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51 pages 1 hour read

Timothy Findley

The Wars

Timothy FindleyFiction | Novel | Adult | Published in 1977

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Part 4Chapter Summaries & Analyses

Part 4 Summary

Juliet d’Orsey provides more details of the relationship between Robert and Barbara, recorded over the course of a weekend. The events take place in a village name named Stourbridge St. Aubyn’s. The abbey of St. Aubyn’s was consigned to the d’Orseys as their family seat by William the Conqueror. The Marquis of St. Aubyn’s—Barbara and Juliet’s father—is mostly absent. Their mother, Lady Emmeline, longed for a simpler life; “her children, her gardens and her belief in God were all that mattered to her” (132). Her children are Clive, Michael, Barbara, Juliet, and Temple. So many of their friends come to the country house seeking to avoid “the horrors of Kitchener’s army” (132) that Lady Emmeline turns the house into a convalescent hospital. After being injured at St. Eloi, Robert accepts an invitation to visit St. Aubyn’s. It is sent by Taffler with a forged signature. Juliet considers Clive and Temple to be the family geniuses and Barbara and Michael to be “beautiful beyond compare” (133), while her role is to write everything down and remember everything that happened.

Robert arrives while Barbara is away, so Juliet offers to take him to his room. She “liked him at once” (135). Robert’s room is haunted by Lady Sorrel’s ghost, but she “isn’t really all that exciting” (135), as she lights candles in the early hours of each morning. Robert sets Rodwell’s sketch books open on the mantels in his room. Robert tells Juliet that his own brother is her age (12), an age at which she considers boys to be dreadful. She takes him to visit Captain Taffler, though there is something about him that Robert does not yet know. On the way, they see Barbara. Then Robert learns what has happened to Taffler: he has lost his arms in the war.

Later, they have dinner. Barbara spends the meal watching Robert, which Juliet considers to mean the “end of Major Terry” (137), her current love interest. Juliet still feels guilty for not adequately preparing Robert for the shock of seeing Taffler in his condition. Juliet sees Barbara exiting Terry’s room late at night; Barbara pauses for a moment outside Robert’s room and then walks on to Taffler’s room, where a light is still emanating from beneath the door. Juliet slips a Pin The Tail On The Donkey game under Terry’s door. He leaves a short time later.

Clive arrives with “all his pacifist friends” (138), which leads to an argument with Michael. One of the pacifists—Mrs. Woolf—is Juliet’s “idol” (139). After collecting flowers, Juliet sees Robert leaving Taffler’s room. Barbara exits the room just after Robert, leaving Taffler’s door slightly ajar. Barbara seems confused about what to do but he embraces her for “a very long time” (140). Then, they part. Juliet wants to give her flowers to Taffler but waits half-an-hour. She knocks on the door but there is no answer. Then, she enters. Taffler has tried to kill himself by rubbing the stumps of his arms against the wall with the intention of bleeding out. Juliet is given a sedative and wakes up the next morning. Taffler will live. Juliet is not permitted to enter the wards anymore.

Following this incident, “the affair between [Barbara] and Robert Ross developed very quickly” (141). Juliet “fell in love with Robert Ross” (142) too, but Barbara is very possessive of him. Juliet notices Robert’s violent temper. Michael goes to a training camp; Lady Emmeline weeps. Robert continues to recover from his knee injuries and Juliet reveals that his relationship with Barbara had a “physical aspect” (143) though she only reluctantly discusses it.

One evening, Juliet sees Barbara enter Robert’s room and decides to play a prank. She dresses up as Lady Sorrel’s ghost and enters Robert’s room, catching Barbara and Robert “making love” (145), though she struggles to understand what she has just seen. Juliet runs back to her room and “didn’t sleep” (145). The next day, Juliet bursts into tears and does not understand why. Clive sits with her. Juliet asks him why “Robert and Barbara are so afraid” (146), and Clive says that it is because “everyone they’ve loved has died” (146).

Robert leaves, and Barbara watches him “from behind the glass” (146). Juliet accompanies Robert to the end of the drive. He has given her Rodwell’s sketchbooks. She hands him a gift to open later: a collection of Lady Sorrel’s candles and wax matches. Clive once said, Juliet remembers, that he doubts their generation will ever be forgiven, but he hopes that “they’ll remember we were human beings” (147). 

Part 4 Analysis

Frequently throughout the novel, the author uses framing devices contextualize memories of Robert Ross’s life. The descriptions of photographs or the library in which research is being conducted help to demonstrate the ways in which Robert’s past is being trawled through in order to find the truth. Seemingly obscure details become important and instructive in trying to piece together his life; at the same time, the audience is invested in the quest to find the truth, becoming part of the research process. One of the most novel framing devices is the interviews conducted with Lady Juliet d’Orsey. The transcripts of these interviews provide a first-person perspective of important moments in Robert’s life.

Lady Juliet’s memories offers two distinct perspectives. There are the original diaries that Juliet maintained as a 12-year-old and there are Juliet’s memories as an old woman, which are affected by the passing of time and the wider understanding she has developed throughout her life. Thus, Juliet provides two perceptions of Robert, one contemporary and one secondary. Though she is a “born observer” (134), her contemporary comments often inform the wholesale readings from her diary. She editorializes, picking and choosing passages to read as she knows which ones are the most important. By admitting that she “won’t read everything” (134), Juliet demonstrates an awareness of which elements of the story are more important: an awareness that the 12-year-old version of herself did not possess. As a result, Juliet becomes a framing device within a framing device. The truth about Robert is hidden behind two layers of abstraction: the elderly Juliet, who chooses which passages to read, and the younger diarist, who documents everything she encounters. As a result, the novel further reinforces the notions that it is impossible to wholly know the truth about the past as there are details that are not available, which are purposefully left out, or are simply forgotten.

Taffler’s suicide attempt is an example of how this framing device affects the telling of the story. At various points in Juliet’s diary, she is demonstrably not able to fully recount what happened to Robert. She witnesses Robert and Barbara entering and leaving Taffler’s room, but she does not know what was said or done inside. Likewise, she does not know the significance of Taffler in Robert’s life. She does not know how much Robert had considered him a hero or how much the incident in the brothel affected Robert’s opinion of Taffler. None of this is available to the 12-year-old, thus shutting certain aspects of Robert’s life behind closed doors and making them unavailable to the contemporary audience. Given that the book is an attempt to determine the truth about Robert’s life, the lack of information about such key moments highlights the danger of trying to form truly objective and comprehensive biographies of those in the past. When Taffler does try to commit suicide, however, Juliet is there to see everything. She remembers the blood stains on the walls and the bandage caught in Taffler’s teeth. But Juliet is only a child. She is unable to provide full insight into the ramifications of Taffler’s suicide attempt because she is given a sedative and is not conscious for the following twelve hours. Indeed, the novel switches from the diaries to the transcript to fill the reader into the details and ramifications of the suicide attempt. The difficulty in documenting Taffler’s attempted suicide reveals the wider difficulty of properly biographizing Robert Ross

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