Tietjans as Dreyfus

- A Newspaper Cartoon suggesting Dreyfus' motives

After the incident at the golf course, when Tietjans assists Valentine in escaping arrest, General Campion has a discussion with Tietjans about his supposedly open and adulterous relationship with Valentine. In this conversation, General Campion refers to Tietjans as “A regular Dreyfus” for appearing in public with the girl he is apparently supporting with his wife’s money.

Dreyfus was a Captain in the French military and was wrongfully convicted of sending military secrets to the German government (Lynn-George, 2006). A man of Jewish religious affiliation, it is alleged that his conviction for treason was born out of deeply rooted anti-Semitism and supported by the belief that Jews were attempting to usurp control of the French educational system. Beyond personal injustice, however, the conflict deeply divided French society and instigated what is known as the Dreyfusard movement (Harris, 2006). This movement was associated with open enquiry into the actions of government and criticism of the French social hierarchy.(Lynn-George, 962-963) The established order, therefore, regarded the Dreyfusards as a threat to their position and livelihood because of their attempt to unsettle traditional power relations. The Dreyfusards rejected the notion that those in authority are beyond criticism and they suggested that Dreyfus' conviction and imprisonment represented the abuse of process that is endemnic of unchecked power.

To General Campion, Tietjans is a comparable to Dreyfus because of his apparent willingness to fly in the face of the established standards of propriety. Gentlemen do not appear in public with their mistresses - they keep them behind closed doors. Therefore, for Tietjans to supposedly do so with Valentine, would make it appear as though he is flaunting the established social order. To Campion it does not matter whether Dreyfus actually committed treason or not, the fact that he and his supporters had the audacity to challenge social norms makes him “worse than guilty” (Ford, 75). This reference also seems to foreshadow the displacement of the English Upper Classes that occurs as a consequence of WWI. While Campion is reflecting on a situation in a foreign country, the consequences the affair had for France mimics the consequences that WWI had for England – a dramatic upheaval of the English hierarchy.

There is also another parallel between Dreyfus and Tietjans that the General is not attuned to. At the time that he is speaking, Dreyfus has been exonerated (Dreyfus was released from exile in 1906) and can no longer said to have committed the actions in question. Similarly, at this point in the novel, Tietjans has neither committed adultery, nor given Valentine any money - let alone his wife’s. Through the association to Dreyfus, Ford thus represents Tietjans as a character unjustly impugned by the social order of England. He has not done what he has been accused of, but the appearance of impropriety makes him “worse than guilty”(75) in the eyes of people like General Campion.

- Taylor Buis

Lynn-George, Michael. “The Crossroads of Truth: Ferdinand de Saussure and the Dreyfus Affair.” MLN. 121 (2006): 961-988.

Harris, Ruth. “Letters to Lucie: Spirituality, Friendship, and Politics During the Dreyfus Affair.” Past and Present. August (2006): 118-138.

Ford's Life Experiences Reflected in Some Do Not...

The characters and plot of Parade’s End are introduced in the first book, Some Do
Not…Many of these characters and their beliefs are reflections of Ford Madox Ford’s own living experiences. Some of the characters are either based on acquaintances or friends taken from some point of the author’s life. For example, the character of Christopher Tietjans is actually based on Ford’s friend Arthur Marwood (Gose 445).

According to Ford, Marwood was labeled the Last Tory, a man who “was physically very strong and very enduring. And he was, beneath the surface, extraordinary passionate—with an abiding passion for the sort of truth that makes for intellectual accuracy in the public service” (Gose 445). Marwood was also “a man of infinite benevolence, comprehensions and knowledges” (Gross 445). When hearing these characteristics of Marwood, which are further developed in Ford’s 1933 memoir, It Was the Nightingale, the reader instantly thinks of the novel’s protagonist, Christopher Tietjans, who is introduced on a “railway carriage” talking to his friend MacMaster about the struggles of his marriage (Parade’s End 3). Although it appears that Ford modeled his character after his friend Marwood, there are traits and experiences from Ford’s own life that appear in Tietjans’ character. Ford discusses himself as a “theatrical figure,” a man who acknowledges himself and the effects of his actions on those who surround him. This self-consciousness is shown throughout the novel, as Tietjans stood “rather clumsy and worn out, but completely expressionless. He had looked straight into the reflection of her [Sylvia’s] eyes and then looked away. He moved so that his profile was towards her” (Parade’s End 386). The significance of this passage comes from the stuffed head of the elk which is previously mentioned lingering on the wall, and the riding whip which he holds in his hands. Tietjans marriage to Sylvia is symbolized through the “whip” as he was constantly being ridden by her. Through this description Ford gives Tietjans his “own theatrical sense of the perfect ‘blocking’ of a scene” (Green 21).

Another comparison exists in that Tietjans, a man who worked behind the desk, participated in WWI, a reflection of the novelist, Ford, and his wartime experience where he reached the position of second lieutenant. Like Ford, Tietjans becomes wounded and suffers from weak lungs making him ineligible to participate in further battle, eventually being discharged from additional duties (Gose 446). Both men also feel the pressures in having to act like a gentleman, yet still act on their desires in regards to their relationships with love interests other than their wives. Ford eventually leaves Violent Hunt to be with the much younger Stella Bowen, similar to Tietjans eventually wanting to be with Valentine Wannop.

Ford wanted German citizenship in order to divorce his wife and become the husband of the much older Violet Hunt. In 1913, it appeared obvious that he would not attain citizenship, so Ford returned to England and suspicion of his connections to Germany grew. This portion of his life is evident in the character of Valentine Wannop. She is a woman who is criticized because of her peacekeeping beliefs, which as a result labels her in the public eye as pro-German, in a time where the English despised the Germans, labeling them as the obvious enemy.
Many of the comparisons between the life of Ford and the characters introduced in his first book, Some Do Not…are more distinguished than others. With even a brief biographical sketch of Ford, the reader of Parade’s End can see traces of Ford’s own life clearly flickering through the characters of his novel.

-Brian Barazzuol

Ford, Ford Madox. Parade’s End. London: Penguin Books, 2002.

Gose, Jr, Elliott B. “Reality to Romance: A Study of Ford's Parade's End.” College English 17.8 (1956): 445-450

Green, Robert. “The ‘Exploded Traditions’ of Ford Madox Ford.” ELH 48.1 (1981): 217-230.

Characters in Some Do Not...

In Ford Madox Ford’s first book of Parade’s End, titled Some Do Not… there are several characters which are not only introduced, but are the focus of the first book’s plot. The following people are greatly characterized throughout the first book: Christopher Tietjans, Sylvia Tietjans, Vincent MacMaster, Mark Tietjans, Valentine Wannop, Edith Ethel Duchemin and General Lord Edward Campion.

The plot centers on the overly pleasant and considerate Christopher Tietjans, who is considered the last of the Tories. Being raised with the silver spoon, Christopher is the “son of a Yorkshire country nobleman,” maintaining a code of morals based on tradition (5). His marriage to his wife Sylvia, locates Christopher in a position of submission as he tolerates her punishing ways. Christopher eventually has an affair with Valentine Wannop. Even at this stage of his marital problems, he will not divorce his wife, until she decides it is necessary. Knowing that a divorce is the best possible remedy for his problems, Christopher still feels that “No one but a blackguard would ever submit a woman to the ordeal of divorce” (6). Christopher is described as being “twenty-six, but, very big, in a fair untidy, Yorkshire way, he carried more weight than his age warranted” (5). With a desktop job in London which requires Christopher no physical efforts, he surprisingly volunteers to serve his country in the British Military. Soon after being designated to the front line, he is wounded and sent home.

The doll-like appearance of Sylvia Tietjans is one the main factors her husband, Christopher, puts up with her antics. Physically, Sylvia is “immensely tall” with “reddish, very fair hair” and an oval face (28). Knowing that she could go wherever she wanted, Sylvia took advantage of having “all men at her feet” (28). Serving as a trophy wife for Christopher, Sylvia does everything in her power to upset and make his life a living hell. These acts include committing multiple affairs with several men. Sylvia admits throughout the novel that she despises her husband. She dislikes the war and disapproves of the English’s involvement. Although she is physically attracted to Christopher, her main objective is to crush him for being such a pushover in maintaining the code of ethics which his noble heredity taught him.

Vincent MacMaster, a financially strapped Scotsman, who is accepted nonetheless seems to be Christopher’s one and only friend. The consideration of MacMaster as a true friend is somewhat sketchy, as it may appear his friendship with Christopher is based on the money he has borrowed from him. Despite this, Christopher admits “he had a very deep affection—even a gratitude” for MacMaster (5). MacMaster was physically described as:

“smallish; Whig; with a trimmed, pointed black beard, such a smallish man might wear to enhance his already germinated distinction; black hair of a stubborn fibre, drilled down with hard metal brushes; a sharp nose; strong level teeth; a white, butterfly collar of the smoothness of porcelain; a tie confined by a gold ring, steel-blue speckled with black—to match his eyes” (4).

MacMaster eventually becomes financially secure when marrying his former mistress, Edith Ethel Duchemin. She is described as having a “dark complexion,” “pebble blue eyes,” “waved hair” and a “pointed chin” (53). Duchemin becomes a widow after her husband; "a scathological-- afterwards a homicidal--luncatic" dies (191). She than becomes romantically involved and furthermore, marries MacMaster the day after her husbands death. She devotes her life to harassing Christopher and his newly acquired love, Valentine.

Valentine Wannop, a smart and caring young lady becomes the love interest of Christopher Tietjans. Meeting one evening, they randomly chase a criminal in a horse drawn carriage. Getting lost they spend the night together, as their relationship becomes the basis of talk and rumors. Her reputation is also tarnished because of her pacifist beliefs, which many people think is the result of her secretly being a German supporter. She is also highly caught up with the suffragette movement of the time period, which highlights the hatred of women in Edwardian society (Parrinder 14). Even though Valentine realizes the near impossible situation that exists between her and Christopher, she continues to think about him.

Mark Tietjans barely knows his brother Christopher, who is fourteen years younger. Mark acknowledges that his disconnection to Christopher is because he can not stand Sylvia. Mark thinks that his brother should divorce Sylvia, for his new love interest, Valentine.

Although, General Lord Edward Campion is brilliant when it comes to military issues, his judgment of character seems to be incompetent. This is proven as he always praises his godson’s wife, Sylvia, and recommends Christopher to patch up his marital problems with such a breathtaking lady.

Through this brief, yet informative character sketch, the characters of Ford Madox Ford’s Some Do Not… are outlined for readers who wish to engage with supplementary material regarding the novel.

-BRIAN BARAZZUOL

Works Cited

Ford, Ford Madox. Parades End. Penguin: London, 2002.

Parriner, Patrick. “Ford and the Spirit of Edwardian England.” History and
Representation in Ford Madox Ford's Writing. Ed. Joseph Wiesenfarth. Rodopi: Amsterdam, 2004. 5-18.

Ford and Freud

Like most other modernist novels, there is an underlying Freudian theory throughout Ford's work. In fact, the three main characters in Some Do Not could even represent the three agencies of the human personality.

Sylvia as the Id: The Id is described as being "the psychic content related to the primitive instincts of the body, notably sex and aggression..." (Id). Sylvia is a character of the flesh as she has had many affairs with other men. She also acquires the aggresson of the Id through her constant outbursts; she even admits to her family priest of entertaining thoughts of stabbig Christopherin the eye with a fork. As Brian explained in his character sketch: "Although she is physically attracted to Christopher, her main objective is to crush him..." The Id is also known for adhearing to the "pleasure-pain principle." This suggests that "its impulses either seeking immediate fulfillment or settling for a compromising fulfillment" (Id). Like the Id, Sylvia follows this principle as she can be seen as a sexual sadist. Like her relationship with Christopher, Drake and Perowne she knowingly hurts them and takes pleasure in their pain.

Valentine as the Ego: The ego is describes as being the portion of personality that has an idea of self or "I." It is "the part that remembers, evaluates, plans, and in other ways is responsive to and acts in the surrounding physical and social world" (Ego). Valentine best describes the ego because of her constant self evaluation throughout Some Do Not. She falls in love with Christopher and imagines herself with him but, through her self awareness and realization of her views on chastity and propriety, she chooses not to break her own code of conduct. It is important to note, however, that she does in fact think about Christopher and admit to herself that she is in love with him despite the social code of conduct with married men of another class. This then proves her selfhood. Finally, the ego acts and interacts in the social world through perception. This perception has "continuity and consistency to behaviour by providing a personal point of reference which relates the events of the past...with actions of the present and of the future" (Ego). Relating this to the text, Mrs Wannop can be seen as Valentines perception, in which she interacts with the outside world. For the most part, Valentine is self aware and makes her own decision but her mother is the most important person in her life as she grounds Valentine and provides her with a moral compass. This is also seen in A Man Could Stand Up when Valentine is reunited with Christopher and before deciding whether or not to become his mistress, she must consult with her mother first.

Christopher as the Super-Ego: Christopher completes this model of the human personality by representing the Super Ego. The Super Ego is described as being "the ethical component of the personality and provides the moral standards by which the ego operates" (Super Ego). As Brian explains, Christopher is the “son of a Yorkshire country nobleman,” maintaining a code of morals based on tradition (5). He exemplifies Toryism and English propriety and reflects on his social traditions while making any decision. He constanly refers to himself as "a seventeenth century man" -- this being "the only satisfactory age in England." (21).

-Darcy Broatch

"Ego" Encyclopedia Britannica. 2007. Encyclopedia Britannica Online. 4 Apr. 2007. .

"Id" Encyclopedia Britannica. 2007. Encyclopedia Britannica Online. 4 Apr. 2007 .

"Super Ego" Encyclopedia Britannica. 2007. Encyclopedia Britannica Online. 4 Apr. 2007. .

Ford, Ford Madox. Parade's End. London: Penguin, 2002.