Summary: The three novels that make up The Forsyte Saga chronicle the ebbing social....+
The three novels that make up The Forsyte Saga chronicle the ebbing social power of the commercial upper-middle class Forsyte family through three generations, beginning in Victorian London during the 1880s and ending in the early 1920s. Galsworthy's masterly narrative examines not only their fortunes but also the wider developments within society, particularly the changing position of women.
The Forsyte Saga is a sequence of novels comprising The Man of Property (1906), In Chancery (1920), and To Let (1921) with two interludes, "Indian Summer of a Forsyte" (1918) and "Awakening", published together in 1922.
The saga begins with Soames Forsyte, a successful solicitor who buys land at Robin Hill on which to build a house for his wife Irene and future family. Eventually, the Forsyte family begins to disintegrate when Timothy Forsyte, the last of the old generation, dies at the age of 100.
In these novels, John Galsworthy documented a departed way of life, that of the affluent middle class that ruled England before the 1914 war. The class is criticized on account of its possessiveness, but there is also nostalgia because Galsworthy, as a man born into the class, could also appreciate its virtues.
Originally published as five books between 1906 and 1921.
Summary: Maid in Waiting is the first novel in the third and final trilogy of John Galsworthy’s....+
Maid in Waiting is the first novel in the third and final trilogy of John Galsworthy’s Forsyte Chronicles. In this seventh installment, the story continues the lives and times, loves and losses, and fortunes and deaths of the fictional but entirely representative family of propertied Victorians, the Forsytes. The trilogy here begun is called End of the Chapter and concerns the cousins of the younger Forsytes, the Cherrells.
The Forsyte Chronicles has become established as one of the most popular and enduring works of twentieth-century literature, described by the New York Times as “a social satire of epic proportions and one that does not suffer by comparison with Thackeray’s Vanity Fair…[A] comedy of manners, convincing both in its fidelity to life and as a work of art.”