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The Forsyte Chronicles #3
La dynastie des Forsyte - Tome 3 À louer
Intrigues dans la haute bourgeoisie anglaise sur trois générations.Un classique de la littérature anglaiseVingt ans ont passé depuis le divorce de Soames et d'Irène. L'un et l'autre se sont remariés. Une troisième génération de Forsyte s'apprête à occuper le devant de la scène dans cette Angleterre des années 20 dont les habitudes, les idées et les moeurs ont évolué. Signe des temps : c'est dans une galerie d'art moderne que Fleur, la fille de Soames, fera la connaissance de Jon, le fils d'Irène, tandis que son père, amateur éclairé mais traditionnaliste, parcourt l'exposition sans dissimuler son dédain pour la peinture d'avant-garde. Si les moeurs nouvelles facilitent le rapprochement de Fleur et de Jon, les anciennes divisions familiales, dont ils feront douloureusement la découverte, risquent de compromettre à jamais leurs projets d'union...
329 pages, Kindle Edition
First published January 1, 1921
68 people are currently reading
1176 people want to read
About the author
John Galsworthy
2,465 books476 followersLiterary career of English novelist and playwright John Galsworthy, who used John Sinjohn as a pseudonym, spanned the Victorian, Edwardian and Georgian eras.
In addition to his prolific literary status, Galsworthy was also a renowned social activist. He was an outspoken advocate for the women's suffrage movement, prison reform and animal rights. Galsworthy was the president of PEN, an organization that sought to promote international cooperation through literature.
John Galsworthy was awarded the Nobel Prize in literature in 1932 "for his distinguished art of narration which takes its highest form in The Forsyte Saga."
In addition to his prolific literary status, Galsworthy was also a renowned social activist. He was an outspoken advocate for the women's suffrage movement, prison reform and animal rights. Galsworthy was the president of PEN, an organization that sought to promote international cooperation through literature.
John Galsworthy was awarded the Nobel Prize in literature in 1932 "for his distinguished art of narration which takes its highest form in The Forsyte Saga."
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Displaying 1 - 30 of 151 reviews
April 17, 2024
I didn't know John Galsworthy received the Nobel Prize. Apparently, the Nobel Prize in literature was awarded to him in 1932 for "his distinguished art of narration which takes its highest form in The Forsyte Saga".
Well, this perfectly sums up my own impression of Galsworthy's writing and The Forsyte Saga: the art of narration. The theme, the setting, the elaborate plot are all secondary to Galsworthy's art of bringing characters to life, of his mastery of depicting their passions and sorrows in minute and intricate details.
I'm now looking forward to reading Modern Comedy, the continuation of The Forsyte Saga.
Well, this perfectly sums up my own impression of Galsworthy's writing and The Forsyte Saga: the art of narration. The theme, the setting, the elaborate plot are all secondary to Galsworthy's art of bringing characters to life, of his mastery of depicting their passions and sorrows in minute and intricate details.
I'm now looking forward to reading Modern Comedy, the continuation of The Forsyte Saga.
August 30, 2013
I'm not sure why I've found it difficult to write a review of this novel. It may be because much of what I want to say about it I've already written in my reviews of the the first two novels of the The Forsyte Saga trilogy, The Man of Property: The Forsyte Saga and In Chancery, which can be found here and here.
This novel is as witty a commentary on English middle class values as the first two novels in the trilogy. Galsworthy's prose is elegant and full of irony and yet he depicts even the least attractive of his characters with understanding and compassion. Although I occasionally thought the narrative dragged just a bit, I remained engaged, probably because after listening to the first two novels, I had invested a lot of time in getting to know the Forsytes and wanted to know what happened to them.
As a whole, the trilogy is much more than just a multi-generational soap opera. Galsworthy chronicled the passing of the Victorian and Edwardian ages, and the social, economic and political changes experienced by the English middle class as it moved into the 20th century. Into that social commentary, he wove a meditation on love, life, death, beauty, the good and the bad of human feelings and aspirations. For a novelist writing in the 1920s, Galsworthy had a rather old-fashioned style, but his writing is accessible, he had something to say and he was able to make his characters and the dilemmas they face seem very real.
All in all, I found listening to the audiobook edition of the novel a most worthwhile and at times moving experience. As I've mentioned in my reviews of the other novels in the trilogy, David Case is entirely the right narrator for this work. However, there is a minor problem with the production values of the audiobook in that a number of sentences are repeated, something which obviously should have been picked up in the editing process.
It was good to be listening to this book as my friend Jemidar was reading it. I'm glad that she liked the book as much as I did.
July 2, 2025
Il terzo libro della saga dei Forsyte narra il contrastato amore tra Jolyon Forsyte e la cugina Fleur: i due ragazzi si innamorano perdutamente ma l'odio acerrimo tra i loro genitori sarà l'insormontabile ostacolo al realizzarsi del loro idillio, tutto questo raccontato in maniera magistrale e inimitabile da un Galsworthy al massimo delle sue capacità introspettive
May 3, 2012
I have fallen in love with Galsworthy's writing. This third novel of the Forsyte Saga confirmed it. Few can describe a setting as well as he does. Few have such a subtle wit. And, most importantly, few writers convey human emotion as powerfully, subtly, and authentically as does Galsworthy.
When I had reached the 2/3rds points, I had the paradoxical emotions of wanting to hurry on to see how the story ends . . . and the desire to slow down and savor the remaining moments, not wanting to leave off these characters.
However, I thought the novel weakened in the final chapters (or maybe I was just too tired and distracted last night when I was finishing?). I had intended to give it five stars and declare it my favourite of the saga. The final chapters seemed melodramatic and sentimental.
One of Galsworthy's daring choices, is to make Soames Forsyte the central character of the saga, despite a wide array of vivid characters to choose from. Soames disgusts us, for many reasons, but particularly his sense of entitlement. Yet, we feel his hurt, comprehend his reasoning, and gain some sympathy for him.
It was also an interesting choice how Irene is presented. She is ideal beauty and object of desire and passion throughout the saga. Yet, unlike most of the other characters, she is never fully formed for us. Rather, we mostly experience her through the desires and observations of others, mostly, but not exclusively, men. It was a decision that allows Irene to become an object or ideal for the reader, rather than a complete person. But this is done precisely to demonstrate how she was treated as such in middle class British culture of the late 19th and early 20th centuries.
There are six more novels in the Forsyte Chronicles. They will be on my list.
When I had reached the 2/3rds points, I had the paradoxical emotions of wanting to hurry on to see how the story ends . . . and the desire to slow down and savor the remaining moments, not wanting to leave off these characters.
However, I thought the novel weakened in the final chapters (or maybe I was just too tired and distracted last night when I was finishing?). I had intended to give it five stars and declare it my favourite of the saga. The final chapters seemed melodramatic and sentimental.
One of Galsworthy's daring choices, is to make Soames Forsyte the central character of the saga, despite a wide array of vivid characters to choose from. Soames disgusts us, for many reasons, but particularly his sense of entitlement. Yet, we feel his hurt, comprehend his reasoning, and gain some sympathy for him.
It was also an interesting choice how Irene is presented. She is ideal beauty and object of desire and passion throughout the saga. Yet, unlike most of the other characters, she is never fully formed for us. Rather, we mostly experience her through the desires and observations of others, mostly, but not exclusively, men. It was a decision that allows Irene to become an object or ideal for the reader, rather than a complete person. But this is done precisely to demonstrate how she was treated as such in middle class British culture of the late 19th and early 20th centuries.
There are six more novels in the Forsyte Chronicles. They will be on my list.
September 14, 2025
“A lonely business--life! What you had you never could keep to yourself! As you warned one off, you let another in. One could make sure of nothing!”
An utterly satisfying conclusion to the Forsyte Saga.
Only one of the children of the patriarch “Superior Dosset” Forsyte, James, is still alive, and barely. Yet his existence in the old house with all the Victorian furnishings and the two doting servants stands until the very end of the story, as a reminder of the past and the solidity that is disappearing.
This volume features Superior Dosset’s great-grandchildren, particularly Old Jolyon’s youngest grandson Jon, and James’ granddaughter Fleur, Soames’ only daughter. By now readers know the characters in this family so well, that we can see traces of their parents and grandparents in these young people, and wonder which part of their character will win out in the end.
Galsworthy gave us so many fully-formed characters, over such a long period that reading this really did feel like being in a family. Historical events were certainly the backdrop, but this was all about the people--their loves and dreams, their quirks and drives, their mistakes and regrets. It was not about the history itself but about how they experienced the history unfolding. One of the best examples of captivating characterization I’ve ever come across.
I will probably watch the upcoming miniseries, and maybe even the older versions. But I know already how disappointed I’ll be. It’s a great story with intriguing relationships. The costumes will be fun, and I’ll enjoy the old homes and furnishings. But they can’t reproduce the heartfelt, contemplative writing that made these books so brilliant to me.
I’m delighted to have read this, and don’t think I’ll ever forget the Forsytes. Five stars to represent my rating for the saga as a whole, and for providing a perfect ending.
An utterly satisfying conclusion to the Forsyte Saga.
Only one of the children of the patriarch “Superior Dosset” Forsyte, James, is still alive, and barely. Yet his existence in the old house with all the Victorian furnishings and the two doting servants stands until the very end of the story, as a reminder of the past and the solidity that is disappearing.
This volume features Superior Dosset’s great-grandchildren, particularly Old Jolyon’s youngest grandson Jon, and James’ granddaughter Fleur, Soames’ only daughter. By now readers know the characters in this family so well, that we can see traces of their parents and grandparents in these young people, and wonder which part of their character will win out in the end.
Galsworthy gave us so many fully-formed characters, over such a long period that reading this really did feel like being in a family. Historical events were certainly the backdrop, but this was all about the people--their loves and dreams, their quirks and drives, their mistakes and regrets. It was not about the history itself but about how they experienced the history unfolding. One of the best examples of captivating characterization I’ve ever come across.
I will probably watch the upcoming miniseries, and maybe even the older versions. But I know already how disappointed I’ll be. It’s a great story with intriguing relationships. The costumes will be fun, and I’ll enjoy the old homes and furnishings. But they can’t reproduce the heartfelt, contemplative writing that made these books so brilliant to me.
I’m delighted to have read this, and don’t think I’ll ever forget the Forsytes. Five stars to represent my rating for the saga as a whole, and for providing a perfect ending.
September 3, 2023
“Soames came nearer than he had ever been to a realisation of that truth- passing understanding of a Forsyte pure- that the body of Beauty has a spiritual essence, uncapturable save by a devotion which thinks not of self.”
What an ending to this magnificent trilogy. I can’t say much without spoiling the rest of the book, but I spent almost two months reading The Forsyte Saga and it was SO worth it. Galsworthy has a way of writing that is intoxicating and just downright masterful. I will pick up the next Forsyte trilogy at some point, but I need this to soak in for a while first. Definitely the best Victorian/post-Victorian family saga I’ve ever read.
What an ending to this magnificent trilogy. I can’t say much without spoiling the rest of the book, but I spent almost two months reading The Forsyte Saga and it was SO worth it. Galsworthy has a way of writing that is intoxicating and just downright masterful. I will pick up the next Forsyte trilogy at some point, but I need this to soak in for a while first. Definitely the best Victorian/post-Victorian family saga I’ve ever read.
December 12, 2018
Terzo capitolo della prima quadrilogia della famiglia Forsyte, un lungo viaggio attraverso l'Inghilterra che è un po' quadro della tarda società vittoriana fino agli anni del primo dopoguerra.
Complici le scelte delle case editrici nostrane, c'è molta confusione attorno ai titoli di questa saga, che così si compone:
Prima quadrilogia dei Forsyte:
- Il Possidente (sia per Mondadori che per Elliot edizioni).
- In Tribunale (per Elliot, Mondadori lo chiama "Alla Sbarra")
- In Affitto (per Elliot, Mondadori lo chiama "Appigionasi")
- Casa Forsyte (per Elliot, mentre Mondadori chiude la raccolta chiamandola "La borsa dei Forsyte)
In realtà seguono poi due interludi (ma si dice che invece vadano considerati addirittura dopo il primo volume) anche se in realtà la Saga è molto più lunga e complessa (segue infatti poi una seconda trilogia intitolata "Una commedia moderna" , con titoli come "La scimmia bianca" e "Il cucchiaio d'argento", "Il canto del cigno", si tratta infatti complessivamente di poco meno di 15 libri) . Purtroppo per avere l'intera produzione si deve fare, al momento, un pout-pourri di case editrici e questo sicuramente invoglia ben pochi lettori.
Peccato perché Galsworthy è un altro vittoriano che merita di essere tolto dall'oblio. Questo capitolo è stato semplicemente splendido, praticamente perfetto.
Complici le scelte delle case editrici nostrane, c'è molta confusione attorno ai titoli di questa saga, che così si compone:
Prima quadrilogia dei Forsyte:
- Il Possidente (sia per Mondadori che per Elliot edizioni).
- In Tribunale (per Elliot, Mondadori lo chiama "Alla Sbarra")
- In Affitto (per Elliot, Mondadori lo chiama "Appigionasi")
- Casa Forsyte (per Elliot, mentre Mondadori chiude la raccolta chiamandola "La borsa dei Forsyte)
In realtà seguono poi due interludi (ma si dice che invece vadano considerati addirittura dopo il primo volume) anche se in realtà la Saga è molto più lunga e complessa (segue infatti poi una seconda trilogia intitolata "Una commedia moderna" , con titoli come "La scimmia bianca" e "Il cucchiaio d'argento", "Il canto del cigno", si tratta infatti complessivamente di poco meno di 15 libri) . Purtroppo per avere l'intera produzione si deve fare, al momento, un pout-pourri di case editrici e questo sicuramente invoglia ben pochi lettori.
Peccato perché Galsworthy è un altro vittoriano che merita di essere tolto dall'oblio. Questo capitolo è stato semplicemente splendido, praticamente perfetto.
February 25, 2021
Londra 1920. La Grande Guerra che ha travolto il mondo è ormai finita da due anni e ha lasciato dietro di sé grandi sconvolgimenti e cambiamenti sia nelle persone sia nelle nazioni.
Anche la famiglia Forsyte è cambiata: i cugini tra loro non si parlano, non si frequentano, si sopportano appena e i loro rapporti sono sempre più sporadici; la grande famiglia Forsyte che avevamo conosciuto all'inizio del primo volume è ormai sempre più frammentata.
L'epoca vittoriana che aveva contrassegnato l'Inghilterra per tanti decenni è ormai definitivamente tramontata; può vantare però ancora un suo degno ambasciatore nel centenario Timothy Forsyte, l'ultimo dei fratelli Forsyte ancora in vita nonostante sia sempre stato considerato da tutti quello più cagionevole di salute; vive isolato da tutto e da tutti nella vecchia casa di famiglia e non ha mai saputo dello scoppio del conflitto mondiale e della sua fine.
L'unico che tra i suoi parenti continua a fargli visita è il nipote Soames, il più antiquato e tradizionalista tra i Forsyte di seconda generazione, che rimpiange la solidità e i valori ben definiti dell'epoca vittoriana; un'epoca di grandi contrasti e contraddizioni, di grandi progressi scientifici, culturali, economici, politici, ma anche un'epoca di tenace rigidità morale e sociale, che la figura di Soames, con la sua fissazione per la proprietà e la sua sensibilità per il bello e per l'arte, rappresenta perfettamente.
La società inglese del dopoguerra, invece, è una società profondamente cambiata, molto superficiale ed evanescente, dove tutto è provvisorio, “in affitto”(da qui il titolo dell'opera) sia a livello sentimentale sia a livello economico; un'epoca in cui il denaro ha un fascino potete e i principi morali sono ormai relegati in secondo piano; la proprietà, l'interesse economico-finanziario e la sicurezza cedono il passo all'individualismo più sfrenato e alla realizzazione immediata dei desideri di ognuno. In questa nuova società che cambia ed evolve, le donne riescono a ritagliarsi un ruolo da protagoniste, riuscendo ad avere diritti e responsabilità che fino a pochi anni prima erano impensabili.
Simbolo di questa “nuova” donna è Fleur Forsyte, la protagonista della vicenda che Galsworthy ci racconta in questo volume.
Fleur (figlia di Soames ed Annette) è una ragazza spregiudicata, intraprendente, volitiva, determinata e sempre sicura di sé, amatissima dal padre Soames (da cui ha ereditato il forte senso di possesso) è stata viziata da quest'ultimo sin dalla più tenera età ed abituata ad avere sempre ciò che desidera. Durante la visita ad una galleria d'arte insieme a suo padre incontra casualmente Jon Forsyte (figlio di Joylon Forsyte e Irene) anche lui lì con sua madre. Jon è, invece, un ragazzo introverso, timido, spesso impacciato, generoso, solitario, gentile e ingenuo, amante della natura e della poesia e molto legato alla sua famiglia. Tra i due giovani scocca il classico colpo di fulmine e i due si innamorano perdutamente; ma il loro amore è ovviamente osteggiato da entrambe le famiglie a causa dell'odio viscerale dei loro genitori. Una storia d'amore tormentata e travagliata che ha il sapore di una beffa del destino soprattutto per Irene e Soames; infatti questo amore riesce a risvegliare fantasmi del passato e segreti inconfessati; dolore e risentimento mai placati riescono a minare la felicità dei due giovani innocenti che nulla centrano con le vicende che hanno coinvolto i loro genitori tanti anni prima della loro nascita.
Questo romanzo e naturalmente il suo autore riesce a farci vedere come spesso l'odio e i risentimenti siano più tenaci di ogni cosa, anche della felicità dei propri figli.
Soames, alla fin fine, vorrebbe dare il suo beneplacito a questa relazione pur di fare la felicità della figlia, al contrario di Irene e Joylon sempre descritti come progressisti ed eruditi che invece si comportano da ipocriti: a parole dicono di non essere contrari alla relazione ma il loro comportamento dice tutto il contrario.
In questo romanzo la scrittura di Galsworthy si fa più intima e più intensa; ci regala delle bellissime e coinvolgenti descrizioni della natura e del paesaggio inglese (mi sono piaciute tantissimo); l'analisi psicologica dei personaggi è più approfondita e mette in mostra gli egoismi delle figure principali. Malgrado lo stile coinvolgente, elegante e spiritoso allo stesso tempo questo romanzo mi è piaciuto un po' meno dei primi due. Infatti nonostante la presenza di una storia d'amore contrastata che mi ha commosso e viene raccontata in maniera magistrale da un Galsworthy al massimo delle sue capacità introspettive questo romanzo non è riuscito a catturarmi come mi sarei aspettata; questo è sicuramente dovuto al fatto che man mano che procedevo con la lettura mi ha infastidita e stancato sempre di più l'ennesima descrizione indulgente di Irene (personaggio che non mi è mai stato simpatico). L'autore inglese la disegna ancora una volta come una dea, un essere sopranaturale infallibile che sta sempre dalla parte della ragione; invece è proprio lei che ignora il perdono e sarà il suo rancore duro, sordo e tenace e il potere (che forse inconsciamente o forse no) ha sempre esercitato sul marito e sul figlio in tutti questi anni a mettere una parola definitiva all'idillio tra i due giovani.
[...] loro due volevano soltanto vivere, e il passato si levava sul loro cammino a impedirglielo, un passato di cui essi non erano responsabili e che neanche riuscivano a comprendere!
Anche la famiglia Forsyte è cambiata: i cugini tra loro non si parlano, non si frequentano, si sopportano appena e i loro rapporti sono sempre più sporadici; la grande famiglia Forsyte che avevamo conosciuto all'inizio del primo volume è ormai sempre più frammentata.
L'epoca vittoriana che aveva contrassegnato l'Inghilterra per tanti decenni è ormai definitivamente tramontata; può vantare però ancora un suo degno ambasciatore nel centenario Timothy Forsyte, l'ultimo dei fratelli Forsyte ancora in vita nonostante sia sempre stato considerato da tutti quello più cagionevole di salute; vive isolato da tutto e da tutti nella vecchia casa di famiglia e non ha mai saputo dello scoppio del conflitto mondiale e della sua fine.
L'unico che tra i suoi parenti continua a fargli visita è il nipote Soames, il più antiquato e tradizionalista tra i Forsyte di seconda generazione, che rimpiange la solidità e i valori ben definiti dell'epoca vittoriana; un'epoca di grandi contrasti e contraddizioni, di grandi progressi scientifici, culturali, economici, politici, ma anche un'epoca di tenace rigidità morale e sociale, che la figura di Soames, con la sua fissazione per la proprietà e la sua sensibilità per il bello e per l'arte, rappresenta perfettamente.
La società inglese del dopoguerra, invece, è una società profondamente cambiata, molto superficiale ed evanescente, dove tutto è provvisorio, “in affitto”(da qui il titolo dell'opera) sia a livello sentimentale sia a livello economico; un'epoca in cui il denaro ha un fascino potete e i principi morali sono ormai relegati in secondo piano; la proprietà, l'interesse economico-finanziario e la sicurezza cedono il passo all'individualismo più sfrenato e alla realizzazione immediata dei desideri di ognuno. In questa nuova società che cambia ed evolve, le donne riescono a ritagliarsi un ruolo da protagoniste, riuscendo ad avere diritti e responsabilità che fino a pochi anni prima erano impensabili.
Simbolo di questa “nuova” donna è Fleur Forsyte, la protagonista della vicenda che Galsworthy ci racconta in questo volume.
Fleur (figlia di Soames ed Annette) è una ragazza spregiudicata, intraprendente, volitiva, determinata e sempre sicura di sé, amatissima dal padre Soames (da cui ha ereditato il forte senso di possesso) è stata viziata da quest'ultimo sin dalla più tenera età ed abituata ad avere sempre ciò che desidera. Durante la visita ad una galleria d'arte insieme a suo padre incontra casualmente Jon Forsyte (figlio di Joylon Forsyte e Irene) anche lui lì con sua madre. Jon è, invece, un ragazzo introverso, timido, spesso impacciato, generoso, solitario, gentile e ingenuo, amante della natura e della poesia e molto legato alla sua famiglia. Tra i due giovani scocca il classico colpo di fulmine e i due si innamorano perdutamente; ma il loro amore è ovviamente osteggiato da entrambe le famiglie a causa dell'odio viscerale dei loro genitori. Una storia d'amore tormentata e travagliata che ha il sapore di una beffa del destino soprattutto per Irene e Soames; infatti questo amore riesce a risvegliare fantasmi del passato e segreti inconfessati; dolore e risentimento mai placati riescono a minare la felicità dei due giovani innocenti che nulla centrano con le vicende che hanno coinvolto i loro genitori tanti anni prima della loro nascita.
Questo romanzo e naturalmente il suo autore riesce a farci vedere come spesso l'odio e i risentimenti siano più tenaci di ogni cosa, anche della felicità dei propri figli.
Soames, alla fin fine, vorrebbe dare il suo beneplacito a questa relazione pur di fare la felicità della figlia, al contrario di Irene e Joylon sempre descritti come progressisti ed eruditi che invece si comportano da ipocriti: a parole dicono di non essere contrari alla relazione ma il loro comportamento dice tutto il contrario.
In questo romanzo la scrittura di Galsworthy si fa più intima e più intensa; ci regala delle bellissime e coinvolgenti descrizioni della natura e del paesaggio inglese (mi sono piaciute tantissimo); l'analisi psicologica dei personaggi è più approfondita e mette in mostra gli egoismi delle figure principali. Malgrado lo stile coinvolgente, elegante e spiritoso allo stesso tempo questo romanzo mi è piaciuto un po' meno dei primi due. Infatti nonostante la presenza di una storia d'amore contrastata che mi ha commosso e viene raccontata in maniera magistrale da un Galsworthy al massimo delle sue capacità introspettive questo romanzo non è riuscito a catturarmi come mi sarei aspettata; questo è sicuramente dovuto al fatto che man mano che procedevo con la lettura mi ha infastidita e stancato sempre di più l'ennesima descrizione indulgente di Irene (personaggio che non mi è mai stato simpatico). L'autore inglese la disegna ancora una volta come una dea, un essere sopranaturale infallibile che sta sempre dalla parte della ragione; invece è proprio lei che ignora il perdono e sarà il suo rancore duro, sordo e tenace e il potere (che forse inconsciamente o forse no) ha sempre esercitato sul marito e sul figlio in tutti questi anni a mettere una parola definitiva all'idillio tra i due giovani.
[...] loro due volevano soltanto vivere, e il passato si levava sul loro cammino a impedirglielo, un passato di cui essi non erano responsabili e che neanche riuscivano a comprendere!
June 1, 2016
עשרים שנים אחרי. השנה 1920, מלחמת העולם הראשונה הסתיימה זה מכבר. סומס בן 65, נשוי לאנט, אדם אמיד ביותר. בתו פלר בת 19. במשך 20 שנים לא נפגש עם איירין וגוליאן ונראה כי העבר הוא צל רחוק.
איירין בת 50 וגוליאן בן 72, מצבו הבריאותי מעורער והוא כל יום עשוי למות. בנם ג'ון בן 19, רק 6 חודשים מפרידים בינו ובין פלר.
ואז פגישה בלתי צפוייה בגלרייה של ג'ון בתו מנשואיו הראשונים של גוליאן.פלר וג'ון נפגשים לראשונה ומגלים שהם בני דודים וכידוע אקדח שמופיע במערכה הראשונה, בוודאי ירה במערכה האחרונה.
סומס נסער מהפגישה, ופלר מתחילה לחטט בעבר.
נשואיו של סומס לאנט היו אכזבה רבתית. הנחמה היחידה שלו היא פלר בתו. הזכרונות מכרסמים בו והמפגש החטוף עם איירין מעלה בו את התשוקה הישנה שלו אליה.
פלר וג'ון מתאהבים באהבה ממבט ראשון. פלר בחושיה מבינה שאסור להם לחשוף את האהבה שלהם והיא משכנעת את ג'ון לשמור אותה חשאית. אך איירין הקשובה לרחשי ליבו של בנה, מבינה שהוא התאהב בפלר והיא וג'וליאן מטכסים עצה להרחיק אותו מפלר. הם שולחים את ג'ון עם איירין ל 7 שבועות לאיטליה.
ג'ון משכנע את אמו איירין לנסוע לספרד במקום איטליה. בתקופה הזו פלר לא כותבת לו אך ג'ון אינו שוכח אותה ואת אהבתו והוא מקצר את שהייתם בספרד כדי לחזור לאנגליה.
סומס, מודאג מהטיפול בירושה שלו. במקביל הוא מגלה שאנט בוגדת בו ומתעמת איתה. הם שניהם מסכימים שלטובת פלר, יש להימנע מסקנדל ופירוק הנשואים. סומס מתגלה כגיבור הטראגי של הסיפור. קודם נשואיו לאיירין, אז הסקנדל הנורא עם בוסינט, אחר כך נשואיה לג'וליאן בן דודו ועכשיו אנט, מתגלה כטיפוס נצלני ובוגדני.
פלר מגלה בעזרת ג'ון , בתו של ג'וליאן, פרטים נוספים על הקרע בין המשפחות. לאחר פגישה עם איירין ברובין היל היא מחליטה להיות אמיצה ולהיפרד מג'ון.
אבל, החלטות לבד וביצוע לבד. פלר נפגשת עם ג'ון ומנסה ללחוץ עליו להנשא בסתר. ג'ון אינו מוכן לפגוע כך בהוריו ומבקש זמן לחשוב.
פלר מתעמתת עם אביה בקשר לעבר. סומס שנמצא במצב רגיש גם בעקבות גילוייו על אנט מתפרץ ומסרב לשמוע על אהבתה לג'ון.
ג'ון חוזר לביתו להודיע להוריו שהוא מאורס לפלר אך אביו ג'וליאן מתעמת איתו ונותן לו מכתב בו הוא מפרט את ההיטוריה המשפחתית. בזמן שג'ון קורא את המכתב, ליבו של ג'וליאן בוגד בו והוא מת.
הזעזועים נוחתים על ג'ון אחד אחר השני. קודם הגילויים על אמו, על סומס אביה של פלר ואז המוות. זה אחד הפרקים הכי טובים בטרילוגיה כולה. ג'ון מתבגר באחת כשהוא מבין שרק הוא נותר בעולם לאימו איירין. יש צדק פואטי במוות של ג'וליאן ובעובדה שג'ון מאוהב בפלר. איירין עשתה עוולות כבדות לסומס. במכתב לג'ון העוולות מתבהרות. נישואים בין פלר לג'ון יקשרו שוב בין סומס לאיירין והבית שסומס בנה לאיירין יהפוך לביתה של פלר. ג'וליאן זכה מההפקר מהעובדה שהוא היה במקום הנכון בזמן הנכון.
במקביל, הברון מונט מצהיר על אהבתו לפלר. הדמות של מונט כל כך שולית וצדדית בסיפור היא נבלעת באירועים המסעירים. הוא ממש חסר חשיבות למעט הכסף של משפחתו.
פלר נוסעת לבקר את ג'ון, היא מצהירה שוב על אהבתה ומבקשת ממנו לשכוח מהעבר ולהינשא ולא לוותר על אהבתם. ג'ון שזרעי האיבה נשתלו בו ממכתב שהותיר לו אביו טוען שהוא לא מוותר על אהבתם אך ניכר כי הוא החל להישחף רחוק מפלר.
פלר מבקשת מאביה סומס לעשות מאמץ ולגשת לדבר עם איירין ולשכנע אותה להתיר את הנישואים. סומס מוחל על כבודו ונוסע לפגוש את איירין.
המפגש עם איירין אינו צולח וסומס חוזר עם תשובה שלילית לפלר. האכזבה הקשה של פלר מכה בשניהם. סומס שוב מתגלה כדמות טראגית של הסאגה כשהוא סופג השפלות וכאב וצורב של בתו.
ג'ון נוסע לשנה שבסופה הוא מתיישב בקולומביה החדשה שבקלפורניה. הוא מזמין את איירין לחיות איתו בארה"ב.
פלר מתחתנת עם מונט למרות שאינה אוהבת אותו ולמרות שהיא מתגעגעת לג'ון.
הספר מסתיים עם מותו של הפורסייט האחרון. סיום הולם לסאגה מפוארת ומענגת. לאורך הספר האחרון שולט העיקרון של אבות אכלו בוסר ושיני בנים תכהנה. כולם סובלים מהסיטואציה, הילדים, ההורים ולמרות שאין מדובר בטרגדיה נוסח שייקספיר, ואף אחד מהגיבורים לא מת בצורה מחרידה או סתם מת, עדין בעיניי זה טראגי ששני ילדים מאוהבים לא יכולים לממש את אהבתם בשל טינות העבר.
איירין בת 50 וגוליאן בן 72, מצבו הבריאותי מעורער והוא כל יום עשוי למות. בנם ג'ון בן 19, רק 6 חודשים מפרידים בינו ובין פלר.
ואז פגישה בלתי צפוייה בגלרייה של ג'ון בתו מנשואיו הראשונים של גוליאן.פלר וג'ון נפגשים לראשונה ומגלים שהם בני דודים וכידוע אקדח שמופיע במערכה הראשונה, בוודאי ירה במערכה האחרונה.
סומס נסער מהפגישה, ופלר מתחילה לחטט בעבר.
נשואיו של סומס לאנט היו אכזבה רבתית. הנחמה היחידה שלו היא פלר בתו. הזכרונות מכרסמים בו והמפגש החטוף עם איירין מעלה בו את התשוקה הישנה שלו אליה.
פלר וג'ון מתאהבים באהבה ממבט ראשון. פלר בחושיה מבינה שאסור להם לחשוף את האהבה שלהם והיא משכנעת את ג'ון לשמור אותה חשאית. אך איירין הקשובה לרחשי ליבו של בנה, מבינה שהוא התאהב בפלר והיא וג'וליאן מטכסים עצה להרחיק אותו מפלר. הם שולחים את ג'ון עם איירין ל 7 שבועות לאיטליה.
ג'ון משכנע את אמו איירין לנסוע לספרד במקום איטליה. בתקופה הזו פלר לא כותבת לו אך ג'ון אינו שוכח אותה ואת אהבתו והוא מקצר את שהייתם בספרד כדי לחזור לאנגליה.
סומס, מודאג מהטיפול בירושה שלו. במקביל הוא מגלה שאנט בוגדת בו ומתעמת איתה. הם שניהם מסכימים שלטובת פלר, יש להימנע מסקנדל ופירוק הנשואים. סומס מתגלה כגיבור הטראגי של הסיפור. קודם נשואיו לאיירין, אז הסקנדל הנורא עם בוסינט, אחר כך נשואיה לג'וליאן בן דודו ועכשיו אנט, מתגלה כטיפוס נצלני ובוגדני.
פלר מגלה בעזרת ג'ון , בתו של ג'וליאן, פרטים נוספים על הקרע בין המשפחות. לאחר פגישה עם איירין ברובין היל היא מחליטה להיות אמיצה ולהיפרד מג'ון.
אבל, החלטות לבד וביצוע לבד. פלר נפגשת עם ג'ון ומנסה ללחוץ עליו להנשא בסתר. ג'ון אינו מוכן לפגוע כך בהוריו ומבקש זמן לחשוב.
פלר מתעמתת עם אביה בקשר לעבר. סומס שנמצא במצב רגיש גם בעקבות גילוייו על אנט מתפרץ ומסרב לשמוע על אהבתה לג'ון.
ג'ון חוזר לביתו להודיע להוריו שהוא מאורס לפלר אך אביו ג'וליאן מתעמת איתו ונותן לו מכתב בו הוא מפרט את ההיטוריה המשפחתית. בזמן שג'ון קורא את המכתב, ליבו של ג'וליאן בוגד בו והוא מת.
הזעזועים נוחתים על ג'ון אחד אחר השני. קודם הגילויים על אמו, על סומס אביה של פלר ואז המוות. זה אחד הפרקים הכי טובים בטרילוגיה כולה. ג'ון מתבגר באחת כשהוא מבין שרק הוא נותר בעולם לאימו איירין. יש צדק פואטי במוות של ג'וליאן ובעובדה שג'ון מאוהב בפלר. איירין עשתה עוולות כבדות לסומס. במכתב לג'ון העוולות מתבהרות. נישואים בין פלר לג'ון יקשרו שוב בין סומס לאיירין והבית שסומס בנה לאיירין יהפוך לביתה של פלר. ג'וליאן זכה מההפקר מהעובדה שהוא היה במקום הנכון בזמן הנכון.
במקביל, הברון מונט מצהיר על אהבתו לפלר. הדמות של מונט כל כך שולית וצדדית בסיפור היא נבלעת באירועים המסעירים. הוא ממש חסר חשיבות למעט הכסף של משפחתו.
פלר נוסעת לבקר את ג'ון, היא מצהירה שוב על אהבתה ומבקשת ממנו לשכוח מהעבר ולהינשא ולא לוותר על אהבתם. ג'ון שזרעי האיבה נשתלו בו ממכתב שהותיר לו אביו טוען שהוא לא מוותר על אהבתם אך ניכר כי הוא החל להישחף רחוק מפלר.
פלר מבקשת מאביה סומס לעשות מאמץ ולגשת לדבר עם איירין ולשכנע אותה להתיר את הנישואים. סומס מוחל על כבודו ונוסע לפגוש את איירין.
המפגש עם איירין אינו צולח וסומס חוזר עם תשובה שלילית לפלר. האכזבה הקשה של פלר מכה בשניהם. סומס שוב מתגלה כדמות טראגית של הסאגה כשהוא סופג השפלות וכאב וצורב של בתו.
ג'ון נוסע לשנה שבסופה הוא מתיישב בקולומביה החדשה שבקלפורניה. הוא מזמין את איירין לחיות איתו בארה"ב.
פלר מתחתנת עם מונט למרות שאינה אוהבת אותו ולמרות שהיא מתגעגעת לג'ון.
הספר מסתיים עם מותו של הפורסייט האחרון. סיום הולם לסאגה מפוארת ומענגת. לאורך הספר האחרון שולט העיקרון של אבות אכלו בוסר ושיני בנים תכהנה. כולם סובלים מהסיטואציה, הילדים, ההורים ולמרות שאין מדובר בטרגדיה נוסח שייקספיר, ואף אחד מהגיבורים לא מת בצורה מחרידה או סתם מת, עדין בעיניי זה טראגי ששני ילדים מאוהבים לא יכולים לממש את אהבתם בשל טינות העבר.
January 17, 2023
“Harder than to give up was to be given up, or to be the cause of someone you loved giving up for you.”
I can’t remember the last time an Anglo book made me feel so much.
There are three books in the saga, but it’s definitely worth it.
Dad said it reminded him of Anna Karenina.
I can’t remember the last time an Anglo book made me feel so much.
There are three books in the saga, but it’s definitely worth it.
Dad said it reminded him of Anna Karenina.
September 7, 2025
To Let, the third novel in the series of The Forsyte Saga, continues the family drama wherein the sins of the mother and father are visited on the son and daughter. If you are reading the third book of the series, I assume you that read the first and second, but if not, stop reading this review because it contains spoilers.
When considering To Let, and the books of The Forsyte Saga, it is useful to review English common law with regard to the relations between men and their wives. The English principles of coverture (also adopted in the US) gave all of a woman’s rights to her husband upon marriage; married women could not own property, control their earnings, enter into contracts, or sue and be sued. In effect, they became the property of the husband. From 1870 to 1882, the English dismantled the practice, and the practice was ended by the end of the nineteenth century in the US as well. Still, in the United States, I remember stories about women in the 1970s who could not obtain credit cards without their husband’s signature. Also remember that English common law of Primogeniture mandated that daughters could only inherit if there were no living male heirs.
Having sexual experience with your intended partner before marriage is a very recent common practice. No intimate knowledge of your future spouse could lead to very unhappy marriages. Divorce in England was more difficult for women than for men from 1857 to 1969. Women had to prove not only the husband’s adultery but also cruelty, desertion, incest or bigamy. Men had only to prove their wife’s adultery. No fault divorce was a long time in coming. Recall, too, it was a long-held legal principle that a wife could not withhold sex from her husband. Marital rape in England was not a crime until 1991. Married men were “entitled” by law to have sex with their wives. In California in the late 1960s, I remember my cousin warning her younger sister who was about to be married that if her husband wanted sex, he would be legally entitled to it. In the US, marital forced sexual intercourse became illegal in 1993, but there are lots of exemptions which persist today.
The story of these novels starts in the late nineteenth century and runs through the early 1920s. These now archaic concepts of male privilege described above persisted in the minds of those conservative males who did not readily adapt to the changes in law. Soames, the main character of the Forsyte Saga, born of a previous era and the original “man of property,” viewed his wife Irene as his property, even long after they separated, divorced, remarried and had children. The third book finds Soames and Irene, remarried but still at odds, and thrown by the circumstances of their children falling in love, thus having to deal with each other again.
The Saga’s principal themes explore these concepts of ownership, marriage, adultery, divorce, marital rape and even inheritance, between the various characters but most especially between Soames, Irene, and their other spouses and their children. For the sheer scope and audacity of attacking these themes at a time when the novels were published, I have to give the author credit. I wonder how controversial the novels were then.
Thank you to Katy, a moderator of the Goodreads group, Catching Up with the Classics, who proposed reading the series. I was hesitant to take on three books, but when I look back, the total pages were less than a Michener novel I recently read. Another Goodreads reader (thanks, Sam) commented that the whole series, in sum, is greater than the three novels individually taken. I agree. Individually, they are all 4 star novels, but the group of novels taken together deserves a 5 star rating.
When considering To Let, and the books of The Forsyte Saga, it is useful to review English common law with regard to the relations between men and their wives. The English principles of coverture (also adopted in the US) gave all of a woman’s rights to her husband upon marriage; married women could not own property, control their earnings, enter into contracts, or sue and be sued. In effect, they became the property of the husband. From 1870 to 1882, the English dismantled the practice, and the practice was ended by the end of the nineteenth century in the US as well. Still, in the United States, I remember stories about women in the 1970s who could not obtain credit cards without their husband’s signature. Also remember that English common law of Primogeniture mandated that daughters could only inherit if there were no living male heirs.
Having sexual experience with your intended partner before marriage is a very recent common practice. No intimate knowledge of your future spouse could lead to very unhappy marriages. Divorce in England was more difficult for women than for men from 1857 to 1969. Women had to prove not only the husband’s adultery but also cruelty, desertion, incest or bigamy. Men had only to prove their wife’s adultery. No fault divorce was a long time in coming. Recall, too, it was a long-held legal principle that a wife could not withhold sex from her husband. Marital rape in England was not a crime until 1991. Married men were “entitled” by law to have sex with their wives. In California in the late 1960s, I remember my cousin warning her younger sister who was about to be married that if her husband wanted sex, he would be legally entitled to it. In the US, marital forced sexual intercourse became illegal in 1993, but there are lots of exemptions which persist today.
The story of these novels starts in the late nineteenth century and runs through the early 1920s. These now archaic concepts of male privilege described above persisted in the minds of those conservative males who did not readily adapt to the changes in law. Soames, the main character of the Forsyte Saga, born of a previous era and the original “man of property,” viewed his wife Irene as his property, even long after they separated, divorced, remarried and had children. The third book finds Soames and Irene, remarried but still at odds, and thrown by the circumstances of their children falling in love, thus having to deal with each other again.
The Saga’s principal themes explore these concepts of ownership, marriage, adultery, divorce, marital rape and even inheritance, between the various characters but most especially between Soames, Irene, and their other spouses and their children. For the sheer scope and audacity of attacking these themes at a time when the novels were published, I have to give the author credit. I wonder how controversial the novels were then.
Thank you to Katy, a moderator of the Goodreads group, Catching Up with the Classics, who proposed reading the series. I was hesitant to take on three books, but when I look back, the total pages were less than a Michener novel I recently read. Another Goodreads reader (thanks, Sam) commented that the whole series, in sum, is greater than the three novels individually taken. I agree. Individually, they are all 4 star novels, but the group of novels taken together deserves a 5 star rating.
This entire review has been hidden because of spoilers.
November 3, 2018
A happy ending. Only, it's not really the ending since Galsworthy wrote 2 more trilogies as sequels to the Forsyte Saga. The whole is called 'The Forsyte Chronicles'. See this diagram to see the structure of the chronicles.
This quote from the end of the first trilogy sums up the family's ideology:
This quote from the end of the first trilogy sums up the family's ideology:
“To Let”—the Forsyte age and way of life, when a man owned his soul, his investments, and his woman, without check or question. And now the state had, or would have, his investments, his woman had herself, and God knew who had his soul. “To Let”—that sane and simple creed!
January 3, 2016
4½ stars. What a fitting yet melancholy ending to the Forsyte saga! I even felt sorry for Soames by the end...
A word of warning -- this novel does NOT stand alone! To be appreciated, or even understood, the previous novels & 'interludes' of the series need to be read first.
A word of warning -- this novel does NOT stand alone! To be appreciated, or even understood, the previous novels & 'interludes' of the series need to be read first.
August 29, 2025
i like that this ended the way that it did
June 30, 2023
This is a series which will stay with me for a LONG time. I closed the book and just sat there thinking, “Wow!” Galsworthy certainly knows human beings, both the good and the not-so-good. I’ll leave it to others to review this book because it deserves far better than I am up for. But it’s worth every moment spent reading it. The difficult thing after a book/series like this is, anything else seems rather flat. 😟
May 9, 2020
“Through those trembling gold birch leaves he gazed out at London, and yielded to the waves of memory. He thought of Irene in Montpellier Square, when her hair was rusty-golden and her whit shoulders his – Irene, the prize of this love-passion, resistant to his ownership.”
This is the last book in the first Forsyte trilogy. The first two books are The Man of Property and In Chancery. This was a satisfying conclusion to the series but be forewarned: if you look at the family tree too closely, you will get some of the plot points spoiled for you. The story mainly focuses on the forbidden love between cousins of new generation who are coming of age in 1920 with the Great War behind them, as the last of the old generation, Uncle Timothy, nears his death. I know that Soames is reprehensible but I can’t quite stop myself from feeling sorry for him.
This is the last book in the first Forsyte trilogy. The first two books are The Man of Property and In Chancery. This was a satisfying conclusion to the series but be forewarned: if you look at the family tree too closely, you will get some of the plot points spoiled for you. The story mainly focuses on the forbidden love between cousins of new generation who are coming of age in 1920 with the Great War behind them, as the last of the old generation, Uncle Timothy, nears his death. I know that Soames is reprehensible but I can’t quite stop myself from feeling sorry for him.
November 15, 2015
Sadly, Jon and Fleur Forsyte just do not have as much to offer the reader as their parents and grandparents do in the earlier volumes of The Forsyte Saga. The book goes over and over the relationship, making very slow forward progress. The death of Timothy really does mark the end of the 'proper' family and leaves only Soames as a character of any interest.
September 12, 2024
“E kaluara vendos edhe më të pafajshmit në faj.”
Fundi i Sagës vjen me më pak personazhe ndërveprues,por më befasues & më e mprehtë,e dashur, kritike,ironike bëhet pena e Galsworth. Vlen ta theksoj se më shtoi dashurinë për letërsinë angleze eksponencialisht,më bëri të ndjej simpati dhe për personazhin që urreja më tepër.Fitues i çmimit nobel; kjo vepër i arsyeston të gjitha.I ka shkruar Anglisë, dashurisë, tradhëtisë,shkurorëzimit, luftës,të bukurës, lirisë,skandalit, mbi të gjitha ndjenjës së Pronës. Duket e largët, përkundrazi, çmenduria që kanë njerëzit ndaj të zotëruarit pronë është e prekshme si në vitet kur autori ka qëndisur këtë sagë,vlen e sot.Aq të fiksuar janë,harrojnë se s’mund të jenë pronarë të gjithçkaje,aq më pak të njeriut.Këtu nis gjithë tragjedia e Forsajtëve të marrosur sesa të ardhura zotëronin,do trashëgonin & në fund të jetës u faniteshin testamentet e tyre,s’kuptuan që veçantia e jetës NUK qëndron aty:te prona.
Brezi IV e ka aq të ndryshëm,të largët, parimin për jetën, sa dyshon: vallë janë vërtet Forsajtë? Si s’mendojnë këta të rinj të krijojnë sa më shumë pasuri? Indiferenca e tyre ndaj “fortesës” që kanë ngritur Forsajtët është tregues i vdekjes nga pak të borgjezisë angleze.I japin goditjen e fundit, fisit më të fisshëm! Rastësia bën që në këtë histori të hidhur,tekanjoze,dy të rinj, rebelë dashurohen me të parën herë.Lind një dashuri e paimagjinueshme, përtej arsyes njerëzore që rrezikon të shkundë themelet e së kaluarës.Me pavetëdije shumëfishohet kundër vetë konceptit të dashurisë.Të lindur për t’u urryer, ç’faj kanë,kur të pafajshëm vendosen në faj? Kur u zbulohet dashuria, afsh i ngrohtë,i ëmbël,ka më vlerë të ekzistojë?Ç’ndodh kur ndjenja shkon kundër çdo konvencioni?Pse disa shpirtra s’janë bërë për njëri-tjetrin?
Saga la një ndikim të thellë tek unë.Heshtje melankolike më mbërtheu në mbarim.Të kuptosh brendësisht natyrën njerëzore kur ke gjithçka(pronë),por s’ke njeri është mësim i vyer që mos vrapojmë drejt pasurisë si fundi i çdo qëllimi,por ta përdorim për të arrirë ç’ka më shumë vlerë;të shijuarit të jetës,të përjetuarit të bukurën & dashurinë.Ç’mund të fitosh në jetë,kur askush s’të do?Kjo shkon përtej librit.
Fundi i Sagës vjen me më pak personazhe ndërveprues,por më befasues & më e mprehtë,e dashur, kritike,ironike bëhet pena e Galsworth. Vlen ta theksoj se më shtoi dashurinë për letërsinë angleze eksponencialisht,më bëri të ndjej simpati dhe për personazhin që urreja më tepër.Fitues i çmimit nobel; kjo vepër i arsyeston të gjitha.I ka shkruar Anglisë, dashurisë, tradhëtisë,shkurorëzimit, luftës,të bukurës, lirisë,skandalit, mbi të gjitha ndjenjës së Pronës. Duket e largët, përkundrazi, çmenduria që kanë njerëzit ndaj të zotëruarit pronë është e prekshme si në vitet kur autori ka qëndisur këtë sagë,vlen e sot.Aq të fiksuar janë,harrojnë se s’mund të jenë pronarë të gjithçkaje,aq më pak të njeriut.Këtu nis gjithë tragjedia e Forsajtëve të marrosur sesa të ardhura zotëronin,do trashëgonin & në fund të jetës u faniteshin testamentet e tyre,s’kuptuan që veçantia e jetës NUK qëndron aty:te prona.
Brezi IV e ka aq të ndryshëm,të largët, parimin për jetën, sa dyshon: vallë janë vërtet Forsajtë? Si s’mendojnë këta të rinj të krijojnë sa më shumë pasuri? Indiferenca e tyre ndaj “fortesës” që kanë ngritur Forsajtët është tregues i vdekjes nga pak të borgjezisë angleze.I japin goditjen e fundit, fisit më të fisshëm! Rastësia bën që në këtë histori të hidhur,tekanjoze,dy të rinj, rebelë dashurohen me të parën herë.Lind një dashuri e paimagjinueshme, përtej arsyes njerëzore që rrezikon të shkundë themelet e së kaluarës.Me pavetëdije shumëfishohet kundër vetë konceptit të dashurisë.Të lindur për t’u urryer, ç’faj kanë,kur të pafajshëm vendosen në faj? Kur u zbulohet dashuria, afsh i ngrohtë,i ëmbël,ka më vlerë të ekzistojë?Ç’ndodh kur ndjenja shkon kundër çdo konvencioni?Pse disa shpirtra s’janë bërë për njëri-tjetrin?
Saga la një ndikim të thellë tek unë.Heshtje melankolike më mbërtheu në mbarim.Të kuptosh brendësisht natyrën njerëzore kur ke gjithçka(pronë),por s’ke njeri është mësim i vyer që mos vrapojmë drejt pasurisë si fundi i çdo qëllimi,por ta përdorim për të arrirë ç’ka më shumë vlerë;të shijuarit të jetës,të përjetuarit të bukurën & dashurinë.Ç’mund të fitosh në jetë,kur askush s’të do?Kjo shkon përtej librit.
June 20, 2021
კარგი იყო.
პირველი ნაწილის კითხვისას გამაღიზიანა პერსონაჟების აირენისადმი დამოკიდებულებამ, თუმცა მას მერე, რაც გავიგე, რომ ავტორს პროტოტიპად თავის მეუღლე გამოუყვანია, უფრო ლმობიერად შევხედე ამ ბრმა და უსაფუძვლო აღფრთოვანებას. ადა მასაც ბიძაშვილისთვის "წაურთმევია". ქალის ძველი ფოტოებით აირენის გარეგნობაც ამოვიცანით.
ჯუნიზე გული დამწყდა. მინდოდა შეყვარებული და ბედნიერი მენახა. ფლერისა და ჯონის ამბავიც გულდასაწყვეტი იყო. თუმცა ასე უფრო ორიგინალური დასასრული ჰქონდა. სხვაგვარად ალბათ ზედმეტად ბანალური იქნებოდა. ძალიან საყვარელი წყვილია ტიმოთის მსახურები: სმიტერი და მზარეული. ძალიან მინდოდა ტიმოთის ანდერძით დაეტოვებინა მათთვის, თუნდაც მცირედი.
პირველი ნაწილის კითხვისას გამაღიზიანა პერსონაჟების აირენისადმი დამოკიდებულებამ, თუმცა მას მერე, რაც გავიგე, რომ ავტორს პროტოტიპად თავის მეუღლე გამოუყვანია, უფრო ლმობიერად შევხედე ამ ბრმა და უსაფუძვლო აღფრთოვანებას. ადა მასაც ბიძაშვილისთვის "წაურთმევია". ქალის ძველი ფოტოებით აირენის გარეგნობაც ამოვიცანით.
ჯუნიზე გული დამწყდა. მინდოდა შეყვარებული და ბედნიერი მენახა. ფლერისა და ჯონის ამბავიც გულდასაწყვეტი იყო. თუმცა ასე უფრო ორიგინალური დასასრული ჰქონდა. სხვაგვარად ალბათ ზედმეტად ბანალური იქნებოდა. ძალიან საყვარელი წყვილია ტიმოთის მსახურები: სმიტერი და მზარეული. ძალიან მინდოდა ტიმოთის ანდერძით დაეტოვებინა მათთვის, თუნდაც მცირედი.
September 30, 2019
“In affitto” è la degna conclusione di una saga che regala ancora una volta pagine di altissima letteratura, un quadro vividissimo di una gloriosa epoca in agonia, che esala gli ultimi respiri al pari di Timothy, ultimo baluardo dei vecchi Forsyte; che offre l'analisi di una società profondamente cambiata, dove la proprietà, l’interesse economico-finanziario e la sicurezza cedono il posto a un individualismo sempre più sfrontato, evanescente e in continuo fermento e dove anche la figura femminile accenna i primi passi verso quell’emancipazione sintomo di una rivoluzione futura imminente; e che infine racconta di una storia d'amore che è quasi una beffa del destino e che, come il vaso di Pandora, scoperchierà un'eredità ingombrante e ancor dolorosa, viva e pulsante che racchiude un passato inviolabile e un futuro pericolosamente incerto e forse precluso a due giovani e innocenti innamorati.
Il romanzo si apre con un interludio che è la quintessenza della dolcezza e della tenerezza intrisi nella figura e nei comportamenti del piccolo Jon, figlio di Jolyon e Irene, un bimbo sensibile che diventerà un adulto timido, introverso, con un animo da poeta e un attaccamento morboso e leale verso la sua famiglia...
Questo animo gentile e ingenuo rimarrà fatalmente abbagliato dalla personalità ben più forte, volitiva e determinata di Fleur, figlia amatissima di Soames e Annette che, tra le altre cose, erediterà dal padre proprio quel bisogno di possesso fisico quasi ossessivo che portò alla distruzione la sua relazione con Irene.
Un amore travagliato che ritroverà coinvolta tutta la famiglia e che, inevitabilmente, risveglierà fantasmi del passato, segreti inconfessati, tanto dolore e risentimento mai sopiti.
Ma al di là di tutto questa saga rimane un inno al Vittorianesimo che lentamente ma inesorabilmente deve cedere il passo al nuovo, un'epoca che era stata di grandi contrasti e contraddizioni, di cambiamenti sociali, politici, economici, scientifici, culturali, di grandi espansioni ma anche epoca di profonda rigidità e moralismo che proprio la figura di Soames con le sue idisincrasie, i suoi amarcord, le sue profonde introspezioni, la sua ossessione per la proprietà, la sua sensibilità per la bellezza, rappresenta perfettamente...
“Soames sedeva là, percependo quasi inconsciamente l'avvenire, ma rivolgendo con decisione tutti i suoi pensieri al passato come un uomo che cavalchi in una notte tempestosa, con il viso rivolto alla coda del cavallo galoppante. Attraverso le dighe vittoriane, le acque irrompevano, sommergendo la proprietà, l'educazione, la morale, la melodie e le vecchie forme dell'arte – acque che portavano alla sua bocca un sapore salato, come di sangue, e che giungevano fino a lambire i piedi di quella collina di Highgate, dove il Vittorianesimo era sepolto...”
Il romanzo si apre con un interludio che è la quintessenza della dolcezza e della tenerezza intrisi nella figura e nei comportamenti del piccolo Jon, figlio di Jolyon e Irene, un bimbo sensibile che diventerà un adulto timido, introverso, con un animo da poeta e un attaccamento morboso e leale verso la sua famiglia...
Questo animo gentile e ingenuo rimarrà fatalmente abbagliato dalla personalità ben più forte, volitiva e determinata di Fleur, figlia amatissima di Soames e Annette che, tra le altre cose, erediterà dal padre proprio quel bisogno di possesso fisico quasi ossessivo che portò alla distruzione la sua relazione con Irene.
Un amore travagliato che ritroverà coinvolta tutta la famiglia e che, inevitabilmente, risveglierà fantasmi del passato, segreti inconfessati, tanto dolore e risentimento mai sopiti.
Ma al di là di tutto questa saga rimane un inno al Vittorianesimo che lentamente ma inesorabilmente deve cedere il passo al nuovo, un'epoca che era stata di grandi contrasti e contraddizioni, di cambiamenti sociali, politici, economici, scientifici, culturali, di grandi espansioni ma anche epoca di profonda rigidità e moralismo che proprio la figura di Soames con le sue idisincrasie, i suoi amarcord, le sue profonde introspezioni, la sua ossessione per la proprietà, la sua sensibilità per la bellezza, rappresenta perfettamente...
“Soames sedeva là, percependo quasi inconsciamente l'avvenire, ma rivolgendo con decisione tutti i suoi pensieri al passato come un uomo che cavalchi in una notte tempestosa, con il viso rivolto alla coda del cavallo galoppante. Attraverso le dighe vittoriane, le acque irrompevano, sommergendo la proprietà, l'educazione, la morale, la melodie e le vecchie forme dell'arte – acque che portavano alla sua bocca un sapore salato, come di sangue, e che giungevano fino a lambire i piedi di quella collina di Highgate, dove il Vittorianesimo era sepolto...”
November 30, 2022
Ultima parte a Familiei Forsyte, si cea mai inutila, daca ma intrebati pe mine, cea cu care m-am luptat cel mai mult si care nu mi-a adus nicio completare, doar o idila intre fiii celor doua familii care se urasc de o vesnicie si imposibilitatea acestora de a-i tine departe de trecut, deoarece "Prezentul e legat de trecut, iar viitorul de amândouă."
Poate dusmania este mai stearsa, poate dreptul de proprietate a fost lamurit si impartit, poate fiecare dintre cei doi veri, Jolyon si Soames, au copii mari, pregatiti pentru viata si maritis, dar daca "timpul nu le purifica, lucrurile moarte sunt otrăvitoare."
Trasaturile cele mai pregnante ale tatilor se vor putea observa, dupa ani si ani, transmise mostenitorilor: Jolyon (al patrulea) este empatic, boem, cu simt artistic dezvoltat si mai putin cu cel material, in timp ce Fleur este cocheta, ambitioasa, rasfatata si pasionala.
Dupa 1000 de pagini citite, am concluzionat ca "în viaţă omul nu poate avea tot ce doreşte! Şi altă viaţă nu avem, şi chiar dacă există alta, nu serveşte la nimic!"
"Când viaţa omului se sfârşeşte, totul se sfârşeşte. Poate ca mai trăieşte undeva, dar aceea nu e viaţă!"
August 17, 2020
*contains spoilers*
The Forsyte saga continues and now many years have passed since the events of the second book. The old generation of Forsytes - except Timothy - have all died and their children are growing older themselves. The First World War has come and gone but is only mentioned in passing, English society continues its endless cycle of change. The youngest generation of Forsytes, Soames’ daughter Fleur and Irene's son Jon enter the story as children of a new era, unknowingly haunted by the buried sins of their parents.
In To Let there is an over-arching sense of nostalgia and melancholy saturating the story, as the Forsytes reminisce over times long gone. Holly and Val Dartie come back to England to find Robin Hill a changed place, charged with memories. Soames visits old Timothy and is reminded of the relatives that once inhabited the appartement, now ghosts of Victorian times.
Galsworthy's prose is even more excellent in this novel. His writing style is both witty and elegant and his ability to convey human emotion makes the characters come alive. The subtle yet beautiful descriptions of nature the setting further showcase his talent as a writer. There is also an interesting dynamic between the Forsytes and their children, the two generations are forced to learn from each other to live in a state of understanding. There is a difficulty amongst the older generations to accept the spontaneity and lack of forward thinking of the young generations. The war has changed their outlook on life and the older Forsytes are slightly troubled by this, longing for a simpler time.
The Forsyte saga is a witty commentary on the English middle class at the turn of the century and beyond, however its strength lies in the magnificent illustration of the shift between eras; the conflicts and confrontations this created between the people of the Old world and those of the New.
The Forsyte saga continues and now many years have passed since the events of the second book. The old generation of Forsytes - except Timothy - have all died and their children are growing older themselves. The First World War has come and gone but is only mentioned in passing, English society continues its endless cycle of change. The youngest generation of Forsytes, Soames’ daughter Fleur and Irene's son Jon enter the story as children of a new era, unknowingly haunted by the buried sins of their parents.
In To Let there is an over-arching sense of nostalgia and melancholy saturating the story, as the Forsytes reminisce over times long gone. Holly and Val Dartie come back to England to find Robin Hill a changed place, charged with memories. Soames visits old Timothy and is reminded of the relatives that once inhabited the appartement, now ghosts of Victorian times.
Galsworthy's prose is even more excellent in this novel. His writing style is both witty and elegant and his ability to convey human emotion makes the characters come alive. The subtle yet beautiful descriptions of nature the setting further showcase his talent as a writer. There is also an interesting dynamic between the Forsytes and their children, the two generations are forced to learn from each other to live in a state of understanding. There is a difficulty amongst the older generations to accept the spontaneity and lack of forward thinking of the young generations. The war has changed their outlook on life and the older Forsytes are slightly troubled by this, longing for a simpler time.
The Forsyte saga is a witty commentary on the English middle class at the turn of the century and beyond, however its strength lies in the magnificent illustration of the shift between eras; the conflicts and confrontations this created between the people of the Old world and those of the New.
November 16, 2021
This is my fourth Forstye book, not counting the Interludes. They are all wonderfully written with unforgettable characters who are emblematic of their class and times. Soames Forsyte is one of the greatest characters of literature. He is seemingly about nothing but property, crassly amassing wealth and stepping on anyone who gets in his way, but there is much complexity hidden beneath the facade of boorish accumulation. He has longings. He even has a heart, though with everyone other than his daughter Fleur, he quickly defaults back to acquisitiveness. I loved hating him, but in the end I couldn't help liking him. And he mellows as he ages, understanding that his time has passed and that he has been displaced by a new generation that he does not fully understand.
But it's not all about Soames. There is a rich ensemble of characters who surround him, each distinct and interesting in his or her own way.
But it's not all about Soames. There is a rich ensemble of characters who surround him, each distinct and interesting in his or her own way.
January 7, 2021
Was absolutely captivated by the book. The story, the language, the parallels with the Shakespearean myths, the reflection on the Time and the ages passing by...
A splendid read for a relaxed winter day.
A splendid read for a relaxed winter day.
December 13, 2021
Самый интересный из романов.
October 25, 2025
I was glad to read and, with this third and final book in The Forsyte Chronicles series, finish the full story of the Forsyte family. It is nice to have money, but sometimes too much money, and the feelings of privilege that come with it (especially in the era that this book is written), can become a burden, which it certainly did with this family.
Interesting story!
Interesting story!
October 10, 2021
Įkyri idėja - didžiausia sutrikusios dvasios švaistūnė - niekada nepasitelkia tiek veržlumo, tiek gyvybinių jėgų, kaip įgavusi guodžią meilės formą.
June 16, 2012
Самая наполненная событиями и людьми часть романа. Сколько людей появляется на этих страницах – это и уже привычные Сомс и Ирэн, Джолион и Аннет, и пока мало знакомые читателю Джон и Флер, старая добрая Уинифрид, новички Профон и Монт, и даже сам Тимоти снисходит до контакта с читателем…
Конец истории Сомса и Ирэн, но не конец эпопеи о Форсайтах. Дочитывая эту часть книги, понимаешь, что Сомс - самый интересный персонаж произведения, и уже не вызывает он каких-то негативных эмоций.
Жизнь изменилась, становится быстрее, но прошлое все еще живо, пока живы последние люди, которые помнят старые истории. Юные сердца так подвержены эмоциям и первому влечению, что готовы смести все преграды, не видят ничего вокруг и не считаются ни с кем. Послевоенное поколение, хлебнув горя, ринулось в развлечения и прожигание жизни.
Язык, прекрасные метафоры в каждом абзаце. Это произведение не только энциклопедия быта, но и источник истинного эстетического наслаждения. Потрясающий роман! На все поколения и времена.
Конец истории Сомса и Ирэн, но не конец эпопеи о Форсайтах. Дочитывая эту часть книги, понимаешь, что Сомс - самый интересный персонаж произведения, и уже не вызывает он каких-то негативных эмоций.
Жизнь изменилась, становится быстрее, но прошлое все еще живо, пока живы последние люди, которые помнят старые истории. Юные сердца так подвержены эмоциям и первому влечению, что готовы смести все преграды, не видят ничего вокруг и не считаются ни с кем. Послевоенное поколение, хлебнув горя, ринулось в развлечения и прожигание жизни.
Язык, прекрасные метафоры в каждом абзаце. Это произведение не только энциклопедия быта, но и источник истинного эстетического наслаждения. Потрясающий роман! На все поколения и времена.
July 12, 2023
A nice - even though a bit tragic - close to the Forsyte family saga, my favourite characters remaining the Jolyons - all three of them.
Maybe because I have read the first two books not so long ago, I found the the high number of references to the previous volumes a bit unnecessary.
Still, a very enjoyable read, a good portrait of the passing of an age (the Victorian age), nostalgic and ironic.
Maybe because I have read the first two books not so long ago, I found the the high number of references to the previous volumes a bit unnecessary.
Still, a very enjoyable read, a good portrait of the passing of an age (the Victorian age), nostalgic and ironic.
October 26, 2021
So corny, so romantic, so sad... I couldn't stop thinking about this book and the characters. It's about life: love, family, money, art, friends, dying, marriages, divorces,...
John Galsworthy is a master in bringing the characters to life by describing their feelings, reasoning, and thoughts. What's crazy about this novel is that the main character, Soames, of the Saga is truly the main villain. But through the descriptions of the characters, you start to build sympathy even for him, and find that he is a hurt man full of doubts and his actions are done by following his heart and mind. He is an imperfect human being, as we all are.
Towards the end, Irene says that maybe the true deceit was
It's a very good written romantic drama.
John Galsworthy is a master in bringing the characters to life by describing their feelings, reasoning, and thoughts. What's crazy about this novel is that the main character, Soames, of the Saga is truly the main villain. But through the descriptions of the characters, you start to build sympathy even for him, and find that he is a hurt man full of doubts and his actions are done by following his heart and mind. He is an imperfect human being, as we all are.
Towards the end, Irene says that maybe the true deceit was
It's a very good written romantic drama.
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