ACT I SCENE I The scene is a well-lighted, and large, oak-panelled hall, withan air of being lived in, and a broad, oak staircase. Thedining-room, drawing-room, billiard-room, all open into it; andunder the staircase a door leads to the servants' quarters. Ina huge fireplace a log fire is burning. There are tiger-skinson the floor, horns on the walls; and a writing-table againstthe wall opposite... more...

THE FIRST AND LAST "So the last shall be first, and the first last."—HOLY WRIT. It was a dark room at that hour of six in the evening, when just the single oil reading-lamp under its green shade let fall a dapple of light over the Turkey carpet; over the covers of books taken out of the bookshelves, and the open pages of the one selected; over the deep blue and gold of the coffee service on... more...

ACT I It is the night of Christmas Eve, the SCENE is a Studio, flushwith the street, having a skylight darkened by a fall of snow.There is no one in the room, the walls of which are whitewashed,above a floor of bare dark boards. A fire is cheerfullyburning. On a model's platform stands an easel and canvas.There are busts and pictures; a screen, a little stool, two arm.chairs, and a long... more...

ENCOUNTER Soames Forsyte emerged from the Knightsbridge Hotel, where he was staying, in the afternoon of the 12th of May, 1920, with the intention of visiting a collection of pictures in a Gallery off Cork Street, and looking into the Future. He walked. Since the War he never took a cab if he could help it. Their drivers were, in his view, an uncivil lot, though, now that the War was over and supply... more...

ACT I SCENE I The dressing-room of CHARLES WINSOR, owner of Meldon Court, nearNewmarket; about eleven-thirty at night. The room has pale greywalls, unadorned; the curtains are drawn over a window Back LeftCentre. A bed lies along the wall, Left. An open door, Right Back,leads into LADY ADELA's bedroom; a door, Right Forward, into a longcorridor, on to which abut rooms in a row, the whole length of... more...

PREFACE Each man born into the world is born like Shelton in this book—to go a journey, and for the most part he is born on the high road. At first he sits there in the dust, with his little chubby hands reaching at nothing, and his little solemn eyes staring into space. As soon as he can toddle, he moves, by the queer instinct we call the love of life, straight along this road, looking neither to... more...

ACT I SCENE I The curtain rises on the BARTHWICK'S dining-room, large, modern, and well furnished; the window curtains drawn. Electric light is burning. On the large round dining-table is set out a tray with whisky, a syphon, and a silver cigarette-box. It is past midnight. A fumbling is heard outside the door. It is opened suddenly; JACK BARTHWICK seems to fall into the room. He stands holding by... more...

QUALITY I knew him from the days of my extreme youth, because he made my father's boots; inhabiting with his elder brother two little shops let into one, in a small by-street-now no more, but then most fashionably placed in the West End. That tenement had a certain quiet distinction; there was no sign upon its face that he made for any of the Royal Family—merely his own German name of Gessler... more...

SCENE I It is six o'clock of a November evening, in KEITH DARRANT'S study. A large, dark-curtained room where the light from a single reading-lamp falling on Turkey carpet, on books beside a large armchair, on the deep blue-and-gold coffee service, makes a sort of oasis before a log fire. In red Turkish slippers and an old brown velvet coat, KEITH DARRANT sits asleep. He has a dark,... more...

"The Forsyte Saga" was the title originally destined for that part of it which is called "The Man of Property"; and to adopt it for the collected chronicles of the Forsyte family has indulged the Forsytean tenacity that is in all of us. The word Saga might be objected to on the ground that it connotes the heroic and that there is little heroism in these pages. But it is used with a... more...