The Coryston Family A Novel — Context and Discussion
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There was silence a little. The House was thinning rapidly, and half the occupants of the Ladies' Galleries had adjourned to the tearooms on the farther side of the corridor. Marcia could now see her mother's face more distinctly as Lady Coryston sat in a brown study, not listening, evidently, to the very halting gentleman who was in possession of the House, though her eyes still roamed the fast-emptying benches.
It was the face of a woman on the wrong side of fifty. The complexion was extremely fair, with gray shades in it. The eyes, pale in color but singularly imperious and direct, were sunk deep under straight brows. The nose was long, prominent, and delicately sharp in the nostril. These features, together with the long upper lip and severely cut mouth and chin, the slightly hollow cheeks and the thin containing oval of the face, set in pale and still abundant hair, made a harsh yet, on the whole, handsome impression. There was at Coryston, in the gallery, a picture of Elizabeth Tudor in her later years to which Lady Coryston had been often compared; and she, who as a rule disliked any reference to her personal appearance, did not, it was sometimes remarked, resent this particular comparison. The likeness was carried further by Lady Coryston's tall and gaunt frame; by her formidable carriage and step; and by the energy of the long-fingered hands. In dress also there was some parallel between her and the Queen of many gowns. Lady Coryston seldom wore colors, but the richest of black silks and satins and the finest of laces were pressed night and day into the service of her masterful good looks. She made her own fashions. Amid the large and befeathered hats of the day, for instance, she alone wore habitually a kind of coif made of thin black lace on her fair face, the lappets of which were fastened with a diamond close beneath her chin. For the country she invented modifications of her London dress, which, while loose and comfortable, were scarcely less stately. And whatever she wore seemed always part and parcel of her formidable self.
In Marcia's eyes, her mother was a wonderful being--oppressively wonderful--whom she could never conveniently forget. Other people's mothers were, so to speak, furniture mothers. They became the chimney-corner, or the sofa; they looked well in combination, gave no trouble, and could be used for all the common purposes of life. But Lady Coryston could never be used. On the contrary, her husband--while he lived--her three sons, and her daughter, had always appeared to her in the light of so many instruments of her own ends. Those ends were not the ends of other women. But did it very much matter? Marcia would sometimes ask herself. They seemed to cause just as much friction and strife and bad blood as other people's ends.
As the girl sat silent, looking down on the bald heads of a couple of Ministers on the Front Bench, she was uneasily conscious of her mother as of some charged force ready to strike. And, indeed, given the circumstances of the family, on that particular afternoon, nothing could be more certain than blows of some kind before long....
"You see Mr. Lester?" said her mother, abruptly. "I thought Arthur would get him in."
Marcia's dreaminess departed. Her eyes ran keenly along the benches of the Strangers' Gallery opposite till they discovered the dark head of a man who was leaning forward on his elbows, closely attentive, apparently, to the debate.
"Has he just come in?"
"A minute or two ago. It means, I suppose, that Arthur told him he expected to be up about seven. When will this idiot have done!" said Lady Coryston, impatiently.
But the elderly gentleman from the Highlands, to whom she thus unkindly referred, went on humming and hawing as before, while the House lumbered or fidgeted, hats well over noses and legs stretched to infinity.
"Oh, there is Arthur!" cried Marcia, having just discovered her brother among the shadows under the gallery to the left. "I couldn't make him out before. One can see he's on wires."
For while everybody else, after the excitement of the two opening speeches, which was now running its course through the crowded lobbies outside, had sunk into somnolence within the House itself, the fair-haired youth on whom her eyes were bent was sitting erect on the edge of his seat, papers in hand, his face turned eagerly toward the speaker on the other side of the House. His attitude gave the impression of one just about to spring to his feet.
But Marcia was of opinion that he would still have to wait some time before springing. She knew the humming and hawing gentleman--had heard him often before. He was one of those plagues of debate who rise with ease and cease with difficulty. She would certainly have time to get a cup of tea and come back. So with a word to her mother she groped her way through the dark gallery across the corridor toward a tearoom. But at the door of the gallery she turned back. There through the lattice which shuts in the Ladies' Gallery, right across the House, she saw the Strangers' Gallery at the other end. The man whose head had been propped on his hands when she first discovered his presence was now sitting upright, and seemed to be looking straight at herself, though she knew well that no one in the Ladies' Gallery was really visible from any other part of the House. His face was a mere black-and-white patch in the distance. But she imagined the clear, critical eyes, their sudden frown or smile.
"I wonder what _he_'ll think of Arthur's speech--and whether he's seen Coryston. I wonder whether he knows there's going to be an awful row to-night. Coryston's mad!"
Coryston was her eldest brother, and she was very fond of him. But the way he had been behaving!--the way he had been defying mamma!--it was really ridiculous. What could he expect?
She seemed to be talking to the distant face, defending her mother and herself with a kind of unwilling deference.
"After all, do I really care what he thinks?"
She turned and went her way to the tearoom. As she entered it she saw some acquaintances at the farther end, who waved their hands to her, beckoning her to join them. She hastened across the room, much observed by the way, and conscious of the eyes upon her. It was a relief to find herself among a group of chattering people.
Meanwhile at the other end of the room three ladies were finishing their tea. Two of them were the wives of Liberal Ministers--by name, Mrs. Verity and Mrs. Frant. The third was already a well-known figure in London society and in the precincts of the House of Commons--the Ladies' Gallery, the Terrace, the dining-rooms--though she was but an unmarried girl of two-and-twenty. Quite apart, however, from her own qualities and claims, Enid Glenwilliam was conspicuous as the only daughter of the most vigorously hated and ardently followed man of the moment--the North Country miner's agent, who was now England's Finance Minister.
"You saw who that young lady was?" said Mrs. Frant to Miss Glenwilliam. "I thought you knew her."
"Marcia Coryston? I have just been introduced to her. But she isn't allowed to know me!" The laugh that accompanied the words had a pleasant childish chuckle in it.
Mrs. Frant laughed also.
"Girls, I suppose, have to do what they're told," she said, dryly. "But it _was_ Arthur Coryston, wasn't it, who sent you that extra order for to-day, Enid?"
"Yes," laughed the girl again; "but I am quite certain he didn't tell his mother! We must really be civil and go back to hear him speak. His mother will think it magnificent, anyway. She probably wrote it for him. He's quite a nice boy--but--"
She shook her head over him, softly smiling to herself. The face which smiled had no very clear title to beauty, but it was arresting and expressive, and it had beautiful points. Like the girl's figure and dress, it suggested a self-conscious, fastidious personality: egotism, with charm for its weapon.
"I wonder what Lady Coryston thinks of her eldest son's performances in the papers this morning!" said lively little Mrs. Frant, throwing up hands and eyes.
Mrs. Verity, a soft, faded woman, smiled responsively.
"They can't be exactly dull in that family," she said. "I'm told they all talk at once; and none of them listens to a word the others say."
"I think I'll bet that Lady Coryston will make Lord Coryston listen to a few remarks on that speech!" laughed Enid Glenwilliam. "Is there such a thing as _matria potestas_? I've forgotten all the Latin I learned at Cambridge, so I don't know. But if there is, that's what Lady Coryston stands for. How splendid--to stand for anything--nowadays!"
The three fell into an animated discussion of the Coryston family and their characteristics. Enid Glenwilliam canvassed them all at least as freely as her neighbors. But every now and then little Mrs. Frant threw her an odd look, as much as to say, "Am I really taken in?"
Meanwhile a very substantial old lady, scarcely less deliberate and finely finished, in spite of her size, than Lady Coryston herself, had taken a chair beside her in the gallery, which was still very empty.
"My dear," she said, panting a little and grasping Lady Coryston's wrist, with a plump hand on which the rings sparkled--"My dear! I came to bring you a word of sympathy."
Lady Coryston looked at her coldly.
"Are you speaking of Coryston?"
"Naturally. The only logical result of those proceedings last night would be, of course, the guillotine at Hyde Park Corner. Coryston wants our heads! There's nothing else to be said. I took the speeches for young men's nonsense--just midsummer madness, but I find people very angry. _Your_ son! one of _us_!"
"I thought the speeches very clever," said Lady Coryston.
"I'm rejoiced you take it so philosophically, my dear Emilia!"--the tone was a little snappish--"I confess I thought you would have been much distressed."
"What's the good of being distressed? I have known Coryston's opinions for a long time. One has to _act_--of course," the speaker added, with deliberation.
"Act? I don't understand."
Lady Coryston did not enlighten her. Indeed, she did not hear her. She was bending forward eagerly. The fair-haired youth on the back benches, who had been so long waiting his turn, was up at last.
It was a maiden speech, and a good one, as such things go. There was enough nervousness and not too much; enough assurance and not too much. The facts and figures in it had been well arranged. A modest jest or two tripped pleasantly out; and the general remarks at the end had been well chosen from the current stock, and were not unduly prolonged. Altogether a creditable effort, much assisted by the young man's presence and manner. He had no particular good looks, indeed; his nose ascended, his chin satisfied no one; but he had been a well-known bat in the Oxford eleven of his day, and was now a Yeomanry officer; he held himself with soldierly erectness, and his slender body, cased in a becoming pale waistcoat under his tail coat, carried a well-shaped head covered with thick and tumbling hair.
The House filled up a little to hear him. His father had been a member of Parliament for twenty years, and a popular member. There was some curiosity to know what his son would make of his first speech. And springing from the good feeling which always animates the House of Commons on such occasions, there was a fair amount of friendly applause from both sides when he sat down.
"Features the father, and takes after the mother!" said a white-haired listener in the Strangers' Gallery to himself, as the young man ceased speaking. "She's drilled him! Well, now I suppose I must go and congratulate her." He rose from his seat and began to make his way out. In the passage outside the Gallery he overtook and recognized the man whose entrance into the House Lady Coryston and her daughter had noticed about an hour earlier.
"Well, what did you think of it, Lester?"
The other smiled good-humoredly.
"Capital! Everybody must make a beginning. He's taken a lot of pains."
"It's a beastly audience!" said Sir Wilfrid Bury, in reply. "Don't I know it! Well, I'm off to congratulate. How does the catalogue get on?"
"Oh, very well. I sha'n't finish till the summer. There's a good deal still to do at Coryston. Some of the things are really too precious to move about."
"How do you get on with her ladyship?" asked the old man, gaily, lowering his voice.
The young man smiled discreetly.
"Oh, very well. I don't see very much of her."
"I suppose she's pressed you into the service--makes you help Arthur?"
"I looked out a few things for his speech to-day. But he has his own secretary."
"You're not staying for the rest of the debate?"
"No, I'm going back to St. James's Square. I have a heap of arrears to get through."
"Do they put you up there? I know it's a huge house."
"Yes. I have a bedroom and sitting-room there when I want them, and my own arrangements."
Sir Wilfrid nodded pleasantly, and vanished into a side passage leading to the Ladies' Gallery. The young man, Reginald Lester, to whom he had been chatting, was in some sort a protégé of his own. It was Sir Wilfrid, indeed, who had introduced him, immediately after he had won an Oxford historical fellowship, to Lady Coryston, as librarian, for the highly paid work of cataloguing a superb collection of MSS. belonging to the Corystons. A generation earlier, Lester's father had been a brother officer of Sir Wilfrid's, in days when the Lester family was still rich, and before the crashing failure of the great banking-house of the name.
Meanwhile, at the other end of the House of Commons, Lady Coryston had been sitting pleasantly absorbed, watching her son, who lay now like a man relieved, lolling on the half-empty bench, chatting to a friend beside him. His voice was still in her ears: mingled with the memory of other voices from old, buried times. For more than twenty years how familiar had she been with this political scene!--these galleries and benches, crowded or listless; these opposing Cabinets--the Ins and Outs--on either side of the historic table; the glitter of the Mace at its farther end; the books, the old morocco boxes, the tops of the official wigs, the ugly light which bathed it all; the exhausted air, the dreariness, the boredom! all worth while, these last, just for the moments, the crises, the play of personalities, the conflict of giants, of which they were the inevitable conditions. There, on the second bench above the gangway on the Tory side, her husband, before he succeeded to the title, had sat through four Parliaments. And from the same point of vantage above she had watched him year after year, coming in and out, speaking occasionally, never eloquent or brilliant, but always respected; a good, worthy, steady-going fellow with whom no one had any fault to find, least of all his wife, to whom he had very easily given up the management of their common life, while he represented her political opinions in Parliament much more than his own.
Well, until in an evil hour, a great question, the only political question on which he differed and had always differed from his wife, on which he felt he _must_ speak for himself and stand on his own feet, arose to divide them. There, in that Gallery, she had sat, with rage and defeat in her heart, watching him pass along, behind the Speaker's chair, toward the wrong division lobby, his head doggedly held down, as though he knew and felt her eyes upon him, but must do his duty all the same. On this one matter he had voted against her, spoken against her, openly flouted and disavowed her. And it had broken down their whole relation, poisoned their whole life. "Women are natural tyrants," he had said to her once, bitterly--"no man could torment me as you do." And then had come his death--his swift last illness, with those tired eyes still alive in the dumb face, after speech and movement were no longer possible--eyes which were apt to close when she came near.
And yet, after all--the will!--the will which all his relations and friends had taken as the final expression of his life's weakness, his miserable failure to play the man in his own household, and in which _she_, his wife, had recognized with a secret triumph his last effort to propitiate her, his last surrender to her. Everything left to her, both land and personalty, everything! save for a thousand a year to each of the children, and fifteen hundred a year to Coryston, his heir. The great Irish, the great Devonshire properties, the accumulated savings of a lifetime, they were all hers--hers absolutely. Her husband had stood last in the entail; and with a view to her own power, she had never allowed him to renew it.
Coryston had been furiously angry when the terms of his father's will were revealed. She could never think without shivering of certain scenes, with Coryston in the past--of a certain other scene that was still to come. Well, it had been a duel between them; and after apparently sore defeat, she had won, so far as influence over his father was concerned. And since his father's death she had given him every chance. He had only to hold his tongue, to keep his monstrous, _sans-culotte_ opinions to himself, at least, if he could not give them up; and she would have restored him his inheritance, would have dealt with him not only justly, but generously. He had chosen; he had deliberately chosen. Well, now then it was for her--as she had said to old Lady Frensham--it was for her to reply, but not in words only.
She fell back upon the thought of Arthur, Arthur, her darling; so manly, and yet so docile; so willing to be guided! Where was he, that she might praise him for his speech? She turned, searching the dark doorway with her eyes. But there was no Arthur, only the white head and smiling countenance of her old friend, Sir Wilfrid Bury, who was beckoning to her. She hurriedly bade Marcia, who had just returned to the Gallery, to keep her seat for her, and went out into the corridor to speak to him.
"Well, not bad, was it? These youngsters have got the trick! I thought it capital. But I dare say you'll have all sorts of fault to find, you most exacting of women!"
"No, no; it was good," she said, eagerly. "And he's improving fast."
"Well then"--the wise old eyes beside her laughed kindly into hers--"be content, and don't take Coryston's escapades too hardly!"
She drew back, and her long face and haughty mouth stiffened in the way he knew.
"Are you coming to see me on Sunday?" she said, quietly.
He took his snubbing without resentment.
"I suppose so. I don't often miss, do I? Well, I hear Marcia was the beauty at the Shrewsbury House ball, and that--" he whispered something, laughing in her ear.
Lady Coryston looked a little impatient.
"Oh, I dare say. And if it's not he, it will be some one else. She'll marry directly. I always expected it. Well, now I must go. Have you seen Arthur?"
"Mother! Hullo, Sir Wilfrid!"
There was the young orator, flushed and radiant. But his mother could say very little to him, for the magnificent person in charge of the Gallery and its approaches intervened. "No talking allowed here, sir, please." Even Lady Coryston must obey. All she could add to her hurried congratulations was:
"You're coming in to-night, remember, Arthur?--nine-thirty."
"Yes, I've paired. I'm coming. But what on earth's up, mother?"
Her lips shut closely.
"Remember, nine-thirty!" She turned and went back into the darkness of the Gallery.
Arthur hesitated a moment in the passage outside. Then he turned back toward the little entrance-room opposite the entrance to the ordinary Ladies' Gallery, where he found another attendant.
"Is Miss Glenwilliam here?" he inquired, carelessly.
"Yes, sir, in the front row, with Mrs. Verity and Mrs. Frant. Do you wish to speak to her, sir? The Gallery's pretty empty."
The novel begins not with the Coryston family but with the House of Commons in uproar: the hands of the clock near six, the Minister's Land Bill speech over, the Opposition leader on his feet. Ward renders the chamber's heat, the 'frou-frou of silk and satin' in the Ladies' Gallery, and the 'shadowy medley of plumed hats.' This political opening is not a mere backdrop; it establishes a world where public debate and private maneuvering are inseparable. The catalog subjects list 'Political fiction' first, and the excerpts bear this out—but the politics here are not abstract. They are embodied in the physical press of bodies, the whispered exchanges, and the tension between visible and invisible observers.
A Mother's Grip and a Son's Revolt
The catalog subject 'Mother and child' suggests a sentimental relationship, but the excerpts show something more combative. Lady Coryston is introduced through her son's accusation: 'How long have you been concocting this, Mother?' The frontispiece caption captures a moment of confrontation. Later, Marcia reflects that she has been 'accustomed to be the center of her own young world'—but her mother's company is notably absent from that description. The mother-son dynamic appears to be one of strategic opposition, not nurture. Ward's dialogue, as in the Betts family scene, shows characters negotiating power through speech: 'That's all anybody need know?' implies a world where appearances are weapons. The novel seems to explore how family bonds become battlegrounds for control, with Lady Coryston as a central, perhaps manipulative, figure.
The Weight of Religious Influence
The excerpts reveal a strong religious thread that the catalog subjects do not explicitly name. At Hoddon Grey, Marcia experiences 'happy and impassioned religion' and feels 'dealt with, disciplined, molded' by those around her. The language of 'captive' and 'system' suggests a structured faith that demands surrender. Newbury's 'lofty and singular character' is tied to his books and Oxford friendships; a letter from his 'chiefest and dearest friend' hints at a network of belief. Ward presents religion not as private devotion but as a social force that shapes decisions—Marcia's promise to speak to Edward about Mrs. Betts is made under its influence. The novel may examine how faith can be both a comfort and a constraint, especially for women navigating family and marriage.
Class and the Unspoken Rules of Estate Life
The excerpts offer glimpses of a hierarchical world where servants and tenants are ever-present but rarely central. Mrs. Betts's story—a woman facing separation from her husband because he refuses to 'tell lies to Lord William and Mr. Edward'—exposes the power imbalance beneath the estate's surface. Marcia escorts her through a 'side staircase' to avoid servants, a detail that underscores the careful management of appearances. The wood where Marcia walks afterward, with its 'undergrowth of wild roses,' provides a rare private space. Ward's attention to setting—the 'vast house,' the 'mossy path'—suggests that the physical environment mirrors social structures. The catalog subject 'England -- Social life and customs -- 20th century' is thus rendered not as background but as a system of constraints that characters navigate, resist, or enforce.
Readers approaching The Coryston Family should attend to how Ward uses physical spaces—the Commons chamber, the Ladies' Gallery, the wood, the side staircase—to encode social and psychological boundaries. The excerpts offer no resolution to the political or familial conflicts; they build a world of tense negotiations. Pay particular attention to moments when characters speak of what 'anybody need know' or what 'they'd suppose,' as these phrases reveal the novel's concern with reputation and the stories families tell about themselves.
Reading about Lady Coryston’s grip on her son, I kept thinking of other households where love and authority blur so quietly. The same ache shows up in Maria Edgeworth’s Belinda, though with a lighter hand. There’s a particular loneliness in those old estates—everyone managing everyone else. Tales and Novels — Volume 03 Belinda — Key Ideas to Explore often lingers there too, if memory serves.
Oliver Wilson
4 weeks agoGrace Nelson
4 weeks agoCamila Walker
1 month agoSophia Adams
3 weeks ago-
Tracy Daniels - 1 month ago
The novel offers a solid depiction of aristocratic life and generational conflict. The character development is decent, but the pacing slows in the middle. A worthwhile read if you enjoy character-driven stories. -
Mark Booker - 1 month ago
A sweeping family saga that masterfully explores the tensions between tradition and modernity. The characters are richly drawn, and the plot is both engaging and thought-provoking. Highly recommended for fans of classic literature. -
Toni Bell - 4 weeks ago
Disappointingly predictable. The plot follows a tired pattern without offering any fresh twists. The characters are one-dimensional and the prose is overly dense. There are better family dramas out there.
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Olivia Harris
1 month ago