A Young Man's Year — Reading Companion

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Hope, Anthony, 1863-1933 Project Gutenberg 2013
Young men -- Fiction; Man-woman relationships -- Fiction; England -- Social life and customs -- Fiction; Lawyers -- Fiction Readers of public-domain and historical texts
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Words: 121,591
Reading time: 529 min
Text sections: 11
Anthony Hope's 1915 novel follows Arthur Lisle, a young barrister in London, as he navigates professional stagnation, romantic entanglements, and the tensions between idealism and suspicion. The narrative contrasts dreary legal chambers with the country estate Hilsey, where Arthur observes a married woman, Bernadette, and her suitor Sir Oliver, sparking a new, possessive jealousy.
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Lisle had always hated Monday mornings; through childhood, school, and university they had been his inveterate enemies--with their narrow rigorous insistence on a return to work, with the end they put to freedom, to leisure, to excursions in the body or in the spirit. And they were worse now, since the work was worse, in that it was not real work at all; it was only waiting for work, or at best a tedious and weary preparation for work which did not come and (for all that he could see) never would come. There was no reason why it ever should. Even genius might starve unnoticed at the Bar, and he was no genius. Even interest might fail to help a man, and interest he had none. Standing with his hands in the pockets, listlessly staring out of the window of his cell of a room, unable to make up his mind how to employ himself, he actually cursed his means of subsistence--the hundred and fifty pounds a year which had led him into the fatal ambition of being called to the Bar. "But for that it would have been impossible for me to be such an ass," he reflected gloomily, as he pushed back his thick reddish-brown hair from his forehead and puckered the thin sensitive lines of his mouth into a childish pout.

Henry the clerk (of whom Mr. Arthur Lisle owned an undivided fourth share) came into the room, carrying a bundle of papers tied with red tape. Turning round on the opening of the door, Arthur suddenly fell prey to an emotion of extraordinary strength and complexity; amazement, joy, excitement, fear, all in their highest expression, struggled for mastery over him. Had he got a Brief?

"Mr. Norton Ward says, will you be kind enough to protect him in Court III, in case he's on in the Court of Appeal? It's a very simple matter, he says; it's the Divisional Court, sir, third in the list." Henry put the papers on the table and went out, quite disregardful of the storm of emotion which he had aroused. Though keenly interested in the fortunes of his employers, he did not study their temperaments.

It had happened, the thing that Arthur knew he ought always to hope for, the thing that in fact he had always dreaded. He had not got a brief; he had to "hold" one--to hold one for somebody else, and that at short notice--"unhouseled, disappointed, unanealed!" That is to say, with no time to make ready for the fearful ordeal. It was nearly ten o'clock, at half-past he must be in court; at any moment after that the case might come on, its two predecessors having crumpled up, as cases constantly did in the Divisional Court. The fell terrors of nervousness beset him, so that he was almost sick. He dashed at the brief fiercely, but his fingers trembled so that he could hardly untie the tape. Still, he managed a hurried run through the papers and got the point into his head.

Lance and Pretyman, JJ. took their seats punctually at ten-thirty. Arthur Lisle, who felt much interest in judges as human beings and would often spend his time in court studying them rather than the law they administered, was glad to see Lance there, but feared Pretyman to the bottom of his heart. Lance was a gentle man, of courtly manners and a tired urbanity, but Pretyman was gruff, abrupt, terribly anxious about saving public time, and therefore always cutting into a man's argument with the Stand-and-deliver of a question to which, in Pretyman's opinion, there was no answer. It would be an awful thing if Pretyman set on him like that! Because then he might be incapable of speech, although he knew that he was in the right. And he believed that his case was good. "All the worse then, if you lose it!" said a mocking voice within him.

Henry had taken him over to the court and had done everything possible for him--had told the solicitor who had briefed Norton Ward how the matter stood and how very safe he would be in Mr. Lisle's hands if it came to that, had given his name to the usher so that the usher could, if necessary, give it to the Bench, and had even introduced him to Mr. O'Sullivan, who was on the other side, a tall and burly Irishman, famous for defending criminals, but not credited with knowing much law.

As the first two cases proceeded, Arthur read his brief again and again, and, when he was not doing that, he read the reported case which (in the opinion of the pupil who had got up Norton Ward's brief and had made a note of it for him) was decisive in his favour. All the while he was praying that the first two cases might last a long time. They did not. Pretyman, J., smashed the pair of them in three-quarters of an hour. "Brown and Green" called the usher, and O'Sullivan was on his legs--and there was no sign of Norton Ward. Henry nodded to Arthur and left the court; he was going to see how matters stood in the Court of Appeal.

"This is an appeal from the West Hampstead County Court, my lords," began Mr. O'Sullivan, "which raises a question of some importance," and he went on in such a fashion that Arthur hoped he was going to take a long time; for Henry had come back, and, by a shake of his head, had indicated that there was no present hope of Norton Ward's arrival. Mr. O'Sullivan meant to take a decently long time; he wanted his client to feel that he was getting his money's worth of argument; therefore he avoided the main point and skirmished about a good deal. Above all he avoided that case which Norton Ward's pupil had considered decisive. Mr. O'Sullivan knew all about the case too, and had it with him, but he was in no hurry to get to it yet.

Lance, J., was leaning back, the picture of polite acquiescence in a lot assigned to him by Providence, a position wherein dignity was tempered by _ennui_. But Pretyman, J., was getting restive; he was fingering his beard--he committed the solecism of wearing a beard on the Bench; then he picked out a book from the shelf by him, and turned over the leaves quickly. Mr. O'Sullivan came, by a series of flourishes, a little nearer the point. And Norton Ward did not come; and Arthur Lisle felt no better.

"What about Watkins and Chichester?" demanded Pretyman, J., with a sudden violence that made Arthur jump.

"I have that case here, my lord, and----"

"You don't seem in a hurry to cite it, Mr. O'Sullivan. It seems to me dead in your teeth."

"Let us hear the headnote, Mr. O'Sullivan," said Lance, J., suavely.

Then they got to it, and Pretyman, J., and Mr. O'Sullivan had a fine wrangle over it, worrying it up and down, one saying that this was that case, the other that this case was not that case, because in that case that happened and in this case this happened, and so forth. Mr. O'Sullivan "distinguished" valiantly, and Pretyman knocked his distinctions into a cocked hat. Lance, J., sat on smiling in silence, till at last he asked blandly:

"If we think the cases indistinguishable, Watkins and Chichester binds us, I take it, Mr. O'Sullivan?"

That Mr. O'Sullivan had to admit, and on that admission down he sat.

The moment had come--and Norton Ward had not. With an actual physical effort Arthur rose to his feet; a strange voice, which did not seem to belong to him, and sounded quite unfamiliar, said, "My lords----" He saw Lance and Pretyman, JJ., in the shape of a grotesque, monstrous, two-headed giant; for the latter was leaning over to the former, who sat listening and twice nodded his head.

A slip of paper was handed up to Lance, J. He glanced at it and from it to Arthur. Again that strange voice said, "My lords----" But Lance, J., interposed suavely, "I don't think we need trouble you, Mr. Lisle," and he proceeded to say that not even Mr. O'Sullivan's ingenious arguments could enable his brother or himself to distinguish Brown and Green from Watkins and Chichester, and therefore the appeal must be dismissed with costs.

"I concur," said Pretyman, J., with contemptuous curtness; in fact he did not say "I" at all; he merely grunted out "Concur."

Of course such a thing happened often, and was quite likely to happen; very probably Norton Ward, after glancing over his pupil's note and at _Watkins v. Chichester_, had seen that it might happen here and had the less scruple about entrusting his case to hands so inexperienced. None the less, Arthur Lisle felt that the gods had played a cruel game with him. All that agony of apprehension, all that tension of desperate coward's courage, endured for nothing and gone for nothing! All to be endured and achieved again--how soon? He got out of court he hardly knew how, and made his way hurriedly across the Strand. He would have that wig and gown off, or somebody else would be tapping him on the shoulder, arresting him with the stern command to hold another brief!

Now, back in chambers, with the strain over, he was furious with himself, savage and furious; that mood follows hard on the paroxysms of the malady. He began to attribute to it all the failures of his past life--quite unjustly, for in most cases, though it had tortured him, he had overcome the outward manifestation of it. He could not see his life as liveable if it were to meet him at every turn. What made him a prey to it? Self-consciousness, silly self-consciousness, his wise elders had always told him. But what made people self-conscious? Self-conceit, the same wise mentors had added. His soul rose in a plain and sincere protest, certain of its truth: "But I'm not conceited." "Yes, but" (he imagined the mentors' argument now) "you really are; you think everybody's looking at you and thinking of you." "Well, but so they are when I'm on my legs speaking; and beforehand I know they're going to be." The mentors did not seem to have anything to say to that.

In the afternoon Norton Ward came into his room to thank him for holding the brief; he was a man of punctilious courtesy, as indeed he was master of most of the arts and gifts that make for success in life. At little more than thirty he had already a fine practice; he was on the edge of "taking silk"; he had married well--the daughter of a peer, with a substantial portion; he was a "prospective" candidate for Parliament. A favourite of nature and of fortune indeed! Moreover he was a kindly man, although a ruthlessly ambitious one. He and Arthur had become acquainted merely through the accident of Arthur's renting the spare room in his chambers, when he had been called to the Bar a twelve-month before; but the landlord had taken to his tenant and would gladly have done him a turn.

"I thought the case quite plain," he said; "but I'm sorry you were done out of your argument."

"I wasn't sorry," Arthur confessed, with a frankness habitual to him.

"You weren't? Oh, I see! Nervous!" He laughed gently.

"Beyond belief. Did you used to be?"

"Just at first. I soon got over it. But they say one oughtn't to get over it. Oh, you've heard the stories about big men, haven't you? Anyhow some men never do. Why, I've sat behind Huntley and seen his hand tremble like our old friend the aspen leaf--and that when he was Attorney-General!"

"Lord!" was Arthur's despairing comment; because a malady which did not spare an Attorney-General must surely be unconquerable by lesser folk.

"But I expect it's not quite the same sort," Norton Ward went on, smiling. "It's rather like falling in love, I expect. A man's excited every time he falls in love, but I don't think it's the same sort of excitement as he suffers when he falls in love for the first time--I mean badly."

Now the last word of this observation so struck Arthur that he forgot all the earlier part of it--nay, he forgot his malady itself, together with the truth or falsity of the parallel Norton Ward suggested.

"Badly? What do you mean by falling in love badly?"

"I'm not speaking with regard to morals, Lisle. I mean severely, or utterly, or passionately, or, if you prefer, idiotically."

Arthur's lips puckered about his pipe-stem; it was a trick he had.

"I think I should call that falling in love well, not badly," he observed gravely.

It was the gravity of the speaker, not the import of the thing spoken, which made Norton Ward laugh again and heartily. His was one of those temperaments--sane, practical, concrete, equable--which regard the affairs of love as a very subsidiary matter in real life, in the real life of any individual, that is, for of course they possess a national and racial importance when reduced to statistics. He did not quarrel with the literary convention which exalted love to the highest place--the convention made good reading and produced exciting plays--but it did not answer to real life as he knew it, to the stern yet delightful fight which filled his days, and really filled his wife's too, since she was a partner wherever she could be, and an eager encourager in all things. But what of the great amorists who were also great men and women? Well, how much of that too was play-acting--to the public and to themselves? That was the question his mind instinctively put about such cases.

As he looked at Arthur Lisle's slight figure and sensitive face, he felt a compassion for him, a pitying doubt whether so frail a vessel could live in the rough sea on which it had embarked. Characteristically this friendly impulse expressed itself in an invitation to dinner, which was received by Arthur with surprise, delight, and gratitude.

"Of course I will, and it really is most awfully kind of you," he said.

Norton Ward went off to a consultation with a smile of mingled pity and amusement still on his lips.

His invitation to dinner really pleased Arthur very much, not only as a sign of friendship, but for its own sake. He had found his early days in London lonely--in depressing contrast with the full social life of school and Oxford. The glowing anticipations with which imagination had invested his coming to the metropolis had not stood the test of experience. For some young men family connections, or notable achievements and high reputation, provide a ready-made place in London. Others possessed of ample means can make a pretty good one for themselves speedily. But Arthur's university career, though creditable and to him delightful in the highest degree from its teeming fulness of interests, had not been conspicuous; he had no powerful friends, and he was very poor. After his chambers were paid for, and his share in Henry, and his lodgings in Bloomsbury Street, there was left not much margin beyond the necessities of life--food, raiment, and tobacco. The theatre, even the pit, could not be indulged in often. He had many solitary evenings. When it was fine, he often walked the streets; when it was wet he read--and often stopped reading to wish that something would happen. His vague and restless longings took no form more definite than that--wanting something to happen. He was in London, he was young, he was ready--and nothing happened! Consequently an invitation to dinner was a prize in the daily lottery of life.

When he got back to his 'diggings' in the evening, he found a letter from home. His mother and sister had continued to live on in the old house at Malvern Wells after the death of his father, who had enjoyed a fairly good practice as a doctor there, but dying comparatively early had left a slender provision for his family. Mrs. Lisle preferred to be poor, since poor she had to be, in a place where she was already known and respected. The school too was a great attraction; there Arthur had been educated as a day boy, and thence had proceeded to Oxford with an exhibition, to which he added a second from his college, thus much easing the family finances, and indeed rendering Oxford possible. There had been talk of his people's migrating to London and making a home for him there, but in fact none of the three had been zealous for the change. Mrs. Lisle was frail and clung to her accustomed hills and breezes; Anna had her friends, her circle, her church work, her local importance; and Arthur was at that time too full of those glowing anticipations of London life to press the project of a family villa somewhere in the suburbs and a season-ticket to take him out of town at the precise hour of the evening when town began to be amusing.

For all that, he was an affectionate son and brother, and he smiled sympathetically over Anna's home gossip. Only the postscript made him frown rather peevishly. It ran: "Mother wants to know whether you have called on the Godfrey Lisles _yet_!"

Mother wanted to know that in pretty nearly every one of her own and Anna's letters; hence the italics which distinguished Anna's "yet." And the answer still had to be in the negative. Why should he call on the Godfrey Lisles? He knew his mother's answer; a thoroughly maternal answer it was. Godfrey Lisle, though only a distant cousin, was the head of the house, squire of Hilsey Manor, the old family place, and a man of considerable wealth--altogether, in fact, the Personage of the family. Most families have a Personage, to them very important, though varying infinitely in significance or insignificance to the world outside. On the whole the Lisle Personage was above the average from the outside point of view, and Mrs. Lisle's anxiety that her son should pay him proper attention, and reap therefrom such advantage as might accrue, was no more than natural.

But to Arthur all the reasons why he ought to call on his cousin were reasons why he could not do it. Just as, while Mr. O'Sullivan was arguing, his imagination was picturing what a young fool Pretyman, J., would soon be thinking him, so here, whenever the question of this call arose, the same remorselessly active faculty rehearsed for him all the aspects in which he would appear to the Godfrey Lisles--a poor relation, a tiresome duty, a country cousin, a raw youth--Oh, in fine and in the end, a Bore of purest quality and great magnitude! That, and nothing else, the Godfrey Lisles would think him.

Still, if his mother persisted, the thing might have to happen. He had a vision of himself watching the Godfrey Lisles out of their house, and then diving across the road to deposit furtive cards with the butler. A funny vision, but with him quite capable of turning into reality!

His brow cleared as he took up a second letter which awaited him. He knew the hand:

"Do drop in to-morrow evening after dinner. We shall be having cards and perhaps a little music. About 9.30. Do as you like about dressing.

"Yours sincerely, "MARIE SARRADET."

The Sarradets lived in Regent's Park--rather far from any Underground station. "I'll dress if it's fine, and not if it's wet," thought Arthur. The balance of profit and loss as between paying a cab-fare on the one hand and taking the shine out of his patent leathers on the other presented a problem of constant difficulty in connection with his evening gaieties.

MISS SARRADET'S CIRCLE

The novel opens with Arthur Lisle staring out a window in the Middle Temple on a 'dark, dank, drizzly' Monday morning, a setting that immediately establishes a tone of dreary confinement. His chambers are described as a 'cell of a room,' and his legal career as 'waiting for work'—a tedious preparation for a vocation that never arrives. This opening image of paralysis and frustration sets the stage for a narrative that will repeatedly contrast Arthur's stagnant London life with the more vibrant, morally ambiguous world of Hilsey, the country estate where much of the action unfolds.

The Language of Restraint and Observation

Hope's prose is marked by a careful, almost clinical attention to gesture and posture. Arthur is frequently seen 'standing with his hands in his pockets, listlessly staring,' a posture that recurs throughout the excerpts. When he observes Bernadette and Sir Oliver framed in a doorway, the narrative slows to note 'pose or air or look,' treating the scene as a 'picture of lovers.' This visual emphasis extends to dialogue, where characters often speak in ironic or guarded exchanges. Judith Arden's cool irony—'I spoke rather in a spirit of resignation'—and Sir Oliver's urbane self-possession create a surface of civility that barely conceals underlying tensions. The text repeatedly invites readers to read between lines, to interpret what is left unsaid.

Contrasting Spaces: London and Hilsey

The excerpts present two sharply opposed settings. London is defined by the 'dull drab' of the Middle Temple, a place of 'tedious and weary preparation' where Arthur 'cursed his means of subsistence.' Hilsey, by contrast, is associated with lawns, woods, and summer seas—a space of leisure and possibility. Yet this pastoral setting is also a stage for intrigue. The country house becomes a site of observation and suspicion, where Arthur's 'new feeling' of jealousy emerges. The contrast is not merely scenic but moral: the city's stagnation gives way to a countryside where relationships are fluid and motives opaque. Hope uses these spatial oppositions to underscore Arthur's psychological journey from passive frustration to active, if conflicted, engagement.

The Emergence of Possessive Jealousy

Arthur's emotional arc in the excerpts moves from 'honest, pure, and without self-regard' adoration to a 'compound of anger and fear.' The catalyst is a single image: Bernadette and Sir Oliver 'framed, as it were, by the doorway of her room.' This visual triggers a 'new current of feeling' that Arthur himself struggles to name. He protests to Judith that his devotion was selfless, but the narrative undercuts this claim: 'So it had, while no one shared or threatened it.' The text traces the birth of a possessive desire, one that arises not from love alone but from the fear of losing a potential object of affection. This psychological shift is rendered through interior monologue and the tension between Arthur's rational doubts and his visceral suspicions.

Readers should attend to the novel's subtle use of framing and perspective. Hope often filters events through Arthur's consciousness, but the narrative leaves room for ambiguity—are his suspicions justified, or are they projections of his own awakening desires? The excerpts offer no definitive answer, only a series of carefully observed moments that invite interpretation. The tension between what characters say and what they reveal through posture, tone, and setting is the novel's central method.

That rainy afternoon, Arthur’s restless jealousy in A Young Man’s Year felt almost like a familiar ache, the way suspicion creeps where certainty should be. I closed it and found myself thinking of quieter loyalties, and somehow drifted to Stand Fast, Craig-Royston! (Volume I) — Background and Themes, where steadfastness offers a gentler counterweight to that same restless heart. The rain kept falling, and I let it.

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