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Strife
John Galsworthy (1867-1933), novelist and dramatist, is most widely known as the author of The Forsyte Saga, but recent productions testify to the power that his plays still exert over modern audiences and the strength and relevance of the issues he raise
Strife charts the progress of an industrial strike, seen from both the workers' and directors' points of view as well as the directors and looks at the relationship between wives across the class divide as they attempt to persuade their obdurate husbands to broker a deal.
Strife charts the progress of an industrial strike, seen from both the workers' and directors' points of view as well as the directors and looks at the relationship between wives across the class divide as they attempt to persuade their obdurate husbands to broker a deal.
104 pages, Paperback
First published January 1, 1909
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About the author
John Galsworthy
2,424 books474 followersLiterary career of English novelist and playwright John Galsworthy, who used John Sinjohn as a pseudonym, spanned the Victorian, Edwardian and Georgian eras.
In addition to his prolific literary status, Galsworthy was also a renowned social activist. He was an outspoken advocate for the women's suffrage movement, prison reform and animal rights. Galsworthy was the president of PEN, an organization that sought to promote international cooperation through literature.
John Galsworthy was awarded the Nobel Prize in literature in 1932 "for his distinguished art of narration which takes its highest form in The Forsyte Saga."
In addition to his prolific literary status, Galsworthy was also a renowned social activist. He was an outspoken advocate for the women's suffrage movement, prison reform and animal rights. Galsworthy was the president of PEN, an organization that sought to promote international cooperation through literature.
John Galsworthy was awarded the Nobel Prize in literature in 1932 "for his distinguished art of narration which takes its highest form in The Forsyte Saga."
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Displaying 1 - 14 of 14 reviews
December 6, 2020
Strife is one the best plays of John Galsworthy and generally his work is generally satirical. It depicts a 'strife' between capital and labour, in a company that is organized like in modern times with a Board of Directors who make decisions. This was written at a time when labour rights were being asserted strongly and this play depicts a social tragedy i.e. it does not end in unrealistic harmony or co-operation. It ends with friction, division and wasted lives. Read this to watch the play revived by the Minerva theatre (2016).
April 16, 2021
The play is about the last day of negotiations after weeks of strike in a mining company. The first act is a board discussion, the second shows the workers situation and debates, and in the third act the board meets the workers for a resolution. It’s very interestingly written.
February 10, 2025
Three stars for being well-written with several hard-hitting lines that are bangers, two stars off because I disagree with the message of the play.
Strife purports to be a play about the struggle between labor and capital, but that's not actually what it's about. The true conflict of the play is the struggle between radicals and moderates, regardless of class. And the radicals come off looking bad. They are strawmanned as willing to let innocent people die for their pride. And that's not a bad message in a vacuum, but it's not in a vacuum, it's in the context of class warfare. And the ending of the play draws a dumbass equivalency between the evil CEO and the firebrand labor activist who goes on strike, as if they're both equally bad, as if they're both equally responsible for the death of a starving woman by prolonging the strike and refusing to compromise.
This isn't a poorly written play, it's an irresponsibly written one. It's irresponsible to in ANY way portray class warfare as a conflict between equal teams... because the whole impetus of the warfare is that they're NOT equal! That's the DEFINITION of class! Trying to portray an equal fight between capital and labor is like trying to portray a triangular square. It simply can't be done.
Edit: One more thing, why is the radical leftist portrayed as an opponent of the union?? Just what kind of bizarro story are we trying to tell here???
Strife purports to be a play about the struggle between labor and capital, but that's not actually what it's about. The true conflict of the play is the struggle between radicals and moderates, regardless of class. And the radicals come off looking bad. They are strawmanned as willing to let innocent people die for their pride. And that's not a bad message in a vacuum, but it's not in a vacuum, it's in the context of class warfare. And the ending of the play draws a dumbass equivalency between the evil CEO and the firebrand labor activist who goes on strike, as if they're both equally bad, as if they're both equally responsible for the death of a starving woman by prolonging the strike and refusing to compromise.
This isn't a poorly written play, it's an irresponsibly written one. It's irresponsible to in ANY way portray class warfare as a conflict between equal teams... because the whole impetus of the warfare is that they're NOT equal! That's the DEFINITION of class! Trying to portray an equal fight between capital and labor is like trying to portray a triangular square. It simply can't be done.
Edit: One more thing, why is the radical leftist portrayed as an opponent of the union?? Just what kind of bizarro story are we trying to tell here???
April 1, 2011
While awaiting the release of the next book in the Mortal Instruments series, i.e., #4 City of Fallen Angles on April 5, thought i should look for something light and there were loads of books in my (late) great aunt's bookshelf and viola....i found Strife, A Drama in three Acts by John Galsworthy.
The Summary of the drama goes as follows
WILDER. [Breaking in fussily.] It's a regular mess. I don't like the position we're in; I don't like it; I've said so for a long time. [Looking at WANKLIN] When Wanklin and I came down here before Christmas it looked as if the men must collapse. You thought so too, Underwood. Written in 1907 and first performed in 1909.
About this author
John Galsworthy was an English novelist and playwright whose literary career spanned the Victorian, Edwardian and Georgian eras. In addition to his prolific literary status, Galsworthy was also a renowned social activist. He was an outspoken advocate for the women's suffrage movement, prison reform and animal rights. Galsworthy was the president of PEN, an organization that sought to promote international cooperation through literature. John Galsworthy was awarded the Nobel Prize in Literature in 1932 "for his distinguished art of narration which takes its highest form in The Forsyte Saga."
Onto a little bit about the drama
The drama as stated from the title only consists of 3 acts, so it definitely has to be to-the-point and concise and lengthy and boring.
It so does does the trick, not only is it short and concise but also moves at a pace of its own. The whole drama bases itself on the scenario prevalent around a company, named 'Trenartha Tin Plate Works' facing a strike by the workers asking for better wages and conditions of work environment.
As can be expected from a company facing a strike it is not just the higher official, a.k.a the board member of the company at a stand-still, i.e., the contracts as well as all the manufacturing and construction are not completed on time but also the worker's family is affected by such a strife. Also accountable in the affected equation are the shareholders who buy stakes at the said companies. The plays centers around the struggles faced by all factions of the societies in such bitter conflicts of interests where both leaders won't budge from their stances (in this case Mr. Anthony, the chairman of the company & Mr. Roberts a very outspoken worker) and the 'trade union' is seen as the peacemakers for both sides.
Now a play is written to be performed, and the printed text, like a musical score, is simply the basis for a performance. When reading to himself the reader should hear and see everything, and the practiced, imaginative reader can stage a good performance in his own mind. But drama is a communal art; it is only as a combination of sound, movement and pictorial effect, presented to an audience, that a play can come fully to life. The reactions of the audience are a vital element. If the group wish to please an audience they should not choose Strife for performance unless they can cast it fairly well, and in particular they must have players who can give acceptable renderings of Anthony and Roberts.
Keeping all the technicalities of theater aside, Strife is a fast, concise and compact scenario-oriented examination on a particular place and time. Extends its ideological meaning over some part of human pride and power. Stereotypes were many but so one dimensional as to be unpalatable.
The Summary of the drama goes as follows
WILDER. [Breaking in fussily.] It's a regular mess. I don't like the position we're in; I don't like it; I've said so for a long time. [Looking at WANKLIN] When Wanklin and I came down here before Christmas it looked as if the men must collapse. You thought so too, Underwood. Written in 1907 and first performed in 1909.
About this author
John Galsworthy was an English novelist and playwright whose literary career spanned the Victorian, Edwardian and Georgian eras. In addition to his prolific literary status, Galsworthy was also a renowned social activist. He was an outspoken advocate for the women's suffrage movement, prison reform and animal rights. Galsworthy was the president of PEN, an organization that sought to promote international cooperation through literature. John Galsworthy was awarded the Nobel Prize in Literature in 1932 "for his distinguished art of narration which takes its highest form in The Forsyte Saga."
Onto a little bit about the drama
The drama as stated from the title only consists of 3 acts, so it definitely has to be to-the-point and concise and lengthy and boring.
It so does does the trick, not only is it short and concise but also moves at a pace of its own. The whole drama bases itself on the scenario prevalent around a company, named 'Trenartha Tin Plate Works' facing a strike by the workers asking for better wages and conditions of work environment.
As can be expected from a company facing a strike it is not just the higher official, a.k.a the board member of the company at a stand-still, i.e., the contracts as well as all the manufacturing and construction are not completed on time but also the worker's family is affected by such a strife. Also accountable in the affected equation are the shareholders who buy stakes at the said companies. The plays centers around the struggles faced by all factions of the societies in such bitter conflicts of interests where both leaders won't budge from their stances (in this case Mr. Anthony, the chairman of the company & Mr. Roberts a very outspoken worker) and the 'trade union' is seen as the peacemakers for both sides.
Now a play is written to be performed, and the printed text, like a musical score, is simply the basis for a performance. When reading to himself the reader should hear and see everything, and the practiced, imaginative reader can stage a good performance in his own mind. But drama is a communal art; it is only as a combination of sound, movement and pictorial effect, presented to an audience, that a play can come fully to life. The reactions of the audience are a vital element. If the group wish to please an audience they should not choose Strife for performance unless they can cast it fairly well, and in particular they must have players who can give acceptable renderings of Anthony and Roberts.
Keeping all the technicalities of theater aside, Strife is a fast, concise and compact scenario-oriented examination on a particular place and time. Extends its ideological meaning over some part of human pride and power. Stereotypes were many but so one dimensional as to be unpalatable.
July 15, 2013
A fascinating glimpse of Canadian history, Strife: A Drama in Three Acts is loosely based on the Vancouver Coal Mine & Land Co. The playwright's father was a director of this coal company in Nanaimo, B.C. (Vancouver Island), and his grandfather was a shareholder before him. The British company bought the mine from the Hudson's Bay Company. The drama depicts the Capital vs. Union battle and the entrenched personalities on both sides. I appreciated receiving a first edition of this book (Charles Scribner's Sons, 1917) after speaking to a Simon Fraser University social history class.
February 27, 2023
Strife by John Galsworthy- English Drama- Galsworthy wrote this play in year 1909 at a time when the rights of laborers were only beginning to be asserted. STRIFE presents a picture of both sides of the strike question, for Galsworthy was always an impartial realist. Aside from its social implications, the play is also notable for several very real and forceful characters, Roberts and old Anthony among them. The strike at the Trenartha Tin Plate Works had lasted so long without any sign of a settlement that the directors had begun to fear for their dividends. They had all gathered at the Underwood home at the request of the workers and at first there was some talk of compromise. Facing them, however, was the stern figure of the chairman of the board, seventy-five-year-old John Anthony, who refused to consider any plan for compromise. Anthony belonged to the old school of businessmen who refused to move with the times. For him there could be only one master at the plant, and that was John Anthony himself. He had defeated four strikes in his thirty-two years as chairman of the board, and he was certain that a little more perseverance would defeat the strikers once more. The other directors were a little uneasy under his stern refusal. In his report Underwood, the plant manager, had made no attempt to disguise the terrible suffering of the striking workers and their families. The directors were also aware that if the strike lasted much longer their stockholders would begin to protest strongly. Although the union had withdrawn support from the strikers because two of their conditions exceeded the prevailing standards, Simon Harness, a Trades Union official, had been sent to attempt mediation between the board and the workers. His interview with the directors accomplished nothing because of Anthony's obstinacy. The meeting between the representatives of the workers and the directors was equally unhappy. Roberts, the leader of the striking workmen, was just as unyielding on his side as Anthony was on his. Both sides faced a deadlock. Conditions among the workers were so terrible that many of them were ready to give in, but Roberts remained adamant. Mrs. Roberts was dying; her weak heart could not stand the cold and hunger which the strike imposed upon them all. At one time she had been the maid in Underwood's home, and one afternoon Enid Underwood went to visit her. Mrs. Underwood had tried to send food to Mrs. Roberts, but the strike leader was too proud and too stubborn to accept help from the daughter of John Anthony. Mrs. Underwood tried to plead with Roberts, asking him, for his wife's sake, to give in and end the strike. But he was fanatic in his certainty that in the end the workmen could bring their employers to terms. At a meeting of the men and Harness, the Trades Union official, it became evident that most of the strikers were willing to compromise, to accept the union suggestions. A few were willing to give in completely. When Roberts appeared at the meeting, the men did not wish to hear him speak. But Roberts was a powerful orator, and as he talked to them again about the eventual victory which they could win if they refused to give in now, they were once more moved and convinced by his oratory. As he was speaking, a young woman approached the platform and told him that his wife had died. With this tragedy as an example of what they must expect if they continued to resist, the men decided to accept the terms of the union compromise. The news of Mrs. Roberts' death was a blow to the directors. Edgar Anthony, in spite of the respect which he had for his father, now faced his colleagues and accused them of responsibility for the woman's condition and death. They felt uncomfortably that what he said was very close to the truth. Old Anthony, weak and unwell as he was, still insisted that the company should not yield. But the directors had decided to act in spite of him, although they knew that should they decide to accept the union terms, Anthony would resign. That evening the meeting between the workers, Harness, and the directors was painful in the extreme. Anthony found himself outvoted by his colleagues. Wearily, with an acknowledgement of his defeat, he resigned. Roberts, who knew nothing of the action which his men had decided to take after he had left the meeting, arrived at the Underwood home in time to watch Harness complete the settlement. The terms agreed upon were those which the union had suggested to both sides before the strike began, but it had needed months of suffering to bring agreement in the dispute. The two leaders stared at each other, both deserted by their supporters, both defeated by the compromise. As they recognized the courageous battle which each had put up, their expression of hate turned to one of grudging admiration and mutual respect. Situation of labour in factories has changed around the world. Laws have been enacted for better of men and women workers.
June 12, 2021
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Strife, by John Galsworthy.
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The play, published in 1909, begins with a discussion amongst management about strikes, and the conversation begins by one asking for a screen for the fire, which, another points out, the strikers wouldn't need. Galsworthy might have written thus with experience of both worlds, in an era when industrial world was beginning to deal with labour consciousness about rights on the rise, at least right to survival.
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"Wasn't the work o' my brains bought for seven hundred pounds, and has n't one hundred thousand pounds been gained them by that seven hundred without the stirring of a finger. It is a thing that will take as much and give you as little as it can. That's Capital! A thing that will say—"I'm very sorry for you, poor fellows—you have a cruel time of it, I know," but will not give one sixpence of its dividends to help you have a better time. That's Capital! ... I looked into his eyes and I saw he was afraid—afraid for himself and his dividends; afraid for his fees, afraid of the very shareholders he stands for; and all but one of them's afraid—like children that get into a wood at night, and start at every rustle of the leaves. I ask you, men—[he pauses, holding out his hand till there is utter silence]—give me a free hand to tell them: "Go you back to London. The men have nothing for you!" [A murmuring.] Give me that, an' I swear to you, within a week you shall have from London all you want."
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"There is only one way of treating "men"—with the iron hand. This half and half business, the half and half manners of this generation, has brought all this upon us. Sentiment and softness, and what this young man, no doubt, would call his social policy. You can't eat cake and have it! This middle-class sentiment, or socialism, or whatever it may be, is rotten. Masters are masters, men are men! Yield one demand, and they will make it six. They are [he smiles grimly] like Oliver Twist, asking for more. If I were in their place I should be the same. But I am not in their place. Mark my words: one fine morning, when you have given way here, and given way there—you will find you have parted with the ground beneath your feet, and are deep in the bog of bankruptcy; and with you, floundering in that bog, will be the very men you have given way to."
"A woman has died. I am told that her blood is on my hands; I am told that on my hands is the starvation and the suffering of other women and of children.
"EDGAR. I said "on our hands," sir.
"ANTHONY. It is the same. [His voice grows stronger and stronger, his feeling is more and more made manifest.] I am not aware that if my adversary suffer in a fair fight not sought by me, it is my fault. If I fall under his feet—as fall I may—I shall not complain. That will be my look-out—and this is—his. I cannot separate, as I would, these men from their women and children. A fair fight is a fair fight! Let them learn to think before they pick a quarrel!"
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"SCANTLEBURY. [Behind his hand to TENCH.] Look after the Chairman! He's not well; he's not well—he had no lunch. If there's any fund started for the women and children, put me down for—for twenty pounds."
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"ROBERTS. Then you're no longer Chairman of this Company! [Breaking into half-mad laughter.] Ah! ha-ah, ha, ha! They've thrown ye over thrown over their Chairman: Ah-ha-ha! [With a sudden dreadful calm.] So—they've done us both down, Mr. Anthony?
"[ENID, hurrying through the double-doors, comes quickly to her father.]
"ANTHONY. Both broken men, my friend Roberts!"
"[ANTHONY rises with an effort. He turns to ROBERTS who looks at him. They stand several seconds, gazing at each other fixedly; ANTHONY lifts his hand, as though to salute, but lets it fall. The expression of ROBERTS'S face changes from hostility to wonder. They bend their heads in token of respect. ANTHONY turns, and slowly walks towards the curtained door. Suddenly he sways as though about to fall, recovers himself, and is assisted out by EDGAR and ENID; UNDERWOOD follows, but stops at the door. ROBERTS remains motionless for several seconds, staring intently after ANTHONY, then goes out into the hall.]"
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Strife, by John Galsworthy.
................................................................................................
................................................................................................
The play, published in 1909, begins with a discussion amongst management about strikes, and the conversation begins by one asking for a screen for the fire, which, another points out, the strikers wouldn't need. Galsworthy might have written thus with experience of both worlds, in an era when industrial world was beginning to deal with labour consciousness about rights on the rise, at least right to survival.
................................................................................................
"Wasn't the work o' my brains bought for seven hundred pounds, and has n't one hundred thousand pounds been gained them by that seven hundred without the stirring of a finger. It is a thing that will take as much and give you as little as it can. That's Capital! A thing that will say—"I'm very sorry for you, poor fellows—you have a cruel time of it, I know," but will not give one sixpence of its dividends to help you have a better time. That's Capital! ... I looked into his eyes and I saw he was afraid—afraid for himself and his dividends; afraid for his fees, afraid of the very shareholders he stands for; and all but one of them's afraid—like children that get into a wood at night, and start at every rustle of the leaves. I ask you, men—[he pauses, holding out his hand till there is utter silence]—give me a free hand to tell them: "Go you back to London. The men have nothing for you!" [A murmuring.] Give me that, an' I swear to you, within a week you shall have from London all you want."
................................................................................................
"There is only one way of treating "men"—with the iron hand. This half and half business, the half and half manners of this generation, has brought all this upon us. Sentiment and softness, and what this young man, no doubt, would call his social policy. You can't eat cake and have it! This middle-class sentiment, or socialism, or whatever it may be, is rotten. Masters are masters, men are men! Yield one demand, and they will make it six. They are [he smiles grimly] like Oliver Twist, asking for more. If I were in their place I should be the same. But I am not in their place. Mark my words: one fine morning, when you have given way here, and given way there—you will find you have parted with the ground beneath your feet, and are deep in the bog of bankruptcy; and with you, floundering in that bog, will be the very men you have given way to."
"A woman has died. I am told that her blood is on my hands; I am told that on my hands is the starvation and the suffering of other women and of children.
"EDGAR. I said "on our hands," sir.
"ANTHONY. It is the same. [His voice grows stronger and stronger, his feeling is more and more made manifest.] I am not aware that if my adversary suffer in a fair fight not sought by me, it is my fault. If I fall under his feet—as fall I may—I shall not complain. That will be my look-out—and this is—his. I cannot separate, as I would, these men from their women and children. A fair fight is a fair fight! Let them learn to think before they pick a quarrel!"
................................................................................................
"SCANTLEBURY. [Behind his hand to TENCH.] Look after the Chairman! He's not well; he's not well—he had no lunch. If there's any fund started for the women and children, put me down for—for twenty pounds."
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"ROBERTS. Then you're no longer Chairman of this Company! [Breaking into half-mad laughter.] Ah! ha-ah, ha, ha! They've thrown ye over thrown over their Chairman: Ah-ha-ha! [With a sudden dreadful calm.] So—they've done us both down, Mr. Anthony?
"[ENID, hurrying through the double-doors, comes quickly to her father.]
"ANTHONY. Both broken men, my friend Roberts!"
"[ANTHONY rises with an effort. He turns to ROBERTS who looks at him. They stand several seconds, gazing at each other fixedly; ANTHONY lifts his hand, as though to salute, but lets it fall. The expression of ROBERTS'S face changes from hostility to wonder. They bend their heads in token of respect. ANTHONY turns, and slowly walks towards the curtained door. Suddenly he sways as though about to fall, recovers himself, and is assisted out by EDGAR and ENID; UNDERWOOD follows, but stops at the door. ROBERTS remains motionless for several seconds, staring intently after ANTHONY, then goes out into the hall.]"
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June 17, 2019
Made me realize people are just people, whatever ideologies they might choose to follow
July 30, 2022
The struggle is real.
August 31, 2024
Absolutely terrific play!
An amazing dramatisation of conflict between workers and board members, between labour and capital.
An amazing dramatisation of conflict between workers and board members, between labour and capital.
February 26, 2025
The only thing that saved this play is the great characterisations of Roberts and Anthony.
December 20, 2024
I’ve never read anything that so accurately conveys the ruling class’ hatred and disgust for the working class. The 1909 play demonstrates how the working class recycle the same arguments to justify their wealth.
December 3, 2011
Not a bad play, just not on a topic I've ever found particularly interesting.
May 10, 2016
there is no solution to get red of the strife between capitalism and poor one .
unfortunately it's a life style to distinguish people with their money or needs and make fun off them as slaves .
unfortunately it's a life style to distinguish people with their money or needs and make fun off them as slaves .
Displaying 1 - 14 of 14 reviews