The Sleepwalkers, Part One: The Romantic - Hermann Broch

"In the year 1888 Herr von Pasenow was seventy, and there were people who felt an extraordinary and inexplicable repulsion when they saw him coming towards them in the streets of Berlin,  indeed, who in their dislike of him actually maintained that he must be an evil old man."

Our protagonist, Joachim has had a tenuous relationship with his father since he was a child, culminating in the moment when Joachim while riding his pony cripples the animal and is immediately sent out of the house to begin life in the army. Being the youngest of the two Pasenow sons, a family that belonged to the landed gentry of Berlin in a time that still practiced primogeniture, Joachim was perhaps always destined to join the military, but his leaving the family estate should have been a moment of pride for the family, like his uncle he would be destined to make Major at an early age and bring to the family pride and glorious fame. Instead his father while barely looking at him, and in an icy tone says " It's high time that you were out of the house," and Joachim departs his family estate a failure, filled with insecurity and the dread of a precarious and unknown future, knowing now that his family has always despised and loathed him.

Despite his initial misgivings, Joachim is well suited for military life and finds the stringent regulations and dress code comforting. In a world on the brink of moral decline, where the buttresses of moral values, honor and duty have begun to crumble, the military is far more simplistic. Joachim finds in the dress code a second skin, one in which he feels more alive and confident than he's ever felt before. Here there is order amidst chaos.

His father visits Joachim in Berlin and as they walk through the crowded streets in the flaring glow of the gas-lamps, Herr Pasenow grumbles that the innovating policy of the founder of the Reich has certainly produced some curious fruits; the streets of Berlin are no worse than Paris; as he continues his monologue they find themselves at the front of a the Jager Casino and Herr Pasenow drags Joachim inside. While they sit in the dimly lit casino surrounded by prostitutes and degenerates, Herr Pasenow flirts lecherously with a Czech peasant woman, while Joachim persevorates about his friend Bertrand. Herr Pasenow, jokingly betroths his son to the woman, Ruzena, (or Rose in Czech) while pressing a fifty-mark note into her hand. As his jokes become more forward, Ruzena runs away, feigning insult and Joachim swallows his disgust and repugnance at his swine of a father.

Our protagonist is thus introduced. A man caught in the oscillations between insecurity and self-loathing. A man that feels naked without the order and regulation of his stiff military shirt, a shadow of a man sleepwalking between fate and destiny, between self actualization and the crippling expectation of a dying class system.

When we finally are introduced to the hitherto presumed apparition of Bertrand, despite his very obvious differences from Joachim, there is some sort of indescribable bond as if they occupied different sides of the same coin.

"So they smiled frankly at each other and their souls nodded to each other through the window of their eyes, just for an instant, like two neighbors who have never greeted each other and now happen to lean out of their windows at the same moment, pleased and embarrassed by this unforeseen and simultaneous greeting."

Bertrand is a complex Mephistophelean type; not interested in corrupting but rather serving the souls of those, like Faust, already in danger of being damned. For Joachim, his danger lies in his now romantic devotion to Ruzena and his inability to pursue his title and responsibility in the marriage to Elizabeth, the daughter of a neighboring Baron. While hesitant at first to pursue Ruzena, now he can not get her out of his mind. And as he stumbles though the banality of life, taking up his perfunctory caste-like seclusion, for one moment his persevorations turn from Bertrand to Ruzena. He must find her, and when he does it is as if she has been waiting for him. He tries to shroud himself from the reality that she is a prostitute and frames his desires in a somewhat more morally respectable light and invites her out for tea - but drinking tea is quickly exchanged for a kiss lasting "an hour and fourteen minutes" and before they know it the droshky is at her front door and their visit has come to an end. Ruzena, an expert accomplice to the desires of men, feigns modesty and hesitates to let Joachim up to her flat, but it is just a pretense, she's already been paid by his father and they "as if already dreaming ascend like sleepwalkers the dark stairs..."

"And with a jerk regaining his prescribed military bearing, he suddenly thought with relief that one could only love someone who belonged to an alien world. That was why he would never dare to love Elizabeth, and also why Ruzena had to be a Bohemian. Love meant to take refuge from one's own world in another's, and so in spite of his jealousy and shame he had left her in her world, so that her flight to him should be ever sweet and new."

His post-justification for keeping his mistress is evidence that he is steeped in insecurity, unable to rationalize a world where love triumphs over class he creates a neat and tidy box with clear definitions on what love is and isn't. When suddenly his brother dies leaving him heir to his family's estate he shoulders the burden of his imminent and respectable union with Elizabeth. But while Ruzena is the fulfillment of all his repressed desires, Elizabeth, whom he has known since she was only a few weeks old must in his view be protected from all the baseness and depravity of the world. He can only picture her surrounded by white, as if on a bier, with him forever taking on the role of protector, watching as she sleeps so that no unwholesome thought or desire would penetrate itself into her sacrosanct and forever chaste slumber.

"That was where Elizabeth hovered on a silver cloud, intangible her effluent, dissolving face, and he felt it as an agonizing impropriety that her father and mother had kissed her when the meal had ended."

Bertrand plays devils advocate for both Joachim and Elizabeth's internal turmoil; he becomes a foil for their secret desires while providing an audible voice for their inner demons. To Joachim he offers the liberal interpretation of things, preying on Joachim's aversion for the conventional:

"Bertrand went on: We take it quite as a matter of course that two men, both of them honorable - for your brother would not have fought with a man who was not honorable - should of a morning stand and shoot at each other. And the fact that we put up with such a thing, and that they do it, shows how completely imprisoned we all are in conventional feeling. But feelings are inert, and that's why they're so cruel. The world is ruled by the inertia of feeling.
The inertia of feeling! Joachim was struck by the phrase: was not he himself full of inertia, was it not a criminal inertia that had prevented him from summoning enough imagination to provide Ruzena with money in spite of her objection and to take her out of the casino?"

To Elizabeth Bertrand offers passion and romance, preying on her aversion to the obscenely practical and as every woman secretly desires, woos her. Joachim has known her for her entire life, their marriage is a practical conclusion to a passionless narrative. When Bertrand and Elizabeth are alone for a moment, Joachim taking care of another lame horse he has ridden poorly and ineffectually, Bertrand wastes no time in his quick and decisive offensive strike, immediately telling Elizabeth that she is renowned for her great beauty, a compliment that while perhaps distasteful coming from the wrong lover, is not unappreciated. Elizabeth has lived her entire life in the protected solitude of two devoting parents, she longs for adventure and the unknown, and Bertrand offers her a chance at actual unmitigated romance.

Bertrand plays to Elizabeth's intelligence as well as her beauty, something of course which would have escaped Joachim in his half-hearted courtship preferring to envision his intended as a virginal Madonna. But for once in her life Elizabeth can be a living, breathing passionate woman without reprimand. Bertrand tells her "To court a woman means to offer oneself to her as the living biped that one is, and that's indecent. And it's quite possible, indeed quite probable, that's why you hate any kind of courting."  Whether or not this is true, Elizabeth is flattered by Bertrand's attention.

Finally Joachim makes up his mind to ask for Elizabeth's hand in marriage. He must protect Elizabeth from Bertrand, and so he quickly puts his affairs in order and after asking her father for her hand takes his leave without bothering to bestow the same compliment on Elizabeth. Elizabeth of course immediately goes to Bertrand to see what she should do, and Bertrand as always offers only the most complicated and oblique advice:

"Love needs some degree of cleverness, not to say wisdom. You must allow me to be somewhat dubious of his love for you. I warned you once already..." But as he continues to play Devil's advocate to her wavering emotions, pausing only to work on the theatrical suit of his own he finally reveals his hand, of course his love for her is undeniable, but would she condescend to love him? A simple hard-working profiteering businessman from the wrong class? He, like Peter, offers himself up three times, asserting his unspeakable longing for her again and again, something they both know the practical marriage with Joachim will never amount to. The honesty, the humanity that they can share is less than a mirage if she chooses Joachim. But Bertrand won't take her as a wife, only a mistress and at last he plays his trick to far. Her propriety has been bred into her for generations, and while Joachim is allowed certain allowances, Elizabeth can not risk all that she has for a life of uncertainty. In a passage that would make Ayn Rand proud, she finally works up the gumption to take her leave of Bertrand:

"Goodbye, I'm going to get married...perhaps we are both committing the worst crime against ourselves...goodbye."

Both Elizabeth and Joachim have faced the devil's temptations and have emerged victorious to a life of awkward banal matrimony and conjugal misery.

The Warden - Anthony Trollope

A young, passionate, ex-physician, Mr. Bold, has given up medicine to take up apothecary of a more civic nature. He has made it his own personal crusade to right the wrongs of the down trodden and fight for the justice of the oppressed; living in Barchester, a small quiet suburb of London, finding the down trodden is a somewhat daunting task.

Mr. Bold is not to be dissuaded by a certain lack of victim-hood on the part of his neighbors and instead sets his sights on the Wardenship of Barchester. The Wardenship was created in 1434 by a Mr. John Hiram, a wool-stapler, who left his house and certain meadows etc. for the support of twelve superannuated wool-carders. 500 years later with the contemporary wool industry having little use for wool carders, the position of wool-carders was replaced by 12 homeless, needy and infirm old men. From the inception of the Wardensip, Hiram's estate has only prospered, and is now worth considerably more; each of the 12 men receive 1 shilling and fourpence a day, while the Warden receives as his income £800. The current Warden, being particularly generous, has increased the daily income of his bedesmen to 1 shilling sixpence, and the matter has been thought generally approved of.

Mr. Bold is not so certain. It seems to him there has been a misreading of Hiram's will and original intent. It is his contention that the Warden, Mr. Harding, is living off the estate unjustly, and that his nominal wealth of £800 should be split more reasonably with the 12 beggars. While Mr. Bold undauntingly pursues his cause, he simultaneously pursues the Warden's daughter, seeing nothing at all disingenuous about his actions.

The Warden, horrified that he could even theoretically be in the wrong and thought to have taken advantage of his position and his dependents, contemplates how best to extricate himself from the maelstrom of swirling slander. Should he give up the Wardenship in exchange for a life of poverty? It is less an issue of poverty that overwhelms him and more an issue of how best to undo the irrevocable damage to his good name and reputation. He has been slandered and his name carelessly has been splashed across every paper in London. Laymen have had their tea and brought forth verdicts of his morality in their leisure, while he has been unable to defend himself or his character.

Meanwhile, the Warden seems nonplussed at the concept of his nemesis becoming his future son in law. In fact, he goes so far as to give his daughter his blessing! From an objective standpoint, he does not hold it against Mr. Bold that his work demands such actions, even if Mr. Bold is headstrong and acting more on premonition than concrete evidence of injustice. The Warden's daughter, Eleanor, decides she must give up her suitor. How can she make love to the singular person responsible for her father's ruin?

After a couple articles are published further defaming the Warden, Eleanor takes it upon herself to set matters right. She goes to Mr. Bold to beg, plead, demand that he resign the suit against her father. As she passionately makes her plea, Mr. Bold is overwhelmed by her protestations and remarkable beauty and finally complies in exchange for courtship, which she reluctantly agrees to.

But alas, the suit has taken on a life of its own and has become an unstoppable behemoth. Mr. Bold attempts to withdraw his suit, but to no avail, his protestations are irrelevant as new articles are churned out at a steady pace.

The Warden decides the only option left for a man of honor is to give up his position and live on the infinitesimal sum of £75 a year. Despite the desperate attempts of his friends and family to persuade him to give up such a reckless decision, the Warden clings fast to his decision and the Wardenship is abandoned.

Eleanor moves into the little room they can afford to rent above a small mercantile shop, but within the year has married Mr. Bold and they all live happily ever after.

This book focuses on the damage unfounded accusations can have on all in its wake. What begins as a quest for truth and justice gets gobbled up by the political/media machine and becomes drivel to be chewed as cud, again and again, by a mindless populace.

Trollope has been said to span the Dickens/Thackeray divide. As Trollope's first book, it is entrenched in the Dickens camp, filled with caricatures void of dimension rather than the complexity of his later characters with the ability to change and develop personal growth. Trollope even goes so far as to have a character named Mr. Popular Sentiment...in case the reader needs a little encouragement to get the picture. Eleanor is the most reprehensible female character study I have witnessed in a while. A vapid, simpleton and Benedict Arnold, willing to overlook a familial catastrophe...for no apparent reason. She is not introduced as being madly in love with Bold, rather just easily persuaded.

In short, I hated this book. The only thing that forced me to finish, besides of course my obvious compulsive disorder and obsession with crossing things off lists, is every once in a while Trollope forgot that he was writing a treatise on slander and little gems like this could be found:

"Not, however, being aware of any connection between shellfish and iniquity, he entered, and modestly asked a slatternly woman, who was picking oysters out of a great watery reservoir, whether he could have a mutton chop and potato...The room smelt of fish, and sawdust, and stale tobacco smoke, with a slight taint of escaped gas. Everything was rough, and dirty, and disreputable. The cloth which they put before him was abominable. The knives and forks were bruised, and hacked, and filthy; and everything was impregnated with fish."

The Way We Live Now - Anthony Trollope

At first blush, Anthony Trollope's expansive novel is about the speculation obsessed culture of Victorian England; here we are confronted with an entirely different sort of superfluous man. While Oblomov was too lazy to decide whether or not to get out of bed and allowed his friends to openly rob him, this generation of men take a more active role in their destruction, gambling away their inheritances whenever they are given the chance. For a moment Oblomov was roused enough from his stupor to momentarily fall in love, but here, in this world of apathy, love is an emotion too troublesome and vigorous for our young men. In an era of primogeniture it is the job of the eldest sons to marry an heiress and save the family estates from bankruptcy; these sons, as ineffectual and caddish as they are, have but one simple job, to make love to an heiress, and yet anything that takes them away from the whist table is seen as an awful and tedious bore.

Mr. Melmotte enters the scene as a brusque entrepreneur with an opaque past that is quickly forgiven by his vast and seemingly infinite fortune. Mr. Melmotte, with the help of Paul Montague and Mr. Fisker, becomes the director of a new and exciting railway scheme, a scheme that has no pretension of being a reality; this he hopes will be the biggest and most successful of a life of fraudulent enterprises.

"Mr. Melmotte may have been held to have clearly proved the genuineness of that English birth which he claimed by the awkwardness and incapacity which he showed on the occasion. He stood with his hands on the table and with his face turned to his plate blurted out his assurances that the floating of this railway company would be one of the greatest and most successful commercial operations ever conducted on either side of the Atlantic. It was a great thing, - a very great thing;- he had no hesitation in saying that it was one of the greatest things out. He didn't believe a greater thing had ever come out. He was happy to give his humble assistance to the furthermore of so great a thing,- and so on. (p. 81) 

His board is quickly assembled out of the most disreputable young men, all with titles and a certain amount of prestige despite their overwhelming incompetence. Most of these men don't even pretend to try and understand their position or alleged duties. 

"There was not one of them then present who had not after some fashion been given to understand that his fortune was to be made, not by the construction of the railway, but by the floating of the railway shares." (p.82)

Another quick and potentially even more successful way of making one's fortune would be to marry Melmotte's daughter Marie, the presumed heiress of an incomprehensible fortune. Melmotte has been "floating" his daughter about in a way not unlike his new railway company looking for the highest title he can buy. Two of the board members, Lord Nidderdale and Sir Felix are both eligible fortune hunters, both with acceptable titles and rank; while Nidderdale leaves the matchmaking to his father, Felix rouses a modicum of energy to woo Marie and thereby in a race of two despicable choices becomes the favorite. Melmotte, upon learning that Felix is not only destitute but a gambler and a drunk, the first of course being the biggest hurdle, pays Felix not to marry his daughter. Felix for a moment believes he has thrown in the towel, but when Marie persuades him to run away with her; she'll organize everything and provide a great deal of ready money...what does he have to lose? So he takes her money on the understanding that they will meet a couple days later on the boat to New York, only to immediately gamble it all away and end up a drunken mess in a gutter rather than a fiance on a ship to America. 

He is momentarily chastened by his acts of stupidity, but only momentarily. Felix has been taking advantage of the innocence and naivete of Ruby Ruggles who is currently acting as housemaid and nanny for her aunt. He persuades her to go out with him until all hours of the night, knowing that this will sully her reputation and potentially damn her. Ruby has previously been engaged to John Crumb, whom she considers to be drastically beneath her. She deserves a baron at least, and when Sir Felix visits his cousin's estate and happens to find a young maiden ready and waiting for him to sweep her off her feet, he finds there is actually very little sweeping involved. He gets used to having her around as a plaything, and she tells herself that he has only honorable intentions for her. When her aunt promises to lock her out of the house if she goes to another dance with Sir Felix unless he can put in writing his intentions to make her his wife, he refuses and she goes along anyway, his beautiful face being too genuine to hide any malfeasance. 

Felix's sister Hetta has found herself smitten by one of the original railway board members Paul Montague. Like all women in love she believes him to be true and genuine in his love for her and is shocked to learn that while making love to her, Paul has been unscrupulously making love to an American woman named Mrs. Hurtle. It is a trifecta of horror. Paul has been seeing another woman, that is married and an American! What could possibly be worse? In her agitation, Hetta is beside herself, and Felix takes it upon himself to defend his sisters honor, but unlike the days of Eugene Onegin, when such heated issues could be quickly if not irrevocably settled with a duel, the Victorians had outlawed dueling, making matters of honor a little more complicated.

"There is no duty more certain or fixed in the world than that which calls upon a brother to defend his sister from ill-usage; but at the same time, in the way we live now, no duty is more difficult, and may we say generally more indistinct. The ill-usage to which men's sisters are most generally exposed is one which hardly admits of either protection or vengeance,-although the duty of protecting and avenging is felt and acknowledged. We are not allowed to fight duels, and the banging about of another man with a stick is always disagreeable and seldom successful." (p.558)

Although Felix has every intention of showing Paul a lesson or two, he quickly decides maybe its more bother than its worth and decides instead to go find Ruby Ruggles. But while it is not appropriate for the gentry to go fist-to-cuffs over every question on honorable intent, the lower classes are not above a good beating or two, and when Ruby's betrothed finds that she is out with another man, late into the night he goes in search of them and gives Felix a pounding that leaves him mostly cowed and much less beautiful. 

Despite being jilted, despite the fact that Felix is now missing most of his teeth, again Marie Melmotte pledges herself and her vast fortune to him, or rather to his mother, since Felix can't be bothered with someone he assumes to be a destitute impostor or perhaps is too vain to show himself to even someone he despises, if he could truly work up gumption for such an emotion. 

When Melmotte dies, and Marie does become the heiress of a vast fortune, Nidderdale wants nothing to do with her because of the impropriety of her father's death. He is still uncertain of Marie's wealth and assumes its better to be safe then sorry, that is sorry that you actually don't inherit the fortune you were hunting even if it means you have found a soul mate. 

Nidderdale is back to the drawing board with his father:

'They tell me,' said the old man, 'that one of those Goldsheiner girls will have a lot of money.'
'A Jewess,' suggested Nidderdale.
'What difference does that make?'
'Oh no;-not in the least;-if the money's really there. Have you heard any sum named, sir?' The old man only grunted...
'They say the widow of that brewer who died the other day has about twenty thousand a year'
It's only for her life, sir.'
'She could insure her life. D*** me sir; we must do something. If you turn up your nose at one woman after another how do you mean to live?'
'I don't think that a woman of forty with only a life interest would be a good speculation. Of course I'll think of it if you press it.' The old man growled again. 'You see, sir, I've been so much in earnest about this girl that I haven't thought of inquiring about any one else. There always is some one up with a lot of money. It's a pity there shouldn't be a regular statement published with the amount of money, and what is expected in return. It'd save a deal of trouble.' (page 683)

While I loved this book and devoured all 830 pages without barely a breath, the endings felt a little too neat and tidy. Perhaps that's part of the zeitgeist of  Victorian literature though and not to be held against Trollope. While true love exists only rarely in the way we live now, and then only if it can be gently cared for and provided for by distant relatives, as is the case with Hetta and Paul - love often requiring a pension of some sort unless it is to be hastily outgrown - love can be learned as we see in the case of Ruby and John Crumb. Others have no capital to deal in romance and must take whatever options present themselves, weighing the pros and cons of a poor match and disinheritance- but a house in the city, with the bleak prospect of eternal spinsterhood. I say spinsterhood, because this book is more about the women than the men. The woman are the ones forced into creative forms of entrepreneurship, like Felix's mother who becomes a writer, producing one poorly accepted and low paying novel after another to keep her caddish, reprobate of a son solvent. They are the heroines, taking as much of an active role in their fates as contemporary culture would allow. It is ultimately Marie who is the true heroine of the book. She emerges triumphantly wealthy and alone with no one to control her destiny, until she realizes that that is actually a precarious position for any woman in the 1870's and decides with as much practicality as fortitude to marry Fisker and live happily ever after.

North and South - Elizabeth Gaskell

Margaret Hale, after spending nearly 10 years with her cousins in London returns home to the peaceful idyllic hamlet of Helstone. Her overly petted cousin Edith has been married to captain Lennox and the captain's younger brother is quick to make his feelings known to Margaret who is put off by his overt courtship. Perhaps Mr. Lennox is a little too confident in his good looks and charisma; he is only slightly abashed by her refusal and although Mr. Lennox departs from Helstone lacking the spoils he anticipated, we, the reader are certain we have not seen the last of him. Doesn't it always seem like the rejected lover always slowly woos the heroine or persistently earns her love? 

Margaret's father has been a pastor, but now, after wrestling with his faith, has turned his back on the church and has become a dissenter. He in good conscience can no longer live in the rectory and perform his duties, so he and Margaret, after much deliberation, decide to move the family north to a small mill town, Milton, recommended to them by Mr. Hale's good friend and Margaret's godfather Mr. Bell. 

After living a cosmopolitan life in London, the move back home to Helstone was a quiet reprieve from city life; Milton, on the other hand, is far from idyllic. It is a busy, bustling, dirty mill town. Margaret is shocked by the simple baseness of the place, and with a sickly mother to take care of slowly retreats into the solitude of their temporary housing. Mrs. Hale is the classic sickly mother, babied and petted by Margaret and her father...the type of character that is only good as a slow drawn out foil for the heroine to dutifully nurse. 

To earn a little extra income, Mr. Hale has become a tutor for the mercantile baron of Milton, Mr. John Thornton. Mr. Thornton is a self made man, a Silas Lapham type. When younger, his family was not of considerable wealth, but had the means to send John to school. His father, a gambler, lost the family savings and then in despair hung himself. John, a young boy, was forced to come home and support his mother and younger sister. Slowly by a life of frugality he and his mother were able to save their money and stone by stone, rebuild their family estate. Mr. Thornton is the new "american dream" type. Through hard work and perseverance he has crafted a life of success...but success in a class system is different than the idyllic success of the american dream, and while Silas Lapham was a simple minded hard working type, that knew that through enough conspicuous consumption could purchase his place in society, the idea of purchasing status would be anathema to Mr. Thornton, and instead he uses his great wealth to purchase knowledge, something that can never become valueless or be destroyed.

 The Hales, although poor, are of a good family line and in another place and different life would hardly associate with the working classes beneath them. Margaret and Mr. Thornton are at odds with each other from their first encounter. Their verbal sparring often leaves both of them frustrated and annoyed, but while Margaret's incredible beauty is enough to assuage any lasting feelings of annoyance, the same can not be said of Mr. Thornton. Margaret is not enchanted with Mr. Thornton, and her disenchantment at times borders on disgust / loathing. 

Slowly, as Margaret acclimates to their new way of life, she begins to appreciate the hard working people of Milton and becomes friends (in the most liberal sense of the word) with a working class consumptive girl named Bessy, who is constantly fainting and speaks of little besides her longing to die. Bessy's father is a worker in one of Mr. Thornton's mills and as rumors of the discontented workers begin surfacing, a strike begins to brew. Margaret takes it upon herself to become a sort of mediator and during their somewhat frequent discussions she tries to interpret the workers' desires in a more favorable way then they are apt to discuss. In a somewhat overly melodramatic scene, Margaret throws herself in front of Mr. Thornton as a mob of angry men begin to approach him threateningly and pick up stones to throw at him, shielding him with her body she begs the men to retreat and be sensible. But as she stands there, a small and delicate shield, a rock, meant for Mr. Thornton strikes her and she collapses into a dead faint. 

Quickly she is taken into Mr. Thornton's house and cared for by a less than enthusiastic mother and an almost useless sister of Mr. Thornton's. Between fits of unconsciousness, Margaret hears Mr. Thornton's sister saying that Margaret isn't good enough for her brother and that it's pretty brazen to throw yourself in front of your would-be-lover in front of angry mob of striking men just to get his attention. Margaret's pride is wounded perhaps more by a few words than any rock could have done and she musters all her strength to hobble home into the sanctity of her family's solitude. 

Mr. Thornton, who has a similar interpretation of Margaret's motives as his sister almost immediately rushes to Margaret to propose. Margaret, indignant, refuses. But Mr. Thornton being stubborn and headstrong decides that he will quietly love her from afar, but that his affections will never change. 

First Margaret's mother dies, then shortly thereafter her father dies of a sudden heart attack, leaving Margaret orphaned, isolated and without direction. She desultorily makes her way back to her cousins, having no where else to go and little purpose or desire to think for herself. Her cousins are narcissistic egoists and after about five minutes decide they have spent enough time in mourning and that they must give and attend the parties of the season leaving Margaret alone, a prisoner in another's house. She can not come and go as she pleases without their doting approval or passive aggressive denials. And then suddenly her godfather Mr. Bell dies as well leaving Margaret his vast fortune, and now as an heiress she sits and waits for the winds to carry forward some sense of purpose, which they do in an opportune visit from Mr. Thornton. 

Since we have seen him last, Mr. Thornton, again like Silas Lapham has lost everything. Because he could not be persuaded to participate in a money making scheme, he ends up losing his considerable fortune and once again picks himself up and starting from the bottom, slowly begins to work his way back to the top. Before the collapse of his fortune he has begun a somewhat socialist experiment with his men, by building them a dining hall, providing meals and occasionally sharing a meal with them he was able to discuss matters before they came to a head and resulted in a strike. He has visions of new experiments, but now sadly is unable to see them through to completion. Margaret, decides this is about exactly her cup of tea as she could find and suggests putting her fortune into his plans, restoring him to master of the mill and supporting his experiments. Mr. Thornton takes this as a proposal of affection, to which he accepts and they live happily ever after.

Gaskell brings into an otherwise predictable romance novel, the immediacy and tangibility of Victorian England. After the French Revolution, the English gentry was constantly on guard lest their lower classes revolt as well, and yet there were dramatic changes taking place that could not be ignored. Experimentation with different aspects of socialism were being discussed in salons while the working classes struggled to feed their starving children, the disconnect between theory and reality was tremendous as is often the case. What Gaskell suggests as a solution has become a sort of foundation of contemporary unions; a place to discuss problems in a sort of forum where the workers become valuable members of an organization rather than just mindless functioning automatons. Her heroine listens to the workers and values them as legitimate people and she ultimately marries someone from another world and class order from herself, a theme that became continually more popular in Victorian novels in a world where the abolition of class seemed like an attainable possibility. 

The Woman in White - Wilkie Collins

Wilkie Collins is amazing. An expert craftsman, he weaves an  intriguing mystery story and it comes as no surprise that The Woman in White has not been out of print for the last 140 years, regarded as one of the first mystery novels and one of the finest of the "sensation" genre.

While the narrative is at times somber and melancholy, Collins weaves between the lines a sense of the humorous and improbable.  One of my favorite descriptions is of Laura's governess:

"Starting from this point of view, it will always remain my private persuasion that Nature was absorbed in making cabbages when Mrs. Vesey was born, and that the good lady suffered the consequences of a vegetable preoccupation in the mind of the Mother of us all."

The narrative begins with Walter Hartright. Walter is hired by the Fairlie's to be the drawing master for the two Fairlie sisters. While Laura Fairlie is light haired, delicate and the description of beauty itself; her half sister, Marian, takes the counter-point, being dark and George-Eliot-like in appearances. While Laura is the heiress of a vast fortune, Marian is impoverished, but what she lacks in pecuniary standing she more than makes up for in her undaunting intellect.

Upon his arrival, Walter is immediately impressed with Marian's manner. At ease with herself, she puts everyone else at ease. But when Walter meets Laura he is unprepared for her beauty and gentle spirit. Slowly over the course of a few months, despite his best attempts to remain professional, and because Laura is of an entirely different social class, Walter attempts to check his emotions. But when his attempts prove to be in vain Marian intervenes. Laura has been engaged all this time to the dark sinister shadow of a man named Sir Percival Glyde, and while she has never been in love with him and he is twice her age, she has promised her father on his death bed that she would marry this man. So Walter hastily makes his departure, and the narrative baton is passed to Marian.

Marian, although somewhat suspicious of Percival, is not ready to throw practicality to the wind. If this is what Laura's father requested on his death bed there must be more to Sir Percival than meets the eye. But as we soon learn, Percival's charm has only been turned on for the purpose of efficient romancing, and his other more sinister nature reveals itself as he demands a marriage contract that hands over Laura's vast estate directly to him in the event of her death; a contract the solicitor very reluctantly draws up, knowing its ominous potential.

Slowly over the course of the story we learn that Sir Percival Glyde is not what he seems, and with the help of a suspect entourage made of an immensely rotund Count Fosco and his dutiful but vapid wife, the three villains begin to spin a web of deceit that is fated to trap both Marian and Laura irrevocably.

Collins' writing keeps you guessing until the end, with false deaths and insane ringers; everything a truly memorable suspense novel should have.

Athaliah - Racine

"

"Eight years ago, an impious foreign Queen (Athaliah was half Phoenician through her mother Jezebel), usurped King David's scepter and his rights, wallowed unpunished in our princes' blood - foul murderer of the offspring of her son - and now 'gainst God raises her wicked arm."

As the play begins, the high priest Jehoiada and one of the officers of the king, Abner, discuss the strange foreboding they feel. For eight years Jehoiada has been hiding the last remnant of the line of David, a small boy named Joash who has been raised along with Jehoiada's son Zachariah, from their vicious and calculating Queen Athaliah.

Athaliah, through Machiavellian cunning has issued in an unprecedented reign of peace in Jerusalem. "No longer does the Jordan see its banks by nomad Arabs or proud Philistines laid waste..." She is the unchallenged sovereign of Judea, an expert stateswoman, choosing to remove any contesting for her throne by murdering her grandchildren in an attempt to wipe out the royal race of David.

Despite her uncontested authority, as the play begins, Athaliah, a follower of Baal and previously unmoved by remorse for her actions, is ruminating on a strange and ominous dream in which her mother Jezebel cautions her that the Jewish god is not to be taken lightly. 

"Tremble,' she said, 'who followed in my steps. The cruel Jewish God over you too prevails. You'll fall into his dreaded arms, my daughter."

As Athaliah, in her dream, reaches out to embrace her mother, she is left clutching the mangled flesh and bones that have been torn apart by ravenous dogs. As she hurries to make her offerings to Baal she sees a child clad in the clothes of a Hebrew priest.  Caught in his deadly stare she abruptly wakes, only to relive the dream again and again.  This does not bode well. 

Athaliah decides she might try to appease this Hebrew God, and as she makes her way into the temple, she sees none other than the child from her nightmare, depicted just as she dreamed in a white robe and standing beside the high priests. After she recovers from her shock, and the boy has been spirited away, she calls her advisers together to see what this waking nightmare portends. 

Abner and Mattan, an apostate high priest of Baal, have differing opinions regarding how to proceed. Abner, assures Athaliah that she has no reason to be alarmed, would she really demand another death based purely on a foreboding? Mattan, suspicious of where Abner's loyalties lie, waits for Abner to leave and then offers his opinion:

"Now I can speak out at last. And now I can reveal the full, unvarnished truth. Some budding monster in this temple lurks. Ah! Queen, wait not until this storm cloud bursts..." 

Athaliah decides to have the child brought to her and see if he can shed any light on her suspicions himself. But as she prods Joash with questions about his paternity an enemy unanticipated storms the buttresses of her heart: pity.  She asks what he's been doing living in the temple all these years, and in answer Joash begins to recite the law: 

"God wishes to be loved. Blasphemy of His name He will avenge. He is father to the fatherless, withstands the proud, and smites the murderer." 

Athaliah is not deterred by their verbal sparring, and defends herself and her infamous deeds:

"Yes, my just fury - I am proud of it - Avenged my parents on my progeny.
 I saw my father and brother slain, down from the palace heights my mother hurled, and in one day slaughtered at one fell blow (A sight of horror) four score sons of kings. 
And why? Some obscure prophets to avenge, whose wild and lawless ravings she had curbed.
And I, unfeeling daughter, craven queen, slave of a coward's fitful pity, I, should I not have returned to this blind rage, at least murder for murder, crime for crime, and treat all your David's issue, even as you did Ahab's poor, ill-starred remains? 
Where would I be, had I not steeled myself and stifled my maternal tenderness; and if my hand shedding my own son's blood, had not put down your plots by one bold stroke?
And thus, in short, your God, implacable, between our houses broke all amity.
Yes, I loathe David's line; and that king's sons, though of my blood, are yet no kin of mine." 

Athaliah, up until this point has cast aside the roles and expectations of her gender, marching arrogantly, "with head erect" into the porch in the temple reserved only for men/priests. No rules apply to her and she has disdained this God of the Hebrews and his endless laws and restrictions. But as she takes leave of this strange, well read little boy, her reckless pride has been shattered. 

Athaliah's adviser, Mattan, a weaselly, conniving serpent of a man, is shocked by the slow change that has begun to creep over his Queen. She has quite obviously not been herself for the last couple days; "She is no more that bold, clear-sighted Queen, towering above her timorous woman's sex, who fell upon her startled enemies and never let a crucial moment pass..." While she hems and haws about what the best approach is, the Levites have begun to assemble an army in the temple, preparing and awaiting an attack.  

Jehoiada decides that now is the time for Joash's identity to be revealed and for him to be crowned King. Joash seems to take the revelation of his paternity in stride and quickly assures Jehoiada that he will do his best to fear the Lord, keep Him ever before his eyes, His precepts, judgments and laws and refrain from making his brothers sweat beneath a heavy burden. 

Athaliah is persuaded to come into the temple alone to see the treasure that Jehoiada has kept hidden all these years, when she realizes that the treasure is the boy, Joash, that her dreams foretold, she recognizes her defeat and raises her eyes to see herself surrounded by the Levites.

A Levite: "The sword has purged the horror of her life. Jerusalem, that long had borne her rage, at last delivered from her odious yoke, rejoices as she lies steeped in her blood.

Jehoiada: "From the grim end, the sanction of her crimes, learn and do not forget, King of the Jews, Kings have a judge in heaven, virtue a shield, and there's a father to the fatherless.

Racine ends the play with an admonition for those in power to follow God's ways, though they are unlikely to do so.  As we know, despite Joash's ambitions to live uprightly, thirty years later after abandoning himself to flatterers will defile himself by the murder of Zachariah, the son and successor of the high priest. In Racine's view there are no just men, only those whom God chooses to justify. All heroes are sinners, deeply involved in the lusts of the flesh and destined to struggle against corruption. Ultimately the protagonist of this play is God. His name has been blasphemed and his people have been destroyed by Athaliah and he will exact his vengeance. And while the throne and power can be poison, a just character will struggle against their demons, like Phaedra, yet will never give in to their temptations.

Phaedra - Racine

Voltaire considered Racine's Phaedra a  "masterpiece of the human mind"...I was a little skeptical at first of such high praise considering this play is just a revision of the Greek tragedies written by Seneca and Euripides (Hippolytus.) How could a revision be better than the original? But from the first moments, the first sentences, there was a stark and penetrating difference.

Euripides opens his play with a monologue given by Venus describing her annoyance with Hippolytus at his choosing a life of chastity and devotion to Artemis. She is resolved to destroy him and those closest to him will get swept up in the maelstrom of her rage. Next comes Hippolytus swooning over his love for Artemis and almost vindicating Venus' wrath. Euripides creates caricatures of his subjects, they are one dimensional beings, each wrestling with the concept of love and agency in a world dictated by those in another realm. When we finally meet Phaedra she is overcome by the poison of love, shot by the deadly and forever penetrating arrow of Cupid and contemplates the best way to kill herself.

Racine's play opens with Hippolytus, presuming his father is dead, deciding to make his way home despite being banished by his father's wife, his step-mother Phaedra.

Hippolytus: It is resolved, Theramenes. I go. I will depart from Troezen's pleasant land. Torn by uncertainty about the King, I am ashamed of standing idly by. For over half a year I have not heard of my dear father Theseus' destiny nor even by what far sky he is concealed. (1-7)

As he discusses his plans with Theramenes, we learn that although he has previously disdained love and has chosen a life of austere chastity...he has without reason or inclination, found himself overcome by Aricia, the daughter of his father's mortal enemy. Theseus, although allowing her to live, has forbade her to ever marry, decreeing that her brother's line will end with her, and condemning her to a life of chastity. Hippolytus is trapped between one woman who seems to hate him and another whom he must learn to hate in turn. Cautiously, Theramenes questions Hippolytus' motive for his sudden desire to leave the Troezan plains:

Theramenes: My lord, may I explain your sudden flight? Are you no more the man you once were, relentless foe of all the laws of love and of a yoke Theseus himself has borne? Will Venus whom you haughtily disdained vindicate Theseus after all these years by forcing you to worship with the throng of ordinary mortals at her shrine? Are you in love? (57-65)

Hippolytus is somewhat shocked by how bluntly Theramenes has distilled his emotions into one singular cause. Love. Must he disavow the feeling of a proud contemptuous heart? Must he no longer worship at the shrine of Artemis, but now like all men before him be compulsorily felled by Venus and her minion Cupid? As much as Hippolytus respects his father for the legendary warrior that he is, he also has a reputation as an unashamed womanizer, in fact even the hasty elopement with Phaedra left a weeping jilted Ariadne in their wake.

Hippolytus: And am I to be vanquished in my turn? And can the gods have humbled me so far? In base defeat the more despicable since the countless exploits plead of his behalf, Whereas no monsters overcome by me have given me the right to err like him. And, even if I were fated to succumb, should I have chosen to love Aricia? (95-103)

Hippolytus, unable to deny that he loves Aricia, wonders about the motivation behind these feelings. Is he defying his harsh and endlessly controlling father? Is this just a foolish passion launched by his youth? Theramenes, consolingly tells Hippolytus that even Hercules was subdued by Venus, and if it wasn't for Antiope (his mother) giving in to her love for Theseus, Hippolytus wouldn't exist...but no matter how diligently one seeks to ascertain the rationale behind matters of the heart, Hippolytus is decidedly in love.

Hippolytus decides the only course of action is to seek out his father. If he is truly dead, the bans against Aricia will be recanted and if he still lives...perhaps he can persuade his father, the romantic at heart, of his feelings for this hapless princess.

As Hippolyus makes his way to his step-mother's palace he is met by her nurse Oenone who cautions that Phaedra is almost at her "destined end." Struck with an indecipherable malady, begging for death, "eternal discord reigning in her mind." Hippolytus knows that he has the propensity to bring out the worst in his step-mother so he hastily leaves we are introduced to the heroine of the play.

Phaedra is racked with guilt, and palpable angst. Caught in a never ending battle and the perpetual uncertainty of what the future holds. She is incredibly self aware. If only she had never laid eyes on Hippolytus, but alas, almost from the moment of her marriage as her husband-to-be led her from the shores of Crete, she had seen Hippolytus and been forever cursed,

Although she had Hippolytus banished almost immediately and is innocent of any premeditated sin, in her heart she has been guilty of the gravest of sins since the moment she saw him and now wears the mantle of an incestuous adulterer; whether or not her sins become substantiated is almost irrelevant. She has harbored an ill favored love in her heart and of that she is guilty and deserving of death. But unlike the Phaedra of Euripides who immediately begins deciding which form of suicide would be the most advantageous, the heroine of Racine is much more pragmatic. What will happen to her children if she is gone? Their claim to the throne without Theseus to vouch for them becomes tenuous. Already Aricia, Hippolytus and perhaps many others stand in line to present their due claim...so she can not in good conscience leave her children motherless.

Instead she bemoans the destruction Venus has left in her wake, on a whim toying with people's hearts and destroying their lives.

Phaedra: O hate of Venus! Anger laden doom! Into what dark abyss love hurled my mother!"

Pasiphae, Phaedra's mother, overcome with a monstrous passion for a bull, subsequently gave birth to the Minotaur, a half man half bull monster. Her sister Ariadne led Theseus through the Minotaur's labyrinth only to then be deserted on a barren shore while Theseus eloped with Phaedra. And now this. This inexplicable, festering malady of love...

After Pheadra finishes speaking, her nurse, echoing Thermamenes, asks her lady "Are you in love?" (258)

Phaedra, choking on her words, quietly cries: "Love's furies rage in me..."

Unfortunately, Hippoluytus is everything is father is not. Unerringly chaste to his father's blatant and endless amorous pursuits. Despite her erecting temples and shrines to Venus in the hopes her love will be palliated, her demonstrances have gone unnoticed and unacknowledged. Yet even while she prayed and invoked the goddess' name...she was really thinking of him. She has deified him and he in turn has become inescapable.   

Phaedra: Venus in all her might is on her prey. I have a fitting horror for my crime; I hate this passion and I loathe my life. (305-308)  \

And then in Act 1- Scene 4 we learn that Theseus is dead! Verifiably so, (which in the tradition of Greek tragedy means they are actually still alive.) "In some amorous escapade the waters closed over his faithless head" (382) and now everything has changed. Oenone, rejoicing, tells her mistress "the king is dead and you must take his place!" (342) "Live then no longer tortured by reproach, your love becomes like any other love!" (350) Now that Theseus is dead, Phaedra's love for Hippolytus is slightly less abhorrent...and Oenone persuades Phaedra to lay her cards on the table. What's the worst that can happen? Everyone knows Hippolytus spurns love of any kind. So Phaedra will tell him of her love and he will give her the "it's not you it's me" speech... and hopefully she will be able to purge the knotty tendrils of love from her heart. 

Act 2- Scene 2: Hippotyus learning of his fathers death pardons Aricia leaving her free. (375) Since Hippolytus' mother was an Amazon, his claim to the throne is annulled; either his stepbrother becomes king or Aricia is returned the scepter given to her ancestors. (494)  Theseus defended and enlarged the bounds of Athens, which proclaimed him king and left Aricia's brothers in oblivion. (500) Hippolytus concocts a plan that will give him reign of Troezan, Crete will go to his step-brother and Aricia will rightfully regain rule over Attica. Now that the pragmatics are out of the way, let the wooing begin! Hippolytus admits to Aricia that he's a novice in the matters of love and although he has spent his life in proud rebellion of love, mocking those captive sufferers...he has now found himself somewhat helplessly in love. (530)  Aricia, like any warm blooded woman approached by the paramount eligible bachelor would, accepts Hippolytus' offer of love and generous gifts (i.e. re-installing her claim to the Attican throne) and Hippolytus departs for his intercession with the queen. 

But things don't go according to plan. As Hippolytus attempts to convince Phaedra to divvy up her sons estate, and Pheadra reveals her soul crushing love (much to Hippolytus' disgust and abhorrence, which the women expected considering his renowned profession of celibacy and take in stride...) when lo and behold, Theseus turns up not dead...and now that the cats out of the bag, his return is met with a somber attitude rather than celebratory.  Phaedra realizing Hippolytus has left his sword during their confrontation, realizes this could prove efficacious, and Oenone fabricates a lie on her behalf; Hippolytus has engaged in amorous pursuits of his own while Theseus was away...with his step-mother. Despite the lacking veracity of this story, Theseus is apoplectic, and immediately calls down a curse from Neptune dooming Hippolytus to an imminent and painful death. 

Theseus: Go seek out friends who in their viciousness applaud adultery and incest. These villains and ingrates, lawless, honourless, will shelter evildoers such as you. (1145-1148)

Phaedra, about to defend Hippolytus, listens to an enraged Theseus tell of his sons abhorrence, and to make matters worse, he says, Hippolytus has gone and fallen in love with the one person in the world I have sworn to a bitter life of solitude and chastity, that dang Aricia. Now it is Phaedra's turn to be apoplectic. So Hippolytus does love women. Just not her. Sickened with anger and unrequited love she contemplates what to do.

Phaedra: Alas, my sad heart never enjoyed the fruits of crimes whose dark shame follows me. Dogged by misfortune to my dying breath, I end upon the rack a life of pain.

Oenone: Ah, Queen! Dismiss these unbecoming fears, and of your error take a different view. You are in love. We cannot change our fate. (1291-1298)

Hippolytus secretly decides to meet Aricia at a holy shrine where they will pledge themselves to each other and then go into banishment together, but he never arrives to the rendezvous point. His horses, which he has raised from colts, no longer listen to his voice and Neptune calls forth a monster from the sea to terrify them. They, terrified, overturn the chariot and drag Hippolytus, in a frenzy toward the shrine. Aricia arrives and finds her dismembered lover, while she begs the gods to take her life, her nurse Ismene, summons her back to life, a life of pain and heartbreak. 

At this point, Oenone has killed herself, being a sort of scapegoat for Phaedra's rage. While Phaedra has had to live through every second of her life, waging a secret war, it wasn't until Oenone defamed Hippolytus that things really came to a head. Now sickened with life and no longer able to face the hideousness of what she has become, Phaedra ingests a poison that will give her just enough time to tell Theseus how wrong he was. As the poison sinks deeper into her veins, Theseus, disgusted leaves her alone to die and he rushes off to embrace his cherished son's remains and "expiate my mad atrocious wish, rending him the honors he deserves and to appease the anger of his shade, let his beloved, despite her brother's crime. be as a daughter to me from this day" (1650-1654)

In Euripides version, Artemis at the end, walks through the carnage of dead bodies and tells Theseus that although his son was innocent all along, the gods don't interfere with each other's predilections. Racine's version is so much sadder. Having Phaedra be the one to admit to Theseus that everything was a huge misunderstanding hinging on her much hoped for but ultimately imagined infidelity, to take responsibility for her guilt, not sheltering behind the gods that are responsible for her infatuation, only to be then left to die, abandoned and alone, surrounded by only her guilt and shame. 

While Seneca treats Phaedra as a wanton woman, and Euripides casts her as the incidental victim of the gods' whims, Racine wrestles with predestination. How much agency are mortals truly granted? And while Phaedra is fated to suffer an endless temptation, she is ultimately virtuous and expresses her free will in engaging her temptation and battling with it to the death.