bers only an earlier lost love. Both characters are cured of their delusions. Before and during the war, Teitjens is plagued by his estranged wife Sylvia; though he loves Valentine, he is unable (being another good soldier) to consummate their relationship because of his strongly bred Edwardian morality. After the war, however, he overcomes this obstacle, and he and Valentine plan to consummate their love on armistice day. It is a perfect ending--too perfect, in fact, for it implies that peace between women and men came naturally with peace between England and Germany. Rebecca West presents a similar scenario more sternly. When Baldry is cured of his memory lapse, he must return to a woman he does not love, a life he does not value--and a war that has not yet ended. Ford's protagonist is reborn into a new life; West's is reborn into the life he has always known, and there is no sense that one age has ended and a new age begun. Neither the Great War nor the war between women and men comes to an easy conclusion in The Return of the Soldier. Even before the war began some suffragettes recognized that their "sex war" was initiated "long before Votes for Women was first whispered." And if the men of 1914 wanted to believe that the battle of the sexes had been won with the Great War, the women of 1914 suspected that more battles would be fought.
In writing this essay I have benefited from the advice and criticism of Carol Barash, Samuel Hynes, A. Walton Litz, Bette London, Joanna Scott, and Keith Waldrop.