“Damn the Empire!”: Imperial Excess, National Nostalgia, and Metaphysical Modernism in the Poetics of Parade’s End

Ford Madox Ford famously intended his First World War tetralogy Parade’s End to have “for its purpose the obviating of all future wars”. But why do we engage in war to begin with? Modernist literature provides some provocative explanations. Ford’s Sylvia Tietjens, for example, proclaims that “You went to war when you desired to rape innumerable women. It was what war was for”. And in the very same year, Virginia Woolf’s shell-shocked Septimus Smith “went to France to save an England which consisted almost entirely of Shakespeare…” I argue that Ford’s understanding of the causality of war involves a strange combination of these two explanations in Parade’s End’s triangulation of seventeenth-century English literary tradition along with sexual and imperial conquest. While countless modernist novels exhibit a sensibility to the power of early modern poetry amidst battle, Parade’s End displays a particularly emphatic and extended focus on the relationship between poetic tradition and war. Soldiers of various ranks “talk…in intimate undertones about the resemblances between the Petrarchan and the Shakespearean sonnet form”, host timed sonnet competitions in the trenches, recurringly quote the seduction poetry of Marvell, and fantasize about George Herbert’s lifespan being “the only satisfactory age in England…yet what chance had it today? Or, still more, to-morrow?”. To answer this question, my own transtemporal study will use early modern scholarship to investigate seventeenth-century metaphysical poetry’s dual power to inspire and potentially obviate war. Much has been written on this tetralogy’s anti-linear plot but less on the broader temporality of its politico-literary vision. I contend that the metaphysical allusions of this text help Ford to show us the complexities of nationalism in the imperial conquest and imperial damnation that (early) modern aesthetics can catalyse.