“ MRS MARCH looks at him from across the dining-table, for he has marched up to it, till they are staring at each other across the now cleared rosewood. MRS MARCH. How are you going to stop her? JOHNNY. Oh, I'll stop her right enough. If I stuck it out in Hell, I can stick it out in Highgate. MRS MARCH. Johnny, listen. I've watched this girl; and I don't watch what I want to see—like your father—I watch what is. She's not a hard case—yet; but she will be. JOHNNY. And why? Because all you matter-of-fact people make up your minds to it. What earthly chance has she had? ”
John Galsworthy
Definition and stakes
John Galsworthy (1867–1933), an English novelist and playwright, is renowned for his incisive social critique and the Forsyte Saga trilogy, which traces the lives of a bourgeois family across generations. His works, such as The Man of Property and plays like The Silver Box, explore themes of class rigidity, gender oppression, and moral conflict, blending psychological depth with societal observation.
Through nuanced character studies and dramatic tension, Galsworthy dissected the constraints of tradition and the human cost of social stratification, earning him the 1932 Nobel Prize in Literature. His legacy endures in the continued relevance of his critiques and the layered narratives that bridge personal and collective struggles.
Quotes about “John Galsworthy”
“ You don't care for me, and I don't for you. No! You go and put your head in ice. [She turns to the door] Good-bye, Mr March! I'm sorry I've been so much trouble. MR MARCH. Not at all, not at all! FAITH. Oh! Yes, I have. There's nothing to be done with a girl like me. She goes out. JOHNNY. [Taking up the decanter to pour himself out a glass of brandy] Empty! COOK. [Who has entered with a tray] Yes, my dearie, I'm sure you are. JOHNNY. [Staring at his father] A vision, Dad! Windows of Clubs—men sitting there; and that girl going by with rouge on her cheeks— COOK. Oh! Master Johnny! ”
John Galsworthy,
The Fugitive: A Play in Four Acts
“ ARNAUD takes up the vase that has been superseded, and follows him out. And CLARE sits alone in silence, broken by the murmurs of the languid lord and his partner, behind the screen. She is breathing as if she had been running hard. She lifts her eyes. The tall young man, divested of hat and coat, is standing by her table, holding out his hand with a sort of bashful hardiness. YOUNG MAN. How d'you do? Didn't recognize you at first. So sorry —awfully rude of me. CLARE'S eyes seem to fly from him, to appeal to him, to resign herself all at once. Something in the YOUNG MAN responds. ”
