Salem Chapel - Margaret Oliphant

Salem Chapel (photo from here) is a very odd book that begins in Barsetshire & ends up reading like a sensation novel by Wilkie Collins. It's one of the Chronicles of Carlingford, the most popular series of novels written by Margaret Oliphant, a productive & popular 19th century novelist.

Arthur Vincent is a young Dissenting minister, appointed to his first post to Salem Chapel in Carlingford. The Dissenters of Carlingford are mostly tradesmen, very proud of their ability to build a new red brick chapel for their congregation & determined to get their money's worth from the young preacher they've appointed. They are also proud to be distinguished from the Church-going folk on the other side of Grange Lane, in thrall, as they see it, to the Establishment.

As he walked about Carlingford making acquaintance with the place, it occurred to the young man, with a thrill of not ungenerous ambition, that the time might shortly come when Salem Chapel would be all too insignificant for the Nonconformists of this hitherto torpid place. He pictured to himself how, by-and-by, those jealous doors in Grange Lane would fly open at his touch, and how the dormant minds within would awake under his influence. It was a blissful dream to the young pastor.

Arthur Vincent soon discovers that the ideals he held for his future as a minister to his flock collide with his distaste for the position he finds himself in - beholden to men such as Mr Tozer the grocer & Mr Pigeon the poulterer for his livelihood & expected to graciously take their advice. Vincent is also dismayed at being expected to visit his flock to drink tea & make small talk. He also soon realises that he is expected to marry according to the wishes of the congregation (there are dire hints about the unsuitability of a previous minister's wife) & sees that blushing Phoebe Tozer is aiming for the post. Mr Tozer is not shy in setting out the flock's expectations,

"Mr Vincent, sir," said Tozer solemnly, pushing away his empty teacup, and leaning forward over the table on his folded arms, "them ain't the sentiments for a pastor in our connection. That's a style of thing that may do among fine folks, or in the church where there's no freedom; but them as chooses their own pastor, and pays their own pastor, and don't spare no pains to make him comfortable, has a right to expect different.Them ain't the sentiments, sir, for Salem folks. ... and this I know, that a minister as has to please his flock, has got to please his flock whatever happens, and neither me nor no other man can make it different; and that Mrs Vincent, as has seen life, can tell you as well as I can."

All this is very much what I expected from a Carlingford novel. The tone changes when Vincent meets Mrs Hilyard, a mysterious woman living in poverty & sewing for a living. Mrs Hilyard attends the Chapel although she's obviously of a higher social class than most Dissenters. She also receives visits from the beautiful young Dowager, Lady Western, & seems to be on terms of affectionate friendship with her. Vincent is puzzled by Mrs Hilyard & curious to know her story. He's also dazzled by Lady Western & dismays the Chapel goers by accepting an invitation to dinner & appearing to court her notice. Vincent receives letters from his mother in the country telling him about his sister, Susan's, suitor, a man called Fordham.

This is the beginning of the sensation plot which involves impersonation, abduction, attempted bigamy & accusations of murder. Vincent overhears Mrs Hilyard arguing with a man, Colonel Mildmay, about a child that she is desperate to keep from him. When Vincent lets her know that he has heard her conversation, Mrs Hilyard asks that the child, her daughter, be sent to Vincent's mother for safekeeping, little realising that this action will put the girl in danger. The disappearance of Susan Vincent, in company with Mrs Hilyard's daughter, Alice, & Susan's suitor, sparks a chase from one end of England to the other & Vincent's position at Salem Chapel is put at risk by his unconventional behaviour.

I have to say that, much as I enjoyed the book, the two halves really don't mix very well. I wondered whether Mrs Oliphant felt obliged to add the sensational elements because of the success of novels like The Woman in White (Salem Chapel was published in 1863). It was certainly so successful that she was able to ask for a substantial price for her next book. Even for a sensation novel, there are just a few too many coincidences in the plot for me. Arthur Vincent is also a very unsympathetic character. Superior, impatient, ungracious, he ignores the proprieties & the obligations of his position. He becomes obsessed with his pursuit of Lady Western & jealous of those he perceives as his rivals. Even when he becomes a successful preacher, he finds it distasteful that the deacons rate his success based on the number of people who hear him preach & continually remind him that as they have appointed him, they can remove him at any time if he doesn't give satisfaction. He's the son of a minister & must have known that his flock was going to consist of tradespeople so why is he so snobbish about their houses & their daughters & their aspirations?

Salem itself, and the new pulpit, which had a short time ago represented to poor Vincent that tribune from which he was to influence the world, that point of vantage which was all a true man needed for the making of his career, dwindled into a miserable scene of trade before his disenchanted eyes - a preaching shop, where his success was to be measured by the seat-letting, and his soul decanted out into periodical issue under the seal of Tozer & Co. Such, alas! were the indignant thoughts with which, the old Adam rising bitter and strong within him, the young Nonconformist hastened home.

Arthur's mother is another character I could have seen much less of. From the moment when she arrives in Carlingford after Arthur has alarmed her with her doubts about Susan's suitor, she never stops talking & wailing & worrying about the proprieties. I know that a young girl's reputation was a fragile thing but she does lament too much over Susan's "fall" even before she knows what has happened. Almost driven to distraction by the shocking thought that her daughter has deliberately run away with a man, her fears for Arthur's reputation with his flock almost outweigh her fears for Susan's welfare. My favourite character was Mr Tozer, who champions Arthur's cause even when he ignores his very good advice & causes offence wherever he goes. Tozer is proud of the success of Arthur's preaching & not averse to scoring over his fellow deacon, Mr Pigeon, but he does stick by Arthur even when he goes off on wild goose chases on a Sunday & neglects the social side of his job. There's also plenty of humour & satire in the portrayal of the families of the Chapel which was just wonderful. I can't help thinking that it would have been a more successful novel if the sensation subplots had been left out.

The sensation plot winds up very quietly after the amount of lamentation about Susan's reputation, whereabouts & lingering fate that has gone on. Arthur realises that he has to make some fundamental changes to his own life before he can be truly happy &, even then, he manages to go against the advice of everyone who cares for him, contrary to the last.

There is a copy of the Virago edition of Salem Chapel available at Anglophile Books.

The Rector and The Doctor's Family - Margaret Oliphant

A couple of years ago Desperate Reader read all of Margaret Oliphant's Chronicles of Carlingford &, ever since, I've been collecting copies of them which have, naturally, never left the tbr shelves. Eventually, I moved the first book in the series, The Rector and The Doctor's Family, from the tbr shelves to the tbr pile & now, at long last, I've read it.

This first volume is actually a short story & a novella & it sets up all the themes for the Chronicles to come. In The Rector, we're introduced to the small town of Carlingford. The new Rector is about to arrive & everyone is curious about him. Will he be Low Church like the last Rector (who scandalised polite society by preaching to the bargemen at the canal) or will he be High Church? More importantly, will he be single? There are several unmarried ladies in Carlingford & the marital status of any new arrival is of paramount importance.

Morley Proctor has been a fellow of All Souls for the last fifteen years and, if it had been left to him, he would be a Fellow of All Souls still. However, he has an elderly mother & he feels it his duty to provide a home for her so he has accepted the living at Carlingford. Mr Proctor soon discovers that he is not suited to the duties of a parochial clergyman. His sermons are stiff, but, more importantly, he doesn't know how to talk to people. He is shy and finds it difficult to relate to his parishioners. When he is called in to comfort a dying woman, he has no idea what to say & watches in embarrassed mortification as young Mr Wentworth, the curate of St Roque's, rescues the situation with practiced ease & real feeling.

Mr Proctor is also aware that he is seen as a matrimonial prize & his mother is urging him to marry. Mr Wodehouses's two daughters, the elder known only as Miss Woodhouse, is nearly forty, mild & kind. Her young half-sister, Lucy, is beautiful & wilful, & seems to have young Mr Wentworth at her feet. Mr Proctor is dazzled by her beauty but also aware that he is as much out of his depth with Lucy as he is in every other aspect of his life in Carlingford.

As The Rector sets up the ecclesiastical themes of the series, The Doctor's Family introduces us to another part of Carlingford society. Dr Edward Rider is a newcomer who lives in a less fashionable part of town. He can't rival old Dr Marjoribanks who has an iron grip on the leaders of Carlingford society so he sets up his practice at the other end of town. Dr Rider is a dissatisfied man as he has a burden, an albatross around his neck - his slovenly, drunken brother, Fred. Fred occupies an upstairs room & is a blight on the doctor's life. He has returned from Australia, with no money & no prospects. He has also neglected to tell Edward that he left behind a wife & three children. When Fred's wife, Susan, arrives in the care of her very capable sister, Nettie, Edward's first thought is horror. To have Fred around his neck is one thing but a sister-in-law & three children to provide for is just too much.

Nettie, however, has other ideas. She has a little money of her own & has spent her life looking after Susan, who is a peevish, spiteful woman. Nettie takes lodgings near St Roque's for the family & spends her life looking after the children, trying to keep up Susan's spirits & bullying Fred into better behavior. Edward is fascinated by Nettie & begins visiting, even though it means he must also see his brother & his family. Edward falls in love with Nettie but she realises that if they married, Fred & family would have to come along as well. She knows that Edward would never be able to tolerate this. He's a dissatisfied, grouchy man who is quick to take offence & jump to the wrong conclusions. Seeing Nettie walking with Mr Wentworth sends him into a paroxysm of bad temper although he has no claim on her & no right to be upset by her friendship with another man.

Nettie is such an interesting character. She is a good young woman who is very sure of herself & bears her responsibilities with fortitude. The fact that her family are less than grateful for all she does for them bothers her not at all. She tries hard to discipline & educate the unruly children & treats Fred like a hopeless invalid which he resents. Edward is grateful that she has taken the family off his hands but also feels guilty that he doesn't do more to help. Nettie's sense of herself is bound up with her sister & her family & she only begins to resent her position when her own happiness looks threatened. Mild Miss Wodehouse had tried to warn Nettie to think of herself more, but had been ignored.

But now the time predicted by Miss Wodehouse had arrived. Nettie's personal happiness had come to be at stake and had been unhesitatingly given up. But the knowledge of that renunciation dwelt with Nettie. Not all the natural generosity of her mind - not that still stronger argument which she used so often, the mere necessity and inevitableness of the case - could blind her eyes to the fact that she had given up her own happiness; and bitter flashes of thought would intervene, notwithstanding the self-contempt and reproach with which she became aware of them.

As Desperate Reader says, these books can be compared with Trollope's Barsetshire series as the themes of Church & society are common to both. The Rector and The Doctor's Family can be compared with The Warden & Barsetshire Towers in the way they set up the themes & characters of the whole series. However, Margaret Oliphant brings her own sensibility to the stories she tells. Penelope Fitzgerald wrote the Introductions to the Virago reprints in the 1980s & these are well worth reading to get an idea of the context of the novels. The essays have been reprinted in A House of Air, a wonderful collection of essays & reviews by Penelope Fitzgerald which I'd recommend to anyone who loves reading about books.

Margaret Oliphant wrote for a living. She worked to support her husband, sons, brothers & other assorted family members. I couldn't help seeing quite a lot of Oliphant in Nettie & maybe Oliphant had experienced that selfish ingratitude from her own family that Nettie experiences. Sometimes I couldn't help having a little sympathy with Fred as Nettie bullies & bosses him but, where would Fred be without her? Although as Margaret Oliphant wrote in her Autobiography, she often wondered if she did the wrong thing propping her family up all the time. Would they have saved themselves if she hadn't been there to do it for them? I had that same thought about Nettie as Edward Rider did when he tries to persuade Nettie to leave them & marry him.  It's a question that Margaret Oliphant struggled with & maybe tried to work through in her fiction. As Penelope Fitzgerald writes,

Mrs Oliphant creates a moral atmosphere of her own - warm, rueful, based on hard experience, tolerant just where we may not expect it. One might call it the Mrs Oliphant effect. In part it is the 'uncomprehended, unexplainable impulse to take the side of the opposition' which she recognized in herself and Jane Carlyle. It is the form that her wit takes, a sympathetic relish for contradictions.

I'm looking forward to reading more of the Chronicles of Carlingford.  

There's a copy of The Rector and The Doctor's Family available at Anglophile Books. 

Women Novelists of Queen Victoria's Reign - Margaret Oliphant et al

One of the members of my 19th century book group posted a link to this book, recently made available as a free e-book from Project Gutenberg. It consists of a series of essays by 19th century women novelists in appreciation of their famous predecessors. Published to celebrate Queen Victoria’s Diamond Jubilee in 1897, the contributors set out their criteria in the Publishers’ Note,

Having been concerned for many years in the publication of works of fiction by feminine writers, it has occurred to us to offer, as our contribution to the celebration of ‘the longest Reign’, a volume having as its subject leading Women Novelists of the Victorian Era.

They only include dead authors & only those whose whole career was encompassed by the years 1837-1897. I was interested initially because the first chapter was Margaret Oliphant on the Brontёs. I’ve read quotes from this essay in many books about the Brontёs so I was interested to read the whole piece. Then, I skipped the chapter about George Eliot written by Eliza Lynn Linton, although I was intrigued by the beginning, which shows how sensitive the subject of her long, unmarried relationship with George Lewes still was, almost 20 years after her death,

In this essay it is not intended to go into the vexed question of George Eliot’s private life and character. Death has resolved her individuality into nothingness, and the discrepancy between her lofty thoughts and doubtful action no longer troubles us.

 I read about Elizabeth Gaskell, then Mrs Henry Wood was mentioned, &, as I’ve recently read her Anne Hereford, I wanted to read that & then there was Dinah Mulock Craik (I've read her John Halifax, Gentlemen) & before I knew it I only had a couple of chapters to go so I went back & read about George Eliot (where, despite her intentions, Linton does discuss Eliot's private life quite extensively!) & finished the book. Interestingly, several of the women in the book Notable Women Authors of the Day that I reviewed recently, turn up here writing about their predecessors. Edna Lyall writes about Elizabeth Gaskell,  Adeline Sergeant about Mrs Crowe (she wrote a well-regarded book of ghost stories, The Night Side of Nature, which I would love to get my hands on), Mrs Archer Clive & Mrs Henry Wood & also Charlotte M Yonge about three novelists I’ve never heard of (Lady Georgiana Fullerton, Mrs Stretton & Anne Manning).

However, my main interest was in Margaret Oliphant’s views of the Brontё sisters. I find it so interesting to see what the reputations of authors like the Brontёs were at the end of the 19th century & compare it to today.  The beginning of the essay is blunt, to say the least,

The effect produced upon the general mind by the appearance of Charlotte Brontё in literature, and afterwards by the record of her life when that was over, is one which it is nowadays somewhat difficult to understand. Had the age been deficient in the art of fiction, or had it followed any long level of mediocrity in that art, we could have comprehended this more easily. But Charlotte Brontё appeared in the full flush of a period more richly endowed that any other we know of in that special branch of literature...

Oliphant admits the genius of a woman with little experience of the world & no social advantages but she dislikes the level of satire & spite in the novels. I wondered several times if Oliphant was worried about hurting the feelings of some of the originals of Brontё’s fictional characters. She goes to great lengths to restore the reputation of the Clergy Daughters School, portrayed so scathingly as Lowood in Jane Eyre. She obviously remembered the furore over this when Elizabeth Gaskell’s Life of Charlotte was published in the 1850s. She even refers to it as,

The great school, which it was Charlotte Brontё’s first act when she began her literary career to invest with an almost tragic character of misery, privation, and wrong, was her first step from home.

Oliphant is also very disapproving of Charlotte's use of the Hegers in Villette. M Heger may still have been alive when the essay was written (he died in 1896) although he had died by the time it was published, but his children were still living in Brussels & of course Charlotte's passionate letters to him hadn't been revealed. Elizabeth Gaskell famously suppressed them when she was writing her biography. Charlotte's widower, Arthur Nicholls was also still alive in Ireland (he didn't die until 1906).

It startles the reader to find – a fact which we had forgotten – that M Paul Emanuel was M Heger, the husband of Madame Heger and legitimate head of the house: and that this daring and extraordinary girl did not hesitate to encounter gossip or slander by making him so completely the hero of her romance. Slander in its commonplace form had nothing to do with such a fiery spirit as that of Charlotte Brontё: but it shows her perfect independence of mind and scorn of comment that she should have done this.

She also discusses Shirley, feeling that the book is a failure compared with Jane Eyre or Villette & disapproving of the satirical scenes with the curates & the outspoken desires of Shirley & Caroline for love. Oliphant disapproves of the way love is portrayed in the novel, the way the women demand love as their right,

It is dominated throughout with this complaint. Curates? Yes, there they are, a group of them. Is that the thing you expect us women to marry? Yet it is our right to bear children, to guide the house. And we are half the world, and where is the provision for us?

Oliphant still sees this as a radical view, even 50 years after Shirley was published. She gives a sympathetic outline of Charlotte’s personal life, following Gaskell’s biography & has some very perceptive criticism of the characters in the novels, although she often dislikes the way the books have been written, both the style & the narrative tone. Oliphant has no time for Emily or Anne Brontё,

... Emily, whose genius has been taken for granted, carrying the wilder elements of the common inspiration to extremity in the strange, chaotic and weird romance of Wuthering Heights, while Anne diluted such powers of social observation as were in the family into two mildly disagreeable novels of a much commoner order...

& dismisses Branwell as a typical good-for-nothing wastrel son, whose life should have been discreetly veiled rather than exhibited so fully in the Gaskell biography. She discounts any influence that Branwell could have had on his sisters’ work. The other essays are just as interesting, even the ones about authors I haven’t read or heard of. This is an interesting book, especially if you have an interest in just what the critics thought about writers like the Brontёs who are now so indisputably part of the canon. After reading this & having just read the January edition of Brontё Studies which was a special issue with the recent papers from the conference on the influences of the men in the Brontёs' lives, I've started rereading Villette!

The picture is from here.

The Mystery of Mrs Blencarrow - Margaret Oliphant

The two novellas in this volume are about marriage & more specifically, the perils for women of making unsuitable marriages. In the title story, Mrs Blencarrow is a respected widow, still young, managing the estate for her son. Her position in local society is unassailable although some of her neighbours jealously feel that she is maybe too reserved. When a flirty young woman elopes with her lover to Gretna Green, she sees Mrs Blencarrow’s name in the register. Could respectable Mrs Blencarrow be secretly married? Young Kitty Bircham doesn’t notice the man’s name (I thought this was pretty unbelievable) but it’s not hard to work out who the mysterious secret husband is. Kitty tells her mother to take her mind off the elopement & rumours spread. Mrs Blencarrow’s brothers arrive to find out the truth but her haughty refusal to discuss the matter leaves them nonplussed.

Mrs Blencarrow finally confesses her story to the Vicar. The secret marriage to a younger man, inferior in station; the almost immediate regrets; the shame she feels & her fear that if the story gets out, her brothers would remove her children from her care & she would be disgraced. A solution is found, the threat of discovery is gone. Modern readers may wonder what all the fuss is about. Surely an independent woman can marry who she pleases? Not in 19th century England she couldn’t. Society’s rules on propriety were strict & unbendable. Mrs Blencarrow is not only a widow, she is the guardian of her son’s inheritance. Any hint that her morals are not beyond reproach would be fatal to her reputation. She would have been cast out of society & probably lost custody of her children.

I was surprised to see the parallels to a real-life situation that kept the rumour mills turning at the time. Queen Victoria was suspected of marrying her Highland servant, John Brown, during her long widowhood. Any reader of the time would have seen the resemblances in the story of Mrs Blencarrow although there’s no evidence that Queen Victoria ever did become Mrs Brown. I wonder if the story was read at Court? The tone of the story is high melodrama. The Vicar’s response to Mrs Blencarrow’s story is typically overblown,

The fact was enough; his mind refused to receive it, yet grasped it with the force of a catastrophe. He sat down helpless, without a word to say, with a wave of his hands to express his impotence, his incapacity even to think in face of a revelation so astounding and terrible; and for a full minute there was complete silence; neither of the three moved or spoke. The calm ticking of the clock took up the tale, as if the room had been vacant – time going on indifferent to all the downfalls and shame of humanity – with now and then a crackle from the glowing fire. 
She said at last, being the first, as a woman usually is, to be moved with impatience by the deadly silence, ‘It was not only to tell you – but to ask, what am I to do?’

However, there’s also some humour in the telling, especially in the story of Kitty & her lover, Walter. The final words of the story are about Kitty’s marriage,

That match turned out, like most others, neither perfect happiness nor misery. Perhaps neither husband nor wife could have explained ten years after how it was that they were so idiotic as to think that they could not live without each other; but they get on together very comfortably, all the same.

The second story, Queen Eleanor and Fair Rosamond, is the story of two deceived women. Much less melodramatic in tone than The Mystery of Mrs Blencarrow, this story has just as much emotion & I found it very moving. If you know the story referred to in the title, of Eleanor of Acquitaine & her discovery of her husband, Henry II’s, mistress Rosamond Clifford, hidden away at Woodstock, then the story’s plot has no surprises, although the endings are quite different.

Robert Lycett-Landon is a businessman with offices in Liverpool & London. His family live in Liverpool but he spends increasing amounts of time in London on the pretext that he’s unhappy with the way the office is being run & wants to be there to personally supervise. His wife, Eleanor, & eldest son, Horace, go to London when they don’t hear from Robert & fear that he’s ill. They discover that, far from closely supervising the business, he has hardly been seen there for months. Eventually, Eleanor tracks him down to a pretty house in a London suburb. She is shocked to discover that there is a young woman there calling herself Mrs Lycett-Landon. Robert’s secret other life has been exposed. He has bigamously married another woman who has no idea that she is living a lie.

This is the point where the story could have become as melodramatic & overwrought as The Mystery of Mrs Blencarrow, but Margaret Oliphant is much more subtle. Robert arrives & is horrified to see Eleanor but there’s no scene. Eleanor goes back to the hotel & takes Horace back home. She tells Robert’s business partner & her older children but no one else & the nine days wonder of Robert’s disappearance soon fades when there is no fresh news to feed it. Eleanor realises that her marriage is over & isn’t a revengeful woman.

This modern Eleanor, who had fallen so innocently into Rosamond’s bower, had no thought of vengeance in her heart. She had no wish to kill or injure the unhappy girl who had come between her and her husband. What good would that do? Were Rosamond made an end of in a moment, how would it change the fact? The ancients did not take this view of the subject. They took it for granted that when the intruder was removed life went on again in the same lines, and that nothing was irremediable. But to Mrs Lycett-Landon life could never go on again. It had all come to a humiliating close; confusion had taken the place of order, and all that had been, as well as all that was to be, had grown suddenly impossible.

Eleanor’s dignity in the face of such grief & humiliation is very moving. She even acknowledges that she must also have been at fault if Robert was not happy in their marriage & she was too preoccupied to notice it. Young Rose’s mother also discovers the trap into which her daughter has fallen. But we never discover what happens to Rose. Her mother seems set on keeping the secret because the scandal would be too great. Robert even visits her in later years, a broken man, but without telling her anything of his new life.  Oliphant subverts all our expectations of either a great reconciliation scene or a tearful deathbed where Eleanor’s restraint is rewarded with Robert’s repentance. Instead we have a picture of a woman going on with her life with dignity.

I enjoyed both these novellas very much. I have several more Oliphants on the tbr shelves, some of the Carlingford Chronicles that Desperate Reader has been so enthusiastically recommending & A Beleaguered City, a volume of stories of “the seen & the unseen” which look intriguing. I’ll definitely be reading more of Margaret Oliphant in the future.