine and read, and the quality of the whole will be revealed to you." George Seldes, in his book Witness to a Century, describes Ford ("probably in 1932") recalling his writing collaboration with Joseph Conrad, and the lack of acknowledgment by publishers of his status as co-author. Seldes recounts Ford's disappointment with Hemingway: "'and he disowns me now that he has become better known than I am.' Tears now came to Ford's eyes." Ford says, "I helped Joseph Conrad, I helped Hemingway. I helped a dozen, a score of writers, and many of them have beaten me. I'm now an old man and I'll die without making a name like Hemingway." Seldes observes, "At this climax Ford began to sob. Then he began to cry."[20] Hemingway devoted a chapter of his Parisian memoir A Moveable Feast to an encounter with Ford at a café in Paris during the early 1920s. He describes Ford "as upright as an ambulatory, well clothed, up-ended hogshead."[21] During a later sojourn in the United States, Ford was involved with Allen Tate, Caroline Gordon, Katherine Anne Porter and Robert Lowell (who was then a student).[22] Ford was always a champion of new literature and literary experimentation. In 1929, he published The English Novel: From the Earliest Days to the Death of Joseph Conrad, a brisk and accessible overview of the history of English novels. He had an affair with Jean Rhys, which ended acrimoniously,[23] which Rhys fictionalised in her novel Quartet. Reception[edit] Ford is best remembered for his novels The Good Soldier (1915), the Parade's End tetralogy (1924–1928) and The Fifth Queen trilogy (1906–1908). The Good Soldier is frequently included among the great literature of the 20th century, including the Modern Library 100 Best Novels,[24] The Observer′s "100 Greatest Novels of All Time",[25] and The Guardian′s "1000 novels everyone must read".[26] The Parade's End tetralogy was made into an acclaimed BBC/HBO 5 part TV series in 2012, starring Benedict Cumberbatch and scripted by Tom Stoppard. Anthony Burgess described Ford as the "greatest British novelist" of the 20th century.[27] Graham Greene was also a great admirer, and more recently Julian Barnes who has written essays about Ford and his work. Professor Max Saunders is the author of an authoritative biography of Ford, published in two volumes by Oxford University Press in 1996, followed up by a single volume focusing on two of Ford's novels, The Good Soldier (1915), the Parade's End tetralogy (1924–1928), in 2023. Saunders has also edited some of Ford's oeuvre reissued by the Carcanet Press. Selected works[edit] The Shifting of the Fire, as H Ford Hueffer, Unwin, 1892. The Questions at the Well as Fenil Haig,1893 The Brown Owl, as H Ford Hueffer, Unwin, 1892. The Queen Who Flew: A Fairy Tale, Bliss Sands & Foster, 1894. Ford Madox Brown : a record of his life and work, as H Ford Hueffer, Longmans, Green, 1896. The Cinque Ports, Blackwood, 1900. The Inheritors: An Extravagant Story, Joseph Conrad and Ford M. Hueffer, Heinemann, 1901. Rossetti, Duckworth, [1902]. Romance, Joseph Conrad and Ford M. Hueffer, Smith Elder, 1903. The Benefactor, Langham, 1905. The Soul of London. A Survey of the Modern City, Alston Rivers, 1905. The Heart of the Country. A Survey of a Modern Land, Alston Rivers, 1906. The Fifth Queen (Part One of The Fifth Queen trilogy), Alston Rivers, 1906. Privy Seal (Part Two of The Fifth Queen trilogy), Alston Rivers, 1907. The Spirit of the People. An Analysis of the English Mind, Alston Rivers, 1907. An English Girl, Methuen, 1907. The Fifth Queen Crowned (Part Three of The Fifth Queen trilogy), Nash, 1908. Mr Apollo, Methuen, 1908. The Half Moon, Nash, 1909. A Call, Chatto, 1910. The Portrait, Methuen, 1910. The Critical Attitude, as Ford Madox Hueffer, Duckworth 1911. The Simple Life Limited, as Daniel Chaucer, Lane, 1911. Ladies Whose Bright Eyes, Constable, 1911 (extensively revised in 1935). The Panel: A Sheer Comedy, Constable, 1912 (published in the U.S. as Ring for Nancy: A Sheer Comedy). The New Humpty Dumpty, as Daniel Chaucer, Lane, 1912. Henry James, Secker, 1913. Mr Fleight, Latimer, 1913. The Young Lovell, Chatto, 1913. Antwerp (eight-page poem), The Poetry Bookshop, 1915. Henry James, A Critical Study (1915). Between St Dennis and St George, Hodder, 1915. The Good Soldier, Lane, 1915. Zeppelin Nights, with Violet Hunt, Lane, 1915. The Marsden Case, Duckworth, 1923. Women and Men, Paris, 1923. Mr Bosphorous, Duckworth, 1923. The Nature of a Crime, with Joseph Conrad, Duckworth, 1924. Joseph Conrad, A Personal Remembrance, Little, Brown and Company, 1924. Some Do Not . . ., (First in Parade's End tetralogy) Duckworth, 1924. No More Parades, Duckworth, 1925. A Man Could Stand Up --, Duckworth, 1926. A Mirror To France. Duckworth. 1926 New York is Not America, Duckworth, 1927. New York Essays, Rudge, 1927. New Poems, Rudge, 1927. Last Post, (Fourth in Parade's End tetralogy) Duckworth, 1928. A Little Less Than Gods, Duckworth, [1928]. No Enemy, Macaulay, 1929. The English Novel: From the Earliest Days to the Death of Joseph Conrad (One Hour Series), Lippincott, 1929; Constable, 1930. Return to Yesterday, Liveright, 1932. When the Wicked Man, Cape, 1932. The Rash Act, Cape, 1933. It Was the Nightingale, Lippincott, 1933. Henry for Hugh, Lippincott, 1934. Provence, Unwin, 1935. Ladies Whose Bright Eyes (revised version), 1935 Portraits from Life: Memories and Criticism of Henry James, Joseph Conrad, Thomas Hardy, H.G. Wells, Stephen Crane, D.H. Lawrence, John Galsworthy, Ivan Turgenev, W.H. Hudson, Theodore Dreiser, A.C. Swinburne, Houghton Mifflin Company Boston, 1937. Great Trade Route, OUP, 1937. Vive Le Roy, Unwin, 1937. The March of Literature, Dial, 1938. Selected Poems, Randall, 1971. Your Mirror to My Times, Holt, 1971. A History of Our Own Times, Indiana University Press, 1988. References[edit] ^ Jones, Daniel (1967). Everyman's English Pronouncing Dictionary (13th; rev. A.C. Gimson ed.). London: Dent. p. 236. ^ Ford, Ford Madox (17 November 2013). Complete Works of Ford Madox Ford, with picture of birthplace in Kingston Road, Wimbledon. Delphi Classics. ISBN 9781908909701. Retrieved 3 February 2014. ^ a b c d Saunders, Max. "Ford Madox Ford (1873-1939): Biography". The Ford Madox Society. Retrieved 31 May 2015. ^ Janet Soskice, "I have never felt so at home." The Tablet, 8 September 2012, 15. Ford was a great uncle of Soskice's husband. ^ "Biography". Ford Madox Ford Society. ^ South Lodge by Douglas Goldring, Constable and Co, 1943) ^ Stang, Sondra (1986). The Ford Madox Ford Reader. Manchester: Carcanet. p. 481. ISBN 0-85635-519-4. ^ Judd, Alan (1991). Ford Madox Ford. London: Flamingo. p. 324. ISBN 0-00-654448-7. ^ Mizener, Arthur (1971). The Saddest Story: A Biography of Ford Madox Ford. New York: World Publishing. ^ Birkhead, May (14 August 1927). "Americans in Paris Find Book Material; Burton Holmes Obtains Unique Pictures -- Maddox Ford Writes in an Old Mill. Deauville Season Starts Fine Weather Draws Notables to Coast Resort for the Racing and Polo". The New York Times. Retrieved 31 May 2015. ^ South Lodge by Douglas Goldring, Constable & Co, 1943) ^ Moore, Gene M. (23 December 1982). "The Tory in a Time of Change: Social Aspects of Ford Madox Ford's Parade's End". Twentieth Century Literature. 28 (1): 49–68. doi:10.2307/441444. JSTOR 441444. ^ Ford, Ford Madox (1911). Memories and Impressions: A Study in Atmospheres. Harper & Brothers. p. 193. ^ Judd, Alan (1991). Ford Madox Ford. Cambridge, MA: Harvard University Press. p. 157. ISBN 9780674308152. ^ Lewis, Pericles. "Antwerp". Archived from the original on 23 June 2017. Retrieved 12 March 2013. ^ Cassell, Richard A. (November 1961). "The Two Sorrells of Ford Madox Ford". Modern Philology. 59 (2): 114–121. doi:10.1086/389447. JSTOR 434869. S2CID 154530201. ^ a b Saunders, Max (2012). Ford Madox Ford: A Dual Life: Volume II: The After-War World. Oxford University Press. pp. 627–628. ^ Pound, Ezra; Ford, Ford Madox; Lindberg-Seyersted, Brita (1982). Lindberg-Seyersted, Brita (ed.). Pound/Ford, the story of a literary friendship: the correspondence between Ezra Pound and Ford Madox Ford and their writings about each other. New Directions Publishing. ISBN 978-0-8112-0833-8. ^ Wald, Richard (1964). Ford Madox Ford: The Essence of His Art. University of California Press. p. 84. ^ Seldes, George (1987). Witness to a Century. New York: Ballantine Books. pp. 258–259. ISBN 0345331818. ^ Hemingway, Ernest. A Moveable Feast. ^ Honaker, Lisa (Summer 1990). "Caroline Gordon: A Biography, and: Flannery O'Connor and the Mystery of Love (review)". Modern Fiction Studies. 36 (2): 240–42. doi:10.1353/mfs.0.0714. S2CID 161254508. ^ Liukkonen, Petri. "Jean Rhys". Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on 15 June 2008. ^ "100 Best Novels". Modern Library. Random House. 20 July 1998. ^ "The Observer's 100 Greatest Novels of All Time - Book awards". Librarything.com. Retrieved 23 December 2017. ^ "1000 novels everyone must read". The Guardian. 23 January 2009. ^ Anthony Burgess (3 April 2014). You've Had Your Time. Random House. p. 130. ISBN 978-1-4735-1239-9. Further reading[edit] Attridge, John, "Steadily and Whole: Ford Madox Ford and Modernist Sociology," in Modernism/modernity 15:2 ([1] April 2008), 297–315. Carpenter, Humphrey (1987). Geniuses Together: American Writers in Paris in the 1920s. Unwin Hyman. ISBN 0-04-440331-3. Contains a sharp, critical biographical sketch of Ford. Hawkes, Rob, Ford Madox Ford and the Misfit Moderns: Edwardian Fiction and the First World War. Basingstoke: Palgrave Macmillan, 2012. ISBN 978-0230301535 Goldring, Douglas, The Last Pre-Raphaelite: A Record of the Life and Writings of Ford Madox Ford. Macdonald & Co., 1948 Mizener, Arthur, The Saddest Story: A Biography of Ford Madox Ford. World Publishing Co., 1971 Judd, Alan, Ford Madox Ford. Cambridge: Harvard University Press, 1991. Saunders, Max, Ford Madox Ford: A Dual Life, 2 vols. Oxford, Oxford University Press, 1996. ISBN 0-19-211789-0 and ISBN 0-19-212608-3 Thirlwell, Angela, Into the Frame: The Four Loves of Ford Madox Brown. London, Chatto & Windus, 2010. ISBN 978-0-7011-7902-1 Davison-Pégon, Claire; Lemarchal, Dominique (2011). Ford Madox Ford, France and Provence. Amsterdam: Rodopi. ISBN 9789401200462. OCLC 734015160. External links[edit] Wikiquote has quotations related to Ford Madox Ford. Wikisource has original works by or about:Ford Madox Ford Works by Ford Madox Ford in eBook form at Standard Ebooks Works by Ford Madox Ford at Project Gutenberg Works by Ford Madox Ford at Faded Page (Canada) Works by or about Ford Madox Ford at Internet Archive Works by Ford Madox Ford at LibriVox (public domain audiobooks) Ford Madox Ford Society Petri Liukkonen. "Ford Madox Ford". Books and Writers. Literary Encyclopedia entry on Ford The Good Soldier complete Archived 6 February 2015 at the Wayback Machine LitWeb.net: Ford Madox Ford Biography International Ford Madox Ford Studies The Ford Madox Ford Papers at Washington University in St. Louis The Papers of Ford Madox Ford at Dartmouth College Library vteNovels by Ford Madox FordParade's End Some Do Not ... (1924) No More Parades (1925) A Man Could Stand Up — (1926) Last Post (1928) Other works The Inheritors (1901) Romance (1903) The Fifth Queen (1906–1908) Ladies Whose Bright Eyes (1911, 1935) The Good Soldier (1915) vteFord Madox BrownPaintings List of paintings Manfred on the Jungfrau (1842) The Pretty Baa-Lambs (1851) Take your Son, Sir! (1851–1856) Work (1852–1865) The Last of England (1855) Stages of Cruelty (1856–1890) Cromwell on his Farm (1874) Cromwell, Protector of the Vaudois (1877) Murals The Manchester Murals (1879–1893) Related Lucy Madox Brown (daughter) Catherine Madox Brown (daughter) Ford Madox Ford (grandson) John Brown (grandfather) Pre-Raphaelite Brotherhood Morris & Co. 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THIS is the saddest story I have ever heard. We had known the Ashburnhams for nine seasons of the town of Nauheim with an extreme intimacy-or, rather with an acquaintanceship as loose and easy and yet as close as a good glove's with your hand. My wife and I knew Captain and Mrs Ashburnham as well as it was possible to know anybody, and yet, in another sense, we knew nothing at all about them. This is, I believe, a state of things only possible with English people of whom, till today, when I sit down to puzzle out what I know of this sad affair, I knew nothing whatever. Six months ago I had never been to England, and, certainly, I had never sounded the depths of an English heart. I had known the shallows.
I don't mean to say that we were not acquainted with many English people. Living, as we perforce lived, in Europe, and being, as we perforce were, leisured Americans, which is as much as to say that we were un-American, we were thrown very much into the society of the nicer English. Paris, you see, was our home. Somewhere between Nice and Bordighera provided yearly winter quarters for us, and Nauheim always received us from July to September. You will gather from this statement that one of us had, as the saying is, a "heart", and, from the statement that my wife is dead, that she was the sufferer.
Captain Ashburnham also had a heart. But, whereas a yearly month or so at Nauheim tuned him up to exactly the right pitch for the rest of the twelvemonth, the two months or so were only just enough to keep poor Florence alive from year to year. The reason for his heart was, approximately, polo, or too much hard sportsmanship in his youth. The reason for poor Florence's broken years was a storm at sea upon our first crossing to Europe, and the immediate reasons for our imprisonment in that continent were doctor's orders. They said that even the short Channel crossing might well kill the poor thing
When we all first met, Captain Ashburnham, home on sick leave from an India to which he was never to return, was thirty-three; Mrs Ashburnham Leonora-was thirty-one. I was thirty-six and poor Florence thirty. Thus today Florence would have been thirty-nine and Captain Ashburnham forty-two; whereas I am forty-five and Leonora forty. You will perceive, therefore, that our friendship has been a young-middle-aged affair, since we were all of us of quite quiet dispositions, the Ashburnhams being more particularly what in England it is the custom to call "quite good people".
They were descended, as you will probably expect, from the Ashburnham who accompanied Charles I to the scaffold, and, as you must also expect with this class of English people, you would never have noticed it. Mrs Ashburnham was a Powys; Florence was a Hurlbird of Stamford, Connecticut, where, as you know, they are more old-fashioned than even the inhabitants of Cranford, England, could have been. I myself am a Dowell of Philadelphia, Pa., where, it is historically true, there are more old English families than you would find in any six English counties taken together. I carry about with me, indeed-as if it were the only thing that invisibly anchored me to any spot upon the globe-the title deeds of my farm, which once covered several blocks between Chestnut and Walnut Streets. These title deeds are of wampum, the grant of an Indian chief to the first Dowell, who left Farnham in Surrey in company with William Penn. Florence's people, as is so often the case with the inhabitants of Connecticut, came from the neighbourhood of Fordingbridge, where the Ashburnhams' place is. From there, at this moment, I am actually writing.
You may well ask why I write. And yet my reasons are quite many. For it is not unusual in human beings who have witnessed the sack of a city or the falling to pieces of a people to desire to set down what they have witnessed for the benefit of unknown heirs or of generations infinitely remote; or, if you please, just to get the sight out of their heads. Some one has said that the death of a mouse from cancer is the whole sack of Rome by the Goths, and I swear to you that the breaking up of our little four-square coterie was such another unthinkable event. Supposing that you should come upon us sitting together at one of the little tables in front of the club house, let us say, at Homburg, taking tea of an afternoon and watching the miniature golf, you would have said that, as human affairs go, we were an extraordinarily safe castle. We were, if you will, one of those tall ships with the white sails upon a blue sea, one of those things that seem the proudest and the safest of all the beautiful and safe things that God has permitted the mind of men to frame. Where better could one take refuge? Where better?
Permanence? Stability? I can't believe it's gone. I can't believe that that long, tranquil life, which was just stepping a minuet, vanished in four crashing days at the end of nine years and six weeks. Upon my word, yes, our intimacy was like a minuet, simply because on every possible occasion and in every possible circumstance we knew where to go, where to sit, which table we unanimously should choose; and we could rise and go, all four together, without a signal from any one of us, always to the music of the Kur orchestra, always in the temperate sunshine, or, if it rained, in discreet shelters. No, indeed, it can't be gone. You can't kill a minuet de la cour. You may shut up the music-book, close the harpsichord; in the cupboard and presses the rats may destroy the white satin favours. The mob may sack Versailles; the Trianon may fall, but surely the minuet-the minuet itself is dancing itself away into the furthest stars, even as our minuet of the Hessian bathing places must be stepping itself still. Isn't there any heaven where old beautiful dances, old beautiful intimacies prolong themselves? Isn't there any Nirvana pervaded by the faint thrilling of instruments that have fallen into the dust of wormwood but that yet had frail, tremulous, and everlasting souls? No, by God, it is false! It wasn't a minuet that we stepped; it was a prison-a prison full of screaming hysterics, tied down so that they might not outsound the rolling of our carriage wheels as we went along the shaded avenues of the Taunus Wald.
And yet I swear by the sacred name of my creator that it was true. It was true sunshine; the true music; the true splash of the fountains from the mouth of stone dolphins. For, if for me we were four people with the same tastes, with the same desires, acting-or, no, not acting-sitting here and there unanimously, isn't that the truth? If for nine years I have possessed a goodly apple that is rotten at the core and discover its rottenness only in nine years and six months less four days, isn't it true to say that for nine years I possessed a goodly apple? So it may well be with Edward Ashburnham, with Leonora his wife and with poor dear Florence. And, if you come to think of it, isn't it a little odd that the physical rottenness of at least two pillars of our four-square house never presented itself to my mind as a menace to its security? It doesn't so present itself now though the two of them are actually dead. I don't know....
I know nothing-nothing in the world-of the hearts of men. I only know that I am alone-horribly alone. No hearthstone will ever again witness, for me, friendly intercourse. No smoking-room will ever be other than peopled with incalculable simulacra amidst smoke wreaths. Yet, in the name of God, what should I know if I don't know the life of the hearth and of the smoking-room, since my whole life has been passed in those places? The warm hearthside!-Well, there was Florence: I believe that for the twelve years her life lasted, after the storm that seemed irretrievably to have weakened her heart-I don't believe that for one minute she was out of my sight, except when she was safely tucked up in bed and I should be downstairs, talking to some good fellow or other in some lounge or smoking-room or taking my final turn with a cigar before going to bed. I don't, you understand, blame Florence. But how can she have known what she knew? How could she have got to know it? To know it so fully. Heavens! There doesn't seem to have been the actual time. It must have been when I was taking my baths, and my Swedish exercises, being manicured. Leading the life I did, of the sedulous, strained nurse, I had to do something to keep myself fit. It must have been then! Yet even that can't have been enough time to get the tremendously long conversations full of worldly wisdom that Leonora has reported to me since their deaths. And is it possible to imagine that during our prescribed walks in Nauheim and the neighbourhood she found time to carry on the protracted negotiations which she did carry on between Edward Ashburnham and his wife? And isn't it incredible that during all that time Edward and Leonora never spoke a word to each other in private? What is one to think of humanity?
For I swear to you that they were the model couple. He was as devoted as it was possible to be without appearing fatuous. So well set up, with such honest blue eyes, such a touch of stupidity, such a warm goodheartedness! And she-so tall, so splendid in the saddle, so fair! Yes, Leonora was extraordinarily fair and so extraordinarily the real thing that she seemed too good to be true. You don't, I mean, as a rule, get it all so superlatively together. To be the county family, to look the county family, to be so appropriately and perfectly wealthy; to be so perfect in manner-even just to the saving touch of insolence that seems to be necessary. To have all that and to be all that! No, it was too good to be true. And yet, only this afternoon, talking over the whole matter she said to me: "Once I tried to have a lover but I was so sick at the heart, so utterly worn out that I had to send him away." That struck me as the most amazing thing I had ever heard. She said "I was actually in a man's arms. Such a nice chap! Such a dear fellow! And I was saying to myself, fiercely, hissing it between my teeth, as they say in novels-and really clenching them together: I was saying to myself: 'Now, I'm in for it and I'll really have a good time for once in my life-for once in my life!' It was in the dark, in a carriage, coming back from a hunt ball. Eleven miles we had to drive! And then suddenly the bitterness of the endless poverty, of the endless acting-it fell on me like a blight, it spoilt everything. Yes, I had to realize that I had been spoilt even for the good time when it came. And I burst out crying and I cried and I cried for the whole eleven miles. Just imagine me crying! And just imagine me making a fool of the poor dear chap like that. It certainly wasn't playing the game, was it now?" I don't know; I don't know; was that last remark of hers the remark of a harlot, or is it what every decent woman, county family or not county family, thinks at the bottom of her heart? Or thinks all the time for the matter of that? Who knows?
Yet, if one doesn't know that at this hour and day, at this pitch of civilization to which we have attained, after all the preachings of all the moralists, and all the teachings of all the mothers to all the daughters in saecula saeculorum... but perhaps that is what all mothers teach all daughters, not with lips but with the eyes, or with heart whispering to heart. And, if one doesn't know as much as that about the first thing in the world, what does one know and why is one here? I asked Mrs Ashburnham whether she had told Florence that and what Florence had said and she answered:-"Florence didn't offer any comment at all. What could she say? There wasn't anything to be said. With the grinding poverty we had to put up with to keep up appearances, and the way the poverty came about-you know what I mean-any woman would have been justified in taking a lover and presents too. Florence once said about a very similar position-she was a little too well-bred, too American, to talk about mine-that it was a case of perfectly open riding and the woman could just act on the spur of the moment. She said it in American of course, but that was the sense of it. I think her actual words were: 'That it was up to her to take it or leave it....'"
I don't want you to think that I am writing Teddy Ashburnham down a brute. I don't believe he was. God knows, perhaps all men are like that. For as I've said what do I know even of the smoking-room? Fellows come in and tell the most extraordinarily gross stories-so gross that they will positively give you a pain. And yet they'd be offended if you suggested that they weren't the sort of person you could trust your wife alone with. And very likely they'd be quite properly offended-that is if you can trust anybody alone with anybody. But that sort of fellow obviously takes more delight in listening to or in telling gross stories-more delight than in anything else in the world. They'll hunt languidly and dress languidly and dine languidly and work without enthusiasm and find it a bore to carry on three minutes' conversation about anything whatever and yet, when the other sort of conversation begins, they'll laugh and wake up and throw themselves about in their chairs. Then, if they so delight in the narration, how is it possible that they can be offended-and properly offended-at the suggestion that they might make attempts upon your wife's honour? Or again: Edward Ashburnham was the cleanest looking sort of chap;-an excellent magistrate, a first rate soldier, one of the best landlords, so they said, in Hampshire, England. To the poor and to hopeless drunkards, as I myself have witnessed, he was like a painstaking guardian. And he never told a story that couldn't have gone into the columns of the Field more than once or twice in all the nine years of my knowing him. He didn't even like hearing them; he would fidget and get up and go out to buy a cigar or something of that sort. You would have said that he was just exactly the sort of chap that you could have trusted your wife with. And I trusted mine and it was madness. And yet again you have me. If poor Edward was dangerous because of the chastity of his expressions-and they say that is always the hall-mark of a libertine-what about myself? For I solemnly avow that not only have I never so much as hinted at an impropriety in my conversation in the whole of my days; and more than that, I will vouch for the cleanness of my thoughts and the absolute chastity of my life. At what, then, does it all work out? Is the whole thing a folly and a mockery? Am I no better than a eunuch or is the proper man-the man with the right to existence-a raging stallion forever neighing after his neighbour's womankind?
I don't know. And there is nothing to guide us. And if everything is so nebulous about a matter so elementary as the morals of sex, what is there to guide us in the more subtle morality of all other personal contacts, associations, and activities? Or are we meant to act on impulse alone? It is all a darkness.

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Word Lists:

Minuet : a slow, stately ballroom dance for two in triple time, popular especially in the 18th century.

Sportsmanship : fair and generous behavior or treatment of others, especially in a sports contest

Languidly :

Manicure : a cosmetic treatment of the hands involving shaping and often painting of the nails, removal of the cuticles, and softening of the skin.

Wormwood : a woody shrub with a bitter aromatic taste, used as an ingredient of vermouth and absinthe and in medicine.

Chastity : the state or practice of refraining from extramarital, or especially from all, sexual intercourse

Nebulous : in the form of a cloud or haze; hazy

Coterie : a small group of people with shared interests or tastes, especially one that is exclusive of other people

Sedulous : (of a person or action) showing dedication and diligence

Fatuous : silly and pointless

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Additional Information:

Rating: C Words in the Passage: 2817 Unique Words: 826 Sentences: 139
Noun: 623 Conjunction: 356 Adverb: 216 Interjection: 2
Adjective: 181 Pronoun: 314 Verb: 484 Preposition: 320
Letter Count: 11,894 Sentiment: Positive / Positive / Positive Tone: Neutral (Slightly Conversational) Difficult Words: 461
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