Lady Anna: Trollope's Works
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THE EARLY HISTORY OF LADY LOVEL.
Women have often been hardly used by men, but perhaps no harder usage, no fiercer cruelty was ever experienced by a woman than that which fell to the lot of Josephine Murray from the hands of Earl Lovel, to whom she was married in the parish church of Applethwaite,—a parish without a village, lying among the mountains of Cumberland,—on the 1st of June, 181—. That her marriage was valid according to all the forms of the Church, if Lord Lovel were then capable of marrying, no one ever doubted; nor did the Earl ever allege that it was not so. Lovel Grange is a small house, surrounded by a small domain,—small as being the residence of a rich nobleman, lying among the mountains which separate Cumberland from Westmoreland, about ten miles from Keswick, very lovely, from the brightness of its own green sward and the luxuriance of its wild woodland, from the contiguity of overhanging mountains, and from the beauty of Lovel Tarn, a small lake belonging to the property, studded with little islands, each of which is covered with its own thicket of hollies, birch, and dwarfed oaks. The house itself is poor, ill built, with straggling passages and low rooms, and is a sombre, ill-omened looking place. When Josephine Murray was brought there as a bride she thought it to be very sombre and ill-omened; but she loved the lakes and mountains, and dreamed of some vague mysterious joy of life which was to come to her from the wildness of her domicile.
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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."
