An Old Man's Love: Trollope's Works
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Mr William Whittlestaff was strolling very slowly up and down the long walk at his country seat in Hampshire, thinking of the contents of a letter which he held crushed up within his trousers' pocket. He always breakfasted exactly at nine, and the letters were supposed to be brought to him at a quarter past. The postman was really due at his hall-door at a quarter before nine; but though he had lived in the same house for above fifteen years, and though he was a man very anxious to get his letters, he had never yet learned the truth about them. He was satisfied in his ignorance with 9.15 a.m., but on this occasion the post-boy, as usual, was ten minutes after that time. Mr Whittlestaff had got through his second cup of tea, and was stranded in his chair, having nothing to do, with the empty cup and plates before him for the space of two minutes; and, consequently, when he had sent some terrible message out to the post-boy, and then had read the one epistle which had arrived on this morning, he thus liberated his mind: "I'll be whipped if I will have anything to do with her." But this must not be taken as indicating the actual state of his mind; but simply the condition of anger to which he had been reduced by the post-boy. If any one were to explain to him afterwards that he had so expressed himself on a subject of such importance, he would have declared of himself that he certainly deserved to be whipped himself. In order that he might in truth make up his mind on the subject, he went out with his hat and stick into the long walk, and there thought out the matter to its conclusion. The letter which he held in his pocket ran as follows:—
St. Tawell's, Norwich, February 18—.
MY DEAR MR WHITTLESTAFF,—Poor Mrs Lawrie has gone at last. She died this morning at seven o'clock, and poor Mary is altogether alone in the world. I have asked her to come in among us for a few days at any rate, till the funeral shall be over. But she has refused, knowing, I suppose, how crowded and how small our house is. What is she to do? You know all the circumstances much better than I do. She says herself that she had always been intended for a governess, and that she will, of course, follow out the intention which had been fixed on between her and her father before his death. But it is a most weary prospect, especially for one who has received no direct education for the purpose. She has devoted herself for the last twelve months to Mrs Lawrie, as though she had been her mother. You did not like Mrs Lawrie, nor did I; nor, indeed, did poor Mary love her very dearly. But she, at any rate, did her duty by her step-mother. I know that in regard to actual money you will be generous enough; but do turn the matter over in your mind, and endeavour to think of some future for the poor girl.—Yours very faithfully,
Emma King.
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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."
