Articles liés à John Galsworthy
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A characteristic of every age is its group of popular writers. These writers at once concentrate and give out the spirit of their age—they are representative. Literature has many names of pioneers and apostles, who were ahead of or out of sympathy with their times, but these were never popular. The popular writer is essentially a man who conforms to his period; it is true that his conformity must have life and vigor, it must have nothing in it of the echo or the slave, it may even be disguised rather transparently as revolt—but whatever enterprises and excursions he allows himself, he remembers that there are certain bases which he must keep, and to which after every expedition he must come back. These bases are either the conventional ideas of his time, or the conventional methods of attacking them—the two are for such purposes the same.
Indeed Galsworthy can hardly be called a “popular” writer. I am not using the word in a contemptuous sense, but to describe a writer who is widely read. Galsworthy will never be widely read, for he alienates two important sets of readers—those who insist that a book shall teach them something, and those who with equal force insist that it shall teach them nothing. He fails the first class because, while supplying its demands, he does not satisfy the conditions it imposes. He undoubtedly has something to teach, but he avoids the direct appeal, which is what the public wants. Direct and open championship is the only way of making a cause popular—let us be broad-minded, by all means, but agreeing that “there may be something to say on the other side” is very different from finding out what that something is, and saying it. Also he is too sensitive, too moderate, too well balanced to please the “improvement-above-all-things” reader, whose perceptions are not of the subtlest.
On the other hand, he puts himself out of touch with those who do not want to be taught, because he undoubtedly has a propaganda, and is not an artist purely for art’s sake. Between himself and the numbers who would unhesitatingly admire him as a man of letters he raises the barrier of ideas which, while too subtly expressed to satisfy those who clamor for instruction, are quite decided enough to cut off those who object to it.
"Sheila Kaye Smith has written a sympathetic and discriminating study of John Galsworthy. She ranks the plays first, 'Strife' at the head; then the novels, then the sketches, last the poems....She analyses his attitude toward life as that of the reformer and the artist combined, the artist predominating. His strongest element is situation rather than character; his predisposition is toward suffering, and humor becomes in him irony....He paints life simply as he sees it, not as it may be altered by determination....Galsworthy's sense for beauty and fitness of word never fails, he is ever the poet in prose, the master of concise expressive language. His admirers will like this essay and it may help those who demand that he be other than he is to understand and value one of the real artists of our time." -The Independent
"A compact, readable little biography by the author of that substantial novel, 'Sussex Gorse.' Not all readers of Galsworthy will agree with Miss Kay-Smith's well-supported contention that Galsworthy is a great dramatist but not a great novelist, - especially will those differ with her who have read his earlier novels, 'The Man of Property,' and 'The Country House.'" - The Open Shelf
CONTENTS
Introduction
The Plays. I.
The Plays. II.
The Novels. I.
The Novels. II.
The Sketches
Galsworthy the Artist
Bibliography
American Bibliography
Sheila Kaye-Smith (4 February 1887 – 14 January 1956) was an English writer, known for her many novels set in the borderlands of Sussex and Kent in the English regional tradition. (Wikipedia)
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- ÉditeurCreateSpace Independent Publishing Platform
- Date d'édition2017
- ISBN 10 1979528004
- ISBN 13 9781979528009
- ReliureBroché
- Nombre de pages72
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