The Return of the Soldier / Edition 1 available in Paperback
- Pub. Date:
- Broadview Press
The Return of the Soldier tells the story of a shell-shocked soldier who returns home from the First World War believing that he is in love with a working-class woman from his past, rather than married to his aristocratic wife. His family and doctor must decide whether to allow him to remain safely in his delusion, or to bring him back to reality and return him to the front. A brief novel with a seemingly simple plot, it is a classic of modernist literature and provides a point of entry into discussions of some of the twentieth century’s most enduring themes.
Appendices include textual variants, patriotic and antiwar verse from World War I, war journalism by West, contemporary paintings and propaganda posters, and material on shell-shock.
|Edition description:||New Edition|
|Product dimensions:||5.50(w) x 8.40(h) x 0.50(d)|
About the Author
Bernard Schweizer is Associate Professor of English at Long Island University.
Charles Thorne teaches English at Bergen Community College, New Jersey.
Read an Excerpt
"Ah, don't begin to fuss!" wailed Kitty. "If a woman began to worry in these days because her husband hadn't written to her for a fortnight! Besides, if he'd been anywhere interesting, anywhere where the fighting was really hot, he'd have found some way of telling me instead of just leaving it as 'Somewhere in France.' He'll be all right."
We were sitting in the nursery. I had not meant to enter it again, now that the child was dead; but I had come suddenly on Kitty as she slipped the key into the lock, and I had lingered to look in at the high room, so full of whiteness and clear colors, so unendurably gay and familiar, which is kept in all respects as though there were still a child in the house. It was the first lavish day of spring, and the sunlight was pouring through the tall, arched windows and the flowered curtains so brightly that in the old days a fat fist would certainly have been raised to point out the new, translucent glories of the rosebud. Sunlight was lying in great pools on the blue cork floor and the soft rugs, patterned with strange beasts, and threw dancing beams, which should have been gravely watched for hours, on the white paint and the blue distempered walls. It fell on the rocking-horse, which had been Chris's idea of an appropriate present for his year-old son, and showed what a fine fellow he was and how tremendously dappled; it picked out Mary and her little lamb on the chintz ottoman. And along the mantelpiece, under the loved print of the snarling tiger, in attitudes that were at once angular and relaxed, as though they were ready for play at their master's pleasure, but found it hard to keep from drowsing in this warm weather, sat the Teddy Bear and the chimpanzee and the woolly white dog and the black cat with eyes that roll. Everything was there except Oliver. I turned away so that I might not spy on Kitty revisiting her dead. But she called after me:
"Come here, Jenny. I'm going to dry my hair." And when I looked again I saw that her golden hair was all about her shoulders and that she wore over her frock a little silken jacket trimmed with rosebuds. She looked so like a girl on a magazine cover that one expected to find a large "15 cents" somewhere attached to her person. She had taken Nanny's big basket-chair from its place by the highchair, and was pushing it over to the middle window. "I always come in here when Emery has washed my hair. It's the sunniest room in the house. I wish Chris wouldn't have it kept as a nursery when there's no chance-" She sat down, swept her hair over the back of the chair into the sunlight, and held out to me her tortoiseshell hair-brush. "Give it a brush now and then, like a good soul; but be careful. Tortoise snaps so!"
I took the brush and turned to the window, leaning my forehead against the glass and staring unobservantly at the view. You probably know the beauty of that view; for when Chris rebuilt Baldry Court after his marriage he handed it over to architects who had not so much the wild eye of the artist as the knowing wink of the manicurist, and between them they massaged the dear old place into matter for innumerable photographs in the illustrated papers. The house lies on the crest of Harrowweald, and from its windows the eye drops to miles of emerald pastureland lying wet and brilliant under a westward line of sleek hills, blue with distance and distant woods, while nearer it range the suave decorum of the lawn and the Lebanon cedar, the branches of which are like darkness made palpable, and the minatory gauntnesses of the topmost pines in the wood that breaks downward, its bare boughs a close texture of browns and purples, from the pond on the edge of the hill.
That day its beauty was an affront to me, because, like most Englishwomen of my time, I was wishing for the return of a soldier. Disregarding the national interest and everything else except the keen prehensile gesture of our hearts toward him, I wanted to snatch my Cousin Christopher from the wars and seal him in this green pleasantness his wife and I now looked upon. Of late I had had bad dreams about him. By nights I saw Chris running across the brown rottenness of No-Man's-Land, starting back here because he trod upon a hand, not even looking there because of the awfulness of an unburied head, and not till my dream was packed full of horror did I see him pitch forward on his knees as he reached safety, if it was that. For on the war-films I have seen men slip down as softly from the trench-parapet, and none but the grimmer philosophers could say that they had reached safety by their fall. And when I escaped into wakefulness it was only to lie stiff and think of stories I had heard in the boyish voice of the modern subaltern, which rings indomitable, yet has most of its gay notes flattened: "We were all of us in a barn one night, and a shell came along. My pal sang out, 'Help me, old man; I've got no legs!' and I had to answer, 'I can't, old man; I've got no hands!' " Well, such are the dreams of Englishwomen to-day. I could not complain, but I wished for the return of our soldier. So I said:
"I wish we could hear from Chris. It is a fortnight since he wrote."
And then it was that Kitty wailed, "Ah, don't begin to fuss!" and bent over her image in a hand-mirror as one might bend for refreshment over scented flowers.
I tried to build about me such a little globe of ease as always ensphered her, and thought of all that remained good in our lives though Chris was gone. I was sure that we were preserved from the reproach of luxury, because we had made a fine place for Chris, one little part of the world that was, so far as surfaces could make it so, good enough for his amazing goodness. Here we had nourished that surpassing amiability which was so habitual that one took it as one of his physical characteristics, and regarded any lapse into bad temper as a calamity as startling as the breaking of a leg; here we had made happiness inevitable for him. I could shut my eyes and think of innumerable proofs of how well we had succeeded, for there never was so visibly contented a man. And I recalled all that he did one morning just a year ago when he went to the front.
First he had sat in the morning-room and talked and stared out on the lawns that already had the desolation of an empty stage, although he had not yet gone; then broke off suddenly and went about the house, looking into many rooms. He went to the stables and looked at the horses and had the dogs brought out; he refrained from touching them or speaking to them, as though he felt himself already infected with the squalor of war and did not want to contaminate their bright physical well-being. Then he went to the edge of the wood and stood staring down into the clumps of dark-leaved rhododendrons and the yellow tangle of last year's bracken and the cold winter black of the trees. (From this very window I had spied on him.) Then he moved broodingly back to the house to be with his wife until the moment of his going, when Kitty and I stood on the steps to see him motor off to Waterloo. He kissed us both. As he bent over me I noticed once again how his hair was of two colors, brown and gold. Then he got into the car, put on his Tommy air, and said: "So long! I'll write you from Berlin!" and as he spoke his head dropped back, and he set a hard stare on the house. That meant, I knew, that he loved the life he had lived with us and desired to carry with him to the dreary place of death and dirt the complete memory of everything about his home, on which his mind could brush when things were at their worst, as a man might finger an amulet through his shirt. This house, this life with us, was the core of his heart.
"If he could come back!" I said. "He was so happy here!"
And Kitty answered:
"He could not have been happier."
It was important that he should have been happy, for, you see, he was not like other city men. When we had played together as children in that wood he had always shown great faith in the imminence of the improbable. He thought that the birch-tree would really stir and shrink and quicken into an enchanted princess, that he really was a red Indian, and that his disguise would suddenly fall from him at the right sundown, that at any moment a tiger might lift red fangs through the bracken, and he expected these things with a stronger motion of the imagination than the ordinary child's make-believe. And from a thousand intimations, from his occasional clear fixity of gaze on good things as though they were about to dissolve into better, from the passionate anticipation with which he went to new countries or met new people, I was aware that this faith had persisted into his adult life. He had exchanged his expectation of becoming a red Indian for the equally wistful aspiration of becoming completely reconciled to life. It was his hopeless hope that some time he would have an experience that would act on his life like alchemy, turning to gold all the dark metals of events, and from that revelation he would go on his way rich with an inextinguishable joy. There had been, of course, no chance of his ever getting it. Literally there wasn't room to swing a revelation in his crowded life. First of all, at his father's death he had been obliged to take over a business that was weighted by the needs of a mob of female relatives who were all useless either in the old way, with antimacassars, or in the new way, with gold-clubs; then Kitty had come along and picked up his conception of normal expenditure, and carelessly stretched it as a woman stretches a new glove on her hand. Then there had been the difficult task of learning to live after the death of his little son. It had lain on us, the responsibility, which gave us dignity, to compensate him for his lack of free adventure by arranging him a gracious life. But now, just because our performance had been so brilliantly adequate, how dreary was the empty stage!
We were not, perhaps, specially contemptible women, because nothing could ever really become a part of our life until it had been referred to Chris's attention. I remember thinking, as the parlor-maid came in with a card on the tray, how little it mattered who had called and what flag of prettiness or wit she flew, since there was no chance that Chris would come in and stand over her, his fairness red in the firelight, and show her that detached attention, such as an unmusical man pays to good music, which men of anchored affections give to attractive women.
Kitty read from the card:
" 'Mrs. William Grey, Mariposa, Ladysmith Road, Wealdstone,' I don't know anybody in Wealdstone." That is the name of the red suburban stain which fouls the fields three miles nearer London than Harrowweald. One cannot now protect one's environment as one once could. "Do I know her, Ward? Has she been here before?"
"Oh, no, ma'am." The parlor-maid smiled superciliously. "She said she had news for you." From her tone one could deduce an over-confiding explanation made by a shabby visitor while using the doormat almost too zealously.
Kitty pondered, then said:
"I'll come down." As the girl went, Kitty took up the amber hair-pins from her lap and began swathing her hair about her head. "Last year's fashion," she commented; "but I fancy it'll do for a person with that sort of address." She stood up, and threw her little silk dressing-jacket over the rocking-horse. "I'm seeing her because she may need something, and I specially want to be kind to people while Chris is away. One wants to deserve well of heaven." For a minute she was aloof in radiance, but as we linked arms and went out into the corridor she became more mortal, with a pout. "The people that come breaking into one's nice, quiet day!" she moaned reproachfully, and as we came to the head of the broad staircase she leaned over the white balustrade to peer down on the hall, and squeezed my arm. "Look!" she whispered.
Just beneath us, in one of Kitty's prettiest chintz arm-chairs, sat a middle-aged woman. She wore a yellowish raincoat and a black hat with plumes. The sticky straw hat had only lately been renovated by something out of a little bottle bought at the chemist's. She had rolled her black thread gloves into a ball on her lap, so that she could turn her gray alpaca skirt well above her muddy boots and adjust its brush-braid with a seamed red hand that looked even more worn when she presently raised it to touch the glistening flowers of the pink azalea that stood on a table beside her. Kitty shivered, then muttered:
"Let's get this over," and ran down the stairs. On the last step she paused and said with conscientious sweetness, "Mrs. Grey?"
"Yes," answered the visitor. She lifted to Kitty a sallow and relaxed face the expression of which gave me a sharp, pitying pang of prepossession in her favor: it was beautiful that so plain a woman should so ardently rejoice in another's loveliness. "Are you Mrs. Baldry?" she asked, almost as if she were glad about it, and stood up. The bones of her bad stays clicked as she moved. Well, she was not so bad. Her body was long and round and shapely, and with a noble squareness of the shoulders; her fair hair curled diffidently about a good brow; her gray eyes, though they were remote, as if anything worth looking at in her life had kept a long way off, were full of tenderness; and though she was slender, there was something about her of the wholesome, endearing heaviness of the ox or the trusted big dog. Yet she was bad enough. She was repulsively furred with neglect and poverty, as even a good glove that has dropped down behind a bed in a hotel and has lain undisturbed for a day or two is repulsive when the chambermaid retrieves it from the dust and fluff.
Table of Contents
Rebecca West: A Brief Chronology
A Note on the Text
The Return of the Soldier
Appendix A: Textual Variants
- Opening Passage of The Return of the Soldier, from the American Edition, Century Co. (1918)
- Letter by Cousin Frank, from the American Edition, Century Co. (1918)
Appendix B: World War I Poetry
- Rupert Brooke
- “The Soldier” (1914)
- Jessie Pope
- “The Call” (1915)
- Madeline Ida Bedford
- “Munition Wages” (1917)
- Wilfred Owen
- “Mental Cases” (1918, 1920)
- “Disabled” (1917, 1920)
- Siegfried Sassoon
- “The Death Bed” (1918)
- “Does It Matter?” (1918)
- Amy Lowell
- “September, 1918” (1919)
- Guillaume Apollinaire
- “April Night 1915 (for L. de C.-C.)” (1918)
- “Platoon Commander” (1918)
- Max Jacob
- “1914” (1923)
- “War” (1923)
- T.S. Eliot
- “Gerontion” (1920)
- Ezra Pound
- From “Hugh Selwyn Mauberley” (1920)
- H.D. (Hilda Doolittle)
- “8” (1916)
- Marianne Moore
- “Reinforcements” (1921)
- “The Fish” (1921)
Appendix C: World War I Prose
- D.H. Lawrence, “With the Guns” (1914)
- Virginia Woolf, “The Mark on the Wall” (1917)
- Rebecca West, “Woman Worship: War, Peace and the Future by Ellen Key” (13 April 1917)
- Rebecca West, “Hands That War: The Night Shift” (1916)
- From Robert Graves, Goodbye to All That (1929)
Appendix D: World War I Visual Art
- C.R.W. Nevinson, “A Bursting Shell” (1915)
- Wyndham Lewis, “A Battery Shelled” (1919)
- Paul Nash, “We Are Making a New World” (1918)
- William Roberts, “A Shell Dump, France” (1918–19)
- William Orpen, “Zonnebeke” (1918)
- British World War I Propaganda Posters
- “Take Up the Sword of Justice”
- “Women of Britain Say‘Go!’”
- “Queen Mary’s Army Auxiliary Corps”
- “Daddy, What Did YOU Do in the Great War?”
- “The Greatest Mother in the World”
- Norman Price’s Illustrations for the Century Co. Magazine Version of The Return of the Soldier (1918)
- World War I Photography
Appendix E: W.H.R. Rivers, “The Repression of War Experience” (1918)
Appendix F: From Thorstein Veblen, The Theory of the Leisure Class (1899)
Appendix G: Contemporary Reviews of The Return of the Soldier
- Robert Lynd, “Miss Rebecca West’s Novel,” The Daily News (23 May 1918)
- Lawrence Gilman, “Rebecca West,” The North American Review (May 1918)
- “The Return of the Soldier,” The Independent (13 April 1918)
- Q.K. [unidentified], “Rebecca West’s First Novel,” The New Republic (23 March 1918)
- Henry B. Fuller, “Rebecca WestNovelist,” The Dial (28 March 1918)
- Doris Webb, “‘Something Saner Than Sanity’: The Return of the Soldier by Rebecca West,” The Publishers’ Weekly (16 February 1918)
- “The Return of the Soldier by Rebecca West,” The Scotsman (23 May 1918)
- “The Return of the Soldier by Rebecca West,” The New York Times (10 March 1918)
- Rebecca West, “The Return of the Soldier,” The Observer (24 June 1928)