Hunting Sketches: Trollope's Works
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THE MAN WHO HUNTS AND DOESN'T LIKE IT.
It seems to be odd, at first sight, that there should be any such men as these; but their name and number is legion. If we were to deduct from the hunting-crowd farmers, and others who hunt because hunting is brought to their door, of the remainder we should find that the "men who don't like it" have the preponderance. It is pretty much the same, I think, with all amusements. How many men go to balls, to races, to the theatre, how many women to concerts and races, simply because it is the thing to do? They have perhaps, a vague idea that they may ultimately find some joy in the pastime; but, though they do the thing constantly, they never like it. Of all such men, the hunting men are perhaps the most to be pitied.
They are easily recognized by any one who cares to scrutinize the men around him in the hunting field. It is not to be supposed that all those who, in common parlance, do not ride, are to be included among the number of hunting men who don't like it. Many a man who sticks constantly to the roads and lines of gates, who, from principle, never looks at a fence, is much attached to hunting. Some of those who have borne great names as Nimrods in our hunting annals would as life have led a forlorn-hope as put a horse at a flight of hurdles. But they, too, are known; and though the nature of their delight is a mystery to straight-going men, it is manifest enough, that they do like it.
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About Anthony Trollope
Anthony Trollope (24 April 1815 – 6 December 1882) was one of the most successful, prolific and respected English novelists of the Victorian era. Among his best-loved works is a series of novels collectively known as the Chronicles of Barsetshire, which revolves around the imaginary county of Barsetshire. He also wrote perceptive novels on political, social, and gender issues, and on other topical matters.
Trollope's literary reputation dipped somewhat during the last years of his life, but he regained the esteem of critics by the mid-twentieth century.
Trollope's first major success came with The Warden (1855)—the first of six novels set in the fictional county of "Barsetshire" (often collectively referred to as the Chronicles of Barsetshire), dealing primarily with the clergy and landed gentry. Barchester Towers (1857) has probably become the best-known of these. Trollope's other major series, the Palliser novels, which overlap with the Barset novels, concerned itself with politics, with the wealthy, industrious Plantagenet Palliser (later Duke of Omnium) and his delightfully spontaneous, even richer wife Lady Glencora usually featuring prominently (although, as with the Barsetshire series, many other well-developed characters populated each novel, and in one, The Eustace Diamonds, the Pallisers only play a small role).
Trollope's popularity and critical success diminished in his later years, but he continued to write prolifically, and some of his later novels have acquired a good reputation. In particular, critics who concur that the book was not popular when published, generally acknowledge the sweeping satire The Way We Live Now (1875) as his masterpiece. In all, Trollope wrote forty-seven novels, as well as dozens of short stories and a few books on travel.
After his death, Trollope's Autobiography appeared and was a best-seller in London. Trollope's downfall in the eyes of the critics stemmed largely from this volume. Even during his writing career, reviewers tended increasingly to shake their heads over his prodigious output, but when Trollope revealed that he strictly adhered to a daily writing quota, he confirmed his critics' worst fears. The Muse, in their view, might prove immensely prolific, but she would never ever follow a schedule. Furthermore, Trollope admitted that he wrote for money; at the same time he called the disdain of money false and foolish. The Muse, claimed the critics[who?], should not be aware of money.
Julian Hawthorne, an American writer, critic and friend of Trollope, while praising him as a man, calling him "a credit to England and to human nature, and ...[deserving] to be numbered among the darlings of mankind", also says that "he has done great harm to English fictitious literature by his novels".
Henry James also expressed mixed opinions of Trollope. The young James wrote some scathing reviews of Trollope's novels (The Belton Estate, for instance, he called "a stupid book, without a single thought or idea in it ... a sort of mental pabulum"). He also made it clear that he disliked Trollope's narrative method; Trollope's cheerful interpolations into his novels about how his storylines could take any twist their author wanted did not appeal to James' sense of artistic integrity. However, James thoroughly appreciated Trollope's attention to realistic detail, as he wrote in an essay shortly after the novelist's death:
His [Trollope's] great, his inestimable merit was a complete appreciation of the usual. ... [H]e felt all daily and immediate things as well as saw them; felt them in a simple, direct, salubrious way, with their sadness, their gladness, their charm, their comicality, all their obvious and measurable meanings. ... Trollope will remain one of the most trustworthy, though not one of the most eloquent, of the writers who have helped the heart of man to know itself. ... A race is fortunate when it has a good deal of the sort of imagination—of imaginative feeling—that had fallen to the share of Anthony Trollope; and in this possession our English race is not poor.
James disliked Trollope's habit of addressing readers directly. However, Trollope may have had some influence on James's own work; the earlier novelist's treatment of family tensions, especially between fathers and daughters, may resonate in some of James' novels. For instance, Alice Vavasor and her selfish father in the first of the so-called Palliser novels, Can You Forgive Her?, may pre-figure Kate Croy and her own insufferable father, Lionel, in The Wings of the Dove.[citation needed]
Writers such as Thackeray, Eliot and Collins admired and befriended Trollope, and George Eliot noted that she could not have embarked on so ambitious a project as Middlemarch without the precedent set by Trollope in his own novels of the fictional—yet thoroughly alive—county of Barsetshire. Other contemporaries of Trollope praised his understanding of the quotidian world of institutions, official life, and daily business; he is one of the few novelists who find the office a creative environment. W. H. Auden wrote of Trollope as follows: "Of all novelists in any country, Trollope best understands the role of money. Compared with him, even Balzac is too romantic."
