The Go-Between

L. P. Hartley

The Go-Between

L. P. Hartley
60 pages2-hour read
Fiction
Novel
Adult
Published in 1953

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Chapters 9-13Chapter Summaries & Analyses

Content Warning: This part of the guide features depictions of bullying and sexual content.

Chapter 9 Summary

Between Tuesday and Saturday, Leo serves as secret messenger between Marian and Ted Burgess, carrying notes between them and returning with replies. He usually finds Ted working in the harvest fields. On one visit, as the last standing wheat is cut, Ted tears open an envelope and blood from a recently killed animal smears the letter; Leo, excited and disturbed, reads it as a sign of adult male life. After each delivery, he slides down the straw-stack in the farmyard, which doubles as his official cover story at the Hall.


Leo takes his role as Mercury seriously, convinced he is doing for Marian what no one else can. He notices her urgency far exceeds anything she shows Lord Trimingham. Unable to discover the real reason for the correspondence, he invents theories—money for Ted, farming information, or his preferred notion, that Ted has committed a crime and Marian is protecting him. None fits, and he suppresses his curiosity out of pride and fear of disappointment.


On Friday, Marcus reappears at lunch, cleared of suspected measles. Leo is glad to see him but immediately recognizes the problem: Marcus is too perceptive to deceive, would refuse to go to the farm, and would object to contact with Ted. Yet Leo also dreads losing his role as Marian’s messenger.


After lunch, Marian summons Leo to a writing table. As he is about to explain his difficulty, she hears the latch, shoves an envelope into his pocket, and Lord Trimingham enters, jokingly escorting her away. Checking his pocket afterward, Leo finds the letter unsealed.


He rejoins Marcus, and they mock grown-ups for spooning, the term they use for public demonstrations of affection as well as allusions to sex. Leo defends Marian; Marcus implies she spoons regardless and that rumor even links her with Leo. They wrestle until Marcus concedes. At three o’clock, Leo sets off for the farm. Halfway through a belt of trees, he stops to examine the envelope. By schoolboy code, he reasons, an unsealed letter may be read. He hesitates—Marian may have forgotten to seal it—but rationalizes that she might have left it open as a sign of trust. Resolving to read only what the open flap exposes, he sees the beginning of an intimate note arranging the same place and time that evening and urging caution. The rest is hidden inside.

Chapter 10 Summary

Still Friday afternoon, Leo is devastated. The one explanation that had never crossed his mind—that Marian and Ted are in love—suddenly becomes undeniable. He feels foolish and betrayed; his idealized image of Marian collapses. He connects romantic love with vulgar comic postcards and the silliness he most despises, yet senses that ridicule cannot replace the admiration he once felt. To protect her, he seals the envelope before crossing the water-meadow toward the farm.


The intense sun seems to soften his judgment as he walks. When he arrives, Ted cheerfully hails him as the postman. After reading and pocketing the letter, Ted praises him. Leo then says flatly that Marcus’s return means no more deliveries. Ted’s energy visibly drains. He presses Leo: Marian depends on the notes and will stop liking Leo if he quits; before Leo came along, she used to cry. The thought of Marian crying brings tears to Leo’s eyes, which Ted notices.


In the farm kitchen, the talk turns to Ted’s pregnant mare, Smiler. When Leo asks what caused it, Ted says she had been spooning. The connection strikes Leo hard. He declares spooning silly; Ted counters that only envious people call it that and insists it is natural. Through pointed questions, Leo establishes Ted’s view that love and spooning are inseparable and that a marriage without it would not be very lover-like. When Leo asks whether spooning produces babies, Ted is startled and denies it, then struggles to reconcile this with what he said about the horse, finally claiming that nature treats people and animals differently. Leo finds this unsatisfying; he is still unsure what spooning actually entails.


Ted then proposes a bargain: A full explanation in exchange for Leo continuing as postman. Leo agrees, recognizing that Ted’s earlier emotional appeal has already worked on him. As they finish, Ted mentions the straw-stack, which Leo has entirely forgotten—a fact Leo takes as evidence that he has moved beyond that simple pleasure. Ted sends him up the ladder while staying behind to write something.

Chapter 11 Summary

Saturday is cooler and overcast, the first clouds Leo has seen at Brandham. At breakfast, Denys and Lord Trimingham debate the threat Ted Burgess poses as a batsman in the upcoming cricket match. Mrs. Maudsley puts Denys in his place by noting that Ted scored nothing the previous year. The men retire to the smoking room to finalize the team. Waiting outside, Leo learns from Trimingham that the last spot has gone to Jim, the pantry boy, and that Leo will serve as 12th man. Having expected nothing, he is overjoyed to be part of the team.


Trimingham asks Leo to deliver two messages to Marian: not to be angry about Leo’s exclusion from the 11, and to ask whether she will sing Home, Sweet Home at the evening concert. Leo finds Marian arranging flowers. She teases him about which player he would most like to see injured so he could field. Leo talks her out of being angry at Trimingham over the team selection, then delivers the concert request. Marian replies that she will sing if Trimingham sings She Wore a Wreath of Roses. Leo brings this back to Trimingham, who is clearly hurt since he cannot sing at all. To spare his feelings, Leo reframes her comment as a joke. When Marian later asks what Trimingham said, Leo claims he laughed. Marian looks dissatisfied.


After debating with Marcus over whether a school cap is appropriate dress, Leo reflects uneasily on the double life he is now living. The team walks to the ground together, class distinctions temporarily dissolved. Leo is initially troubled by the village team’s mismatched attire but revises his judgment, comparing them to the Boers—capable despite their equipment. During introductions, he blushes when presented to Ted; Ted smooths it over by mentioning the straw-stack visits. Ted also mentions that Smiler has had her foal. Trimingham wins the toss and the Hall bats first.


Mrs. Maudsley’s party arrives late; Marcus sits with them while Leo sits in the pavilion with the team. Trimingham is dismissed early, but Marian applauds vigorously, which Leo chalks up to her not understanding the game. Mr. Maudsley then bats with calm shrewdness, finding gaps in the field rather than hitting with power. When Denys joins him and repeatedly waves him back from running, Mr. Maudsley finally shouts at him to run; Denys sets off too late and is run out. The remaining batsmen contribute little. The Hall finishes on 142, with Mr. Maudsley unbeaten past 50. He earns a standing ovation. At five o’clock, the village needs 143 to win.

Chapter 12 Summary

The village batsmen fall steadily and, with victory seeming certain, Leo’s attention drifts. He studies an enormous cloud building toward the sun and decides it carries no threat of thunder.


Ted Burgess comes in whistling, which Leo considers ungentlemanly. His loyalties are immediately split: He is committed to the Hall, but he cannot quite will Ted to fail. After a ragged start, Ted begins to middle the ball, clearing the pavilion roof with one enormous hit. The crowd cheers and the game tightens. Leo realizes with a jolt that Ted could actually win it. He frames the contest in broader terms—Hall against village, order against disorder—yet the traitor within him roots for the individual over the side.


Nearby, Marian is visibly undone, her face flushed and her lips trembling. Her emotion deepens Leo’s conflict. Soon after, a fielder injures his hand stopping one of Ted’s hits, and Leo is called in as substitute 12th man. He understands what Marian wants and cannot fully help wanting the same thing.


With the village seven runs short and only one wicket remaining, Ted drives Trimingham’s first ball to the boundary. The crowd roars, and Leo’s feelings cross over entirely: He now wants Ted to win. On the next delivery, Ted swings hard and sends the ball high and straight toward Leo. Leo raises his hand and instinctively catches the ball, though the impact knocks him flat. Rising with the ball still clutched to his chest, he hears the applause. The Hall has won.


Trimingham congratulates him briefly but with adult gravity. Walking off, Leo feels both elation and a sudden sharp regret. He approaches Ted and apologizes for catching him out; Ted waves this aside and praises the catch, saying he had forgotten Leo was on the field until he looked around. The crowd cheers Ted hardest of all. Leo notices that Marian does not look up as Ted passes. Back at the Hall, Leo checks Marcus’s scorecard and is annoyed to find the catch credited only to a substitute, not to him by name.

Chapter 13 Summary

The post-match supper at the village hall fills Leo with almost dizzy elation. Mr. Maudsley gives a fluent and witty speech, finding something to say about nearly every player; he singles Leo out as a young David who defeated the Goliath of Black Farm. Ted, sitting across from Leo, gives him a broad wink.


When it emerges that the piano accompanist is unwell, Marian steps forward and takes the piano. Players are called on to sing in turn; she accompanies all of them with a skill that far outclasses their performances. Ted resists being called until the crowd and Lord Trimingham wear him down. He walks to the dais and sings Take a Pair of Sparkling Eyes, shaky at first but improving enough to earn an encore. For that, he sings a sentimental ballad about being remembered when a lover turns to someone else. Leo is moved by its melancholy in a literary way. When Ted and Marian share the applause, Ted bows clumsily instead of gallantly, drawing laughter and a remark from Trimingham about his lack of polish.


Lord Trimingham then calls on Leo. Reaching the platform, Leo realizes he has no sheet music. Marian tells him she can play The Minstrel Boy from memory. Leo is overwhelmed with devotion, feeling he is the song’s soldier going to die for his cause—and that Marian is the cause. His performance is the evening’s greatest success. For an encore he proposes a sacred Handel aria. Marian does not know the accompaniment, but an audience member produces a songbook. Leo sings the full piece, including a dramatic recitative about a fate worse than death, imagining he and Marian face it together. After sustained applause, Marian rises, takes his hand to bow with him, then drops him a formal curtsy alone.


Later, Leo dozes and wakes to Marian singing Home, Sweet Home. She refuses an encore, and the audience’s admiration only grows. On the walk back, Marcus teases Leo mercilessly about his eye-rolling during The Minstrel Boy, but concedes he did not entirely embarrass himself, and mentions that Lord Trimingham praised Leo highly to Mrs. Maudsley. Marcus also confesses that seeing Ted beside Marian at the piano unsettled him deeply.


Once clear of the rest of the party, Marcus swears Leo to secrecy and reveals what his mother told him: Marian is engaged to Lord Trimingham, and the announcement will follow the upcoming ball. Leo says he is glad—and believes, at that moment, that he is.

Chapters 9-13 Analysis

The motif of carrying messages shifts in these chapters from a source of imaginative play into a mechanism for corruption, advancing the theme of The Traumatic Loss of Childhood Innocence. Initially, Leo views his role as a prestigious duty within his idealized zodiacal framework, inventing elaborate, non-romantic theories to explain the adult correspondence. However, this illusion shatters when he reads Marian’s unsealed letter and discovers that her interactions with Ted Burgess constitute an illicit romance. Confronted with the reality of adult sexuality—which he derisively associates with “vulgar postcards” (132) and the concept of spooning—Leo’s magical worldview collapses. Rather than allowing Leo to withdraw from his duties, Ted coerces the boy. When Leo tries to quit, Ted manipulates the child’s emotional attachment to Marian, warning that she will cry if the letters stop. Ted further bribes him with promises to explain the mechanics of reproduction and spooning to ensure he continues his deliveries. This coercion forces Leo into a complicity he cannot handle. By binding Leo to their deception, the adults strip away his protective ignorance, demonstrating how premature exposure to transgressive desires permanently fractures a child’s understanding of the world.


The ensuing cricket match functions as a microcosm of Edwardian social hierarchy, physically enacting The Complications of Transgressing Social Class Boundaries. The contest pits the aristocratic Brandham Hall against the local village, and Leo explicitly perceives the game as a battle “between order and lawlessness, between obedience to tradition and defiance of it” (161). Mr. Maudsley’s cautious, cerebral batting secures a respectable score for the Hall, embodying the calculating preservation of upper-class status. In stark contrast, Ted Burgess bats with raw, reckless power, clearing the pavilion roof and threatening to dismantle the Hall’s advantage single-handedly. Ted’s physical dominance on the pitch mirrors the threat his clandestine affair poses to the rigid class system, directly challenging the social supremacy of figures like Lord Trimingham, the estate’s rightful emblem of authority. The oppressive weather matches the escalating tension as Ted attempts to overwhelm the aristocratic defenses. The novel utilizes this highly ritualized sporting event to expose the fragile illusion of the era’s pre-war security, revealing a society where the vital, untamed forces of the rural working class actively besiege the gentry’s control.


Leo’s climactic intervention in the match superficially restores this threatened social order while simultaneously confirming his private alienation from it. Joining the team as a substitute fielder after a casualty, Leo stands at square leg when Ted strikes a powerful drive directly toward him. Leo instinctively catches the ball, securing victory for the Hall and cementing his public role as the estate’s diminutive defender. Yet, moments before the pivotal play, Leo experiences a profound internal defection, realizing that his loyalties have crossed over and he now actively wants Ted to win. After the match, Leo feels a sharp pang of regret alongside his elation, prompting him to seek Ted out and apologize for catching him out. This physical act of dismissing the farmer fulfills his prescribed duty to the upper-class world of Marcus and Trimingham, but his psychological allegiance has already sustained heavy compromise through his secret role as the lovers’ intermediary. Leo’s intensely divided loyalties illustrate the insidious nature of the affair, as his proximity to crossing class lines severs his genuine connection to the very social structure he just helped to defend.


The post-match concert further highlights the irreconcilable divide between private passion and public duty, while also drawing Leo deeper into Marian’s orbit. When the official accompanist fails to appear, Marian volunteers at the piano, providing a rare opportunity for her and Ted to interact openly. Ted’s performance of a sentimental ballad, accompanied by Marian, creates a veiled public communion that subtly unnerves the observers; Marcus later confesses that seeing the two of them together unsettled him deeply. Leo also performs, singing The Minstrel Boy with a soaring devotion that makes him imagine “a whole series of deaths that I should die for her” (175). Despite these fleeting, emotionally charged convergences, the structural realities of the Edwardian world immediately reassert themselves. Walking back to the estate, Marcus reveals his mother’s secret: Marian will marry Lord Trimingham, and the formal announcement will follow the upcoming ball. This stark juxtaposition—the authentic emotional resonance of the musical performances against the calculated, socially mandated maneuver of the impending marriage—underscores the ruthlessness of the era’s class system. The elite tolerate passion and individual devotion only as temporary spectacles, guaranteeing that they crush transgressive desires beneath the mandate of social preservation.

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