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Posts Tagged ‘Anthony Trollope’

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John O’Connor (1830-1889), Pentonville — looking west (1884)

A Syllabus

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Household Words

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The Cornhill with an illustration of Framley Parsonage by John Everett Millais as frontispiece

For a Study Group at the Oscher LifeLong Learning Institute at American University
Literature and Language 641: Pivotal City and County Victorian Novels & Victorian Gothic
Day: Ten Monday early afternoons, 11:45 am to 1:15 pm
4801 Spring Valley Building, near American University main campus, Northwest, Washington DC
Dates: Classes start March 6th; last class May 8th, 2017.
Dr Ellen Moody

Description of Course

We’ll read 3 best-sellers: Gaskell’s North and South (1855), Trollope’s Framley Parsonage (1860), and Dickens’s “The Signalman” (1866). Gaskell’s “Tale of Manchester Life,” published in Dickens’s highly politicized and socially concerned Household Words, is a radical graphic tale of the life of factory workers, based on a strike and time of near starvation and unmitigated depression, and by a woman. Trollope’s 4th Barsetshire concoction, commissioned by Thackeray at The Cornhill for its first series of issues made The Cornhill, which may be called the New Yorker of its day, enormously popular; Framley Parsonage was intensely as Downton Abbey: Gaskell said of it she wished he would go on writing it forever; she did not see why he should ever stop. FP, seen today also as a complacent pro-establishment book, is a Thackerayan ironic pleasure, wider ranging in its perspectives than is usually noted. Dickens’s short story, unrivaled as a psychological study over a response to machinery from an old world and gothic perspective was the Christmas tale his periodical, All the Year Round, is autobiographical, and was in 1976 adapted into a gem of a BBC film by Andrew Davies. We’ll explore how these fictions intersect with one another, mirror their shared era, and connect to our own.

Required Texts in the order we’ll read them:

Elizabeth Gaskell, North and South, ed, intro. Patricia Holman. 2003: rpt of Penguin 1995 ed. ISBN: 9780140434248
Anthony Trollope, Framley Parsonage, ed. David Skilton and Peter Miles. Penguin 1986. ISBN 0140432132
Charles Dickens, “The Signalman,” found in The Complete Ghost Stories of Charles Dickens, ed. Peter Hanning. New York: Franklin Watts, 1983. Contains A Christmas Carol and several other gems, plus has original illustrations with stories. It is online in at least 3 places: https://ebooks.adelaide.edu.au/d/dickens/charles/d54sm/l also http://onlinebooks.library.upenn.edu/webbin/gutbook/lookup?num=1289
http://commapress.co.uk/resources/online-short-stories/the-signalman-charles-dickens

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John Constable (1776-1837), Stoke-by-Nayland (1835/6)

Format: Study group meetings will be a mix of informal lecture and group discussion (essays mentioned will be sent by attachment or are on-line).

Mar 6th: In class: Introduction to course: the era, genres; shared themes. Introducing Gaskell: life & work; conflicts with her publisher Dickens

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Medium range shot of Thornton’s cotton factory

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Anna Maxwell Martin as Bessy Higgins (both from Sandy Welch’s North and South, BBC 2004)

Mar 13th: In class: Gaskell’s North and South, Chapters 1-17 (“Haste to the Wedding” through “What is a Strike?”
Mar 20th: In class: North and South, Chs 18-34 (“Like and Dislikes” through “False and True”. Beyond the novel, read for next time: Rosemarie Bodenheimer, North and South: A Permanent State of Change,” Nineteenth-Century Fiction, 34:3 (1979):281-301
Mar 27th: North and South, Chs 35-end (“Expiation” through “Pack Cloudes Away”); clips from the BBC 2004 North and South (scripted by Sandy Welch). Beyond the novel, for next time Michael D. Lewis, “Mutiny in the Public Sphere Debating Naval Power in Parliament, the Press, and Gaskell’s North and South, Victorian Review, 36:1 (2010):89-113.
Apr 3rd: Full contexts for Gaskell; Introducing Trollope: life & works; the Barsetshire series and The Cornhill; read for next time: Andrew Maunderley, “Monitoring the Middle-Classes”: Intertextuality and Ideology in Trollope’s “Framley Parsonage and the Cornhill Magazine,” Victorian Periodicals Review (33:1, Cornhill Magazine II, Spring, 2000):44-64.

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Michael Sadleir’s Barsetshire drawn by a sketch made by Trollope

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The Geroulds’ map of just Framley Parsonage

Apr 10th: Trollope’s Framley Parsonage, Instalments 1-5 (Chapters 1-15: “Omnes omnia bona dicere” to “Lady Lufton’s Ambassador”)
Apr 17th: Framley Parsonage, Instalments 6-11 (Chapters 16-33, “Mrs Podgens’ Baby” through “Consolation”)
Apr 24th: Framley Parsonage, Instalments 12-16 (Chapters 34-48, “Lady Lufton is taken by Suprise” to “How they all Married, had Two Children and Lived Happily Ever after.” Read also for next time, James Kincaid, “Pastoral Thriving: Dr Thorne and Framley Parsonage,” from his The Novels of Anthony Trollope (part of chapters sent as an attachment)
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William Parrott (1813-69) The Great Eastern Under Construction at Millwall on the Isle of Dogs (1857)

May 1st: Introducing Dickens, Victorian gothic, the Christmas story; his life & work. Watch YouTube of Signalman online (if you can). Beyond the story and film, read also Jill Matus, “Memory and Railway Disaster; The Dickensian Connection,” Victorian Studies 43:3 (Spring 2001):413-36
May 8th: Dickens’s “The Signalman.” On your own: Norris Pope, Dickens’s “The Signalman and Information Problems in the Railway Age,” Technology and Culture, 42:3 (July 2001):436-461

Suggested supplementary (outside) reading (the assigned essays will be sent by attachment):

Kaplan, Fred. Dickens: A Biography. New York: Wm Morrow, 1988.
Nayder, Lillian. The Other Dickens: A life of Catherine Dickens. Ithaca: Cornell UP, 2011.
Overton, Bill. The Unofficial Trollope. NJ: Barnes & Noble, 1982.
Sadleir, Michael. Trollope: a commentary. 1961: rpt London: Constable, 1927.
Snow, C. P. Trollope: An Illustrated Biography. New York: New Amsterdam, 1975.
Stoneman, Patsy. Elizabeth Gaskell. Bloomington: Indiana UP, 1987. Very good short life and works.
Uglow, Jenny. Elizabeth Gaskell: A Habit of Stories. New York: Farrar, Straus, Giroux, 1993. The best.

Films:

The Signalman. Dir. Lawrence Gordeon Clark. Screenplay Andrew Davies. Producer: Rosemary Hill. Featuring Denholm Elliot and Bernard Lloyd. BBC, 1976.

Barchester Chronicles. A 7-part BBC mini-series, 1983. Dr. Gilles. Scripted Alan Plater. Featuring Donald Pleasance, Nigel Hawthorne, Alan Rickman, Eleanor Mawe, Barbara Flynn, Susan Hampshire, Geraldine McEwan, Clive Swift
Dr Thorne. A 3 part IVT mini-series, 2016. Dr Niall McCormick. Scripted Julian Fellowes. Featuring Tom Hollander, Ian McShame, Stephani Martini, Phoebe Nicholls, Richard McCabe, Rebecca Front.
North and South. Dir. Brian Perceval. Screenplay: Sandy Welch. Producer: Kate Bartlett. Featuring Richard Armitage, Daniela Denby-Ashe, Brendan Coyle, Anna Maxwell Martin, Sinead Cusack, Tim Piggott-Smith, Pauline Quirk, Lesley Manville. BBC, 2004.

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Beyond “The Signalman,” Dickens published much of his own fiction there: you see the 1st Instalment of A Tale of Two Cities

Ellen Moody

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Norwegian Wood

Friends and readers,

I braved or endured a 7 hour trip (counting to and fro from my house in Alexandria, Va, on July 16th, to the Ripley Center of the Smithsonian buildings on the National Mall) to enjoy the (as I discovered) privilege of listen to Saul Lilienstein for some 6 hours and 45 minutes. A tough travel experience (it was one of these supremely super-hot days in DC with humidity making the experience of difficulty breathing) amid crowds not decently serviced (not the fault of the Metro staff who actually drive and are on the stations of the Metro). See what goes unreported: mass prayer meeting in DC July 16th. But all this seemed no trouble at all in comparison to what this unusual man was able to say, convey, teach a small group of people willing to sit and learn.

He talked of the original and continuing British sources of Beatles’s music, its then immersion in American white and black music), accompanied by videos and sound tracks that moved me deeply for themselves and taught me generally how the Beatles came to have power over vast general audience, not only of young people.

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Lilienstein’s ostensible plot-design was not chronological and throughout he used tapes, videos, UTubes made since the 1990s technological revolution to exemplify themes. But there was an ever-inching forward in time across a life-story in time, which seems to be inevitable when one tries to account for works of signally high genius.

For the first half of the day, morning before lunch (at 12:30) he covered the sources of the Beatles’ deep early appeal, what was original and yet so utterly British and traditional in their music, and how they began to break away musically and thematically.

It’s easiest to tell something of their joint career. Music comes from 1957/68 when Lennon and MacCartney first met and started to play. They brought into their pair, Harrison at age 14 late in 1958. They played everywhere in Liverpool and back and forth in Hamburg. They had trouble finding a drummer once they wanted someone for a commercial style recording, and it was 1962 when Ringo Starr joined them

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Photo from early phase: Ringo Starr, John Lennon, George Harrison, Paul MacCartney

For the first hour he showed us how the earliest Beatles music in Liverpool and Hamburg was rooted in Irish, Scottish and music hall English aesthetic traditions and ethical-class outlooks. This hour-long part of Lilienstein's talk was the least accompanied by vocal tapes, and visual videos and at the same time the most startling. The cheerful music of acceptance of one's lot in the mainstream working class culture of later 19th and early 20th century entertainment is conveyed, but also how one belonged to this milieu captured once for all by Richard Hoggart in his famous The Uses of Literacy. Lilienstein would play a rendition of familiar early Beatles hits (before they came to the US), then an Irish/Scottish ballad or musical hall song. Lilienstein pointed out that “It was 20 years ago today/Sergeant Pepper taught the bland to play”constitutes an innovative reprieve of the deeply male upper class suave dominated music of the the later half of the 20th and into the 21st century by working class, soft shoe (American black) and effeminate plangent elements.

Lilienstein put a large image of a poster of a circus coming to a local music hall pre-WW1 and showed us how lines of the song “For the benefit of Mr Kite” are all taken from this poster. “The Long winding road” is another startlingly innovative harking back. The tune of “It was 20 years ago today” is from an earlier time utterly re-orchestrated. If we would listen to the lyrics of their songs, these tell us these truths: “I read in the news today, oh boy ..” If you begin to trace these lines, you find a genuine radical critique of history. One song about 40,000 holes takes us back to WW1 and horizontally to the number of seats in the Royal Albert Music Hall. Lilienstein played an early parody by Paul of this kind of music in a song my notes tell me ran “She was just a working class girl from the north.” I cannot over-estimate how startling and unknown to me all this was.

The second phase (another hour) was to trace the American roots of their songs. Americans had no trouble connecting with the Beatles as their songs imitated, were re-creations in a urban idiom of famous songs by Buddy Holly and his Crickets (whence the name Beatles), Little Richard, Chuck Berry. He would play an originally deeply American black song popular on black stations in the 1950s, then a semi-white rendition for a more widely-popular rendition on mainstream white radio, and then the Beatles, re-injecting black American words and rhythms. “Peggy Sue” became “P.S. I love You”. Mo-Town Smoky Robinson songs were re-injected into Beatles “This boy wants you back again.” They loved Chuck Berry, and combined his song with Blue Grass from white country music, giving it an urban edge either by imagery or quick pace. He played for us the Beatles’ rendition of “Roll Over Beethoven” and “Mr Postman.”

They had an ear to pick up the most remarkable of American songs: Barnett’s “Give me Money, that’s what I want,” adding to that their own personal intensities (Lennon screamed at a wild moment the lines about “give me money”), using darker chords. Wilbur Harrison trying to make some money re-made his “Kansas city,” rubbing out all black and Detroit references; the Beatles put these back in with lines about a “black beat” which referred to their imitation of music coming out of Detroit and Negro Spirituals. Lilienstein ended this section of his talk with “A Ticket to Ride” and “Day Tripper.”

Lilienstein’s talk was not just a matter of showing likeness and repetition of lyrics and tunes. He also showed transformation of blues structure quite early on in their music. 12 bars, each subdivided into 4, from C major into subdominant F and back to major C. They broke this up, turning to minor keys, bringing in sudden other unexpected chords (Roy Orbison’s “Pretty Woman” became “You’re gonna lose that girl”). They never tried to hide what they were doing so you can use names and titles and lines to discover affinities and transformations. An early name for Lennon, MacCartney and Harrison was “Johnny and the Moondogs,” a term which has reference to performers of blues in the US. He discussed “She’s a woman” and “Help!” — for the first time I noticed the plangent nature of the words

Then a much shorter phase was “In a rebellious generation.” While towards the end Lilienstein played some of the music the Beatles recorded specifically against the Vietnam War, his subject was their rebellion against the musical forms they had been tinkering with, imitating, urbanizing. They began genuinely to expand what was meant by the term “rock’n’roll”. Norwegian Wood (which my daughter, Izzy, recorded a version of) was among these; also “Tomorrow never Knows” where they begin to bring in the drug culture through a psychedelic sound.

They imitate the sounds of technological machines, include lots of extraneous sounds, the point was to be haphazard. The song about the LSD experience was called Lucy in the Sky with Diamonds in order not to be too much in your face.

At this point Paul MacCartney began to pull back, and we see him returning to Western modes, and in Victorian stories like “She’s leaving home,” about grief and loss with the music leaving traditional cadences in a way expressive of descending sorrow. “All you need is love” is memorable because it’s rhythms are off-kilter. By contrast, experiment for John Lennon meant embodying his troubled spirit, his angst in quick moving rhythms, modern songs whose lyrics showed a deep critique of the society they were living in as in “Revolution.”

Asked whether “Revolution” was an anti-war song, Lennon replied all their songs are anti-war.
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In the first half, the long morning, Lilienstein brought in how their career as a group developed, telling of their first successes with a British audience, the coming to the US, the first TV appearances and concerts (Shea Stadium). The second half, he moved into showing us the inward musicians: the composition process as recorded on pirated tapes of sessions where we see them move from a first version of a song (mostly brought in either by Paul or John, sometimes as a lyric and sometimes as a song without words), and how they hammered at these to develop a full sound with all four playing, altered the lyrics and often the very character or mood they began with. This reminded me of how Jane Austen’s few ms’s show she often began with something very coarse and conventional (in her case burlesque) and gradually revising, turned the passage to something with an almost diametrically opposed mood and character, though some core in the original idea is brought out memorably.

It’s not true that they didn’t know musical notation; MacCartney and Lennon both studied music in college. Lilienstein showed them bringing in a line from Hal Arlen’s “Somewhere over the rainbow” in one of their songs, and how they began to softly linger at a song’s end. George Martin had taught them much: how to use a recording studio; he brought in discipline and “cleaned” up songs, but Lilienstein maintained that someone else could have contributed what Martin did, and by the end (1966-69) he was just standing there recording expertly.

In this hour and one half about process we listened to at least 3-4 versions of each song. A first and last, and two intermediary. “Get Back” started out (possibly dismayingly) as an anti-immigrant song with Pakistani people told to “get back to where they once belonged: we heard them free-wheeling with chords sounds, and that Jo-Jo was originally aimed at “Yoko Ono” whom John had begun to bring to recording sessions

At the same time, Lilienstein began to show us the distinct differences in the type of music each of the two major creators, Lennon and MacCartney did, and the growing conflicts and clashes of outlook, how they wanted the group to develop, attitudes towards life (Paul was the more upbeat person, adjusted to realities, imagining stories of families, while John projected anger and despair, and self-doubt). They were fighting over who would dominant, over “ownership” of themselves and the group. In the Abbey Road album we have a group breaking apart: they can make joyful music while they are at one another’s throats. Songs combine the wild despair with the story element as in “She came through the bathroom window.”

Some of their best work came out of this period of raucous interaction. Lennon had become increasingly dependent on drugs; at least he used them to the point he’d come in stoned; he protested against the bowing to commercial demands; MacCartney was more controlled and began to write astonishingly beautiful ballads: “Yesterday,” “All the Lonely People,” “Eleanor Rigby.” “You think she needs you” could be by Brahms. We listened to the evolution of “Let it Be” (one of my favorites) which began with the essential familiar lines but it took a long while for the three who had not made the lyric to accept it, and develop it into a kind of hymn. In their earlier phases.

Lilienstein said single were often the two opposing points of view: one one you had Paul’s “Penny Lane” on the one side (pictorial, surreal reality, memories of happiness as a child, nostalgia for the past, hopeful)

On the other John’s “Strawberry Fields” where he doesn’t want to get out of bed, where life is hopeless and to be avoided, nothing to get “hung about,” easy to live with eyes closed, “It doesn’t matter much to me,”as in his song “Nowhere:”

Sometimes an album would end with a song by Lennon and characteristic of his depression, to be contradicted by the first song on the other side by MacCartney. Lennon’s “I am The walrus” (see below) makes no literal sense, an ode to personal doubt and lack of identity, and is followed by MacCarthney’s “Yes no stop go goodbye hello,” making fun of Lennon as posturing. They were not only increasingly disenchanted with one another, but their careers. George Harrison had up until this point followed these two as a guitarist; as they withdrew he began to fill the gap with a few remarkably great songs (“My guitar gently weeps”). He began with ABA structures, but soon we hear unusual things brought in: Spanish or flamingo music (“I me mine”). He wrote much less than these two, but a couple are among the best songs of the 20th century, like “Something:”

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I am aware I may not have conveyed the excitement, and cannot begin to get down the passing remarks Lilienstein made about the music as we went along. Remarkably the four went from “I wanna hold your hand” and “Love love me do” to “Hey, Jude” and “Here comes the sun” in 7 short years. It’s about what happened during these 7 years in the music that Lilienstein accounted for, went into deeply. He has all sorts of tapes, among the more moving was a beautiful tape of “Love is all you need” as surreal; the song not one of those I’ve favored as until now all the renditions I’ve heard were so sentimentalized.

As literary and art so musical creation comes of the author’s lives — how could it be otherwise? Lilienstein told of how individual songs were events in these four people’s lives — he did discuss Ringo Starr less, saying Starr said of himself, he had been so lucky to come along for the ride because he was a very good drummer and worked well with the other three. He told mainly of Lennon and MacCartney’s personalities.

Here Lilienstein seemed to me to be too critical of Lennon’s outlook as if it were wrong but as he talked I realized for the first time that Lennon abused his first wife and other women. Lilienstein played a song, rarely heard, by Lennon about his male jealousy where he says remorselessly he’d rather murder the woman he is with than see her with another man, and he was (I had not known this) violent, ruthless towards people, and domineering over women until he met Yoko Ono. (This is not necessarily a tribute to her moral nature;she was part of the reason for the break-up of the quartet.) I saw Lilienstein meant to register that Lennon never fulfilled his gifts; he was still finding himself when he was gunned down (as so many are in the US). I was after all glad of the condemnation however brief.

He then showed Lennon’s work was the more continually interesting and troubling. His description of “I am The Walrus” as filled with nonsense phrases, unreal words, and just sounds thrown in that Lennon heard as he was composing made the song into a kind of small Finnegan’s Wake:

Almost inevitably then MacCartney came in for the highest praise: he sustained himself, lived longer, as far as we know lived more ethically with regard to other people, kept writing and singing, and a few of his songs are among many people never tire of hearing: Lilienstein seemed to feel Hey Jude was a favorite for re-hearing for most people.

Lilienstein did not go into this but implicit in his talk was the idea the Beatles utterly transformed what rock-n-roll was thought to be, its potentials, its possibilities. At the time there were other highly original groups — who I’d say came out of the ferment of new ideas, radical, and liberating of the 60s: folk (Peter, Paul and Mary), more soft versions of rock-n-roll (Simon and Garfunckel), new kinds of country (Willie Nelson and the groups pf Austin, Texas), music coming from Nashville. So like Shakespeare in the Elizabethan theater, they came out of and were part of a movement, but they were a leading force. Their records sold tremendously, they topped all charts continually. Popular music has not been the same since. The only successful parody I know is from Love Actually: Bill Nighy’s inimitable, irreverent, mock-on-the-sexism, “Christmas is All Around Us” (it’s telling the original YouTube was pulled and there is now a much tamer one, minus the electrifyingly stupifyingly-sexualized girls and salacious gestures of Nighy).

Left out by Lilienstein except at split second moments, was the band’s sexism. They’d never have a woman singing with them one of them said. It’s a strongly masculinist point of view; the stories of young girls fleeing parents are done from the parental point of view. What the girl might have been feeling in her escape beyond a desire to “have fun,” and how she would feel years later when she was thoroughly punished by her society there are no songs about. As I listen to these I feel such sorrow over what I was as a teenager at age 16. My parents had no idea how to help me, nor did I how to help myself.

Ellen

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The Cornhill Magazine opened to the place where installments of Trollope’s Framley Parsonage was appearing, prefaced by an illustration by John Everett Millais

Dear friends and readers,

Since I’ve had an unusual number of people subscribing to my blog as followers since I put up the summer syllabus for reading Trollope Small House at Allington together, and a couple of people have said they look forward to it, or compliment me by saying they wish they were in the class, and the opening lecture of the term was (for me) unusually coherent, I thought I would share it here.

I reviewed Trollope’s life and career up to the success of the Barsetshire books, and his move to London, the first four Barsetshire books, and we discussed “The Parson’s Daughter of Oxney Colne” as an introduction or framing of one of the central issues in The Small House. I find knowing the author’s life and experience central to understanding his art: Trollope’s books emerge from his imagination and experience and abilities of their author. What I call seeing them as lamps. They reflect, rework and comment on the era they are written in. Books as mirrors. (From Abrams’s famous The Mirror and the Lamp). The Small House has another kind of source: a previous literary work: I’ll show that SMA is a re-working, a more realistic and full and frank maturation of the characters and situation of Austen’s Sense and Sensibility and how Trollope’s art relates to Austen’s.

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The sisters: Lily Dale as a re-worked Marianne Dashwood, Bell Dale, Eleanor (Emma Thompson and Kate Winslett)

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The lone widow: Trollope brings out Mrs Dale’s loneliness, sacrifice of herself (1995 S&S, scripted Emma Thompson, directed Ang Lee)

Authors and what they write are also constrained by the place they are published in, the imagined audience that is to be pleased — and, in the case of a periodical, buy again. I’ve discovered ordinary readers don’t think of that enough; they remember it in the case of movies — but books are a commodity too, paper, ink, printers, costs of distribution, stores to place books in matter.

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Lilies, illustration in Good Words (from The Victorian Web, scanned in and text by Simon Cooke)

I’m just now reading on line with a group of people Trollope’s two volume somewhat idyllic novel, Rachel Ray. “The Parson’s Daughter of Oxney Colne” (1861) is one of two short stories written just around this time that dwell on love, sex, marriage — as The Small House does (begun 1862) and Rachel Ray, the novel he wrote next (1862). He had a contract or understanding from Good Words, a magazine intended for evangelically-minded readers run by a Rev Dr Norman Macleod; Trollope submitted for Macleod’s perusal about half the first volume, and Macleod was shocked, wrote back, how could you write this for my audience? Trollope had warned Macleod that he thought the kind of novel he wrote and his outlook might not be suitable to an evangelical audience. It appeared Macleod thought that Trollope would alter himself almost radically. In the event, Trollope had to find another publisher: happily, he was doing so well by that time that Chapman and Hall, a very respectable publisher took the novel on. But there was a 2 year hiatus between the time of writing Rachel Ray and its publication.

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It was intended that Millais would illustrate Rachel Ray; he did but one: Rachel meditating

In the case of The Small House, the Cornhill started to serialize it before Trollope was finished so the ending was not written until well after readers had begun to read and react to the book. In the fourth week of this course I will send along another essay on the connection of the Cornhill to The Small House. I sent one last summer on the Cornhill and Framley Parsonage. The Cornhill I remind those who were here and tell newcomers was the New Yorker of its day. Framley Parsonage helped make it. It was a central text for an imagined community aimed at mostly middle class financially well-off or genteel at any rate (like the Dale women) people, many complacent about their world. They like a little intelligent criticism but don’t want to be too disturbed or disquieted. The New Yorker has articles which ought to disturb and disquiet (say conditions in prisons in a May essay, how we treated mentally distressed people), the drone killing program. But you don’t have to read those. It’s upbeat entertainment. It puts you in the swing of things: the first article in the Talk of the Town tells you what was this week’s important story to “everyone:” everyone in a narrow group who can afford to, reads, and enjoys this magazine.

The Cornhill was perhaps more intellectual, hard to say. It was a different time: but the Crimean war was not a central topic for the Cornhill, nor workers strikes in Manchester. That was for Dickens’s Household Words. Happily and I’m going to say this there was no vocal social media on the Internet to object this or that, and reviewers first wrote about The Small House in 1864, 2 years later. So Trollope had no vocal interference. But he was writing for his audience and making himself a career precisely through this series, and his success in this endeavour may be seen: these six books are those most readers who know Trollope know first — or at least. Last summer when I read Framley Parsonage with many of the people I made the point several times that FP was shaped, its tone, what Trollope could present by a mostly middle class financially fine audience and that it differed considerably from some other novels he wrote at that time. Trollope’s others were much franker, one questioned religion centrally, another autobiographical, included Dickensian attacks on institutions. Nonetheless within its limits So too SHA.

It matters that “The Parson’s Daughter” was printed in the London Review: Captain Broughton is a Londoner, a man about town with whom male readers might identity.

For example, maybe this will whet appetites as you might feel yourself wading through the minute description of Squire Dale’s house and the roads around Allington and Guestwick, with the sentimentality of the love of the mother and her daughters in the book’s opening: a few modern critics argue that Lily Dale lost her virginity well before Adolphus Crosbie took off. It’s presented very discreetly but I agree it’s there and it explains a lot of what happens and understanding this shapes how we see Crosbie, at least ought to. In 1862 when a couple engaged it was understood they might indulge sexually, even going (that old fashioned) phrase “all the way;” that’s why when a man jilts a girl her family can litigate. But the pressure to remain a virgin was strong and in some circles (doubtless the evangelical readers of Good Words) this would be utterly unacceptable. For all the novel is so fat it’s a set of simple stories that delve very deeply young love in all its varieties, sex, and what marriage is in their and today too our society — for the very deep feeling, to the shallow, from the socially conventional to transgessors. Trollope questions marriage as a solution to anyone’s desire for happiness given how it’s conducted: this book offers no (blessed relief to me) no wedding. We watch people haggle irritatedly over the price of carpets as what’s necessary for a marriage. An indirect presentation. “Parson Daughter” printed in the London Review, so city people is a lot more downright. Only one story where in The Small House we have at least 7 couples, 8 if you include Plantagenet Palliser, Lady Griselda and her Dumbello as one triangle with Lady Glencora and Burgo Fitzgerald just introduced as the engaged couple made to break it off, the core opening of the Pallisers.

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John Millais, “Christmas Story-Telling,” “Christmas Supplement,” for the London News, 20 December 1862

So Trollope’s inner self his experience, the era, and its ways of doing things, and the magazine will form our context for this book. If you look at our online syllabus you’ll find I’ve added the Barsetshire map drawn by Trollope himself late in the series. It includes where Allington is. I’ve also offered a choice at the end, instead of the hard-to-read article on the Cornhill I’ve linked in the second short story on love and marriage written immediately before Small House, “A Journey to Panama,” a colonialist story, in my view one of his greatest – as is “Parson’s Daughter” so fine. As with “Parson’s Daughter” “A Journey to Panama” is short, on the Net, and about how marriage is practiced in the era, the pressures to do it, and an escape.

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Contemporary illustration of a story about emigration

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So an abbreviated version of Trollope’s life up to the time of Barset and a little after this time to remind some some – people need more to be reminded than informed – and to situate others, with a brief resume of the four Barsetshire books before The Small House .If you’ve seen the mini-series called Barchester Chronicles (1983, Nigel Hawthorne, Alan Rickman, Susan Hampshire) you will at least have been introduced into a close enough version of what is in the first two. Fellowes’s Dr Thorne is a travesty, but it sort of gives the essentials of the outline of the story, and most of the characters — leaving out alas the doctors (Fillgrave, Reerchild, Century, and there has never been a film adaptation of FP. There was a BBC mini-series of Small House in 1960 but it was wiped out. Video tape was expensive then, and the BBC simply wiped out or recorded over brilliant dramas, hard-worked earnest mini-series with popular junk (sports shows).

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A photo of Anthony Trollope (age around 40?)

So Trollope’s life quickly told.

Born April 24, 1815.  He was the fourth son, in a age of primogeniture that’s not a good number; the fifth child of six children, four of whom barely lived into adulthood, ie., all but two died near young adulthood, one after she married, all of TB a terrible disease. When Trollope was in his later teens Frances Trollope began to support them as best she could — because the father was incompetent to do this – by writing. So Trollope had her example before him, and she got him his first publisher as she did his first job, in the post office. He did not go to university, and identifies as both in insider and outsider

Trollope’s father failed at everything he tried, not because he was stupid or lazy, or not well connected: he was very bad at social life, obstinate and eventually violent and half-mad. He is seen again and again in Trollope’s fiction, beginning with Larry MacDermot in the Macdermots of Ballycloran; Joshua Crawley is a deep seeing of this ravaged man. His parents married late, at first a love match too, but when they went downhill (literally from grand house to nearby farm in a dump) she fled to America, with a French book illustrator, Auguste Hervieu, 4 children in tow. Not including Trollope; he was left behind with said father and Tom, his older brother by right of primogeniture sent to college for a while. He had very ambivalent feelings about his mother – these are part of the background of his animus against controlling worldly women.

Anthony Trollope’s writing career came out (he tells us) out of his compensatory habit of building daydreams, stories in which he was the hero. He escaped to these and they mirrored his inner and outer life again and again. He was academically gifted at school but the social life at a public school for a poor boy who clearly couldn’t afford it was not fun: he just couldn’t hold up his head – very snobbish hierarchical place.  His brother Tom bullied him by whipping him. 

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Frances Trollope by Auguste Hervieu

Fanny Trollope pulled herself out by traveling one might say, and so did Anthony. When Frances escaped with an Hervieu she was hoping to build a new life for herself with the help of a radical political friend, Frances Wright who had set up a idealistic communitarian camp or community which included free slaves. It failed, abysmally. Fanny just had no idea what America was like. She was astonished at the Mississippi; where she thought the rural world would accept her bohemianism it didn’t. She had to turn to her husband for money (he sent some) and head north to try to survive and joined a bazaar in a mall in Cincinnati, inventing a mountebank act for her son, Henry, to act out  She needed to return, and wrote a searing kind of ethnographic account of the US she saw, The Domestic Manners of the Americans, much as the satire of America in Dickens’s Martin Chuzzlewit English people gobbled this put-down up. It’s not so much inaccurate as distorted by Frances’s values – the US had these uppity servants: she saw some things very clearly, like the strong stream of religious  emotionalism in US life and its hypocrisies.

She came back to debt at Julians, the farm house the family had sunk into, and she had to flee creditors or her husband would be put in debtors’ prison (Trollope in his Autobiography remembers driving the carriage with his father in it, the family passing things over a fence to a house next door); so there was a desperate flit. Imprisonment for debt has made something of a comeback in parts of the US lately. They went to Belgium a terrible time, Emily down with TB and dying, father too, and Fanny held the family together by writing in the nighttime into dawn readable radical novels – condition of England like Gaskell’s North and South: Jessie Philips about a girl who has a baby outside marriage and goes to one of these punitive institutions meant for such girls; Michael Armstrong, Factory Boy. She took time out to nag connections she had into giving Anthony a job at the post office at age 19 and left him in London. she was a courageous and gallant women and determined, individual in thought and action. She and Tom eventually moved to Italy where they did make a successful life for themselves: Tom married well.

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Recent photograph (relatively) of one of the large country houses the Anglo-Irish built for themselves: Moore Hall, burnt down by the IRA and then abandoned

How did Anthony life himself up. He suffered bad depression from the time of his early teens until he moved to Ireland. Ireland was not known for cheering people up at the time. But he was freed of being looked down on, of his family, of the disgrace, of the pain and hurt, and of the humiliation of being a low level post office clerk. We will meet some low tax office clerks in The Small House: Johnny Eames is in some ways an idealized version of Trollope himself. Where in London he was despised, in Ireland he was in charge. He was incorruptible and worked hard to de-corrupt the post office, helped set up pillar posts or mailboxes as we call them. He loved the physical life of riding on his hourse as a surveyor. Fox-hunting. He married a woman just that much lower than he not to abuse his image, and began to write himself. It was natural to start with novels set in Ireland and by the end of his career he had written 5 set in Ireland, with the two Phineas Finn Palliser books having an Anglo-Irish Catholic hero. The Irish novels, dark, about colonialism, the famine, were not commercial successes at all, but he was noticed, gained respect through a ten year slog of working 10 hours a day and writing from 4 to 9:30 or so in the morning and in interstices of time while on his job (say when he was traveling on a train).

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Donald Pleasance as Mr Harding, absorbed in his violin (1983 Barchester Chronicles, scripted Alan Plater)

What made the change were what one might say a combination of three Barsetshire books. One of the things he was doing was mapping Ireland, he rode all over and saw much misery, much injustice, but he did it so well, he was invited to do this for southwestern England – Devonshire, Dorsetshire. The story he told goes that while walking one evening ijn the beautiful purlieus of Salisbury Cathedral, the story of Mr Harding, The Warden just came to him. This conveniently leaves out the themes of this book: it’s a political satire on church caste systems. Trollope told his friend and first biographer, T.H. Escott more fully that he had been reading in the Times about egregious cases in he church where a man was paid a huge sum for doing nothing, a sinecure; the money was supposed to go to support aging poor people; while another a curate starved on money not enough to live. He was also grated upon by the newspapers way of reporting the Crimea. All three came together: he attacks the Times as the Jupiter, exposes church injustices. The combination of his characters and these themes and the milieu of Barsetshire as you have it provided a success d’estime. The upper class has never wanted its secrets to be revealed, and Trollope was against anonymity which he regarded as allowing for non-accountability; but otherwise perhaps we have especially today in the US to deplore Trollope’s lack of apprciation of a free press (where a man is running for president who makes it clear he will do all he can to censor and take revenge on revelations about himself which are true). The Times was becoming a daily imagined community device. He said he still would have made more breaking stones, but when he went on in effect to repeat the story in a 3 volume Victorianization, Barchester Towers, there was a commercial success. BT has a love story, flamboyant Stanhope characters with scintillating satire: I describe Madeline Neroni (subversive yet crippled), Bertie (anti-work ethic exposes others as cheerful jokes), and the ambitious driven Mr Slope.

Trollope did not immediately write Barsetshire 3: he did not see himself as writing a series, but when he wrote Dr Thorne, he got 700£. Dr Thorne is set in Barsetshire but it has characters in another area: a strong and passionate rather like The Small House at Allington. Dr Thorne is a deeply dramatic about issues of class and status or rank; about a clash of a county hierarchy with new money people; it has a brilliant portrait of a wealthy industrialist banker who had been a cement worker, he’s an alcoholic. The heroine is an illegitimate dowerless girl. The hero, her uncle, a country doctor – like our Dr Crofts in Small House. Trollope seems to favor doctors. (Excursis on medicine in the era in answer to questions). Both Dr Thorne and Small House are about characters off to the side of the main characters of Barsetshire. When Trollope came to collect the novels, he had thoughts not to include The Small House but as we shall see it is so rooted in Barsetshire that he relented. To me it’s interesting he never doubted Dr Thorne belonged.

Nor did Thackeray; the break came from the Cornhill. Thackeray was chief editor of this new magazine which was aiming for big success and they wanted a central novel as the piece de resistance, to set them off. He was at the time writing Castle Richmond, about the famine in Ireland, and if English people didn’t want to hear about it, the rest of Europe did, it was published separately around the time of FP and quickly translated into 5 languages. Thackeray told him, my dear Trollope what we want is another of those Barsetshire books. Think of Trollope working for the post office, and writing two novels. One critic said Mr Trollope has taken to having twins. But it was FP that made him, and on the strength of his new income, he moved to just outside London to be part of the literary world at last. 

How sum up Framley Parsonage: very hard, it’s a very rich, more varied book than Small House. Gaskell said she wished Mr Trollope would go on writing Framley Parsonage forever. She didn’t see why he should ever stop. I’ll come back to that comment. There is a great increase in intimacy of characterization from Dr Thorne which is yet further subtilized in Small House. In PF Trolliope fills his imagined space out, maps carefully for the fist time; it bifurcated so it can be politicized into East and West Barsetshire. The story of Mark Roberts the hero, is the about the problem of how to go about a career, who succeeds and who fails and encompasses parliament, the problem of making ends meet as you spend money to reach that success so debt, how someone can become corrupted, what we might call the price of the ticket – not just in the church, but in ordinary social life where you want to shine, what relationships you desire to have and with whom. It’s most fascinating character becomes Mr Sowerby, brilliant, but weak; in his effort to secure his comfortable life and rise, he loses everything. Another female festive subversive character: Miss Dunstable. It’s about what ambition does to you and we will see that theme in spades not in electoral politics but sexual politics in Adolphus Crosbie.

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Trollope’s own map of Barsetshire

How do you tell a series: there are recurring characters and it’s set in the same imagined space. Both are important and it is true that we have hardly any glimpse of characters from the previous novels: one important one I put a vignette of on the syllabus. When Adolphus Crosbie leaves the Small House and goes to Courcy Castle, he meets Mr Harding in Barchester cathedrale and they talk. But all the characters in Small House then recur in the last Barsetshire book, The Last Chronicle includes plus most of the characters we’ve had in the four previous. It’s a long book. The imagined continuous space — or imaginary matters. Characters can drift away, move and yet not be lost sight of in the minds of the characters still on stage, sometimes for years, and then be brought back. Central ritual parties are moments of transition, connection, epitomizing and occur throughout.

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I chose “Parson’s Daughter of Oxney Colne” as it rehearses in little conflicting attitudes of mind towards marriage and the nature of love we are going to find in Small House at Allington.

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Joseph Wright, Landscape with Rainbow (very late 18th century) — Trollope insists on the beauty of Devonshire

What happens in the story? The way you tell it will probably show something of your response – One neutral way of putting it is the story is an exploration of the nature of marriage. We may say we marry for love or because we desire the personally physically (that’s not so common nowadays as the taboo on sex outside marriage for most of us is gone – not all) but that’s not what this story shows – nor will The Small House. What does Captain Broughton want from marriage? Something far more than love and sex. How does he judge Patience as a wife? For me Trollope is leading us to ask, Why is it better to marry? Not necessarily is the idea or in all or some cases? What do we give up if we don’t?

Another way of looking at it, this is a story about the cost of pride, about the cost of holding onto one’s self-esteem, subtle or intangible as Patience’s concept of this reality may seem to someone who can measure such things only by the clothes she gets to wear and furniture she can wander among. And it gets to where the matter gnaws at the heart. Before we condemn the captain as the only person to whom status matters, let us recall Patience refuses the farmer first. But she does not play with him; she does not try to tell him he is inferior and must be grateful to her for marrying him – of course in the convention she would go down, and the Captain thinks he is bringing Patience. To which the aunt, Miss Le Smyrger objects. Note she never married.

May be the words pride and self-esteem may perhaps not be strong enough to convey all of what Patience would have to give up to marry Captain Broughton; she would lose her soul by marrying the man. She would either have to consent to being his slave or try to dominate him by pretending coldness and aloofness for him to marry her. The latter strategy, even if it resulted in marriage, would backfire on her, as Broughton would doubtless take his revenge once they were safely married. Patience, of course, has no intention of becoming either a slave or a slavemaster. She does not want a relationship where one is dominant and the other submits. Is that possible?

Patience refuses to allow herself to be bullied, to be drawn into a relationship in which she would have to act the part of the inferior person, the person who has to be grateful, who has so much to learn about “what counts” and “how to behave” in the world where powerful “connections” may be garnered, meaning how to please, I had almost said cater to people with access to money, positions.

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George Bellowes (1882-1925), Geraldine Lee (1914) — much later, but the expression on her face seems to me to fit that of the bearing-up guarded Patience at the close of the story

The whole story is in fact a piece of subtle psychology — the psychology of disillusionment and quiet despair. She chooses to stay alone. We delve into the sexual longings of Patience in the most delicate and pictorial manner:

“There she would sit, with the beautiful view down the winding river below her, watching the setting sun, and thinking, thinking, thinking– thinking of something of which she had never spoken. Often would Miss Le Smryger come upon her there, and sometimes would pass her by even without a word; but never–never once did she hdare to ask her of the matter of her thoughts. But she knew the matter well enough. No confession was necessary to inform her that Patience Woolsworthy was in love with John Broughton–ay, in love, to the full and entire loss of her heart” (p 236).

The poignancy of this is contrasted to the “hot” desires the Captain had pressed upon her during his stay:

“On the day before he left Oxney Colne, he had in set terms proposed to the parson’s daughter, and indeed the words, the hot and frequent words, which had previously fallen like sweetest honey into the ears of Patience had made it imperative on him to do so” (p 238).

But let’s look at it from the Captain’s point of view. Trollope offers a very back-handed summing up: he never said the man was not a “brute;” at another point when the Captain seizes Patience’s giving of herself in some way to manipulate her, he has “base thoughts,” a base mind when he thinks of how to manipulate Patience because she is of lower status – so he thinks. Aunt disagrees.

He’s young man from London who is at first attracted to Patience simply by virtue of their propinquity, and then because she holds out. Austen’s Willoughby is a son of Lovelace, and as such can be dismissed ever so slightly as “shaped,” as not quite what we meet in life. Captain Broughton is someone I have met many times; he is himself unaware that he is attracted to Patience because of the challenge she presents; he only feels bored and then letdown because he has, as he sees himself, bought goods which are not quite serviceable for his ambition, goods which are “inferior” as the world would have it, to what he could have gotten–“that great heiress with whom his name was once before connected.”

I have put it too strongly because Trollope’s close is enigmatic; when we are told the Captain is “now a useful member of Parliament, working on committees three or four days a week with a zeal that is indefatible,” we cannot be sure whether he is not happier with his heiress. What do you make of that “gratified” smile that crosses his face when he thinks of the unmarried Patience in the last line of the story. I took it  the man is glad he didn’t marry her, and glad he that far triumphed over her and glad she did not marry too

Anyone want to argue for compromise? An abstract way of putting it is it’s a clash between what we could call the mercantile and romantic understandings of marriage. Is the primary nature of marriage companionate and emotional, or is marriage an institution by which economic welfare is secured or increased? It looked as though we had in Patience (and note that given name) an example of the romantic point of view, whereas the young man from London emphatically had his eyes on worldly advantage. Worldly advantage, of course, is something the parson’s daughter will not give him, despite Miss Le Smyrger’s intention to make her at least a moderate heiress. Money aside, she brings no useful connections, and lacks the social deftness, the polish that will impress his associates back home. Would she have been unhappy? We must not write a fan fiction and imagine children — we don’t know that she would have had them, she could die.

A final level: the story is a look at the plight of women on the fringe of middle-class life in England, where pride can come at a painful price. Not everyone has a dowry of 30,000 pounds; not everyone has influential relatives, or dwells in an area where plenty of suitable partners are on offer. Patience has the education and self-image of a member of the gentry, who will bring no shame on any family into which she marries. She cannot agree that it would need condescension for a gentleman to have her in marriage. This puts her above the touch of the men in her sparse neighborhood, but she cannot offer much to attract men of her own caste. Her sense of self places her above the station of a neighborhood farmer. And yet, from the viewpoint of the fashionable young man from London, Patience lies as much below him socially as she felt the farmer to be below her. Here lies the central tension in the story, when a social gulf that didn’t exist for her mattered too much for him.

Trollope does cheat or make it easy for us to see Patience left alone. She is an heiress after all; the Captain is punished by his hopes for a legacy going to her. They could make her unhappy. The ending is made easier because her aunt leaves her the fortune the Captain came down to try to wedge from the aunt. In real life the plight of most spinsters was poverty, dependence on others whom you had to please and serve. Yes much is left out: for example, we don’t know the inner life of the Captain’s new marriage, only that in a worldly way it worked. In The Small House, we are going to see that the other choice for the high born and well-connected might turn out even worse.

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John Singer Sergeant (1856-1925), anonymous gentleman (1880s), man about town: is he too dark for Crosbie as later met in The Last Chronicle?

Ellen

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Vignette for “Mr Crosbie meets an old clergyman on his way to Courcy Castle” (John Everett Millais, Chapter 6 of The Small House at Allington)

A Syllabus

The Oscher LifeLong Learning Institute at George Mason University
Day: 6 Wednesdays, 11:50 am to 1:15 pm, Tallwood, 4210 Roberts Road, Fairfax
Dates: June 15 – July 20.
Dr Ellen Moody

Description of Course

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Trollope’s own late map of Barsetshire, which indicates where to place Allington (look at top lefthand corner: Allington is between Silverbridge station and Guestwick Village)

Barsetshire 5: Trollope’s Small House at Allington

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Geroulds’ map of Allington

We will read The Small House at Allington and Trollope’s short story, “The Parson’s Daughter at Oxney Colne.” Rumor hath it (she isn’t always treacherous) this ripely-mature psychologically subtle novel is still cited when someone asks, “Which Trollope novel should I read first?”, and it’s one that has never fallen out of print. I encourage those who take this course to first watch the 1983 BBC mini-series, Barchester Chronicles and read Dr Thorne (Barsetshire 3) before the course begins. Alas the recent ITV mini-series, Dr Thorne (by Julian Fellowes is poor and Framley Parsonage (Barsetshire 4) has never been filmed. Trollope himself resisted including The Small House in the first publication of the whole Barsetshire series, so an attempt will be made to see the book in the context of his wider oeuvre, and time permits but one great relevant short story of the parson’s daughter (set in Devonshire), will enable us to see its themes more clearly from the different setting. The usual Barsetshire semi-comic resolution in both The Small House and “The Parson’s Daughter” is derailed entirely with the London world so aggressive that the conflicts in failure and price of success for a kind of existence (wealthy, powerful, prestigious) rip apart the earlier fractured pastoral world – for our uncomfortable contemporary consideration. We will also have Millais’s delicately beautiful illustrations to look at. Please have read “The Parson’s Daughter of Oxney Colne” before term begins. 6 weeks.

Required: Anthony Trollope, The Small House at Allington, ed. Dinah Birch. London: Penguin, 1984. Also excellent intro in previous Oxford SHA, ed. James Kincaid ISBN 0192815520; and essay in back of Everyman SHA, ed. David Skilton (“Trollope and His Critics”) ISBN 9460877944

To view all Millais’s full page illustrations and vignette, go to Project Gutenberg.

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The bull (Millais, “Lord de Guest at Home,” Ch 22)

For “The Parson’s Daughter of Oxney Colne,” there are on-line etexts:

The Literature Network
From The University of Adelaide collected edition of Trollope

Also recommended “A Journey to Panama”
University of Adelaide collected edition of Trollope

If you’re wanting to read more Trollope, “Parson’s Daughter” and “A Journey to Panama” both are also found in the superb Anthony Trollope: Early Short Stories, ed. notes John Sutherland. NY: Oxford, 1994. ISBN 019282984

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Lady Alexandria and her mother pick out the carpets as Crosbie watches: “That won’t do” (Millais, “Preparations,” Ch 40)

Format: Study group meetings will be a mix of informal lecture and group discussion.

June 15: Trollope’s life, career; 1st 4 Barsetshires books; “The Parson’s Daughter.”
June 22: SHA, Chs 1-12: “Squire of Allington” to “Lilian Dale … a Butterfly”
June 29: SHA, Chs 13-24: “Guestwick” to “A Mother & Father-in-law”; read also McMaster on “The Unfortunate Moth.”
July 6: SHA, Chs 25-36: “Adolphus Crosbie spends an Evening at his Club” to “‘See the conquering hero, comes!'”; read also Turner on The Small House & the Cornhill
July 13: SHA, Chs 37-48: “Old Man’s Complaint” to “Nemesis” and “Trollope’s “A Journey to Panama.”
July 20: SHA, Chapters 49-60, “Wedding” to end; read also Gilead on “Trollope’s Orphans.”

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Johnny talks to Lady Julia: “She has refused me and it is all over” (Millais, “The Second Visit,” Ch 54)

Suggested outside reading and sources (articles will be sent by attachment) and two films:

Barchester Chronicles. BBC mini-series, 1983. Dr. Gilles. Script Alan Plater. Featuring Donald Pleasance, Nigel Hawthorne, Alan Rickman, Susan Hampshire.
Bareham, Tony, ed. The Barsetshire Novels: A Casebook. London: Macmillan, 1983.
Dr Thorne. ITV mini-series, 2016. Dr.Niall McCormick. Script Julian Fellowes. Featuring Tom Hollander, Stephanie Martini
Gerould, Winifred Gregory and James Thayer. A Guide to Trollope: Index to Characters and Places, Digests of Plots. Princeton UP, 1987.
Gilead, Sarah. “Trollope’s Orphans and ‘the Power of Adequate Performance,” Texas Studies in Language and Literature, 27:1 (1985):86-105.
McDonald, Susan Peck. Anthony Trollope. Boston: Twayne, 1987.
McMasters, Juliet. “The Unfortunate Moth: The Unifying Theme of The Small House at Allington, Nineteeth Century Fiction, 26:2 (1962):127-44
Overton, Bill. The Unofficial Trollope. NJ: Barnes & Noble, 1982.
Snow, C. P. Trollope: An Illustrated Biography. New York: New Amsterdam, 1975.
Turner, Mark. “Gendered Issues: Intertextuality and The Small House at Allington in Cornhill Magazine, Victorian Periodicals Review, 26:4 (1993):228-34

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Ford Madox Brown (1821-93), Hampstead from my Window

On-line group readings and blogs:

From my website on Anthony Trollope
A group reading of The Warden
A blog on Barsetshire Towers
Shoverdosing on Barchester Chronicles: the BBC mini-series
Dr Thorne
Julian Fellowes’s Unwitting Dr Thorne: not quite hijacked by the elite
Framley Parsonage
A group reading of The Small House at Allington

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Tom Hollander as a film Dr Thorne (he is right for the part as written in the book)

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The first shot of Tom Hollander as Dr Thorne in the film’s first scene with

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Stephanie Martini as Mary Thorne, where she asks the question [visible in the subtitle] as a prompt for Hollander, Prospero-like to tell us and her not just many chapters of history but what is held back until near the end of the book’s plot-design (ITV Dr Thorne, 2015, scripted Julian Fellowes, director Niall MacCormick)

Friends and readers,

Julian Fellowes has managed to turn the novel Michael Sadleir ended his ground-breaking study of Trollope on (the book that first attracted respectable attention to Trollope — with preferring Dr Thorne to The Way We Live Now) into an embarrassment. A telling travesty. Reviewers veer from lamenting the very existence of this throw-back to picturesqueness as a travesty to earnestly showing how it has eliminated just about everything that counts in the novel. Viv Groskop of The Guardian suggested we take a drug to forget this disgrace. The courteous and judicious Alison Moulds of the Victorian clinic demonstrated the central matter of the tale, medicine and illness, comic and tragic, is left out. As might have been expected, Philip Hensher of the Telegraph demonstrates that the point Fellowes gets across (and by implication, Trollope’s) is that it’s impossible to cross (ontological?) class boundaries.

As it happened when the film aired on British TV, I was teaching the novel to a group of retired adults genuinely engaged by the book. Two British, the rest American. Contrary to Hensher (and like a number of scholarly critics, e.g. James Kincaid), they are persuaded this is an obsessive attack on the mindset that erects uncrossable boundaries and about the hurt (Mary made a taboo person) and damage, indeed death (Sir Roger’s and Sir Louis’s) the behavior enacting this idea incurs. Miss Dunstable’s role is to expose the hypocrisy of the social codes as we watch money and power throw people away, ruin their lives (e.g., Mr Romer, the liberal barrister who tried to help Roger Scatcherd, the railway contractor and banker) into parliament). I had hoped to screen the film until I saw that (worse than Downton Abbey where all deeper issues may be skimmed over, but at least suggested) Fellowes was simply not going to allow any depth to this, among Trollope’s most emotionally direct of all his novels. I admit there was no character they hated more than Lady Arabella and Fellowes fed this by giving full vent to her as the villainess who experiences a mortifying comeuppance (rather like Miss O’Brien and other upper level servants in Downton Abbey). She is in many scenes endlessly repeating her mantra, but then she is presented simply as winning out, having her way in the end. Rebecca Front was given this thankless role as she was given an analogous sycophantic snob in Andrew Davies’s recent War and Peace.

Trollope’s novel utterly resists treating it as light satiric comedy or “fairy tale romance” (which Fellowes in the feature labels his film and by extension Trollope’s book).

Arabella

Thorne
As Hollander squirms and twists his body to avoid the barrage, the scene becomes a tasteless joke

So why bother write about? Fellowes’s erasure and corrections reveal where the power of the novel lies and where there are cranks for us in Trollope’s attitudes.

In all the Fellowes’s films I’ve seen thus far he abjures all flashbacks, voice-over, soliloquy, montage, filmic epistolarity (where a character writes or reads a letter that is voiced by the actor who is played the character who wrote the letter) or any techniques that demands we go into the vulnerable psychology of any character to the extent of questioning a norm or value asserted. Trollope’s first four chapters are a daring retelling of deep, intermediate general past, and individuals personal histories (which he ironically apologizes for). He then recurs repeatedly throughout the novel to these pasts so that when the character in a social scene reveals his inner psychology, we realize the context which has given rise to this self normally hidden to us in our daily lives the social scenes. I had not realized how the novel is continually working through, back and forth, deeply layered intertwined time until I watched this film adaptation. In most of Trollope’s novels we recognize his gifts for showing the private self unable not to reveal itself in the social scene for those with eyes to see and understand (Trollope’s narrator and occasional preternatually perceptive characters like the Signora Neroni and Miss Dunstable). Here in Trollope’s seventh book he was consciously adding to that by making the character a product of a particular time, relationship, literal and social space.

Since Fellowes resists all deep wide explanation that filmic techniques can offer (including in-depth dialogue), all we have as opening for the film is some dialogue of nasty excluding of Mary from Frank’s coming birthday party by his (in this film) by his stupid dense and clumsy sister, Augusta (Gwyneth Keyworth) egged on by the apparently frigid manipulative Lady Alexandrina de Courcy (Kate O’Flynn). We then launch into Frank’s proposal to Mary to marry him, her “no,” and stay in the superficial linear time of the present, with the party, and Lady De Courcy’s nagging Frank (Harry Richardson, who plays the part of a privileged sheltered and thus idealistic male aristocrat — true to the book) to chase the rich Miss Dunstable (Alison Brie) now an inanely giggling rich American. (I read that the ITV people were told they would get no American funding unless they had an American character in the cast.) As in Downton Abbey Phoebe Nicholls is given the distasteful role of an utterly ineffectual despicable older woman bully. (She is paid well for it.) Fellowes just loves to invent this kind of female monster. But he must tell the important past or the present story makes no sense. How to do it? he is reduced to having Hollander as Thorne in the very first scene he appears, Prospero-like, tell Stephanie Martini as Miranda, just about everything in one go of her sordid Scatcherd family background. Since there is too much to tell, Thorne and Mary get together twice more (after the said party) and again in the second episode after her other uncle, Sir Roger Scatcherd’s death. What’s done for compression leaves the effect of a story turned inside out.

Far from admitting to anything serious in the novel, in the feature released on the DVD, Fellowes says he regards the book as a fairy tale romance. What he has done is chosen the scenes susceptible to being presented as light satiric comedy. I had not realized before what an experimental novel this is in its use of layered past and movement within different times and memories.

Then Fellowes has the problem of the book’s hinge points which he feels he cannot eliminate. Scatcherd must die so that Mary can win the property. In the novel Scatcherd dies from alcoholism and we read a rare protracted death scene in a Trollope novel. The man has drunk himself to death because he has not been accepted by his true peers because of his lack of surface manners, he regrets deeply what has happened to his son who has been similarly ostracized and exploited, but can do nothing about it. The unhappy man his son has become results from cultural realities beyond his reach. Trollope captures perfectly the mood of someone near death, and shows us that real kindness to such a person is to take seriously what they have to say and respond to it — as Dr Thorne does and Sir Roger’s son does not. He is devastated when the powerful remove him from the place in Parliament he has worked hard to win.

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Lady Scatcherd (Janine Duvitski) over-hearing her husband talk to Thorne

I’m told that Ian McShane is a great actor; well he’s thrown away here. He is presented as foolish jackass. His alcoholism is made a joke of in order to us to laugh at elections as such. The working and townspeople are of course fools, and McShane directed to play the part archly until he falls into a pigsty. (Fellowes might tell us, have you not been watching how popular Donald Trump is?) In the book’s death scene, the pain of Scatcherd’s isolation is made worse because Thorne himself has invested so much in Mary, he cannot get himself to allow Scatcherd to know or to see her after Scatcherd first offers all his money to her and his son, if Thorne will encourage a marriage with that son. This horrifies Thorne who is as exacerbated by the class structure of the place as anyone. He wants above all that his darling niece-daughter be a lady, live with ladies and gentleman and turn to him. And how does Fellowes treat this matter at the center of the second episode? For a moment I had a hard time believing that Fellowes was allowing Thorne allow Mary to come over and nurse Scatcherd so we could get this emotional bath of sentimentality instead and listen to McShane as Scatcherd say he is consoled for his “misspent existence.”

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“Very well,” says Hollander, and the puzzled angel appears, at which McShane says he thinks he will now cope better with “what is to come … ”

Beyond erasing all the material hung from the present time romance story (including its use of excruciating and satiric letter presences), Fellowes has done a Nahum Tate, a David Garrick! Nahum Tate was the man who rewrote King Lear to give it a happy ending; Garrick-like was the the man who rewrote Romeo and Juliet so as to make the lovers wake up to bid sentimental tearful farewells before they lie down to die. He reverses Trollope’s Dr Thorne’s refusal to allow Sir Roger to see or be seen by his sister Mary’s grown daughter, lest he, Dr Thorne, be dispossessed of what has made his existence meaningful, before he dies, even when Scatcherd threatens to leave all his fortune away from her (without which Mary has only the interest from 800£ in the funds, all Dr Thorne has managed to “amass” from his village doctor practice). Perhaps he thought no one reads Dr Thorne, or if we read it, we don’t remember it. Is there no limit to the man’s contempt for his audience?

Well yes.

Fellowes almost unexpectedly turns Scatcherd’s son, Sir Louis (Edward Franklin), the character pitied by Trollope’s narrator just a little, but most often despised, caricatured, sneered at, presented as a money-hungry creditor (as if he has no right to look into the arrangements Dr Thorne has made to keep Squire Gresham afloat all these years) — into the tragic hero of the film story. A chunk of its second episode and full third of the last was given over to a mortifying plangent rendition of Louis’s pursuit of Mary Thorne, his excruciatingly inept presence at a dinner party and then death (not from delirium tremens) but a suppurating bleeding lung (reminiscent in its stagy-ness of Hugh Bonneville as Lord Grantham near death for a few seconds in Downton Abbey) because he galloped across the landscape out of anguish at her rejection and fell off his horse and punctured his rib cage with the horse’s saddle. This subtextual slapstick is not in Trollope.

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Among the character’s last lines is “she thought me a buffoon,” but Fellowes has not lifted him out of that

Fellowes has highlighted a problem his predecessor film adaptors managed to finesse. What are we to do with Trollope’s shameless stigmatizing of lower class males trying to “ape” gentlemen as ultimately slime to be expelled? In 1983 Alan Plater, scriptwriter of Barchester Chronicles (and thus the linchpin person) cast the part against type by hiring Alan Rickman and then had Rickman play the part with a self-controlled dignity, guarded rage, subtle manipulative ability (though out-maneuvred by Susan Hampshire as the irresistible erotic Signora Neroni). Before that a full 40 years ago (1975) in The Pallisers Simon Raven similarly endowed Trollope’s anti-semitic depiction of a Jewish hypocritical murderer, the Rev Emilius (Anthony Ainley) with a seething intensity of ambition that the amoral Lizzie Eustace (Sarah Badel) was too stupid to flee from. Fellowes, though, wanted to grant the character a full burden of human gravitas earlier, but could not pull out enough depth to invent longer scenes to show this. All we get is his screeching at his mother, Lady Scatcherd, how could you prefer Frank to me? Lady Scatcherd (as in Trollope) is otherwise mostly caricatured but as Lady Scatcherd’s preference for the heir is too much even for Fellowes (and he feared too much for pious viewers) Fellowes made her feeling acceptable by having her much earlier on insist how she loved both equally. To this low is Trollope brought and for those who know the text exposed.

I grant Fellowes much of the dialogue used in the film is in the novel — he chose the surface dialogues. He transfers the powerful epistolary narrative chapter where Augusta is treacherously persuaded to give up a possible happy marriage with the De Courcy solicitor, Mr Gazebee (Nicholas Rowe) on the grounds of his lack of rank into pantomime comic moments of dramatic startle. Her great cousin-friend, advisor has grabbed Gazebee for herself.

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Augusta is made into an “old maid” buffoon

There are a lot of silences. Another actor-character thrown away is Richard McShane as Squire Gresham; he wanders around looking sheepish by the end behaving as if by not cold-shouldering others he’s doing enough. In the book it is his unexamined snobbery and self-indulgence in the book that wasted the Gresham fortune; the ambivalent and interesting friendship with Thorne and their dialogues are gone. Istead Fellowes has Hollander as Thorne giving Brie as Miss Dunstable sly glances. Yet the man avoids montage so the explanation at the end must be gone through in words character by character.

As a side note the production did not pay for the the use of the houses. We never see anyone going in and out. They were filmed from afar and then we found ourselves in the usual sets. One reminded me of the set from the 2009 Sense and Sensibility for Norland Park.

Ironically the film adaptation vindicates Trollope from being seen as simply material which lends itself for hijacking from the elite. Last year John McCourt asked why the bicentennial celebrations were so muted? He suggested that the kinds of things done were not the sorts of events a larger audience, especially one not equipped with tuxes and gowns could easily join into. As has been said before (John Letts among those saying this), Trollope has partly been hijacked by his elite mainstream fans. I’d maintain that more than his academic readers lean to the left. Plater wrote brilliantly radical 1970s style plays for TV and stage; Simon Raven was radical in his outlook; Andrew Davies is a humane left-leaning liberal; Herbert Herbert’s gem, “Malachi’s Cove” shows just how down-to-earth is Trollope’s appreciation of humanity.

So while I regret very much this opportunity to film another Barsetshire book was botched, it’s salutary to see the material of this Trollope novel resist the kind of treatment Fellowes tries to give it. A friend said to me this film adaptation is something Popplecourt (from The Duke’s Children) might have written. Perhaps that’s too strong, but pace what I’ve heard some fans say, Trollope’s novels are not at all like P. G. Wodehouse.

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A rare far shot of the bedroom scene: Winterbones taking notes, Scatcherd helped up from his bed by Thorne, Lady Scatcherd leaving …

Ellen

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Mr Furnival introducing Lady Mason to his wife (J.E. Millais, from the original illustrations to the novel)

Dear friends and readers,

We’ve just finished reading Orley Farm on Trollope19thCStudies and I feel as if I’ve noticed all sorts of new things I hadn’t before. We said so much and talked of so many aspects in the book I can’t begin to write a coherent not-overlong blog on it (see Yahoo site, under “Orley Farm”). I know that for a long time The Last Chronicle of Barset was regarded as Trollope’s signature book; that which was most characteristic of him in his most brilliant phase. Nowadays the contemporary themes and perspectives (not to omit the influence of Davies’s film adaptations) have replaced it with The Way We Live Now for some, and He Knew He Was Right for others. There is an argument for “the Orley Farm case” too. I’ve included a few brief summaries and evaluations of some good critical essays in the comments.

For the first time I realized it can be read out of a feminist perspective at the same time as it’s a brilliant examination of how law operates in a court, and how the world outside the court impinges on that court and its rules of behavior so that when justice does emerge, it comes out of an interaction of social events and mores. We experience the powerlessness of women when it comes to law, office, property, and their own sexuality. We see their strength resides (alas for Lady Mason) in hiding, in watchful care of what they say or do, in quiet manipulation. Sophia Furnival is a mistress of this, but even she cannot overcome her lack of rank or status when she (at the close of the book) wants to enter the Noningsby circle (whose portrait by Trollope anticipates the Rostovs in War and Peace). As is so common, the illustrations emphasize these subplots.

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Judge Staveley is all that Rostov is not; Madeline a kind of Natasha (Lily James and before her, Morag Hood fit the part). Pierre is transfigured by Trollope’s hard point of view into Felix Graham.

We experience the importance to women of another woman’s true friendship.

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Mrs Orme and Mary, Lady Mason saying goodbye (Millais)

Millais drew pictures of Mary Snowe (treated as owned property for a while by Felix Graham), of Sophia Furnival (one towards the end when she realizes she has lost Augustus Staveley in a manner that anticipates Mabel Grex’s letting slip Lord Silverbridge), but none of Bridget Bolster nor Mrs Moulder. Yes the extant ones are all too pretty, but I would have liked to have a representation of the long-enduring Mrs Moulder.

Human relationships are seen as ever with Trollope seen as a see-sawing between dominance and submission, and Trollope shows the traits that leads a man to flourish in his career or ambition may enable him to dominate his spouse and household (though he need not) and how the impulse to power is a cruel one.

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Mrs Dockwrath (Miriam that was) greeting Mr Kenneby come to see her husband (two characters who have made unwise choices in the book and suffer for these ever after, Millais)

It’s also novel centered on negotiation; the scenes repeatedly show us people in negotiating stances, and what Trollope focuses on is who dominates who, and why. How people to be safe need to hide themselves and much that they think or do from other people — even among those rare spirits who can love another individual fully and loyally, though never (it seems) unconditionally. During our discussion I argued that the hero and heroine of the book are Mary Lady Mason and Mr Furnival. The book’s tragic patterns end quietly, with Mary Lady Mason at last left in peace in Germany, and her disinherited son self-exiled.

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Holding on, holding out after she has told her friends she forged the codicil and has lived according to its lie for 20 years …

We didn’t discuss how consciously autobiographical the book is; Trollope told Millais to draw Julians Hill, which his father lost, for Orley Farm:

OFFrontispiece

nor how far the criminal (though Trollope does everything to justify her he can) Lady Mason might indirectly mirror Trollope’s own mother whose efforts to live a full life herself and rescue the family he could not accept and never quite forgave:

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Lucius, the melancholy, socially awkward, perverse son

but that’s all there too.

Much has been written elsewhere on this book (and I wrote for conventional publication part of my chapter on the original illustrations on Millais’s pictures in Trollope on the ‘Net), but I do have one small allusion to elucidate, which I’ve not seen discussed, and which adds real depth to the book’s conception.

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Mrs Furnival’s return: “Tom, I am come back” (Millais)

In the moving depiction of Mrs Furnival’s distress out of loneliness and desertion, where the text becomes dense with suggestivesness that Mr Furnival, bored with his unintellectual uncurious and now aging and unattractive wife has had casual liaisons during business trips, Trollope’s narrator quotes Horace’s Odes, Book 2, No 3 twice. Furnival practices the same kind of quiet brutality to his wife he does to his clerk, Crabwitz: if Crabwitz does not like the terms of their relationship, he can find another job; if Mrs F does not like the terms of their relationship and wants to leave, that’s fine. He will not admit to needing either. While Crabwitz might lose a good steady income, Mrs Furnival loses the very meaning of her existence. But power over her, independence from her means more to him than any corrosion of self-worth she might have to live with.

The allusion is made most visible when the narrator refers to “Delius” and says that Mr Furnival had never had time to read the classics and had he had this time when young it might have done his larger ethical sense of what is valuable in life some good. In context it reinforces the idea that Furnival is hurting himself — the way Mary Lady Mason was led to hurt herself when she was pressured into marrying an old man for status and survival. The larger meaning across the book bring in metaphysical grounds Trollope is rarely credited with registering in his books.

I wish I had a better translation; this is by Joseph Clancy:

Keep this in mind: a steady head on a steep
path; the same holds true when the going is good:
don’t let happiness go to your head,
friend Dellius, for you must die someday,

whether you spend all your time in sorrowing,
or keep yourself happy on festival days
stretched out on the grass in seclusion
with a jar of your best Falernian.

Why do the towering pine and white poplar
love to weave shady welcome by lacing their
branches? Why do the rushing waters
hurry on against the winding river?

Tell them to bring the wines and the perfumes and
sweet rose blossoms that live such a little while,
here, while it still is allowed by luck and
youth, and the dark threads of the three sisters.

You will leave the pastures you bought and your home
and your country place washed by yellow Tiber,
you will leave, and into the hands of
an heir go the riches you piled so high.

Rich, and descended from ancient Inachus,
or poor and from the lowest class, loitering
out in the open, it is all one:
an offering to Death, who has no tears.

All of us are being herded there, for all
lots are tossing in an urn: sooner, later,
out they will come and book our passage
on the boat for everlasting exile.

In this book the relative freedom of the men is consciously contrasted with the imprisoned condition of the women, and the men are trained to keep the ethical instincts of their hearts under control lest they are endangered by them in some way. So although pressured by Mrs Orme not to ask Lady Mason to marry him again, Sir Peregrine Orme does and is once again refused by Mary Lady Mason. And yet here is our promised end. It is through Horace we can see Sarah Gilead’s humanist perspective.

We are told Trollope loved Horace and late in life he makes Mr Whittlestaff (An Old Man’s Love) read Horace regularly. He was particularly fond of Millais’s illustrations for Orley Farm, as showing him aspects of his characters or book he had not thought about until seeing them, and he had a set made separately for himself.

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Caroline Bowles Southey — her drawing of Robert Southey (her husband’s) window from which he wrote most of his poetry, journalism, letters (I like both Caroline and Southey’s poetry, his writing and this drawing of hers; Southey as a conservative Lake District poet turns up in Trollope’s Lady Anna to offer advice such as Mrs Orme would have approved)

Ellen

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John Constable (1776-1837), Salisbury Cathedral from the Bishop’s Grounds (1825-26)

A Syllabus

Online at: https://ellenandjim.wordpress.com/2016/02/21/making-barsetshire-a-spring-syllabus/

For a Study Group at the Oscher LifeLong Learning Institute at American University
Day: Ten Monday afternoons, 1:00 to 2:50 pm, Temple Baptist Church, 3805 Nebraska Avenue, NW, Washington DC 20016
Dates: Classes start Feb 29th; last day May 2nd.
Dr Ellen Moody

Description of Course

The class will read Anthony Trollope’s The Warden, Barchester Towers, and Dr Thorne. Trollope conceived of his famed Barsetshire series while walking in the beautiful purlieus of Salisbury Cathedral in England; and sat down to write The Warden, his first of thirteen novellas, having in mind church-and-state, literary and newspaper political satire of his era. Of the writing of 2nd Barsetshire novel, Barchester Towers, an enormously wide-selling book at the time and never out of print since, Trollope wrote he took “great delight” and predicted Barchester Towers would be one of those by him which “live” on and are read for a long time to come. Elaine Showalter and others regard it as the first academic satire; I see it as a kind of Victorianization of The Warden. By the 3rd, Dr Thorne, Trollope knew he had created something more: an evolving 19th century world for richly-developed realistic characters to exist in; and by the 4th, Framley Parsonage, he was mapping his imaginary places over a palimpsest, with his characters and sites multiplying and spilling over through railway lines into a real political England which included London and parliament and far abroad. Of this novel, Elizabeth Gaskell wrote: “I wish Mr Trollope would go on writing Framley Parsonage forever.” Trollope is still primarily associated with the six books that emerged, and The Pallisers or parliamentary novels that developed out the Barsetshire world. In a ten-week course, we’ll see how this Barsetshire was first formed, and watch excerpts from the 1982 BBC The Barchester Chronicles, which adapts The Warden and Barchester Towers. I invite class members to see the seven episodes of the mini-series before the course begins, and to begin The Warden. We may also have a serendipitous treat (for those who can reach it): this coming spring a Julian Fellowes mini-series of Dr Thorne is scheduled to air on ITV (British TV).

Required Texts. Students are asked to bring a copy of the novel and any essays we may discuss for the week to class. These will usually be provided in the form of an attachment sent to the students’ email the week before.

Required reading:
Trollope, Anthony. The Warden, introd. David Skilton. NY: Oxford, 1980.
—————–. Barchester Towers, ed. Robin Gilmour. NY: Penguin 1994.
—————–. Dr Thorne, ed. David Skilton. NY: Oxford, 1980.

Format: Study group meetings will be a mix of informal lecture and group discussion.

Feb 29th: Introduction: Trollope, life, career (especially the Anglo-Irish novels and beyond Barsetshire), reputation.
Mar 7th: [For this day read] The Warden
Mar 14th: Barchester Towers, Volume I or Chs 1-14 (“Who will be the new bishop?” to “The New Champion””)
Mar 21st: Barchester Towers Volume 1, Chs 15-19 and Volume 2 Chs 20-26 (“The Widow’s Suitors” to “Mrs Proudie wrestle and gets a fall”);read also Cockshut, Anthony. “The Warden: Nothing is Sentimentalized,” Nineteenth Century Fiction, 17 (1963):381-90; Cadbury, William. “Character and the Mock Heroic in Barchester Towers,” Texas Studies in Literature and Language (5:4, Winter 1964):509-519.
Mar 28th: Barchester Towers: Volume 2, Chs 27 – 34, Volume 3 Ch 35 (“Oxford and the Master and Tutor of Lazarus: to “Miss Thorne’s Fete Champetre”); read also Cusick, Colleen. “Madame Neroni and Matrimonial Spiders: Spinning Courtship in Barchester Towers, Victorians A Journal Of Culture and literature, 127 (Spring 2015):75-89
April 4th: Barchester Towers, Volume 3, Chs 36-53 (“Ullathorne Sports Act I” to “Conclusion”). We’ll see clips from Alan Plater’s Barchester Chronicles.
April 11th: Dr Thorne, Chs 1-11 (“Greshams of Greshambury” to “The Doctor Drinks his Tea”): in context, AT’s developing art; read also Moulds, Alison. “TV Review: Dr Thorne (ITV 2016), Victorian Clinic, March 21, 2016. https://victorianclinic.wordpress.com/2016/03/21/tv-review-doctor-thorne-itv-2016/
April 18th: Dr Thorne, Chs 12-23 (“When Greek meets Greek” … “Retrospective”); read also Ziegenhagen, Timothy. “Trollope’s Professional Gentleman: Medical Training and Medical Practice in Doctor Thorne and The Warden. Studies in the Novel. 38.2 (Summer 2006): 154-171.
April 25th: Dr Thorne, Chs 24-34 (“Louis Scatcherd” to “Arrives at Greshambury”); read also Kincaid, James. “Pastoral Thriving” from The Novels of Anthony Trollope. (Oxford at the Clarendon Press, 1977); Edwards, P.D. “The Boundaries of Barset” in Anthony Trollope: His Art and Scope. (Lucia: University of Queensland, 1977)
May 2nd: Dr Thorne, Chs Chs 34-47 (“St Louis Goes out to Dinner” to “And who were asked to the Wedding”); how Framley Parsonage brings us back to Barsetshire 1 & 2; briefly on the last two Barsetshire novels (The Small House at Allington and The Last Chronicle of Barset). We’ll see one clip from Julian Fellowes’s Dr Thorne.

Suggested reading and Viewing

Barchester Chronicles. A 7-part BBC mini-series, 1983. Dr. Gilles. Scripted Alan Plater. Featuring Donald Pleasance, Nigel Hawthorne, Alan Rickman, Eleanor Mawe, Barbara Flynn, Susan Hampshire, Geraldine McEwan, Clive Swift
Dr Thorne. A 3 part IVT mini-series, 2016. Dr Niall McCormick. Scripted Julian Fellowes. Featuring Tom Hollander, Ian McShame, Stephani Martini, Phoebe Nicholls, Richard McCabe, Rebecca Front.
Bareham, Tony, ed. The Barsetshire Novels: A Casebook. London: Macmillan, 1983.
Cadbury, William. “Character and the Mock Heroic in Barchester Towers,” Texas Studies in Literature and Language (5:4, Winter 1964):509-519.
Cockshut, Anthony. “The Warden: Nothing is Sentimentalized,” Nineteenth Century Fiction, 17 (1963):381-90. Also his superb Anthony Trollope. London: Collins, 1955.
Cusick, Colleen. “Madame Neroni and Matrimonial Spiders: Spinning Courtship in Barchester Towers, Victorians A Journal Of Culture and literature, 127 (Spring 2015):75-89
Durey, Jill Felicity. Trollope and the Church of England. Basingstoke: Macmillan Palgrave, 2002.
Edwards, P.D. “The Boundaries of Barset” in Anthony Trollope: His Art and Scope. Lucia: University of Queensland, 1977
Kincaid, James. “Anthony Trollope and the Unmannerly Novel” and “The Power of Barchester Towers,” in Annoying the Victorians. London: Routledge, 1995.
Kucich, John. “Transgression in Trollope: Dishonesty and the Antibourgeois Elite,” ELH, 56:3 (1989):593-618
McDonald, Susan Peck. Anthony Trollope. Boston: Twayne, 1987.
Moody, Ellen. “Epistolarity and Masculinity in Andrew Davies’s Trollope films,” in Upstairs and Downstairs: British Costume Drama from The Forsyte Sage to Downton Abbey, edd. James Leggott and Julie Taddeo. London: Rowman and Littlefield,2015.
————-. “Intertexuality in The Pallisers” (& Barchester Chronicles), in Victorian Literature and Film adaptation, edd. Abigail Bloom and Mary Pollock. Amherst, NY: Cumbria Press, 2011.
Moulds, Alison. “TV Review: Dr Thorne (ITV 2016), Victorian Clinic, March 21, 2016. https://victorianclinic.wordpress.com/2016/03/21/tv-review-doctor-thorne-itv-2016/
————-. Trollope on the ‘Net. London: Hambledon and Trollope Society, 2000.
Overton, Bill. The Unofficial Trollope. NJ: Barnes & Noble, 1982.
Snow, C. P. Trollope: An Illustrated Biography. New York: New Amsterdam, 1975.
Sadleir, Michael. Trollope: A Commentary. 1927; rpt. London: Oxford UP, 1961.
Terry, R. C. Antony Trollope: The Artist in Hiding. London: Rowman & Littlefield, 1962.
Ziegenhagen, Timothy. “Trollope’s Professional Gentleman: Medical Training and Medical Practice in Doctor Thorne and The Warden. Studies in the Novel. 38.2 (Summer 2006): 154-171.

From Previous semester teaching 1st Three Barsetshire books:

Barchester Towers: An Extraordinary Book and where there are no police
Dr Thorne: an emotionally powerful dramatic-scene laden book

Online group readings:

The Warden and Barchester Towers
Dr Thorne
A blog: Shoverdosing on Barchester Chronicles
From my website on Anthony Trollope

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Drawn by sketch by Trollope (circa Framley Parsonage) by Michael Sadleir — click on drawing to make it much much larger

Ellen

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