Ford Madox Ford and The Woman Question

Ford Madox Ford depicts the essence of the English identity in the early twentieth century, and the traumatic events of the First World War, in Parade’s End. His pluralistic and fragmented prose focus, among other things, on the woman question. His characters are overwhelmed by obsolete behavior codes, war, social shifts and by women’s demands. Men and Women, equally, are led into an extensive process of self-discovery. They are lost in a society that has varied perspectives of right and wrong, and introduced to their own compulsive actions and admissions. They are taught to discern between certain degrees of sexual awareness and depravity, and induced to understand their personal decadence.

In Some Do Not, Ford commits his characters to individual battles with sexual identity. The book analyzes the polygamous desires existent in the minds of all men. The General lectures the main character, Tietjens, about the dangers of adulterous relationships. The General believes that men are not saints, and he strongly recommends that, if Tietjens is going to engage in an adulterous relationship, he should “choose a girl” who can be placed in “a tobacco shop,” a girl who he can court “in the back parlour” and not “in the face of the society,” such as he will have to behave with Miss Wannop (74). In this scene, the general explains to Tietjens that their society treats with a certain amount of sympathy the questionable tendencies of men, but that their gentlemanly behavior and their reputation is put into question when trying to satisfy their sexual needs. In the General’s view, if men are not satisfied with their wives, they are allowed to have other women on the side, but only if they are discreet with their endeavors and do not spent the money of their wives on other women. Even though Tietjens did not think about adultery before, on a subconscious level, at least, he is invited to consider it. Tietjens soon resolves that having the love of another woman and engaging in adulterous relationships “were not inherent impossibilities” for him (87). Tietjens and the General symbolize the men’s improved ability of sexual response towards women. Tietjens is a man of principle who, traditionally, does not act to fulfill his sexual impulses; however, he transforms and allows himself more sexual freedom in order to love Valentine. Valentine’s presence triggers the General’s analysis of society, and Tietjens’s journey of transformation and self- discovery. The woman’s presence translates into the male intellect and sexual confidence. Valentine can not be the traditional discreet lover. Her value as a woman does not impel Tietjens to hide his love for her.

Valentine, in contrast to Tietjens, is a strong woman who does not have to be seduced into any particular sexual life. She decides on her own that “the right man for her … will be a married man” (83). Valentine is only concerned with her true love, not with the rules of her society; her interest lies only with the man that will be the “right man” for her. The novel shows that women are in touch with their inner mind, while men do not. Women know exactly what they want, and men have to work to discover it. Tietjens is spiritually elevated through his relationships with women, and so he becomes a man free of the social expectations of his time, a man given a new life. He changes his attitude towards love and chooses to love Valentine, who presents an abysmal psychological threat to him. Valentine is the only character who can compromise his morality, his principles and his aristocratic status quo.

Ford’s prose explores the contemporary signs of male aggression towards women and their fear to them. It develops the extent to which women pose a threat to their lives. When Valentine and Gertie protest for women’s rights in front to the men at the golf course, they are forced to escape away from them. As women, they are not respected, and as suffragettes who break the law, they put themselves at risk. The men do not understand them, nor their ideals, and their boldness poses a threat to men. The men’s first impulse is not only to put them in jail, but also to take advantage of them. Two men with “lurid and obscene” eyes were chasing Gertie, yelling “Strip the bitch naked,” while Tietjens thought “This is an assaulted female” (67). Women of the time were thought to be insignificant, unable to fight for their ideals. Any transgression of the submissive female patterns would be dangerous. In this case, Valentine’s and Gertie’s punishment is not only jail-time, but also an imminent sexual attack. Women were thought only to belong to the private sphere and not the political sphere. Ford clearly exposes this derisive treatment of women through Tietjens’s actions; he was watching the man who was unable to get Gertie and observed that the man’s gaze was as “if the bottom of his assured world, where all men desire to bash women, had fallen out” (67). Ford generalizes men’s negative impulses towards women; they wan to “bash” the women of their “assured world.” In Tietjen’s society is “all men desire” to humiliate and physically harm women. Ford criticizes this attitude by making Tietjens stand against it. Tietjens helps the women escape; he makes the policeman trip over his golf bag when he is eagerly pursuing the women. Tietjens does not care about the consequences of his actions; he only wants to see the women safe. Titjens’ attitude symbolizes the attitude that men should have towards women. Men should respect women enough to help them even if they are at risk of losing their reputation as proper Englishmen.

Women are purposely portrayed as valiant and strong, their dialogue depicts them acting offensively, fearless of confrontations with other people who have other ideas. On the other hand, men are portrayed continuously defending their actions. Valentine, fearless of her actions, tells Tientjens not to “be one of those ignoble triflers who say the vote won’t do women any good” (114). Valentine courageously accuses any men who oppose the women who work hard to get the right to vote of dishonorable conduct. Valentine furthers her feminist ideals through such arguments.

The debate over women’s rights and the expectations of women’s moral behavior help the audience to understand the extent to which the contemporary view of women is transformed into a reclamation of women’s rights.


by Tania Sanchez

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

Haslam, Sara. Fragmenting Modernism;Ford Madox Ford, the novel and the Great War. Manchester,UK: Manchester University Press, 2002.

Meixneir, John A. Ford Madox Ford Novels. Minneapolis, US: University of Minnesota Press, 1962.

Sylvia's Feminism

On the other hand, Sylvia represents the modern woman of the time. She moves in a circle of decadent upper-class women. She is celebrated for her sophistication. She is a fearless ascetic who is not controlled by social norms; however, in contrast to Valentine, she is dangerously controlled by her selfish impulses. Silvia is not concerned at all with her society and its moral or religious beliefs. She is a rebellious woman who is displeased with the standards of her society. She shows that by making her own choices, she is in total control of her life.

The audience sympathizes with Sylvia because she represents all the expectations that women have of life and their relationships with men. Sylvia, like the heroines of many books, has a striking and classy beauty. She has a mysterious and enchanting personality that makes men want more of her – even if it is to their detriment. In contrast, Silvia’s attraction to men is only external; what motivates her to establish a love relationship is purely egotistic and social. She masters disdain when she is with her suitors. Even though she returns to Tietjens after leaving her lover, she does not do it for love; she does it to cause him torment, and, eventually, his ruin. Her anger is triggered by the fact that she is a catholic wife, and so unable to divorce him.

Sylvia is presented as a contradictory character; she represents the female’s repressive power over men. She is a woman who leaves and comes back, who destroys her relationships with men and renews them again and again. As an adulterous woman, Sylvia is not ashamed of her acts, but rather proud of them. In the novel, Sylvia also represents the struggles between the evil, amoral acts and the religious standards of her society. She turns out to be an ugly woman on the inside and a beautiful woman on the outside. Sylvia hates being a traditional, subservient woman. She is bored with tradition because it does not give her any options to exercise the freedom she wants to have. Therefore, Sylvia is forced to look for other men to free herself. Similarly, Ford portrays Sylvia as a character who represents the extreme opposite of the submissive view of feminism. She possesses all the negative male characteristics. She is cold, dominant, self-centered and aggressive. She looks only for social definition and advancement, is only interested in fulfilling herself, and no one else. She is unable to participate in a cooperative argument with males. Sylvia tends to manipulate and control any discussion through the explicit humiliation of the others. She demeans men with her prowess. She is seen to be a cruel, astonishingly attractive temptress.

However, let us not forget that, even though Sylvia is presented in a dark light, she is a kind of heroine in the novel. Her agency serves as a symbol that advocates a change to the classic female identity. Silvia’s agency and decision making expands the horizons of the females of her time.


by Tania Sanchez

Haslam, Sarah. Fragmenting modernism; Ford Madox Ford, the novel and the Great War. Manchester, UK: Manchester University Press, 2002.

Meixneir, John A. Ford Madox Ford Novels. Minneapolis, US: University of Minnesota Press, 1962.

Valentine's Feminism

Ford introduces two female heroines in the novel – Valentine, a suffragette and a socialist; and Sylvia, a beautiful, classy aristocrat and legal wife to Tietjens. The suffragettes were women who campaigned militantly to be given the right to vote in public elections in the early twentieth century. These women are caught between their social status, their religion, and Victorian sexual morality.

Valentine is portrayed as an avid follower of the women’s movement. She campaigns ardently in support of the right to vote for women. Even though Valentine seems to be a sweet and innocent person, she is also direct and courageous. She tries to help everyone, and demonstrates extreme self-sacrifice, as any woman of the time will do, but she is also an extremely intelligent and self-confident woman who is not afraid to say what she thinks or fight for her ideals. Valentine is a woman who, in opposition to the women of the time, has not been formally educated, but has been encouraged to pursue athletic sports. Therefore, she has a slim, athletic figure. However, she is able to sustain scholarly debates with Tietjens and she demonstrates an almost professional knowledge of classical languages. Even though her mother is a writer and her father was an eminent professor, she is forced into poverty. The death of her father removed her from the social circles to which she was entitled. She is, lamentably, obliged to work as a housemaid for her own mother; therefore, her life circumstances make her seriously consider the prevailing socialist ideals and suffering of women. Paradoxically, Valentine proves to be an emotionally sensitive woman who is able to express what she feels, however, she does it without been overridden by her emotions or her female sensitivity. She appears to be the perfect women, a woman with the perfect amount of strength and sensibility.

Valentine represents the separation from patriarchal ideas; she stands against war, she pursues happiness over all – she is a woman who is extremely courageous and constantly searching for love. She is entirely truthful with herself. She is the perfect woman for Tietjens, a man who is trapped with his principles and his gentleman behavior. Through Valentine, Ford shows that women can live harmoniously with female and male characteristics. She is a proto-feminist who, at the same time, can fulfill the needs of her lover Tietjens. Valentine asserts her individuality through her own argument. She is ready to listen to the male perspective in ordinary and political issues, but she is not afraid to confront the men with her own argument in a peaceful and civilized manner. She cooperates in the argument without compromising herself, or humiliating others. Valentine not only self-sacrifices to help others, but she also uses this virtue to promote and help other people within the feminine system. She is not only interested in her personal advancement, but rather in the civil advancement of all women. She uses all of her energy to help women promote social change. Even though she is defined through self-sacrifice, Valentine uses her energy to achieve her own goals as well. She is a woman whose behavior significantly diverts from the moral standards of the time, but still achieves spiritual advancement.


by Tania Sanchez

Haslam, Sarah. Fragmenting modernism; Ford Madox Ford, the novel and the Great War. Manchester, UK: Manchester University Press, 2002.

Meixneir, John A. Ford Madox Ford Novels. Minneapolis, US: University of Minnesota Press, 1962.

Feminist Ideals and the Roles of Society

Ford Madox Ford was brought up in a time where women were merely objects of men’s satisfaction; they were to cook, clean and produce the man’s children while the men were the apparent “bread winners”. When Ford states, “That’s been the first evil effects of giving women the vote!” he is clearly illustrating the disgust he felt as a result of women achieving the right to vote. However, I intend to argue that this is merely a result of the society Ford was brought up in. This ideal that Ford illustrates would have been a common one during the late nineteenth and early twentieth century.

Women were not educated in the same way that men were; however, many of them took it upon themselves to ensure that they were. It was a common understanding that women were not as strong, or as intelligent as men. As a result of this, women did not have the same opportunities, the same rights, or the same privileges that men at this time had. The late nineteenth and early twentieth century proved to be a key time for women and the Feminist Movement. Women began to achieve higher status as a result of the events that were taking place, mainly, that of World War One. It can be understood why men like Ford would have “mixed feelings” with respect to what was transpiring.

Men like Ford were used to working for a living and providing for their families while the women were left to tend to the home. As a result of WWI and the fact that millions of men were shipped off, the roles of women drastically changed. Women were given the right to vote, and in many cases, began to work because with their husband’s off fighting in a battle, someone needed to provide for the family. Furthermore, there were limited men to work, so factories and plants needed to hire women in order to continue business. This proved to be great for the women of this time and even after the war, many women continued to work. Furthermore, many of the beliefs that had been falsely achieved began to disappear as women appeared to be much more competent than they were once considered. They could perform many of the same duties that men did and this was a major eye opener for people at this time. Women’s rights and the Feminist Movement continued to prosper and the status of women grew throughout the years to follow.

One can see why men like Ford would have the ideologies that they did. They felt threatened by what was taking place and they liked things the way they were. What was taking place was drastically changing what they were used to and accustomed to. Men at this time enjoyed being the “bread winners” and enjoyed being considered the dominant sex. The reason why we find such ideals so appalling is a result of the society we live in. Men are no longer the dominant sex. Women work for a living and provide for themselves and in many cases, provide for their families. They have many of the same rights that men have and though it is still not quite equal, it continues to grow. World War One proved to play a key role in the development of women’s rights and privileges in the late nineteenth and early twentieth century and as a result, many men of this time would have felt the same way that Ford illustrates in his work “Some Do Not”.

Rob Shearar

Enlightened Promiscuity?

Sex is a topic which runs throughout Some Do Not…. Whether it is infidelity or illegitimacy, there is always sex in some permutation affecting the characters’ lives. However, I found the idea of “enlightened promiscuity” (264) to be the most interesting for many reasons. First, some may think that sexual deviance originated in Studio 54 in the 70s and this is obviously not true. Also, this sort of promiscuity seems to be the norm for women in Some Do Not… and this is quite topical with shows like “Sex and the City” these days. While Valentine prefers chastity opposed to promiscuity, she still concedes “she would have stated herself to advocate an, of course, enlightened promiscuity” (264), had she not been brought up in service with a drunk cook to expel any glorification or tenderness comcerning sex. Valentine is not a character to simply take up a popular cause – or pretend to defend one – as she is against the war and also works hard to the suffragette cause. These two causes seem to be ones she has be thoughtful about before acting. Then why does she decide she would espouse this accord with enlightened promiscuity so easily? Why would Valentine’s views simply be a matter of nurture and luck? I believe this shows how this brand of promiscuity was closely tied with feminism – and indeed, in many ways, it still is – and how accepted it was by certain groups of people in the Edwardian era.

However, while Sylvia seems to be promiscuous in this enlightened sense – she goes after men simply for her own enjoyment and does not care at all what society or especially her family and husband think. She does not seem to care about what the consequences of these actions are either. “Enlightened” has quite positive connotations. It connotes a deep understanding and knowledge and also a great peace that comes with this. However, whilst talking with her mother and Father Consett, Sylvia implies she knows everything – in particular concerning men and her husband – and instead of this knowledge making her want to forgive all as Father Consett believes it would, it makes her exceptionally bored. This shows that this enlightened promiscuity is perhaps not the correct course of action for great happiness and peace.

Of these two women, Valentine, the one first takes up chastity on her own accord and then through perhaps fate has to keep her chaste ways in the end of Some Do Not…, is the woman more at peace while she still has much turmoil she must deal with. Valentine appears more “enlightened” on the whole than Sylvia. This appears to be another way in which Some Do Not… attacks this decadence, as Darcy explains, since Sylvia, while she may find her lifestyle boring, wholly encompasses the danger of decadence and, indeed, succumbs to the downfall later on in Parade’s End. Thus Some Do Not… presents this “enlightened promiscuity” as a euphemism for decadence. And decadence ultimately leads to death and destruction, as Ford Maddox Ford shows.

- Molly Sotham

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