Editing John Galsworthy (section)

===Growing fame===

''The Island Pharisees'' (1904), addressing the effects of poverty and the constraints of convention − themes with which Galsworthy became much associated − received considerable praise,<ref name=ocel>Drabble (1985), p. 376</ref> but it was a further two years until he had his first outstanding successes. His biographer V. H. Marrot calls 1906 Galsworthy's ''[[annus mirabilis]]''.<ref>Marrot, p. 162</ref> In March his novel ''The Man of Property'' was published by [[Heinemann (publisher)|William Heinemann]], and in December [[Harley Granville-Barker]] directed ''[[The Silver Box]]'' at the [[Royal Court Theatre]] in London.<ref>Holloway, p. 89</ref>

The novel was reviewed enthusiastically. ''[[The Times]]'' said, "A novel of this character is new; it shows thought and determination, and an unflagging alertness, with its companion, ease, that make Mr Galsworthy's career a matter of some importance to English fiction",<ref>"The Times List of New Books and New Editions", ''The Times'' 9 May 1906, p. 8</ref> ''[[The Daily Telegraph]]'' said that Galsworthy had already published some good work, but "nothing quite so strong as this carefully-imagined and well-elaborated chapter in the history of smug respectability",<ref>"The Man of Property", ''The Daily Telegraph'', 4 April 1906, p. 12</ref> and the ''[[Evening Standard]]'' commented that the characters are "undeniably arresting. They always stand out of the page, clear and impressive, as true flesh and blood."<ref>"The Newest Books", ''Evening Standard'', 3 April 1906, p. 5</ref> Other comments included "most incisive and cunningly wrought", "written with a finish which is both rare and delightful" and "a very human story of undoubted literary value".<ref name=hein>''Quoted'' in "The Man of Property", ''The Times'', 25 May 1906, p. 8</ref> The first impression sold out within weeks and a reprint was quickly arranged by Heinemann, who remained Galsworthy's publisher for the rest of the author's career.<ref name=hein/><ref>Holloway, p. 28</ref> There were there four more reprints over the next five years, including a cheap "Sixpenny Edition".<ref>Fréchet, p. 1</ref>

At this stage, Galsworthy had only tentative thoughts of expanding the novel into the family saga and social panorama of ''The Forsyte Chronicles''.<ref>Fréchet, p. 63</ref> It was another twelve years before he wrote any more about the Forsytes.<ref>Holloway, p. 99</ref> His novels in the interim included ''Fraternity'' (1909), a critique of the artificial veneer of urban life, and ''The Dark Flower'' (1913), depicting the disruptive, but sometimes creative, effects of love.<ref name=ocel/> Alongside his work as a novelist and playwright, Galsworthy was a vigorous campaigner for causes in which he believed. In 1912 and 1913 he carried on an effective campaign in the cause of humane slaughtering of animals killed for food.<ref name=times/>

[[File:Censorship-committee.png|thumb|upright=.8|Fellow campaigners against censorship: from top left, clockwise: [[J. M. Barrie]]; [[Gilbert Murray]]; [[William Archer (critic)|William Archer]]; [[Harley Granville-Barker]]|alt=head and shoulders photographs of four middle-aged white men, the first three moustached; the fourth clean-shaven]]

''The Silver Box'' was the first of 28 plays Galsworthy wrote for the professional stage.<ref name=mm/> Despite the success of ''The Man of Property'' earlier in the year, it was as a dramatist that he was first widely known. In 1916 [[Sheila Kaye-Smith]] wrote, "Galsworthy takes his place in modern literature chiefly by virtue of his plays. Criticism may to a certain extent damage him as a novelist, but the most searching critics cannot leave him anything less than a great playwright".<ref>Kaye-Smith, p. 17</ref> Although throughout his career Galsworthy supported no political party, ''The Silver Box'' was seen as putting him alongside [[George Bernard Shaw|Bernard Shaw]] and Granville-Barker as a playwright with a strong social message. The play hinged on unequal treatment before the law, depending on social class.<ref name=mm/> It was well and widely reviewed, although it did only modestly at the box-office. Between 1906 and the outbreak of the [[First World War]] in 1914, Galsworthy had nine plays produced and published five novels. With the help of [[J. M. Barrie]] and [[Gilbert Murray]] he set up a committee to press for reform of the British laws imposing censorship on theatrical productions. They enlisted the strong backing of [[William Archer (critic)|William Archer]] and Granville-Barker; [[W. S. Gilbert]], [[Arthur Wing Pinero|Arthur Pinero]] and others lent their support.<ref>Dupré, p. 148</ref>

Not all the early plays had overt political or polemical themes: ''Joy'' (1907) is a study of a young woman's attempts to cope with the inadequacies of her parents,<ref>"Strife", ''The Bystander'', 2 October 1907, p. 24</ref> and ''The Fugitive'' (1913) depicts a marriage collapsing from the incompatibility of the couple. But ''[[Strife (play)|Strife]]'' (1909) depicts the struggle of workers in a [[Mining in Cornwall and Devon|Cornish tin mine]] against exploitation by the employers;<ref name=g119/> ''[[Justice (play)|Justice]]'' (1910) attacks the use of solitary confinement in prisons;<ref name=g119>Gindin, p. 119</ref> the theme of ''[[The Eldest Son]]'' (1912) is the repression of women both in the family and society;<ref name=g119/> ''The Mob'' (1914) focuses on [[jingoism]] and the politics and morality of war.<ref>Gindin, p. 338</ref> None of these plays were box-office successes, but Galsworthy had the benefit of producers—Granville-Barker and [[Charles Frohman]] in London and [[Annie Horniman]] in Manchester—who were willing to present non-commercial plays in which they believed, as well as more profitable productions.<ref>Gindin, pp. 119, 201 and 210</ref>