Orley Farm: Trollope's Works
מידע על הספר הדיגיטלי הזה
THE COMMENCEMENT OF THE GREAT ORLEY FARM CASE.
It is not true that a rose by any other name will smell as sweet. Were it true, I should call this story "The Great Orley Farm Case." But who would ask for the ninth number of a serial work burthened with so very uncouth an appellation? Thence, and therefore,—Orley Farm.
I say so much at commencing in order that I may have an opportunity of explaining that this book of mine will not be devoted in any special way to rural delights. The name might lead to the idea that new precepts were to be given, in the pleasant guise of a novel, as to cream-cheeses, pigs with small bones, wheat sown in drills, or artificial manure. No such aspirations are mine. I make no attempts in that line, and declare at once that agriculturists will gain nothing from my present performance. Orley Farm, my readers, will be our scene during a portion of our present sojourn together, but the name has been chosen as having been intimately connected with certain legal questions which made a considerable stir in our courts of law.
It was twenty years before the date at which this story will be supposed to commence that the name of Orley Farm first became known to the wearers of the long robe. At that time had died an old gentleman, Sir Joseph Mason, who left behind him a landed estate in Yorkshire of considerable extent and value. This he bequeathed, in a proper way, to his eldest son, the Joseph Mason, Esq., of our date. Sir Joseph had been a London merchant; had made his own money, having commenced the world, no doubt, with half a crown; had become, in turn, alderman, mayor, and knight; and in the fulness of time was gathered to his fathers. He had purchased this estate in Yorkshire late in life—we may as well become acquainted with the name, Groby Park—and his eldest son had lived there with such enjoyment of the privileges of an English country gentleman as he had been able to master for himself. Sir Joseph had also had three daughters, full sisters of Joseph of Groby, whom he endowed sufficiently and gave over to three respective loving husbands. And then shortly before his death, three years or so, Sir Joseph had married a second wife, a lady forty-five years his junior, and by her he also left one son, an infant only two years old when he died.
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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."
