Possessiveness and the Sense of Property

Where it surfaces

• The Forsyte Saga

  The Forsytes' obsession with property and ownership is evident in their discussions of houses, investments, and even relationships.

• Book I: The Man of Property

  Soames's view of Irene as a possession and his obsession with building a house symbolize the Forsyte attachment to property.

• Epigraph

  The epigraph's line 'The slaves are ours' directly introduces the theme of possession and ownership, central to the novel's exploration of property and relationships.

• I: “At Home” at Old Jolyon’s

  The Forsytes' identity is tied to property and possessions; their homes, shares, and even health are treated as forms of property. The family's tenacity and resistance to change reflect their possessive nature.

• Dinner at Swithin's

  James and Soames view Irene as a possession; the diamond star symbolizes ownership and control.

• Projection of the House

  Soames views Irene's beauty and attraction as part of her value as his property, and plans the country house as a means to isolate and control her.

• A Forsyte Ménage

  Soames views his wife as an extension of his property, frustrated that he can own her body but not her soul. His collection of silver and art mirrors his desire to possess Irene completely.

• James at Large

  James' concern over Soames' building project and Irene's defiance reflect the Forsyte obsession with ownership and control.

• Plans of the House

  The chapter opens with the Forsyte concept of 'habitats'—the idea that a man is defined by his possessions. Soames's scrutiny of the plans reflects his possessive concern for the house as a symbol of status and comfort.

• Death of Aunt Ann

  The funeral is a display of the family's property and tenacious grip on life; Ann's little property is left to Timothy.

• Progress of the House

  Soames's tenacious pursuit of Irene and his view of the house as a possession reflect his possessive nature.

• June's Treat

  June's possessive jealousy over Bosinney's attention mirrors the Forsyte trait of treating relationships as possessions. Old Jolyon's concern about Bosinney 'jilting' June reflects this proprietary view of love.

• Drive with Swithin

  Swithin's pride in his horses and carriage, his approval of the house's cellar, and his jealous spirit watching over Irene and Bosinney all underscore the Forsyte instinct for possession.

• Soames and Bosinney Correspond

  Soames's insistence on limiting costs and his unease about Bosinney's influence reflect his possessive attitude toward the house and, by extension, Irene.

• Dance at Roger's

  Soames watches Irene dance with other men, his smile masking possessive jealousy and a sense of ownership.

• X: Diagnosis of a Forsyte

  Young Jolyon defines a Forsyte by their 'sense of property,' which extends to wives, houses, money, and reputation. The chapter explores how this trait underpins family dynamics and personal relationships.

• Bosinney on Parole

  Soames's view of Irene as a possession is evident when he refuses to let her go, saying 'We're married, aren't we?' and later feeling pride in 'the possessor of this gracious creature before all London.'

• June Pays Some Calls

  Old Jolyon's irritation at missing a Board meeting reflects his possessive attitude toward his business interests; Mrs. Baynes's concern about June's inheritance highlights property as a central concern.

• Perfection of the House

  Soames's rage over the cost overrun reflects his view of the house as property; his jealousy of Irene mirrors his possessive attitude.

• XIV: Soames Sits on the Stairs

  Soames's sense of ownership over Irene is challenged when she locks him out; he views her as his property and is enraged by her defiance.

• I: Mrs. Macander’s Evidence

  Soames' lawsuit over the house costs reflects his possessive nature; Mrs. MacAnder's 'sense of property' is highlighted as a defining trait.

• Night in the Park

  Soames's possessive anguish over Irene is depicted as a proprietary instinct, equating her with a possession he cannot control.

• Meeting at the Botanical

  Soames's legal action against Bosinney over money reflects his possessive nature, extending to his wife Irene. Young Jolyon reflects on Soames's likely revenge.

• Voyage Into the Inferno

  Soames's assertion of his 'rights' over Irene as his lawful wife, and his view of the act as sustaining the 'sanctity of marriage,' reflects his possessive attitude toward her as property.

• The Trial

  Soames's lawsuit over the £350 overspend exemplifies his possessive nature regarding property and financial control.

• Soames Breaks the News

  Soames's reaction to Irene's departure is framed in terms of property and loss, as he considers divorce akin to jettisoning his most precious bale.

• June's Victory

  The chapter revolves around the house at Robin Hill as a symbol of possession and control, with Old Jolyon's desire to wrest it from Soames reflecting the Forsyte obsession with property and dominance.

• Bosinney's Departure

  Bosinney's death is seen as a threat to the Forsytes' possessions—the pocket and the hearth—and the family's tree is described as withered by the same flash that struck him down.

• Irene's Return

  Soames' sense of ownership over Irene and his home is central. He sees her return as coming back to her 'cage' and asserts his control by refusing young Jolyon entry, declaring 'This is my house.'

• I

  Old Jolyon thinks of Soames as 'the man of property' and recalls the shocking act that led to Irene's disappearance.

• Old Jolyon's Bequest

  Old Jolyon's struggle over whether to leave money to Irene, who has 'none of his blood,' underscores the Forsyte sense of property and entitlement.

• IV

  Old Jolyon's desire to control his time with Irene and his secret codicil reflect a subtle possessiveness.

• Book II: In Chancery

  Soames' view of Irene as a possession drives his legal maneuvers, reflecting the Forsyte instinct to own and control.

• At Timothy's

  The chapter opens with a meditation on the possessive instinct in the Forsyte family and society, and explores Soames's desire to own a wife and heir as an extension of his property.

• Exit a Man of the World

  Winifred views Monty as her 'property' even after his departure; the theft of the pearls underscores the link between personal possessions and marital power.

• Soho

  Soames' possessive memories of Irene and his desire to own Annette as a means to secure an heir reflect his proprietary instincts.

• Jolyon Prosecutes Trusteeship

  Soames's claim 'she was my wife' and Jolyon's internal reaction 'Ownerships! Well, we all own things. But—human beings! Pah!' highlight the theme of possessive ownership over people.

• Val Hears the News

  Montague's theft of Winifred's pearls symbolizes the violation of property and trust; Soames's insistence on divorce reflects a desire to control and protect what is 'his.'

• X: Soames Entertains the Future

  Soames's entire courtship is framed through his possessions—his house, garden, art collection—and his desire to own Annette as a wife and mother of his heir.

• And Visits the Past

  Soames's sense of ownership over Irene persists, as seen in his thoughts about her beauty and his legal rights as her husband.

• Jolyon Finds Out Where He Is

  Soames embodies the possessive instinct, asserting his rights over Irene as property, recalling the nickname 'The man of property' given by Old Jolyon.

• XIV: Soames Discovers What He Wants

  Soames views Irene as an 'empty house' waiting to be retaken into use and possession, and reflects on his legal ownership of her.

• Soames Puts It to the Touch

  Soames views Irene as a possession he has a right to reclaim, and his offer of the brooch symbolizes his attempt to reassert ownership.

• Where Forsytes Fear to Tread

  Soames' decision to have Irene watched stems from his possessive need to control her and his view of her as his property, as evidenced by his bitter thoughts and the employment of a detective.

• The Challenge

  Val's possessive instinct toward Holly is highlighted in the final line, and Jolly's protective stance over his sister reflects familial possessiveness.

• XII: Progress of the Chase

  Soames' jealous ache and his view of Irene as something to be possessed are central; he is described as 'enslaved by his own possessive instinct'.

• Here We Are Again!

  Winifred's internal conflict centers on viewing Monty as her property, deciding to keep him despite his faults.

• Outlandish Night

  Soames equates the crowd's behavior with a threat to property rights, and his final thoughts on 'possession' underscore his proprietary worldview.

• I: Soames in Paris

  Soames's relentless pursuit of Irene, his sense of ownership over her as his wife, and his threat to Jolyon reflect his possessive nature.

• In the Web

  Soames views Annette as a potential acquisition and treats the divorce as a business transaction, reflecting his proprietary attitude toward women.

• Soames Acts

  Soames treats Irene as a possession, using legal and detective means to control her and secure a son as an heir.

• A Summer Day

  Soames views Irene as his property and is enraged by Jolyon's 'embezzlement' of her affection.

• A Summer Night

  Jolyon explicitly reflects on the Forsyte 'possessive instinct' and vows not to make a 'cage' of Irene, contrasting with Soames's earlier treatment.

• Out of the Web

  Soames views his name as a 'possession' and the divorce as a violation of his property; he plans a 'Forsyte Bequest' to immortalize his collection.

• Birth of a Forsyte

  Soames views his wife and child as extensions of his property; his anguish centers on losing what he 'keeps' and the value of a male heir.

• His

  Soames's final exclamation 'By God! this—this thing was his!' encapsulates his view of the baby as a possession, echoing his earlier possessiveness toward Irene and his property.

• Book III: To Let

  Soames's possessive nature is reexamined through his relationship with his daughter Fleur and his lingering attachment to Irene. The theme of ownership extends to people and emotions, not just material wealth.

• Encounter

  Soames's anxiety about taxes and confiscation reflects his deep attachment to his fortune and pictures, which he intends for Fleur.

• Idyll on Grass

  Jon links the chaining of dogs to the sense of property, which he blames for causing the War, reflecting the theme of possessiveness.

• Goya

  Soames's anxiety over Fleur's whereabouts and his art collection reflects his deep-seated possessiveness; the acquisition of the Goya illustrates how property is entangled with national pride and personal gain.

• Fathers and Daughters

  Jolyon describes Soames's past ownership of Irene as brutal and slave-like; the family feud is rooted in property and possession.

• Purely Forsyte Affairs

  Soames's rumination on property, trusts, and the flux of Forsyte estates reflects the family's deep attachment to material possessions and financial security.

• Timothy Prophesies

  Soames's pride in his top hat and his observation of the crowd's 'reserve power' in food and drink, along with Timothy's prophecy about Consols, underscore the Forsyte instinct to own and secure assets.

• Irene

  The letter reveals Soames' view of Irene as property, a concept that horrifies Jon and poisons his love for Fleur.

• Soames Cogitates

  Soames contemplates the juncture of two Forsyte fortunes and the house built for Irene, reflecting his possessive instincts.

• The Fixed Idea

  Fleur's fixed idea of possessing Jon mirrors the Forsyte sense of property, and Soames defends marriage as a societal institution built on property.

• Desperate

  Jon fears that Fleur, like her father Soames, may have a 'having' nature, tainting his ideal of love.

• Embassy

  Soames's reflections on land as something real and unchanging, and his lingering sense of legal ownership over Irene, underscore the theme of possessiveness.

• The Dark Tune

  Soames' possessive love for Fleur and his sense of ownership over her happiness are central; he feels his past marriage to Irene as a property loss that now haunts him.

• Fleur's Wedding

  Soames's concern over Fleur's marriage and his financial settlement reflect the Forsyte possessive instinct, treating marriage as a property transaction.

• The Last of the Old Forsytes

  Soames reflects on the Forsyte instinct to own and possess, contrasting it with the loss of Irene and the changing world.