Then it seems to me a good critic should give his reader a few standards to go by. He can change the standards for every new critical attempt, so long as he keeps good faith. But it is just as well to say: This and this is the standard we judge by.

  Sainte-Beuve, on the whole, set up the standard of the “good man.” He sincerely believed that the great man was essentially the good man in the widest range of human sympathy. This remained his universal standard. Pater’s standard was the lonely philosopher of pure thought and pure aesthetic truth. Macaulay’s standard was tainted by a political or democratic bias, he must be on the side of the weak. Gibbon tried a purely moral standard, individual morality.

  Reading Galsworthy again — or most of him, for all is too much- one feels oneself in need of a standard, some conception of a real man and a real woman, by which to judge all these Forsytes and their contemporaries. One cannot judge them by the standard of the good man, nor of the man of pure thought, nor of the treasured humble nor the moral individual. One would like to judge them by the standard of the human being, but what, after all, is that? This is the trouble with the Forsytes. They are human enough, since anything in humanity is human, just as anything in nature is natural. Yet not one of them seems to be a really vivid human being. They are social beings. And what do we mean by that?

  It remains to define, just for the purpose of this criticism, what we mean by a social being as distinct from a human being. The necessity arises from the sense of dissatisfaction which these Forsytes give us. Why can’t we admit them as human beings? Why can’t we have them in the same category as Sairey Gamp for example, who is satirically conceived, or of Jane Austen’s people, who are social enough? We can accept Mrs. Gamp or Jane Austen’s characters or even George Meredith’s Egoist as human beings in the same category as ourselves. Whence arises this repulsion from the Forsytes, this refusal, this emotional refusal, to have them identified with our common humanity? Why do we feel so instinctively that they are inferiors?

  It is because they seem to us to have lost caste as human beings, and to have sunk to the level of the social being, that peculiar creature that takes the place in our civilization of the slave in the old civilizations. The human individual is a queer animal, always changing. But the fatal change today is the collapse from the psychology of the free human individual into the psychology of the social being, just as the fatal change in the past was a collapse from the freeman’s psyche to the psyche of the slave. The free moral and the slave moral, the human moral and the social moral: these are the abiding antitheses.

  While a man remains a man, a true human individual, there is at the core of him a certain innocence or naivety which defies all analysis, and which you cannot bargain with, you can only deal with it in good faith from your own corresponding innocence or naivete. This does not mean that the human being is nothing but naive or innocent. He is Mr. Worldly Wiseman also to his own degree. But in his essential core he is naive, and money does not touch him. Money, of course, with every man living goes a long way. With the alive human being it may go as far as his penultimate feeling. But in the last naked him it does not enter.

  With the social being it goes right through the centre and is the controlling principle no matter how much he may pretend, nor how much bluff he may put up. He may give away all he has to the poor and still reveal himself as a social being swayed finally and helplessly by the money-sway, and by the social moral, which is inhuman.

  It seems to me that when the human being becomes loo much divided between his subjective and objective consciousness, at last somediing splits in him and he becomes a social being. When he becomes too much aware of objective reality, and of his own isolation in the face of a universe of objective reality, the core of his identity splits, his nucleus collapses, his innocence or his naivete perishes, and he becomes only a subjective-objective reality, a divided thing hinged together but not strictly individual.

  While a man remains a man, before he falls and becomes a social individual, he innocently feels himself altogether within the great continuum of the universe. He is not divided nor cut off. Men may be against him, the tide of affairs may be rising to sweep him away. But he is one with the living continuum of the universe. From this he cannot be swept away. Hamlet and Lear feel it, as does Oedipus or Phaedra. It is the last and deepest feeling that is in a man while he remains a man. It is there the same in a deist like Voltaire or a scientist like Darwin: it is there, imperishable, in every great man: in Napoleon the same, till material things piled too much on him and he lost it and was doomed. It is the essential innocence and naivete of the human being, the sense of being at one with the great universe-continuum of space-time-life, which is vivid in a great man, and a pure nuclear spark in every man who is still free.

  But if man loses his mysterious naive assurance, which is his innocence; if he gives too much importance to the external objective reality and so collapses in his natural innocent pride, then he becomes obsessed with the idea of objectives or material assurance; he wants to insure himself, and perhaps everybody else: universal insurance. The impulse rests on fear. Once the individual loses his naive at-oneness with the living universe he falls into a state of fear and tries to insure himself with wealth. If he is an altruist he wants to insure everybody, and feels it is the tragedy of tragedies if this can’t be done. But the whole necessity for thus materially insuring oneself with wealth, money, arises from the state of fear into which a man falls who has lost his at-oneness with the living universe, lost his peculiar nuclear innocence and fallen into fragmentariness. Money, material salvation is the only salvation. What is salvation is God. Hence money is God. The social being may rebel even against this god, as do many of Galsworthy’s characters. But that does not give them back their innocence. They are only anti-materialists instead of positive materialists. And the anti-materialist is a social being just the same as the materialist, neither more nor less. He is castrated just the same, made a neuter by having lost his innocence, the bright little individual spark of his at-oneness.

  When one reads Mr. Galsworthy’s books it seems as if there were not on earth one single human individual. They are all these social beings, positive and negative. There is not a free soul among them, not even Pendyce, or June Forsyte. If money does not actively determine their being, it does negatively. Money, or property, which is the same thing. Mrs. Pendyce, lovable as she is, is utterly circumscribed by property. Ultimately, she is not lovable at all, she is part of the fraud, she is prostituted to property. And there is nobody else. Old Jolyon is merely a sentimental materialist. Only for one moment do we see a man, and that is the road-sweeper in Fraternity after he comes out of prison and covers his face. But even his manhood has to be explained away by a wound in the head: an abnormality.

  Now it looks as if Mr. Galsworthy set out to make that very point: to show that the Forsytes were not full human individuals, but social beings fallen to a lower level of life. They have lost that bit of free manhood and free womanhood which makes men and women. The Man of Property has the elements of a very great novel, a very great satire. It sets out to reveal the social being in all his strength and inferiority. But the author has not the courage to carry it through. The greatness of the book rests in its new and sincere and amazingly profound satire. It is the ultimate satire on modern humanity, and done from the inside, with really consummate skill and sincere creative passion, something quite new. It seems to be a real effort to show up the social being in all his weirdness. And then it fizzles out.

  Then, in the love affair of Irene and Bosinney, and in the sentimentalizing of old Jolyon Forsyte, the thing is fatally blemished. Galsworthy had not quite enough of the superb courage of his satire. He faltered, and gave in to the Forsytes. It is a thousand pities. He might have been the surgeon the modern soul needs so badly, to cut away the proud flesh of our Forsytes from the living body of men who are fully alive. Instead, he put down the knife and laid on a soft, sentimental poultice, and helped to make the corruption worse.

  Satire exists for the very purpose of killing the social being, showing him what an inferior he is and, with all his parade of social honesty, how subtly and corruptly debased. Dishonest to life, dishonest to the living universe on which he is parasitic as a louse. By ridiculing the social being, the satirist helps the true individual, the real human being, to rise to his feet again and go on with the battle. For it is always a battle, and always will be.

  Not that the majority are necessarily social beings. But the majority is only conscious socially: humanly, mankind is helpless and unconscious, unaware even of the thing most precious to any human being, that core of manhood or womanhood, naive, innocent at-oneness with the living universe-continuum, which alone makes a man individual and, as an individual, essentially happy, even if he be driven mad like Lear. Lear was essentially happy, even in his greatest misery. A happiness from which Goneril and Regan were excluded as lice and bugs are excluded from happiness, being social beings, and, as such, parasites, fallen from true freedom and independence.

  But the tragedy today is that men are only materially and socially conscious. They are unconscious of their own manhood, and so they let it be destroyed. Out of free men we produce social beings by the thousand every week.

  The Forsytes are all parasites, and Mr. Galsworthy set out, in a really magnificent attempt, to let us see it. They are parasites upon the thought, the feelings, the whole body of life of really living individuals who have gone before them and who exist alongside with them. All they can do, having no individual life of their own, is out of fear to rake together property, and to feed upon the life that has been given by living men to mankind. They have no life, and so they live for ever, in perpetual fear of death, accumulating property to ward off death. They can keep up convention, but they cannot carry on a tradition. There is a tremendous difference between the two things. To carry on a tradition you must add something to the tradition. But to keep up a convention needs only the monotonous persistency of a parasite, the endless endurance of the craven, those who fear life because they are not alive, and who cannot die because they cannot live — the social beings.

  As far as I can see, there is nothing but Forsyte in Galsworthy’s books: Forsyte positive or Forsyte negative, Forsyte successful or Forsyte manque. That is, every single character is determined by money: either the getting it, or the having it, or the wanting it, or the utter lacking it. Getting it are the Forsytes as such; having it are the Pendyces and patricians and Hilarys and Biancas and all that lot; wanting it are the Irenes and Bosinneys and young Jolyons; and utterly lacking it are all the charwomen and squalid poor who from the background — the shadows of the “having” ones, as old Mr. Stone says. This is the whole Galsworthy gamut, all absolutely determined by money, and not an individual soul among them. They are all fallen, all social beings, a castrated lot.

  Perhaps the overwhelming numerousness of the Forsytes frightened Mr. Galsworthy from utterly damning them. Or perhaps it was something else, something more serious in him. Perhaps it was his utter failure to see what you were when you weren’t a Forsyte. What was there besides Forsytes in all the wide human world? Mr. Galsworthy looked, and found nothing. Strictly and truly, after his frightened search, he had found nothing. But he came back with Irene and Bosinney, and offered us that. Herel he seems to say. Here is the anti-Forsyte! Here! Here you have it! Love! Pa-assion! PASSION.

  We look at this love, this PASSION, and we see nothing but a doggish amorousness and a sort of anti-Forsytism. They are the anti half of the show. Runaway dogs of these Forsytes, running in the back garden and furtively and ignominiously copulating — this is the effect, on me, of Mr. Galsworthy’s grand love affairs, Dark Flowers or Bosinneys, or Apple Trees or George Pendyce — whatever they be. About every one of them something ignominious and doggish, like dogs copulating in the street, and looking round to see if the Forsytes are watching.

  Alas! this is the Forsyte trying to be freely sensual. He can’t do it; he’s lost it. He can only be doggishly messy. Bosinney is not only a Forsyte, but an anti-Forsyte, with a vast grudge against property. And the thing a man has a vast grudge against is the man’s determinant. Bosinney is a property hound, but he has run away from the kennels, or been born outside the kennels, so he is a rebel. So he goes sniffing round the property bitches, to get even with the successful property hounds that way. One cannot help preferring Soames Forsyte, in a choice of evils.

  Just as one prefers June or any of the old aunts to Irene. Irene seems to me a sneaking, creeping, spiteful sort of bitch, an anti- Forsyte, absolutely living off the Forsytes — yes, to the very end; absolutely living off their money and trying to do them dirt. She is like Bosinney, a property mongrel doing dirt in the property kennels. But she is a real property prostitute, like the little model in Fraternity. Only she is anti! It is a type recurring again and again in Galsworthy: the parasite upon the parasites, “Big fleas have little fleas, etc.” And Bosinney and Irene, as well as the vagabond in The Island Pharisees, are among the little fleas. And as a tramp loves his own vermin, so the Forsytes and the Hilarys love these, their own particular body parasites, their antis.

  It is when he comes to sex that Mr. Galsworthy collapses finally. He becomes nastily sentimental. He wants to make sex important, and he only makes it repulsive. Sentimentalism is the working off on yourself of feelings you haven’t really got. We all want to have certain feelings: feelings of love, of passionate sex, of kindliness. and so forth. Very few people really feel love, or sex passion, or kindliness, or anything else that goes at all deep. So the mass just fake these feelings inside themselves. Faked feelings! The world is all gummy with them. They are better than real feelings, because you can spit them out when you brush your teeth; and then tomorrow you can fake them afresh.

  Shelton, in The Island Pharisees, is the first of Mr. Galsworthy’s lovers, and he might as well be the last. He is almost comical. All we know of his passion for Antonia is that he feels at the beginning a “hunger” for her, as if she were a beefsteak. And towards the end he once kisses her, and expects her, no doubt, to fall instantly at his feet overwhelmed. He never for a second feels a moment of gentle sympathy with her. She is class-bound, but she doesn’t seem to have been inhuman. The inhuman one was the lover. He can gloat over her in the distance, as if she were a dish of pig’s trotters, pieds truffes: she can be an angelic vision to him a little way off, but when the poor thing has to be just a rather ordinary middle- class girl to him, quite near, he hates her with a comical, rancorous hate. It is most queer. He is helplessly anti. He hates her for even existing as a woman of her own class, for even having her own existence. Apparently she should just be a floating female sex-organ, hovering round to satisfy his little “hungers,” and then basta. Anything of the real meaning of sex, which involves the whole of a human being, never occurs to him. It is a function, and the female is a sort of sexual appliance, no more.

  And so we have it again and again, on this low and bastard level, all the human correspondence lacking. The sexual level is extraordinarily low, like dogs. The Galsworthy heroes are all weirdly in love with themselves, when we know them better, afflicted with chronic narcissism. They know just three types of women: the Pendyce mother, prostitute to property; the Irene, the essential anti prostitute, the floating, flaunting female organ; and the social woman, the mere lady. All three are loved and hated in turn by the recurrent heroes. But it is all on the debased level of property, positive or anti. It is all a doggy form of prostitution. Be quick and have done.

  One of the funniest stories is The Apple Tree. The young man finds, at a lonely Devon farm, a little Welsh farm-girl who, being a Celt and not a Saxon, at once falls for the Galsworthian hero. This young gentleman, in the throes of narcissistic love for his marvellous self, falls for the maid because she has fallen so utterly and abjectly for him. She doesn’t call him “My King,” not being Wellsian; she only says: “I can’t live away from you. Do what you like with me. Only let me come with you!” The proper prostitutional announcement!

  For this, of course, a narcissistic young gentleman just down from Oxford falls at once. Ensues a grand pa-assion. He goes to buy her a proper frock to be carried away in, meets a college friend with a young lady sister, has jam for tea and stays the night, and the grand pa-assion has died a natural death by the time he spreads the marmalade on his bread. He has returned to his own class, and nothing else exists. He marries the young lady, true to his class. But to fill the cup of his vanity, the maid drowns herself. It is funny that maids only seem to do it for these narcissistic young gentlemen who, looking in the pool for their own image, desire the added satisfaction of seeing the face of drowned Ophelia there as well; saving them the necessity of taking the narcissus plunge in person. We have gone one better than the myth. Narcissus, in Mr. Galsworthy, doesn’t drown himself. He asks Ophelia, or Megan, kindly to drown herself instead. And in this fiction she actually does. And he feels so wonderful about it!

  Mr. Galsworthy’s treatment of passion is really rather shameful.

  The whole thing is doggy to a degree. The man has a temporary “hunger”; he is “on the heat” as they say of dogs. The heat passes. It’s done. Trot away, if you’re not tangled. Trot off, looking shamefacedly over your shoulder. People have been watching! Damn them! But never mind, it’ll blow over. Thank God, the bitch is trotting in the other direction. She’ll soon have another trail of dogs after her. That’ll wipe out my traces. Good for that! Next time I’ll get properly married and do my doggishness in my own house.