--Hugh Walpole, writer (1884-1941)

(83:8.5-8) Nevertheless, there is an ideal of marriage on the spheres on high. On the capital of each local system the Material Sons and Daughters of God do portray the height of the ideals of the union of man and woman in the bonds of marriage and for the purpose of procreating and rearing offspring. After all, the ideal mortal marriage is humanly sacred.
    Marriage always has been and still is man's supreme dream of temporal ideality. Though this beautiful dream is seldom realized in its entirety, it endures as a glorious ideal, ever luring progressing mankind on to greater strivings for human happiness. But young men and women should be taught something of the realities of marriage before they are plunged into the exacting demands of the interassociations of family life; youthful idealization should be tempered with some degree of premarital disillusionment.
    The youthful idealization of marriage should not, however, be discouraged; such dreams are the visualization of the future goal of family life. This attitude is both stimulating and helpful providing it does not produce an insensitivity to the realization of the practical and commonplace requirements of marriage and subsequent family life.
    The ideals of marriage have made great progress in recent times; among some peoples woman enjoys practically equal rights with her consort. In concept, at least, the family is becoming a loyal partnership for rearing offspring, accompanied by sexual fidelity. But even this newer version of marriage need not presume to swing so far to the extreme as to confer mutual monopoly of all personality and individuality. Marriage is not just an individualistic ideal; it is the evolving social partnership of a man and a woman, existing and functioning under the current mores, restricted by the taboos, and enforced by the laws and regulations of society.

    Sir Hugh Seymour Walpole was an English novelist. He was the son of an Anglican clergyman, intended for a career in the church but drawn instead to writing. Among those who encouraged him were the authors Henry James and Arnold Bennett. His skill at scene-setting and vivid plots, as well as his high profile as a lecturer, brought him a large readership in the United Kingdom and North America. He was a best-selling author in the 1920s and 1930s but has been largely neglected since his death.
    After his first novel, The Wooden Horse, in 1909, Walpole wrote prolifically, producing at least one book every year. He was a spontaneous story-teller, writing quickly to get all his ideas on paper, seldom revising. His first novel to achieve major success was his third, Mr Perrin and Mr Traill, a tragicomic story of a fatal clash between two schoolmasters. During the First World War he served in the Red Cross on the Russian-Austrian front, and worked in British propaganda in Petrograd and London. In the 1920s and 1930s Walpole was much in demand not only as a novelist but also as a lecturer on literature, making four exceptionally well-paid tours of North America.
    As a gay man at a time when homosexual practices were illegal for men in Britain, Walpole conducted a succession of intense but discreet relationships with other men, and was for much of his life in search of what he saw as "the perfect friend". He eventually found one, a married policeman, with whom he settled in the English Lake District. Having as a young man eagerly sought the support of established authors, he was in his later years a generous sponsor of many younger writers. He was a patron of the visual arts and bequeathed a substantial legacy of paintings to the Tate Gallery and other British institutions.
    Walpole's output was large and varied. Between 1909 and 1941 he wrote thirty-six novels, five volumes of short stories, two original plays and three volumes of memoirs. His range included disturbing studies of the macabre, children's stories and historical fiction, most notably his Herries Chronicle series, set in the Lake District. He worked in Hollywood writing scenarios for two Metro-Goldwyn-Mayer films in the 1930s, and played a cameo in the 1935 version of David Copperfield.