Showing posts with label classics. Show all posts
Showing posts with label classics. Show all posts
Sunday, 12 August 2012
North and South by Elizabeth Gaskell
North and South by Elizabeth Gaskell is a classic English novel about class, love, and work. It was written in 1855, with an eye to the change in life up north with the industrial revolution - specifically, the cotton mills in Milton, in the north. I have seen the BBC production and love it - Richard Armitage as John Thornton, mill owner, and Daniela Denby-Ashe as Margaret Hale, southern daughter of a minister who leaves the church after a collapse of faith. They move up north where he takes up a post teaching the classics as a private tutor, going to Milton because Mr Hale has a friend from his Oxford education days who owns property up there, and offers to help get him settled. Mr Thornton owns his mill, but leases the property from Mr Bell, Mr Hale's friend.
What's fun is that Margaret and John dislike each other on meeting. She thinks he is a boor, and rough, and a tradesman, and he thinks she is proud, and haughty, and knows nothing. If you think Pride and Prejudice, you are right, as Gaskell wrote this with that novel in mind. She has changed the setting, and added a great deal about English mill-towns and working-class life that make this novel so interesting to read now, but the real story is always Margaret and John, and how they learn to really see one another beyond their initial prejudices and beliefs.
I could hardly put this book down, which enormously thrilled me. I was hoping for a deeper understanding of John and Margaret, as the tv show shows their change of feelings, but not enough to satisfy me as to their thoughts. North and South thrilled me with showing me the workings of John's mind. He is a great character, stern, intelligent, and self-made - the modern English man, shaped by the freeing of the Industrial Revolution, wanting their freedom from the political decisions from London. Fiercely independent as well, he also has a conscience, and as he discovers, an ability to love deeply, hopelessly, kind of like Anne Eliot in Persuasion. Even though the novel is mostly from Margaret's perspective, John is a stand-out figure, marching across the page, intensely alive and stealing every scene, just as he does in the tv show.
I have spent the day pondering why I like his character so much, and why I have difficulty warming up to Margaret. At first I thought it was how she was portrayed in the series, but as I read the novel, I realized that the character of Margaret is difficult to write. She is one of those good heroines who take in the suffering of others and often exist in relation to others. The most interesting part of her, the revelation that she loves John, is withheld from us, in the novel - we have to read between the lines, and I dislike this. If we get to feel her shame at the lie she tells to protect her brother, and the despair that John knows about the lie, which leads her to realize she can only care so much about his good opinion because she cares about him, it would have been good to have that clear statement of her feelings for him in the novel. We certainly get John's! There is no doubt that she does love him, it's just that the final chapter has a rushed feeling, when so long of the novel is the set-up and building to her realizing that she has changed - she comes to love Milton, and the man who lives there.
That aside, and that's just me, I wanted to share in Margaret's understanding of her own heart, and the joy that she loves, as well as the sorrow because she thinks he no longer does - to have that emotional depth shown from her too, clearly. This is a small quibble though, because this is a wonderful lively novel about life in mid-century England. I was fascinated to read about the poverty, the change of circumstance the Hales find themselves in when they leave their comfortable Rectory for the cold life of the north. The characters are all exquisitely drawn, the Hales, the Thorntons, and the Higgins, the three families that chiefly star in the different levels of society in mid-century Victorian England. In the midst of this, we see the dark skies above the mill towns, the heavy dark fog, the bad air caused by the machines, and the difficulties faced between those men who have achieved ownership of their mills, and those who work underneath them. Gaskell was well aware of the working-class in England as her husband's work as a minister took him among the lower classes of Manchester, one of the great manufacturing towns of England. She could see the changes for the women who could work, the struggles of families to earn enough to live on, and the working class fear that the rich were getting rich and not paying the workers their fair share. So in North and South, there is a strike by the workers, that draw Margaret and Mr Hale to learn about the working class needs, versus the views spoused by John Thornton. It's interesting to read now, especially as strikes still happen, with much the same causes and beliefs as back then. Not much has changed.
One of the things that is interesting about Margaret is that she does not really have any wants or desires of her own. She doesn't have any intellectual leanings, doesn't study on her own, doesn't want to be a teacher or do anything. She doesn't even want to get married, particularly, and ignores most men . There is no primping, no fashion talk except through her cousin Edith, who is rich, bubbly, empty-headed, and beautiful, everything Margaret is not. There is no jealousy, no wanting, nothing. They love each other and are close, but Margaret doesn't want anything for herself. She believes in fairness, and justice, but doesn't know what they mean until she goes to Milton and finds out that she has courage and cowardice in equal measure. So despite her not wanting to do anything but be a support to her parents, she is an interesting character as she discovers who she is as a person. This has to be one of the first novels that didn't have a female character constantly wondering if she would marry, worried about her prospects - which I think might have made a powerful novel if Gaskell had made her penniless and family-less when her parents die, instead of having her rich aunt whisk her away to London again, and then conveniently she is left money to become an heiress. I think if Margaret had been forced to make her way in the world, that would have been an illuminating novel, but Gaskell had already gone there with Mary Barton, so she backed down a little with this novel. Margaret Hale is a good woman, a good character, virtuous and kind and intelligent, strong and considerate.
I am so happy I finally read this novel. As always, the book is better than the tv series, at least for me. We get to see the inner thoughts of the characters, their motivations, and know everything in greater detail. The tv series is true to the book, and the characters, and the differences are minor tweaks, except the ending, which is better in the book, I think. She would never kiss him in public as they do in the tv series at the ending! Even though it is very romantic and I love it, on tv, I prefer how they come together in the book - very similar, but privately. Much more in tune with their characters. All in all, an excellent novel.
Friday, 13 January 2012
Classics and other reading goals
Nymeth over at things mean alot had a wonderful post on her reading goals back on Dec 29, which I somehow missed. I caught up on it today, and it has inspired me to think about some of my reading goals for this year. Care also has a post up today on her blog, Care's Online book Club, about new to her authors that she wants to read this year. This is also something I want to do. I have, at last count, 32 first books in series that I haven't read yet, on my shelves. That's an awesome figure of books I've been collecting over the years! Obviously I am a sucker for series. And while they aren't all new to me authors, many of them are.
One of my main reading goals is to continue to read whatever I want, when I want to. I discovered that I had been hoarding new books coming into the house, for a rainy day I guess, and I decided last year to read the new books I was really anticipating. It worked wonders for me, and even better, I haven't run out! There are even more new books I want to read!
Another reading goal: read more classics. Period. I was really ashamed to see I had read only one classic last year! And that was at Christmas - A Christmas Carol by Charles Dickens (which I loved, by the way. One of many reviews to come).
1. Ulysses - James Joyce (I bogged down last year after I hurt my knee. I can blame the pain for only so much, though!)
2. The Diary of Samuel Pepys (I was really enjoying this two years ago, and then I got sidetracked)
3. Bleak House - Charles Dickens - I love, love, love the BBC series and got it for Christmas last year. So let's just read the book now, Susan!!
4. North and South - Elizabeth Gaskell (I love love love the BBC series of this one too. I watch it every year. So I have got to read the book and compare. Surely the book is better, it usually is, so more of Margaret and John can only be good, right?)
5. Cold Comfort Farm - Stella Gibbons - (my mother loves this book, everyone in the blogging world loves it, what am I waiting for?)
6. Foundation - Isaac Asimov
7. Hrolf Krakis Saga - Poul Anderson
8. The Famished Road - Ben Okri
9. Oh Pioneers - Willa Cather
10. The Gathering - Anne Enright
11. The Mabinogion
12. To Kill a Mockingbird - Harper Lee
13. The Mill on the Floss - George Eliot
14.Where Late the Birds Sang - Kate Wilhelm
15 Barchester Towers - Anthony Trollope
16. Montaigne's Essays
17. Sir Thomas Wyatt - poems (am looking for an edition of his work currently)
18. Voltaire - Letters on England
19 Shakespeare - anything
I'd better stop there. Considering I've never read more than 5 classics in any one year willingly, if I complete half of what I've listed, it will be fabulous. I have a hankering for Thomas Hardy, who I haven't read since my university days. So the above is a tentative list of classics I'd like to read this year.
It's late so I will save the "new to me authors first in a series" list I was planning. The 32 books I'd pulled out two weeks ago were awesome!!! and kind of frightening. Seconds in a series I was expecting, but I didn't have many. Apparently when I get through book one, if I really like it, I continue to read the series through after. So I think it's time I looked at those first books in a series! List to come later this weekend.
One of my main reading goals is to continue to read whatever I want, when I want to. I discovered that I had been hoarding new books coming into the house, for a rainy day I guess, and I decided last year to read the new books I was really anticipating. It worked wonders for me, and even better, I haven't run out! There are even more new books I want to read!
Another reading goal: read more classics. Period. I was really ashamed to see I had read only one classic last year! And that was at Christmas - A Christmas Carol by Charles Dickens (which I loved, by the way. One of many reviews to come).
1. Ulysses - James Joyce (I bogged down last year after I hurt my knee. I can blame the pain for only so much, though!)
2. The Diary of Samuel Pepys (I was really enjoying this two years ago, and then I got sidetracked)
3. Bleak House - Charles Dickens - I love, love, love the BBC series and got it for Christmas last year. So let's just read the book now, Susan!!
4. North and South - Elizabeth Gaskell (I love love love the BBC series of this one too. I watch it every year. So I have got to read the book and compare. Surely the book is better, it usually is, so more of Margaret and John can only be good, right?)
5. Cold Comfort Farm - Stella Gibbons - (my mother loves this book, everyone in the blogging world loves it, what am I waiting for?)
6. Foundation - Isaac Asimov
7. Hrolf Krakis Saga - Poul Anderson
8. The Famished Road - Ben Okri
9. Oh Pioneers - Willa Cather
10. The Gathering - Anne Enright
11. The Mabinogion
12. To Kill a Mockingbird - Harper Lee
13. The Mill on the Floss - George Eliot
14.Where Late the Birds Sang - Kate Wilhelm
15 Barchester Towers - Anthony Trollope
16. Montaigne's Essays
17. Sir Thomas Wyatt - poems (am looking for an edition of his work currently)
18. Voltaire - Letters on England
19 Shakespeare - anything
I'd better stop there. Considering I've never read more than 5 classics in any one year willingly, if I complete half of what I've listed, it will be fabulous. I have a hankering for Thomas Hardy, who I haven't read since my university days. So the above is a tentative list of classics I'd like to read this year.
It's late so I will save the "new to me authors first in a series" list I was planning. The 32 books I'd pulled out two weeks ago were awesome!!! and kind of frightening. Seconds in a series I was expecting, but I didn't have many. Apparently when I get through book one, if I really like it, I continue to read the series through after. So I think it's time I looked at those first books in a series! List to come later this weekend.
Tuesday, 25 November 2008
A Plan for Middlemarch
Why do I dread reading the classics so? Yes, they can be wordy, and say in 40 words what we now say in 20 or 15. Yes, they describe a whole lot more of the world around them than faster-paced novels (even my beloved mysteries can be guilty of this fault!)do. The very best of novels written, however, that have stood the test of time and are considered among the best - why do I resist reading them? I, who love words, and reading, and books, so much?
I am delighted to report that I am thoroughly enjoying Middlemarch. To my great surprise. I don't know why I feel classics are boring; it might be a result of reading too much Thomas Hardy, and Ernest Hemingway when I was 16 and 17 years old, forced reading in schools, years before I could properly enjoy it. Classic novels weren't written for children or young adults; they were written for adults to enjoy. Or maybe my mind was slow to mature, because I certainly read Agatha Christie, Mary Stewart, and Helen MacInnes by the time I was 14! They aren't of the calibre of classics, though, being written for adventure, thrills, and easy reading. Maybe this is what makes classics in general terrifying to the average reader, because they are boring for teenagers who are filled with hormones and their social circles, and are books written for older people who have some experience to relate to the subject matter.
There are subtleties of perception and portrayals of characters that can only come with experience and wisdom. We can see the change in writing in Jane Austen's work, from Northanger Abbey when she was in her twenties, to Persuasion, which was her second to last work completed, in her late thirties, and one of her best books, I think, as well as a classic of the English novel. That mature expression as she delicately portrays Anne Elliott's discovery of her own strength of character against what those she loves want for her, could only come after observation and experience. The same holds for Middlemarch.
In no way to do I want to give you the idea that Middlemarch is boring! There are turns of phrases that are specifically English and 1850's dialect, though I find this increases the beauty of the novel - it was written then, and it can't be more than that, and I am getting an authentic view of life as it was in a small provincial town in England in the early 19th century.
What I have decided to do because this novel is 688 pages long, is write about it a little every day or so. Instead of doing one long post, you will get my daily impressions of this novel, and make your own mind up if you want to read this novel. At the very least, I want to write about what delights me in this book, and why I am enjoying it so much. and my very real pleasure in discovering that the classics are not dead at all.
I will of course write about other things over the next few weeks! So there will be a journal-like entry about Middlemarch in my posts, so those of you who want to read about my thoughts can go to it, and those who don't, who never want to pick up a classic again, can skip right over it.
So......
MIddlemarch, where I am: page 128, chapter 16.
I have met all the main characters by now. Dorothea Brooke, the principal female protagonist, intelligent, ardent, who longs to do something in the world to make it better, but doesn't know how to achieve it; her sister Celia Brooke, considered not as bright as her sister, but has better perceptions about people than does Dorothea. Mr Causabon, the man Dorothea marries, who is writing the key to all the world's mythologies. Mr Tertius Lydgate, the doctor newly come to Middlemarch, who also wants to make a difference to the world through medicine, both practicing it and investigating it to further knowledge; and Rosamund Vincy, beautiful, calculating, shallow, and her brother Fred, charming, intelligent, and a gambler. There are assorted other people in the story who enliven it, add depth and allow Eliot to comment on all the structures that make up 19th century English town life, from banking to the reforms in voting in government, to Rosamund's father running for mayor. This is a novel about people taking their place in the world, and how the world acts on them. It is filled with ambitious people and the lazy, the contented and the bitter. In the first 128 pages I have seen Dorothea and her sister quarrel and make up believably as sisters do, and the deep ways of knowing about their characters that siblings have growing up together. I have seen Rosamund begin to daydream about married life with Lydgate just because he is the new man in town, Fred ask for money from his rich, miserly uncle - and make no plans to work, preferring to have others support him. There are all sorts of characters in here, and it is delightful to see this English town spring to life before my eyes.
Eliot has richly imagined the town so that all the people know each other fairly well - as well as anyone can know another socially, without giving him or her much thought, because each is preoccupied with securing or keeping their place in the world. These are people each with their own life, in a town that if you or I moved there tomorrow, would still feel much the same in how people relate to each other.
I am so curious now: what happens after Dorothea marries Causaban, who has been a lifelong bachelor until now, and is almost double her age? Will Celia get the neighboring baronet? Lydgate and Dorothea, who if you read their character analysis you will see they are made for each other, both desiring the same things in life, have met and neither was impressed with the other - which is so true to life!!! Lydgate has met Rosamund and only has eyes for her, and Dorothea has about to marry Causabon. Fred has asked his plain second cousin Mary to marry him but he is in debt to her father and she won't while he can't support himself. And Rosamund has her eyes set on the man who can raise her station in life and hopefully expose her to a higher social circle. This is Eliot's plan, as she says in the novel itself: "I at least have so much to do in unravelling certain human lots, and seeing how they were woven and interwoven, that all the light I can command must be concentrated on this particular web...." p117.
What I like best so far is that Lydgate has ambition and a desire to do real good in the world. I like this sense of purpose, a calling. Dorothea feels the same need for a calling, but she has few avenues open to her to even explore what it could be. I like this in these characters, I like that this book is about people wanting to be part of the world and affect it. It's refreshing, so either I have limited my own reading in the past while, or it's a subject that currently is only discussed in psychology and mental health books - that idea of real calling, not just money, but to do service, to explore and learn and give to the world. Maybe we have been guilty of limiting fulfilling a calling to ambition to stock markets and businesses, and we can see how well that is going these days. I have my university degree in English LIterature, which is of course the Arts, and if most of the Western governments had their way, the arts would not be offered at university any more. What would we do without a way to express our selves in the world? To reveal the world as it is, through film, drawing, or writing? If I cannot see through Eliot's eyes, or hear through Beethoven's or Mozart's, I am the poorer, and so are all of we. At least in my opinion! Imagining the world gives us all soul. To have a calling is to live with that soul. And already, in 1869, in Middlemarch, pursuing a dream is worked on by the world, so that it is the rare person who achieves anything like it:
"For in the multitude of middle-aged men who go about their vocations in a daily course determined for them much in the same way as the tie of their cravats, there is always a good number who once meant to shape their own deeds and alter the world a little. The story of their coming to be shapen after the average and fit to be packed by the gross, is hardly ever told even in their consciousness; for perhaps their ardour in generous unpaid toil cooled as imperceptibly as their ardour of other youthful loves, till one day their earlier self walked like a ghost in its old home and made the new furniture ghastly. Nothing in the world more subtle than the process of their gradual change!.....
"Lydgate did not mean to be one of those failures...." p120
That is one of my favourite passages so far!
And, of course, my dream, my calling, has been to be a novelist, so even as I read Middlemarch, I am in awe at how easily she writes about each character and makes them individual. I know each of them a little by now, even though I am only a little way into the novel. This is a rich novel, music for my eyes and soul.
And a last thought: maybe the books that become classics are ones that we can feast on again and again, that we never tire of because they reveal us to ourselves, no matter where we live, nor at what year. This is not to say classics aren't being written now, though I often look at the books being published and wonder, what of any of these, will we be reading 100 years from now? What will matter? i don't come up with any real answers, as I'm hardly perfect at picking books for the general taste!! uh oh, I'm already sounding like a 19th century writer!!
Happy reading, everyone!
I am delighted to report that I am thoroughly enjoying Middlemarch. To my great surprise. I don't know why I feel classics are boring; it might be a result of reading too much Thomas Hardy, and Ernest Hemingway when I was 16 and 17 years old, forced reading in schools, years before I could properly enjoy it. Classic novels weren't written for children or young adults; they were written for adults to enjoy. Or maybe my mind was slow to mature, because I certainly read Agatha Christie, Mary Stewart, and Helen MacInnes by the time I was 14! They aren't of the calibre of classics, though, being written for adventure, thrills, and easy reading. Maybe this is what makes classics in general terrifying to the average reader, because they are boring for teenagers who are filled with hormones and their social circles, and are books written for older people who have some experience to relate to the subject matter.
There are subtleties of perception and portrayals of characters that can only come with experience and wisdom. We can see the change in writing in Jane Austen's work, from Northanger Abbey when she was in her twenties, to Persuasion, which was her second to last work completed, in her late thirties, and one of her best books, I think, as well as a classic of the English novel. That mature expression as she delicately portrays Anne Elliott's discovery of her own strength of character against what those she loves want for her, could only come after observation and experience. The same holds for Middlemarch.
In no way to do I want to give you the idea that Middlemarch is boring! There are turns of phrases that are specifically English and 1850's dialect, though I find this increases the beauty of the novel - it was written then, and it can't be more than that, and I am getting an authentic view of life as it was in a small provincial town in England in the early 19th century.
What I have decided to do because this novel is 688 pages long, is write about it a little every day or so. Instead of doing one long post, you will get my daily impressions of this novel, and make your own mind up if you want to read this novel. At the very least, I want to write about what delights me in this book, and why I am enjoying it so much. and my very real pleasure in discovering that the classics are not dead at all.
I will of course write about other things over the next few weeks! So there will be a journal-like entry about Middlemarch in my posts, so those of you who want to read about my thoughts can go to it, and those who don't, who never want to pick up a classic again, can skip right over it.
So......
MIddlemarch, where I am: page 128, chapter 16.
I have met all the main characters by now. Dorothea Brooke, the principal female protagonist, intelligent, ardent, who longs to do something in the world to make it better, but doesn't know how to achieve it; her sister Celia Brooke, considered not as bright as her sister, but has better perceptions about people than does Dorothea. Mr Causabon, the man Dorothea marries, who is writing the key to all the world's mythologies. Mr Tertius Lydgate, the doctor newly come to Middlemarch, who also wants to make a difference to the world through medicine, both practicing it and investigating it to further knowledge; and Rosamund Vincy, beautiful, calculating, shallow, and her brother Fred, charming, intelligent, and a gambler. There are assorted other people in the story who enliven it, add depth and allow Eliot to comment on all the structures that make up 19th century English town life, from banking to the reforms in voting in government, to Rosamund's father running for mayor. This is a novel about people taking their place in the world, and how the world acts on them. It is filled with ambitious people and the lazy, the contented and the bitter. In the first 128 pages I have seen Dorothea and her sister quarrel and make up believably as sisters do, and the deep ways of knowing about their characters that siblings have growing up together. I have seen Rosamund begin to daydream about married life with Lydgate just because he is the new man in town, Fred ask for money from his rich, miserly uncle - and make no plans to work, preferring to have others support him. There are all sorts of characters in here, and it is delightful to see this English town spring to life before my eyes.
Eliot has richly imagined the town so that all the people know each other fairly well - as well as anyone can know another socially, without giving him or her much thought, because each is preoccupied with securing or keeping their place in the world. These are people each with their own life, in a town that if you or I moved there tomorrow, would still feel much the same in how people relate to each other.
I am so curious now: what happens after Dorothea marries Causaban, who has been a lifelong bachelor until now, and is almost double her age? Will Celia get the neighboring baronet? Lydgate and Dorothea, who if you read their character analysis you will see they are made for each other, both desiring the same things in life, have met and neither was impressed with the other - which is so true to life!!! Lydgate has met Rosamund and only has eyes for her, and Dorothea has about to marry Causabon. Fred has asked his plain second cousin Mary to marry him but he is in debt to her father and she won't while he can't support himself. And Rosamund has her eyes set on the man who can raise her station in life and hopefully expose her to a higher social circle. This is Eliot's plan, as she says in the novel itself: "I at least have so much to do in unravelling certain human lots, and seeing how they were woven and interwoven, that all the light I can command must be concentrated on this particular web...." p117.
What I like best so far is that Lydgate has ambition and a desire to do real good in the world. I like this sense of purpose, a calling. Dorothea feels the same need for a calling, but she has few avenues open to her to even explore what it could be. I like this in these characters, I like that this book is about people wanting to be part of the world and affect it. It's refreshing, so either I have limited my own reading in the past while, or it's a subject that currently is only discussed in psychology and mental health books - that idea of real calling, not just money, but to do service, to explore and learn and give to the world. Maybe we have been guilty of limiting fulfilling a calling to ambition to stock markets and businesses, and we can see how well that is going these days. I have my university degree in English LIterature, which is of course the Arts, and if most of the Western governments had their way, the arts would not be offered at university any more. What would we do without a way to express our selves in the world? To reveal the world as it is, through film, drawing, or writing? If I cannot see through Eliot's eyes, or hear through Beethoven's or Mozart's, I am the poorer, and so are all of we. At least in my opinion! Imagining the world gives us all soul. To have a calling is to live with that soul. And already, in 1869, in Middlemarch, pursuing a dream is worked on by the world, so that it is the rare person who achieves anything like it:
"For in the multitude of middle-aged men who go about their vocations in a daily course determined for them much in the same way as the tie of their cravats, there is always a good number who once meant to shape their own deeds and alter the world a little. The story of their coming to be shapen after the average and fit to be packed by the gross, is hardly ever told even in their consciousness; for perhaps their ardour in generous unpaid toil cooled as imperceptibly as their ardour of other youthful loves, till one day their earlier self walked like a ghost in its old home and made the new furniture ghastly. Nothing in the world more subtle than the process of their gradual change!.....
"Lydgate did not mean to be one of those failures...." p120
That is one of my favourite passages so far!
And, of course, my dream, my calling, has been to be a novelist, so even as I read Middlemarch, I am in awe at how easily she writes about each character and makes them individual. I know each of them a little by now, even though I am only a little way into the novel. This is a rich novel, music for my eyes and soul.
And a last thought: maybe the books that become classics are ones that we can feast on again and again, that we never tire of because they reveal us to ourselves, no matter where we live, nor at what year. This is not to say classics aren't being written now, though I often look at the books being published and wonder, what of any of these, will we be reading 100 years from now? What will matter? i don't come up with any real answers, as I'm hardly perfect at picking books for the general taste!! uh oh, I'm already sounding like a 19th century writer!!
Happy reading, everyone!
Labels:
19th century novels,
classics,
George Eliot,
Middlemarch
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