Ruth: Top Novelist Focus
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The Dressmaker's Apprentice at Work
There is an assize-town in one of the eastern counties which was much distinguished by the Tudor sovereigns, and, in consequence of their favour and protection, attained a degree of importance that surprises the modern traveller.
A hundred years ago its appearance was that of picturesque grandeur. The old houses, which were the temporary residences of such of the county-families as contented themselves with the gaieties of a provincial town, crowded the streets and gave them the irregular but noble appearance yet to be seen in the cities of Belgium. The sides of the streets had a quaint richness, from the effect of the gables, and the stacks of chimneys which cut against the blue sky above; while, if the eye fell lower down, the attention was arrested by all kinds of projections in the shape of balcony and oriel; and it was amusing to see the infinite variety of windows that had been crammed into the walls long before Mr Pitt's days of taxation. The streets below suffered from all these projections and advanced stories above; they were dark, and ill-paved with large, round, jolting pebbles, and with no side-path protected by kerb-stones; there were no lamp-posts for long winter nights; and no regard was paid to the wants of the middle class, who neither drove about in coaches of their own, nor were carried by their own men in their own sedans into the very halls of their friends. The professional men and their wives, the shopkeepers and their spouses, and all such people, walked about at considerable peril both night and day. The broad unwieldy carriages hemmed them up against the houses in the narrow streets. The inhospitable houses projected their flights of steps almost into the carriage-way, forcing pedestrians again into the danger they had avoided for twenty or thirty paces. Then, at night, the only light was derived from the glaring, flaring oil-lamps hung above the doors of the more aristocratic mansions; just allowing space for the passers-by to become visible, before they again disappeared into the darkness, where it was no uncommon thing for robbers to be in waiting for their prey.
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Elizabeth Cleghorn Gaskell, née Stevenson (29 September 1810 — 12 November 1865), often referred to simply as Mrs Gaskell, was an English novelist and short story writer during the Victorian era. Her novels offer a detailed portrait of the lives of many strata of society, including the very poor, and are of interest to social historians as well as lovers of literature. Gaskell's The Life of Charlotte Bronte, published in 1857, was the first biography of that author.
On 30 August 1832 Elizabeth married a Unitarian minister, William Gaskell, in Knutsford. They spent their honeymoon in North Wales, staying with Elizabeth's uncle, Samuel Holland, near Porthmadog. The Gaskells then settled in Manchester, where William was the minister at Cross Street Unitarian Chapel. Manchester's industrial surroundings influenced Elizabeth's writing in the industrial genre. Their first child, a daughter, was stillborn in 1833. A son, William, (1844–45), died in infancy, and this tragedy was the catalyst for Gaskell's first novel, Mary Barton. Their other children were Marianne (1834), Margaret Emily, known as Meta (1837), Florence Elizabeth (1842), and Julia Bradford (1846). Florence married Charles Crompton, a barrister and Liberal politician, in 1863.
In March 1835 Mrs Gaskell began a diary, documenting the development of her daughter Marianne, her views of herself and William as parents, the value she gave to her role as a mother, her religious faith, and, later, the relationship between Marianne and her sister, Meta. In 1836 she co-authored with her husband a cycle of poems, Sketches among the Poor, which was published in Blackwood's Magazine in January 1837. In 1840 William Howitt published Visits to Remarkable Places containing a contribution entitled Clopton Hall by "A Lady", the first work written and published solely by Mrs Gaskell. In April 1840 Howitt published The Rural Life of England, which included her second work, Notes on Cheshire Customs.
In July 1841 the Gaskells travelled to Belgium and Germany, and German literature came to have a strong influence on her short stories. In 1847 she published her first work of fiction, Libbie Marsh's Three Eras, in Howitt's Journal, using the pseudonym "Cotton Mather Mills". Her next work, The Sexton's Hero, was published under the same pseudonym. She made her last use of the pseudonym in 1848, with the publication of her story Christmas Storms and Sunshine. Her first novel, Mary Barton, was published in October 1848.
In 1850 the Gaskells moved to a villa at 84 Plymouth Grove, where Elizabeth wrote her remaining literary works, while her husband held welfare committees and tutored the poor in his study. The Gaskells' social circle included writers, religious dissenters and social reformers such as William and Mary Howitt. Charles Dickens and John Ruskin visited Plymouth Grove, as did the American writers Harriet Beecher Stowe and Charles Eliot Norton, while the conductor Charles Hallé, who lived close by, taught piano to one of their daughters. Her close friend Charlotte Brontë stayed there three times, and on one occasion hid behind the drawing room curtains as she was too shy to meet the Gaskells' other visitors.
In early 1850 Mrs Gaskell wrote to Charles Dickens asking for advice about assisting a girl named Pasley whom she had visited in prison. Pasley provided her with a model for the title character of Ruth in 1853. Lizzie Leigh was published in March and April 1850, in the first numbers of Dickens's journal Household Words, in which many of her works were to be published, including Cranford and North and South, her novella My Lady Ludlow, and short stories.
