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Summary
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
The year is 1917, and World War I has been going on for three years. Christopher and Sylvia are having lunch. He has just returned from the war in France, having been hospitalized for physical and emotional injuries. It is suggested that Christopher suffers from post-traumatic stress disorder. Sylvia stands up and throws her plate at Christopher, missing him but staining his tunic with some salad dressing. He acts as if nothing happened. She sees Edith Ethel—now Macmaster’s wife—from the window. Sylvia accuses Christopher of having an affair with Edith Ethel and Valentine, which he denies.
Sylvia drops into reverie. She contemplates the reasons she detests Christopher, including his honorable virtuousness and his never being mad at her, regardless of what she does to him. They discuss their child: There is a possibility he is not the father. Christopher is certain he is, and that Drake, a man Sylvia had an affair with just before marrying Christopher, is not. Sylvia contemplates the nature of adultery in society; she recalls Drake and the great guilt and doubt she felt over their affair. She then remembers how Christopher came and picked her up from Lobscheid. Christopher admits he may soon die in battle. He tells Sylvia that, if he dies, she can live at Groby and raise their son a Roman Catholic. A message arrives that Lord Port Scatho has arrived.
Lord Port Scatho enters. He learns that Christopher is going to the Front. Christopher recalls a few past events while Scatho speaks to Sylvia. Christopher then addresses the letter on the table, which Scatho brought with him. It is a letter written by Sylvia addressing certain rumors surrounding Christopher. He explains the honorable and equitable circumstances surrounding Macmaster and Edith Ethel: She is not his mistress and never was, and her husband was in an asylum and now dead. Christopher then disproves the financial rumors surrounding him—that he is broke and living off of women—and proves that Scatho’s nephew, who despises Christopher because he wants Sylvia, is out to ruin him. Christopher has done nothing wrong and is completely in the right. He tells Scatho he should fix the matter privately or Christopher will have to make it public. Scatho is shocked to learn what all has befallen Christopher and admires his strength of character. Christopher’s eldest brother Mark enters and further substantiates Christopher’s claims.
Mark and Christopher take a walk. They discuss in detail the rumors surrounding Christopher’s moral depravity, which Sylvia started. Because of the rumors, their father, before he died, asked Mark to look after Christopher. It is possible that their father died by suicide; his gun went off while he was crawling under a bush, hunting rabbits. Christopher cannot forgive his late father for believing the rumors. The two men discuss the complexity of sexual relations within the aristocratic class.
Their father left enough money for Christopher to live comfortably, but Christopher doesn’t want any of the fortune. He flatly refuses to accept a cent from his father, or from Mark—in part because Mark too believed the rumors about Christopher for a time. The brothers hardly know each other, but through their conversation, they come to admire one another. They walk to the War Office where they meet Valentine, who is angry and frustrated about the war and takes it out on Christopher. Valentine wants to know if Edith Ethel is Christopher’s mistress. Christopher replies, “How could you ask such a tomfool question? You! I took you to be an intelligent person” (222). She is very happy to learn that Edith Ethel is not his mistress. Christopher leaves Valentine with Mark and goes to speak to a superior officer. He is confrontational and demands to know why there are rumors circling that he is a French spy. He was a Liaison Officer before the rumors, but now his record shows that he is not be trusted with confidential information. The Senior Officer would like to transfer Christopher to a unit at home, but Christopher says he wants to go to the Front.
Mark and Valentine sit outside on a bench, talking and waiting for Christopher. Mark informs Valentine of the money his father left behind for her mother. This news overjoys Valentine, as she and her mother have been living in poverty for some time now. Valentine drops into thought. She recalls the last conversation she and Christopher had before he left for war. She recalls the night Edith came to her, asking her how to go about getting an abortion. She remembers how she was once Edith’s confidant. However, the relationship turned sour, mostly because Valentine liked Christopher and Edith hated him. Macmaster owes Christopher a lot of money that would break him and her financially, and the thought consumes Edith. Valentine remembers when she first saw Sylvia at one of the Macmasters’ literary gatherings. Christopher showed her some theoretical numbers that would allow the English government to prove to the French that they had sent over more troops than they truly had. As an ethical individual, Christopher would never use those numbers. Macmaster, however, did and received a knighthood for it. From then on, Christopher and Valentine were no longer welcome at the Macmasters’ home. Macmaster attempted to show his gratitude and fealty to Christopher and Valentine, but they both knew the conniving Edith would never allow it.
Mark and Valentine are still on the bench waiting for Christopher. Valentine thinks back on her past week. She contemplates the nature of love and sexual desire, her growing love for Christopher, and the idea that “the physical side of love she had neither image nor conception” (266). She remembers a time when her mother needed Christopher’s advice on an article she was writing. Valentine called Christopher, and Sylvia had answered. Sylvia guessed who she was and told her to stay away from Christopher because he already had a mistress—a lie. Later, Christopher called back with a good idea for the article: “If a Tommy was a decent fellow he abstained because he didn’t want to leave his girl in trouble…If he wasn’t he chanced it because it might be his last chance…” (272). Valentine wondered if there had been a secret message in it for her. She arranged the pillows on the sofa, just in case. Mark breaks the reverie and talks about specific amounts to be left to them. He tells her how he will pull some strings to ensure Christopher is transferred to a safer unit in transportation. Mark says that people see her and Christopher and believe they fit well together. He compares them to Dante and Beatrice, the lovers from Dante’s Inferno. Christopher comes out of the office, and the three walk together. Mark and Christopher say goodbye, and after Mark is gone, Christopher asks Valentine to be his mistress. She agrees. They part, without consummating their relationship, and Valentine feels appalled at how businesslike they had spoken with one another. She cries. An old tramp sees her crying and says, "That’s women…Some do…Ah!…Some do not!” (280).
Around 3:30 a.m., Christopher comes home. He was out with Valentine. He recalls what he told Macmaster in Chapter 1 about monogamy and chastity. He quotes poetry and contemplates the hypocrisy and contradictions of his words and actions. Earlier, he and Valentine met with Edward, Valentine’s brother. Edward was drunk and vulgar, telling Christopher, “Why don’t you kiss the girl?” (282). Christopher and Valentine placed Edward on the sofa where he fell asleep instantly, and then they walked a bit outside. They made excuses for why they could not sleep together. Valentine gave Christopher a talisman on parchment. The day was not a good day, and they spoke about “washing out the afternoon” (284). Christopher told Valentine to cut it from her memory. She said she did not want to. Christopher remembered running into Mr. Ruggles earlier, the man hired by Mark to gather information on him. Christopher informed him of his intentions to quit the Club. Ruggles said they did not want him to leave, but Christopher had no desire for “all old women and their chatter” (286). Ruggles informed Christopher about Macmaster’s knighthood. He hadn’t known anything about it and went to see Macmaster. Edith Ethel attempted to hide the reasons behind the knighthood, but Christopher recognized how Macmaster did it. He should have said something to Macmaster but did not and later felt ashamed.
Christopher told Valentine to forget everything that had happened earlier that day. She said she would never cut out what he said to her and left—obliquely referring to the businesslike manner in which he asked her to be his mistress. Later, Christopher wondered what it was she would never cut out.
Chapter 1 introduces a new symbol, aside from Astarte, to analogize Sylvia’s character. Sylvia is with Christopher having lunch. She thinks back on an event from her childhood when a man had her observe the behavior of some gulls. They were afraid of a hawk circling high above. The hawk used fear to convince the gulls to drop their catch, whereupon the hawk would grab the fallen fish before it sank. Sylvia admired the symbolism of that event and likened the hawk to herself and the gulls to other women. The first men she “caught” were “really nice men” (146), and it was her hobby to turn them down. The hawk motif returns in The Last Post, but with a different angle. Yet the notion of the hawk as a threat is taken deeper a few pages later when Sylvia remarks, “Her personal chastity she now cherished much as she cherished her personal cleanliness […]” (149). This jumps out at the reader as an apparent contradiction of her character. She is thought to be sexually promiscuous, but she reveals that her flirtatious behavior is really just a game, as if the hawk had no intention of ever attacking the gulls. It just wanted the gulls to be afraid of it. Furthermore, Sylvia argues that high society expects her to be flirtatious, and to have the ambiguity of being both a chaste wife and an adventurous lover. Sylvia swore to be chaste when she returned to Christopher, and according to her, she has kept that end of the bargain. As Part 2 of Some Do Not… develops, her actions appear to discredit her words, but she only uses the bait of sexual intimacy to lure men into the position she wishes. She uses them like pawns in an elaborate game of chess.
An underlying theme in the book is an attempt to define what is an English gentleman and what it means to be English more generally. In Chapter 1, the reader learns about the genesis of the Tietjens family in England. He is most definitely English, according to his definition of Englishness, but many of the people he meets are disqualified as Englishmen in his eyes. As Parade’s End progresses, Christopher finds interesting ways to disqualify certain people from England, which is why it is so interesting to learn that his family, the Tietjenses, came over to England along with William of Orange. The story of how the Dutch William became the English monarch is convoluted. Essentially, there was an internal struggle within English politics between the Protestants and Catholics. King James II was Catholic, which angered the Protestants, so they invited William of Orange, married to Mary II—the presumptive heir and daughter of James II—to rule instead of James. The time is known as the Glorious Revolution in English history. This occurred at the end of the 17th century. Thus, one could argue that Tietjens is not English, despite his claims to the contrary.
Lastly, Chapter 1 details how Christopher suffered shell shock and was sent to a hospital. Since then, he has struggled with his memory. It will take till the end of A Man Could Stand Up– for the war to fully affect its effects on Christopher’s character, but the War begins to change his worldview.
Chapter 3 introduces what will become a seemingly everlasting wedge between the two brothers, Mark and Christopher. Christopher refuses any inheritance from his father because, according to the evidence, Christopher accepts the conclusion that their father died by suicide. Moreover, Christopher will not forgive their father for never speaking to him about the rumors involving Christopher’s personal and professional life, and he will never forgive Mark for hiring someone (Ruggles), to investigate the rumors. This bitterness and inability to forgive will play a role in contradicting the Anglican saintly aspect of Christopher’s character that comes to light later in the novel. It must also be noted that the circumstances of their father’s death are open to interpretation, and they will be interpreted from different angles to fit the needs of the character doing the interpretation, most notably Mark at the end of The Last Post.
Chapter 5 introduces more symbolism regarding several characters. First, there is the equation of Edith Ethel (Lady Macmaster) with Egeria. Egeria refers to Roman mythology; she was supposedly a nymph married to the second Roman king who served him as a counselor and consort and came to be regarded as a lawgiver. Therefore, her name has become an eponym for a female advisor or counselor. In reference to Edith Ethel, the epithet of Egeria refers to her advisory status within Macmaster’s literary group and implies that Edith consorts with some of the men of the group. The Egeria epithet follows Edith Ethel throughout the novel. Elsewhere, Christopher and Valentine are compared to Dante and Beatrice. Dante refers to Dante Alighieri, the author and protagonist of The Divine Comedy. Beatrice is Dante’s deceased wife and guide through Heaven. Later in the novel, Christopher is increasingly compared to an Anglican saint, and even to Christ. The reference to Dante and Beatrice places Christopher and Valentine on a divine plane. Beatrice serves as a guiding light, a ray of hope in the darkness, while Dante travels through Hell and Purgatory. Similarly, Valentine will serve as a ray of hope for Christopher while in the trenches in France.
The saintly motif is carried further in Chapter 7 when Valentine gives Christopher a special talisman she made. The talisman is a piece of parchment with a Biblical verse written in Hebrew: “God bless you and keep you: God watch over you at your goings out …” (284). Valentine slightly misquotes the passage, which is Numbers 6:24-26. The writing of it in Hebrew on a piece of parchment is reminiscent of the mezuzah, a decorative case placed on the doorposts of Jewish homes, containing slips of paper with verses from the Torah written on them. The short, almost imperceptible scene recalls the comparison of Christopher with Alfred Dreyfus. The remainder of the chapter primarily deals with the failed attempt of Christopher and Valentine to consummate their love physically. Valentine makes an important statement during their discussion of forgetting the afternoon. She says, “I will never cut what you said then out of my memory” (288). The statement is ambiguous in that there are really two things she will not cut out of her memory. She will not forget that he asked her to be his mistress, and she will not forget the nonchalant, very unsentimental way he told her goodbye: “After a long time he said: ‘Well…’ She moved back” (288). He introduces his goodbye with an adverbial expression commonly used when there is nothing more to be said, and the speaker wants to leave without being so blatant. It was an offensive way for Christopher to walk away from the situation, and that scene sticks with Valentine for the remainder of the war, until Christopher returns in A Man Could Stand Up—.
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