The Duchess, Silverbridge, Tregear and Lady Mary in a gondola, seen from a distance
I’ve written about Pallisers 9:18 – 10:21 (including the Lady Rosina de Courcy) of the 1974 BBC Pallisers on this blog thus far. (For 1:1 – 8:17 see previous blog.) I’ve another one to add tonight: 11:22.
The power of 11:22 come from the dramatization of the inward destruction of the marriage of Ferdinand Lopez and Emily Wharton. The overarching theme is drawn from Trollope’s The Prime Minister so as to embed the Lopez/Wharton story in the personal party politics of the book and previous Palliser matter. It’s the power of money (which power the Pallisers have) and the need Ferdinand Lopez has of money (which he lacks).
Part 22, has six scenes of Emily and Lopez! All piled together suddenly. It moves from 21, the honeymoon, a scene of an apparently loving couple which ends on a a sudden troubled note when Ferdinand admits he’s strapped for cash; then after another brief scene where we watch father send check, we have a second scene from this honeymoon, Emily still in nightgown and she more troubled yet not overt beyond saying Ferdinand misreading letter. Then there are two I have here transcribed.
The scene interwoven here of the Duke and duchess is not a contrast but a parallel.
In this part Raven has done justice to how a marriage can be founded on delusions and smash very quickly. This is but one part of Trollope’s novel but it is a centrally riveting one and one that would speak home to people today just as much as in the 1870s. For women then there was no divorce, and it was very hard to support yourself, for a woman of the gentry not trained to do so, a trauma she probably couldn’t cope with.
This theme is threaded through the Duke and Duchess’s scenes both alone, in contrast to Phineas and Marie, and with their son and heir, Silverbridge.
First then a summary of the episode and then transcripts and commentaries on individual scenes and separate threads:
11:22: The difficulties of marriage, 3 transcripts with a little of Venice
Episode 21: Honeymoon: Scene 1) Emily and Lopez’s bedroom in Italy (Rome?), balcony, bedroom, from PM, II, Ch 25, pp. 216-219. Transfer of dialogue in coach in novel becomes an elaboration in bedroom tryst, needs 3000 pounds; scene 2) Wharton reading letter, voice-over carries over from scene 1, Emily, letter not in PM, only father’s reply, PM, II, Ch 26, pp. 222-23; we hear only Emily’s voice, back to scene 3) we see corridor of Emily and Lopez’s bedroom in Rome, then same area, he delighted, she troubled, and waking up a bit to what he is; scene 4) blue upstairs sitting room in Gatherum, the transcribed scene in blog, from PM, III, Ch 42, pp. 356-58.
Episode 22: Travelers: scene 5) Gatherum park and landscape, Phineas and Marie Finn’s talk and love, Raven transposed narrator’s talk of troubles of Pallisers to voices of these characters, acting here as chorus and tonic coda of the companionate marriage working by not straining on relationship too strongly; scene 6) Mr Sprout’s shoe shop, Mr Sprout and Lopez reading paper, matter from letter in PM, Vol 2, Ch 34, pp. 286-87, that Duke will not interfere and Lopez on his own, that the electors will prefer a conservative candidate now, Sprout says cut your losses and go; Lopez insists Duchess will make some sign; scene 7) Venice, the balcony, Lady Mabel Grex, Miss Cassewary and Silverbridge doing tea, matter from Duke’s Children, I, Ch 9, pp. 57-59, and Ch 20, pp. 127-30: Lady Mabel’s desperate situation, her awful father, the idea that Silverbridge’s father could not survive with his mother, Silverbridge there because of prank, then Tregear’s entrance and the tense encounter not observed by Silverbridge who is getting to like this corner of Venice; two young men looking at map of Tregear’s coming tour; we see Silverbridge lonely and wants to return home; he’s very young; move to scene 8) with sign Silverbridge (makes for carry-over and anticipation as Silverbridge, the young man, will eventually run and easily succeed to a parliamentary seat there), street voices heard, and in shop, Sprout and Lopez again, from PM, II, ch 34-35 turned into concise summarizing scene, Lopez bitter, angry; scene 9) Lopez and Emily’s flat in London, first time we’ve seen it, and it’s dark, from PM, II, ch 35, pp. 301-2. Transcribed on blog.
Episode 23: Financial Bind: scene 10) Wharton’s chambers, Wharton and Lopez, from PM, II, Ch 35 and Ch 44, letter sent by Lopez,. pp. 384-85, 395. Lopez blames Emily for wanting seat, and says he is out of pocket 1000 pounds, Wharton pays, Lopez says he’d like to explain “the scope of his business,” but Wharton says he does not want to hear any more, then does not object but does not see he can serve Lopez; scene 11) again Lopez and Emily apartment, again PM, II, Ch 35, pp. 301-2 (milking same scene repeatedly as Raven has done before), short powerful scene registering his whining and her awakened sense of him as false through and through; scene 12) Blue upstairs sitting room in Gatherum, Lopez’s over-voice as Duchess reads letter he sent demanding payment, from PM, III, Ch 42, pp. 364-70; powerful scene over letter, the fourth such set to in two episodes (the other two in 10:21), some of all of them taken directly from book, Adam and Eve trope (he will not be Adam putting blame on his wife even if blame hers — it was not Emily’s) what will happen in the house looked forward to; scene 13) aviary greenhouse at Gatherum, Bungay and Duke of Omnium, from PM, III, Ch 50, pp. 430-34, Bungay coddling him.
Episode 24: Hidden Plans: scene 14) Gatherum upstairs blue sitting room, now Duchess rejoices at Gerald’s appearance, she studying pictures of Italy, wants to persuade father to holiday, ultimately (much transformed) from Duke’s Children, ch 1, pp. 1-2; scene 15) Lopez’s flat, Sexty comes to Lopez, what’s left of PM, III, Chs 45-46 (subplot of Parker’s insistence on social friendship), here Parker worried about money, where is 300 from father-in-law, another 1000 from Duke, creditors pressing, the PM, III, Ch 39 much changed in precise wording, Emily opens door (contrast to Gerald’s), and he now sickens her though she does not quite let on, the screaming on the word “money” echoes from book, but we are deprived of the quelling of this woman and how she become abject (the deeper levels of the book, Chs 47, pp. 408-411, Ch 48, p. 416), sceen 25) Venice, Silverbridge’s apart again, parents’ visit, wholly invented, including who flat belonged to and homosexual references about one man’s “oriental habits” and the pictures, jokes about Duke worrying where Mary and Gerald have got too, distasteful insinuating Duchess about Tregear and Mary on balcony; scene 26) in gondola on lagoon, Duchess and Tregear, Silverbridge and Mary, Treager has won Duchess over, talk of his background, they are returning to Matching, Mary’s cheerful smile
Episode 25: Scandal: scene 27) Lopez apartment in London, Emily announces her pregnancy, and Lopez moves to take advantage of this (this happens before ch 49, p. 421, probably before Ch 44, but I cannot find it), he at first joyous, natural but then she sickened; scene 28) Whartons’ chambers, Wharton expecting and Lopez comes in, from scattered moments in book, two letters mostly, PM III, Chs 45, pp. 384-385, Ch 46, p. 395, Ch 49, p 419 (it’s Emily’s distress which teaches Wharton he had better not give Lopez anything directly), sees he has had all his money from himself and Parker, the stockbroker, throws him out, scene 29) Duchess and Mrs Finn encounter Lopez in the park and snub him; scene 30) Mr Slide’s office at People’s Banner Banner, taken from PM, III, Ch 51, pp. 441-446, the bit about Judas and the 30 pieces is added; also at first Lopez is reluctant and gradually persuaded, he does not come as initiator but after Slide has published.
The following scene comes early in the part, right after the opening three of Ferdinand and Emily on their honeymoon with the sandwiched in one of her father writing out the 3000 pound check. it is the culmination of the high conflict we saw in the previous episode and the Duke’s having lost the strength.
Here we see finally the Duke cannot stand the networking and entertaining any longer and demands it be put an end to. The Duchess does not feel about her work the way the Duke does, but she is tired, weary, and has had a couple of bad moments with the Duke over Ferdinand Lopez, or her own politicking with her limited power.
Episode 21: Honeymoon
Scene 4: Sitting room at Gatherum castle; where Duchess works, they have coffee, intimates meet.
Basis: Prime Minister, Vol 3, Ch 42, pp. 356-58 (very different, not dramatized and Duchess half sarcastic, and playing for time to invite people, and then sticking precisely to those allowed to irritate him. Here we have a human drama of wide dimensions suggested in Trollope’s telling, not scenes themselves)
1. Establishment shot: Duke in dressing jacket looking out window, Duchess hard at work in nightgown, hat, and robe; we hear laughter from below, perhaps outside.
She carries on writing. She labors some more, as we watch her write on. He picks up and throws down letters. She’s writing invitations probably and correspondence having to do with guests gone and guests to come.
Duke: “I’ve got something to say.”
Duchess: “Mmmmm. Please say it, Plantagenet.”
Duke: “Very well. It’s time to put an end to all this.”
Duchess turns round; “All what?”
Duke: “All this (reaches out for letters) entertainment (he throws down letters and puts sarcasm into word, irony).
Duchess takes off glasses. “Plantagenet! you approved the idea at the start.”
Duke: “Yes, the idea perhaps but the reality’s gone far enough (he stand up, looks grim). While I’m burdened with this present office I can’t continue to receive guests in the house.”
Duchess: “These are all people whom you need.”
Duke: “I don’t need them here. With most of them I get along much better in their absence. Well, do you remember that sickening affair, Sir Orlando Drought, all that could have been avoided if he had not been allowed to approach too near to become too familiar …”
Duchess: “Important men, little men for that matter, like to be able to approach their prime minister.”
Duke (gritted teeth, intense tones and face): “They’re making my life impossible.”
She looks appalled at realizing his psychological state.
Duke sits. “It’s got to cease.”
Duchess: “I see. So it’s a case of repel borders. (She puts out candle flame with a wet finger.) Darkness all round.
Duke: “Well (noise). Well, I know (really a noise) you cannot possibly turn out those people who are staying in here now, but I beg you no further invitations.”
She looks hurt, her hands folded.
Duchess gets up and walks over. “Phineas Finn, Plantagenet. He is due over from Ireland in a day or two and I was just about to invite him. His wife is here.”
Duke: “Finn may come and go as he leases. He’s an old friend, but don’t encourage any of these others to linger except um Lady Rosina. She stays for as long as we do.”
Duchess: “Do now it shall be Darcy and Joan and Aunt Rosina. What a galaxy of fashion and wit.”
Duke: “Well, that is the way I shall like it.”
She sits down wry.
Duke: “and as for these others, I’ll have no more of it.”
Duchess: “The Duke of St Bungay, Plantagenet, says that these assemblies are of great assistance to your ministry.”
Duke: “And so they were at the beginning, but now it’s degrading me.”
Close up of her face as it hardens in hurt and then anger. “Degrading (teeth show) you.”
Duke (close up) There are those, who say I’m bribing men with hospitality.”
Duchess: “Oh, Planty, you’re so thin-skinned that any counsel offered you take as a form of criticism. You must ignore them.”
Duke. “I try to, Cora. It is very hard you know to ignore journalists who write about you daily. Quintus Slide in the People’s Banner, well, he has a poisonous pen.”
Duchess: “Huh. One day he’ll prick himself too death with it.”
Duke: “He must prick me to death first. Well, Cora will ya do as I’m asking (clenches fist, in real need) about ceasing all this here at Gatherum.”
She looks at him with genuine puzzled pity. “Yes if you order it. (she laughs a little), but it is hard to be told after all my work that it has degraded you.”
Duke: “So it has and you too. All these false smiles and false words.”
Duchess: “I have told you that if you wish to remain as Prime Minister, someone must smile at your supporters, if not you then me.”
He looks pained.
She rises a little and turns face away, real aching strain etched on bones of her face.
Ducjess: “It has been for you that I’ve done it. That people mght know how really gracious you are and good.”
Duke looks down sad and grave.
Duchess gets up: “Is that unbecoming a wife?”
Walks over to desk with letters, puts them down.
Duchess: “Still I own, Plantagenet, I shall be glad to doff my mask. It was beginning to feel … (she covers her face with her hand as she gathers papers) (whispers) degrading ..shaking hands with all those cads and caddesses has nearly worn my poor hands away” (rubs it — a reverse of lady Macbeth as a gesture).
He gets up, puts paper in his hands down, goes over to her. He touches her lightly and she turns round and is in his arms (just like a Trollope novel!), being hugged tight. They rock slightly. [This is an ending of a number of the parts in this series, including those which climax a sub-story in a book.]
Duchess pulls away and looks up to her (near close-up again): “You .. you must not think Plantagenet that I am not clever enough to realize how ridiculous I am.”
This is a very different portrait of the Duchess than the chapter I invite you to compare it with. By contrast, Trollope is not in deep sympathy with her, or inclined to show her as continuing very hard. The question is, which is humanly more likely? I like Raven’s duchess much better but I fear Trollope’s is closer to typical human nature.
As I say, it follows hard upon the “honeymoon” of the Lopezes where we see Emily also in a nightgown and Lopez similarly hugging her (itself arched around the father sending the 3000 pounds), but how hollow is the difference.
And it is followed by a deeply congenial conversation between Phineas and Marie in the park at Gatherum where Marie says it is not bad they are often apart, for love is so easily staled.
We see Phineas and Marie Finn walking in the meadow, possibly at Gatherum. It looks like the landscape around the castle. The scene between the Duke and Duchess included the Duchess’s assertion they must have Phineas as he is coming home from Ireland, and the Duke’s response, yes, of course, we will have friends.
It’s a lingering interlude where the two discuss their happy marriage (in effect). He says how much he has missed her, and she counters she has missed him, but sometimes or a certain amount of apartness is good for a marriage. There is a beautiful scene caught by the camera of the two of them looking into one another’s faces with softened love; they kiss in the meadow too.
Then they discuss what has been happening between the Duke and Duchess, the Duchess’s bad judgment in taking up Lopez, and how the Duke seems not to be able to shake it off.
It’s a choral scene. Unlike Trollope this couple is made to stand for an ideal. Trollope (I think) has no ideal loving married couple; he is himself too disillusioned for this; he will present marriage as a satisfactory arrangement for life (networking, children) such as we see in the Grants, tender love say here or there (between the Quiverfuls say or the couple in La Vendee where the man thinks he is dying), but a couple who stands for a full group of norms (anti-ambition in Marie, moderated in Phineas and to do good), no.
So these two couples are a scrim against which we see Ferndinand and Emily.
The basis for both Lopez and Emily scenes is literally tiny dialogue (The Prime Minister, Vol 2, Chapter 35, pp. 301-2 in Oxford Classics paperback) when Lopez comes home from Silverbridge, but more generally it comes the narrator’s commentary on them and implication of awakening to living with hollow and increasingly desperate and unrealistic man, particularly on Emily’s part turned into high drama.
Episode 22: Travellers
Scene 8 between Lopez and Sprout where Lopez very strained and cannot accept that he will be treated like everyone else who is nobody in this world
Scene 9: Lopez and Emily’s apartment in London
1. Establishment shot: Lopez glimpsed in the corridor, framed tightly, overcoat and hat, quickly moves to room and we see Emily looking at him, her face now flat and weary, not happy
Lopez: “You had my telegram?”
Emily: “Oh, Ferdinand, it did make me so wretched.”
Lopez: “And a wretched business it was too. yet I could hardly believe it. Everybody suddenly seemed to turn from me. Everybody there deserted me.”
Emily: “You did not give up.”
Lopez comes up to kiss her lightly. “No, the more fool I. The duchess originally intimated that I [Emily now taking his coat off] I would be returned unopposed, in which case the cost would have been almost nothing. Now the expense of a contested election win or lose is at least 1000. pounds.
Emily: “Oh, Ferdinand, have you paid it?”
Lopez: “Not yet. No doubt the bill will come in before long. That at least I can depend upon.”
He sits there in a fever of intensities. She stands there with a somber troubled look; somehow holding his coat while she stares at him captures her own desperate case too.
Emily (Sheila Ruskin) standing there, somber
Lopez: “I mean the duchess must have known what would happen. [He sighs.] By Jove, Emily she left the castle the day I reached Silverbridge. A short visit to London, they said. You know men and women have become so dishonest that nobody is safe anywhere.”
Emily: “It is hard.”
Lopez smiles: “It is cruelly hard, Emily. [Voice now slithering.] I don’t suppose there was ever a time in my life when the loss of 1000 pounds would have been as much as this now.”
She looks at him and is seeing him for the first time as a man without money or resources, a liar. A hard look in her eyes.
Lopez: “The question is what will your father do for us” (his eyes shift away).
Episode 23: Financial Bind, Scene 10: The next scene is where he goes to Mr Wharton and complains and says it was Emily who wanted this Parliamentary place and her father gives him the money rather than listen to this. Adam and Eve metaphor comes up later when Duke and Duchess discuss Ferdinand’s letter asking for money (see below) and the Duke says he will not be like Adam and blame Eve. Duchess says but it was my fault; in Emily’s case it isn’t except for having married him. Wharton says he does not object to Lopez telling him of Lopez’s business, but does not see how he can serve Lopez. Lopez feels unable to continue.
Scene 11: Back in Lopez and Emily’s flat, another day for she is in another outfit, also austere
1 Establishment shot: Lopez with angry face turns as if from his father-in-law to wife (scene moves swiftly from previous)
Lopez (angry face, demanding, the sense is where is some to serve him, and who is there but Emily the wife?): “I had wished to tell him everything there and then, but his manner was too discouraging. I may yet have to ask you to do it.”
Emily (looks puzzled now, for a second, then appalled): “It would come better from you. I think” (she sits down and he looks sullen.)
Lopez: “But as he has come up to the mark (? — in) this, it would be sensible I think to let the reins lie loose on his neck for a while.”
Now her face set (dismay controlled). She looks round at him:
Emily: “Is that how you think of him?”
Lopez (angry face): “Upon my soul, I do not know what to think. I’ve been so abused and cheated over this election, that I can hardly see straight. There is one thing I have begun to see … the duchess encouraged me to go in for Silverbridge under false pretenses. Now if anyone owes me compensation, it is she.
Emily” “But paper has just paid the costs.”
Lopez: “I’ve no doubt the bill will be more in the end. They always are [close up to angry resentful face] besides it’s not only the money. There has been treachery here, Emily. [Ugly look in his eyes, really creepy face] and for me there has been humiliation.”
Pained humiliated expression (Stuart Wilson)
Scene 12: Duke and Duchess over letter and again it feels continuous for Lopez’s letter done as voice-over by Stuart Wilson. This one a brilliant rendition of PM, Volume 3, Chapter 42, pp. 364-70.
This one between the Duke and Duchess is among the many strong scenes so far in the series between the Duke and Duchess. He just lights into her: her disobedience, interference, stupidity (a good natured woman who is foolish), all of it, and look what has resulted.
Duchess (Susan Hampshire) as startled at Duke’s shame as Emily is at Lopez’s lack of shame
He must pay Ferdinand he says because he owes it to him. In other words the Duchess was just nothing really and it was his responsibility. (Women are not responsible.) He admits he cannot stop reading the newspapers; the public life has gotten under his skin and into his veins. He talks of how much she means to him and how it hurts him to see her discussed in the way she will be and that he cannot get himself to present the truth of what happened (that she picked up, encouraged, and promised Lopez).
He (Philip Latham as Duke) cannot make it public
The two come close to one another, sit close, bow, hug, look into one another’s eyes, and we see a distance between them as people where they cannot understand one another. The Duchess says she is stupid or dumb (some such words) but operates as best as she can see it in the world and at least she has a thick skin. So the Duke says he will himself pay the money and have a letter printed admitting mistakes were made. He hopes that not too much will be made of this to make him look corrupt, as if he was doing what he said he abhorred: picking a candidate and then paying him off.
It is true we have seen as bad people in the series as Lopez, but Lopez is the first male to behave so vilely and meanly in front of us with not an iota of redemption in the way of generosity of spirit anywhere at all.
The real modern insight in both situations here is how in marriage one can end up with someone with whom there is a complete lack of understanding. When you are young, you may be startled to see this: at the other person’s so very different inner self and how they impinge and pressure you with these thoughts, feelings, demands that jar intensely.
And then later in the part there is another, this one a deeply troubled bitter scene between Emily and Lopez (the fifth between them in the episode) following hard upon Parker’s visit demanding payment for the guana and asking Lopez to get the money from his father-in-law. And finally after the idyllic gondola scene (see below) of the Duchess, Silverbridge, Frank Tregear and a now happy Mary (for her mother has been won over and is attracted by and likes Tregear and invites him to Matching), talking of the peace of home, we come ironically to a home where there is no peace.
We see Emily in nearly black, dark brown telling of pregnancy to be confronted with demands she get money. Emily’s face is very hard as she looks in the mirror. She will not go to her father now. Ferdinand does and finally tells the old man what is his business. The old man listens and we see this is rotten stock market gambling and by the end he throws Ferdinand out literally, saying only he will not let his daughter and grandchild starve and will give Ferdinand bread. Marvelous bitterness of the man playing Wharton as he talks about the expensive honeymoon and flats Ferdinand has bought.
This too I think is meant to reach the 20th century audience, how those who resent those who have and supposedly don’t pay for it. Ferdinand’s worst social sin is he can’t hide his deprivation.
The part end on the terrible scene with father-in-law where Lopez behaves is a cur, and at last shows up at Mr Slide’s to betray the Duke for a measley 130 pounds, and is told that is 100 more than the traditional price.
One of the characteristics of the soap opera form, which shows its feminine nexus, is the happy interlude. It’s often found in women’s films and occurs periodically in the Pallisers films, e.g., all the returns the Arcadian garden signaling transition from one major story to another. In 11:22 we get a different sort of interlude.
It occurs in the part’s third thread (which is woven in early, Episode 22, Travelers, right after Marie and Phineas and scene of Lopez and Sprout in shoe store), a further adumbration of matter from The Duke’s Childre: Silverbridge is in Venice, meets with Lady Mabel Grex and Miss Cassewary.
In 10:21, it has already been established that Silverbridge is feckless and naive (his painting the Dean’s house red), and it has been made deeply clear from the time of Silverbridge’s baby hood until now how bonded are he and his mother. In this part 11:22 we also meet Gerald (first scene of Episode 24) come to Gatherum and see him too greeted lovingly by the Duchess, and her plans to visit Silverbridge (to get away from Gatherum too) with him, Lady Mary and the Duke. So (at the end of Episode 24) the parents come to visit Silverbridge, and so too Frank Tregear, and the duchess (off-stage) learns to like Tregear by the gondola ride.
The sense of the first Venice sceneis he is courting Lady Mabel who is much more mature or knowing than he (as in Trollope’s DC). Pleasantly for once (and this does happen in Trollope too) the “old maid” in the scene, Miss Cassewary, is presented as a congenial pleasant woman. h
Duchess speaks to Silverbridge (Anthony Andrews) on the terrace; both collude to hide whatever they’ve got to say of intimate life from the Duke; lighting is used to make us feel they stand near sparkling waters
Duchess and Tregear (Jeremy Irons)
The gay subtextual use of Venice is brought in during the visit of the Duke and Duchess to Venice in Episode 24. The story of the family who had to give up their flat and went bankrupt because they chose “oriental” ways uses language Trollope and other 19th century writers used as euphemisms for homosexuality. (Margaret Markwick’s book uses this phrase to detect homosexual themes in Trollope.) We see paintings of nude figures in the apartment and their gender is not clear.
Ferdinand Lopez is the contrast this TV film makes to Tregear. Tregear in Trollope is ambitious, can be ruthless, and an upstart, not all that unlike George Vavasour in some ways, only he is controlled and prudent and can and does love Lady Mary Palliser once he is thrown off by Lady Mabel Grex. Tregear in Raven is a much more pastoral figure: he is contemplative, he is adult and mature and sees much more clearly than Silverbridge (as Charles Rider does Sebastian Flyte in Brideshead Revisited): really Irons and Andrews are playing the same typed pair in both films, just with different names.
During Episode 22 (an inbetween imagined journey) Tregear goes for a long tour in middle Europe; he makes no attempt to secure Lady Mary; he may be a nobody and outsider, but he has in him the feel of a poet and certainly is serious and ethical (parallel to the Duke).
Now the Duchess is attracted to Tregear (she is ambivalent about power and status finally) and we see has fostered his relationship with Lady Mary Palliser but again it seems her understanding or attraction to Tregear is his handsomeness, that her daughter is physically attracted. He is unambitious and what he loves best is home, Cornwall. Lady Mary loves him for that (in a gondola scene).
Another contrast to the rest of this Part and the one previous is the implicit indifference to ambition and showing of power over others in Marie, and the idea you must allow yourself to be soiled, and become rotten, if you go in for it too much, if you have to fight for it when you are not born to it. Maybe this is as subversive as one can get today (I mean 2009) — and more so today than ever as we now live in an era where ruthless breaking of bonds is just fine (whether at work or at home). This is of course brought home in the scene where the Duke and Duchess agonized together over Lopez’s letter (see above) in Episode 24.
The series also marks (as I remarked yesterday on my query on greying hair in women in the Victorian perido) that are characters are reaching middle aged, the new generation making its appearance. It’s autumn says Donal McCann so beautifully (he has a wonderful speaking voice).
There was yet another couple in Trollope’s book (more really, minor characters in the Wharton family comprise yet more): Mr and Mrs Sexty Parker. Sexty (David Ryall) is in the series, but not Mrs Parker. She is a real loss: with her we return to a character like Mrs Bunce, a working class woman and we see how her domestic common sense marriage works, and how the loss of money devastates it
Next up: 11:23