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Chronicles of Barsetshire #2
Barchester Towers
The peace of Barchester is rudely disrupted by the arrival of the new low-church bishop Dr. Proudie, along with his indomitable, shrew of a wife and Mr. Slope, his chaplain. Two factions split the community as many women are won over to Proudie's side by Slope's persuasive powers, while the "Gantyists" remain loyal to the worldly Archdeacon, whose ambitions are dashed by this entourage. Mr. Harding, the gentle ex-warden, and his daughter Eleanor are the innocent victims caught in the middle of these squabbling groups.
462 pages, Paperback
First published January 1, 1857
About the author
Anthony Trollope
1,998 books1,675 followersAnthony Trollope became one of the most successful, prolific and respected English novelists of the Victorian era. Some of Trollope's best-loved works, known as the Chronicles of Barsetshire, revolve around the imaginary county of Barsetshire; he also wrote penetrating novels on political, social, and gender issues and conflicts of his day.
Trollope has always been a popular novelist. Noted fans have included Sir Alec Guinness (who never travelled without a Trollope novel), former British Prime Ministers Harold Macmillan and Sir John Major, economist John Kenneth Galbraith, American novelists Sue Grafton and Dominick Dunne and soap opera writer Harding Lemay. 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.
See also http://en.wikipedia.org/wiki/Anthony_...
Trollope has always been a popular novelist. Noted fans have included Sir Alec Guinness (who never travelled without a Trollope novel), former British Prime Ministers Harold Macmillan and Sir John Major, economist John Kenneth Galbraith, American novelists Sue Grafton and Dominick Dunne and soap opera writer Harding Lemay. 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.
See also http://en.wikipedia.org/wiki/Anthony_...
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Displaying 1 - 30 of 1,314 reviews
November 24, 2024
“There is no happiness in love, except at the end of an English novel.”
A visit to Victorian England & indulging myself with another re-read of the delightful Barchester Towers.
A new bishop is coming to town (the fictional Barchester in the fictional Barsetshire) greatly disturbing the stagnant water of long-standing clerical balance in the diocese. Almost instantly HOLY (?) WAR is declared between resident clergymen (High Church) lead by Archdeacon Grantly, who got disappointed in his hope of becoming the new bishop after his father’s death & Dr Proudie’s (the new bishop, Low Church) entourage, namely his formidable wife & his chaplain, Mr Obadiah Slope, a beneficiary of Mrs Proudie’s patronage.
This is, however, not the only war that is waged in the novel. There is a contest for primacy in the diocese between Mrs Proudie & Mr Slope, because the hen-pecked Dr. Proudie is bishop only in name and so both strive to become the real power behind his ecclesiastical throne. :)
Additionally, a there is battle for love (and/or for money – depending on the parties involved) to gain the hand of the young & rich widow, Eleanor Bold (sister-in-law to Archdeacon Grantly). The contestants are Mr Slope, Mr Bertie Stanhope (never-do-well, though harmless, spendthrift son of Dr Vesey Stanhope, prebendary of the Bishop) and Reverend Francis Arabin, a scholar and Fellow of Lazarus College at Oxford & a supporter of Archdeacon Grantly.
You’d think after this summary that the clerical war is about some elevated subjects with deep, underlying philosophical ideas, but it is fought much more on social (wives joining husbands, daughters supporting fathers) & political levels (which camps can soldier bigger troops & more supporters) in drawing/ball rooms, at parties as well as in churches. This gives Trollope the chance to depict clergymen as men with a very much tongue-in-cheek approach, which makes the whole novel delightful & funny.
"Wars about trifles are always bitter, especially among neighbours. When the differences are great, and the parties comparative strangers, men quarrel with courtesy. What combatants are ever so eager as two brothers?"
Also the insight into his characters is wonderful: the most memorable from this novel are Mr Slope, Mrs Proudie, Signora Neroni & Archdeacon Grantley.
Trollope never ceases to amaze me with his power of characterisation, which is precise, complex and utterly hilarious at the same time. The way he portraits Obadiah Slope is genius. He is one of the most obnoxious, obsequious, slimy appalling characters in classic literature (he brings Jane Austen's Mr Collins in P&P to my mind - in some respects) and yet you cannot help, but admire his cunning and enterprise as he sets about fulfilling his ambitions. He is a smarmy sycophant and no mistake, but he is never painted as black or even as a truly vicious person. - And here I have to mention the divine Alan Rickman, who played him to perfection in the 1982 BBC adaptation. (That is also highly recommended.)
And then there is the indomitable & staunch Mrs Proudie, wife to the bishop, uncrowned queen of her family & the diocese. A character you love to hate, yet cannot help, but respect at the same time.
"It is ordained that all novels should have a male and female angel, and a male and female devil. It it be considered that this rule obeyed in these pages, the latter character must be supposed to have fallen to the lot of Mrs Proudie, but she was not all devil. there was a heart inside that stiff-ribbed bodice, though not, perhaps, of large dimensions, and certainly not easily accessible."
The scenes where Mrs Proudie & Mr Slope are involved in a tug-of-war with the poor bishop as the rope are the funniest in the whole book.
" The bishop was sitting in his easy chair twiddling his thumbs, turning his eyes now to his wife, and now to his chaplain, as each took up the cudgels. How comfortable it would be if they could fight it out between them without the necessity of any interference on his part; fight it out so that one should kill the other utterly, as far as the diocesan life was concerned, so that he, the bishop, might know clearly by whom it behoved him to be led. There would be the comfort of quiet in either case; but if the bishop had a wish as to which might prove the victor, that wish was certainly not antagonistic to Mr Slope."
A visit to Victorian England & indulging myself with another re-read of the delightful Barchester Towers.
A new bishop is coming to town (the fictional Barchester in the fictional Barsetshire) greatly disturbing the stagnant water of long-standing clerical balance in the diocese. Almost instantly HOLY (?) WAR is declared between resident clergymen (High Church) lead by Archdeacon Grantly, who got disappointed in his hope of becoming the new bishop after his father’s death & Dr Proudie’s (the new bishop, Low Church) entourage, namely his formidable wife & his chaplain, Mr Obadiah Slope, a beneficiary of Mrs Proudie’s patronage.
This is, however, not the only war that is waged in the novel. There is a contest for primacy in the diocese between Mrs Proudie & Mr Slope, because the hen-pecked Dr. Proudie is bishop only in name and so both strive to become the real power behind his ecclesiastical throne. :)
Additionally, a there is battle for love (and/or for money – depending on the parties involved) to gain the hand of the young & rich widow, Eleanor Bold (sister-in-law to Archdeacon Grantly). The contestants are Mr Slope, Mr Bertie Stanhope (never-do-well, though harmless, spendthrift son of Dr Vesey Stanhope, prebendary of the Bishop) and Reverend Francis Arabin, a scholar and Fellow of Lazarus College at Oxford & a supporter of Archdeacon Grantly.
You’d think after this summary that the clerical war is about some elevated subjects with deep, underlying philosophical ideas, but it is fought much more on social (wives joining husbands, daughters supporting fathers) & political levels (which camps can soldier bigger troops & more supporters) in drawing/ball rooms, at parties as well as in churches. This gives Trollope the chance to depict clergymen as men with a very much tongue-in-cheek approach, which makes the whole novel delightful & funny.
"Wars about trifles are always bitter, especially among neighbours. When the differences are great, and the parties comparative strangers, men quarrel with courtesy. What combatants are ever so eager as two brothers?"
Also the insight into his characters is wonderful: the most memorable from this novel are Mr Slope, Mrs Proudie, Signora Neroni & Archdeacon Grantley.
Trollope never ceases to amaze me with his power of characterisation, which is precise, complex and utterly hilarious at the same time. The way he portraits Obadiah Slope is genius. He is one of the most obnoxious, obsequious, slimy appalling characters in classic literature (he brings Jane Austen's Mr Collins in P&P to my mind - in some respects) and yet you cannot help, but admire his cunning and enterprise as he sets about fulfilling his ambitions. He is a smarmy sycophant and no mistake, but he is never painted as black or even as a truly vicious person. - And here I have to mention the divine Alan Rickman, who played him to perfection in the 1982 BBC adaptation. (That is also highly recommended.)
And then there is the indomitable & staunch Mrs Proudie, wife to the bishop, uncrowned queen of her family & the diocese. A character you love to hate, yet cannot help, but respect at the same time.
"It is ordained that all novels should have a male and female angel, and a male and female devil. It it be considered that this rule obeyed in these pages, the latter character must be supposed to have fallen to the lot of Mrs Proudie, but she was not all devil. there was a heart inside that stiff-ribbed bodice, though not, perhaps, of large dimensions, and certainly not easily accessible."
The scenes where Mrs Proudie & Mr Slope are involved in a tug-of-war with the poor bishop as the rope are the funniest in the whole book.
" The bishop was sitting in his easy chair twiddling his thumbs, turning his eyes now to his wife, and now to his chaplain, as each took up the cudgels. How comfortable it would be if they could fight it out between them without the necessity of any interference on his part; fight it out so that one should kill the other utterly, as far as the diocesan life was concerned, so that he, the bishop, might know clearly by whom it behoved him to be led. There would be the comfort of quiet in either case; but if the bishop had a wish as to which might prove the victor, that wish was certainly not antagonistic to Mr Slope."
January 20, 2023
This is hilarious. The odious Mr. Slope slimes his way through the upper class elements of the church looking for power and patronage and love in a village where nothing ever happens. It's not so much a question of will-he/won't he, more how much more will he dare and who will fall for it? There's also an interesting character reversal in the Bishop's wife, Mrs Proudie, a strict sabbatarian who seeks to convert others to that practice. However, her esteem for the Church is far less than her esteem for herself, and she does the right thing but for all the wrong reasons.
Lots of frustrated love, upright characters getting their just rewards, the unworthy slipping on their own grease and everything wrapped up in a tidy parcel just made for a BBC costume drama.
4 and a half stars. Recommended to lovers of classics, good writing and those who have a schadenfreude sense of humour.
Read March 14 2011, reviewed March 27 2012.
Lots of frustrated love, upright characters getting their just rewards, the unworthy slipping on their own grease and everything wrapped up in a tidy parcel just made for a BBC costume drama.
4 and a half stars. Recommended to lovers of classics, good writing and those who have a schadenfreude sense of humour.
Read March 14 2011, reviewed March 27 2012.
August 12, 2024
Barchester Towers is the second in the fabulous, of six Barsetshire novels by the illustrious Anthony Trollope a man with an acute imagination which this series displays. Set in a sleepy fictitious cathedral town, in mid nineteenth century England, no other writer could excel in chronicling. Eleanor Bold rich, young, pretty widow of John Bold is feeling lonely; but has a baby son to look after, still that is not enough. Not to worry , she will have three suitors soon, it is obvious she is too desirable to remain single (wonder why?) . When a new bishop comes to the small city, Dr. Proudie brings Rev. Slope an ambitious clergyman , who doesn't care how he achieves wealth and power (the first suitor). The Archdeacon Dr. Grantly (son of the late bishop) opposes Slope, Grantly travels to London to get help. And persuades Rev. Francis Arabin, an Oxford teacher and an old friend to take a job as vicar , in a Barchester church (the second suitor). Dr. Stanhopes (everyone is a Dr. in the book) returns from Italy his son, really a grownup kid also arrives, Bertie a lazy but charming man (the third suitor).The pusillanimous new bishop is controlled by Mrs. Proudie, his dominating wife he fears. Conflict soon happens, when the "hospital" is to reopen who will become the warden a do nothing job? Rev. Harding the former holder of the job and choice of Grantly or Quiverful, another clergyman and supported by the powerful Mrs. Proudie. Then an illuminating party by rich landowners Miss Thorne and her brother is given, all the important people in the area attend which tells the real situation of the city. We see how they interact with each other in a class conscious age. The poor sneak in and aren't thrown out, the Thorne's are too kind to do that yet we see the division in The Victorian Age, by where people sit ! Now Mrs. Bold has a problem, whom to pick as her new husband, she isn't lonely anymore. Another sumptuous story about the always entertaining life of a little town with a big voice, this will never change.
July 17, 2022
Victorian novels were so freaking long because the authors had absolutely no distractions! They had no Candy Crush, no cute Instagram cat videos, no ice bucket challenges, no Pokemon, they weren’t on whatsapp, didn’t have to figure out whether the dress was blue or white, never played Wordle or Minecraft, didn’t know what a sim was, oh, and there was no porn. Well, there was porn, but not as we know it. And no Tinder! The publisher’s reader who first read Barchester Towers complained it was far too long and should be cut down from three to two volumes.
I AGREE!
THIS NOVEL WAS A BIG HIT
In 1855 Trollope earned less than £10 from his writing (=£1200 in modern money); by 1860 he was getting £3000 per novel (=£255,000).
THE EXCRUCIATINGLY POLITE CIVIL WAR
This novel is about two things modern readers will not care two hoots about : 19th century church politics, and whether the rich young widow will marry a nice clergyman or not. In the first case, readers are expected to know the difference between an archdeacon, a dean, a precentor, a canon, a chaplain and a bishop and why a chaplain could offend the entire town of Barchester by preaching a sermon. There are heavy duty paragraphs all about church etiquette. There was a very mild civil war going on at the time between High Church types and Low Church types. It’s all very rarefied. It is like watching some gentle pushing and shoving between butterfly collectors about whether a new species has been discovered in Uruguay or not. Some readers are going to be eye rolling.
VAMPIRES, LEECHES AND DRONES
The first Barchester novel (The Warden - better than this one) is all about a nice old clergyman who has a sinecure which is a job where you collect a FAT PAYCHECK (or “annual stipend” trala) in return for doing SWEET F.A. The church in the 19th century was, it seems, stuffed full of these non-jobs. In The Warden an annoying young person pointed out loudly and uncouthly that this harmless old fart was collecting a shedload of banknotes every year as the warden of a charity for broke down old men, and the broke down old men were getting ALMOST NOTHING. When this grotesque anomaly was brought to the attention of the harmless old man he resigned out of sheer embarrassment.
He is back in this second Barchester novel being offered not one but two wonderful jobs where he wouldn’t have to do hardly anything. Man, this must be a very sweet old guy. Why do the church authorities want to shower him with unearned income in this way? He turns the first down because it would now involve preaching a sermon every day. Oh no! Too much! What do you take me for, a beast of burden??
So the plot of BT is all about whether this guy or another guy will be appointed to this job or that job, and every job mentioned is carefully labelled with a salary (plus free house and land, naturellement). I myself would label these sinecure holders as vampires and drones and leeches but in Barsetshire they are considered as sweet deserving Godly types who you should never say boo to.
There is even a guy who is a canon, which is pretty high up, who hasn’t been seen in England, never mind Barsetshire, for years, because he took himself and his family off to the shores of Lake Como in Italy, because why wouldn’t you. The old bishop just didn’t notice this. When the new bishop requires his attendance at the cathedral to perform his light duties he huffs and puffs his family back to England cursing his fate – why me, o Lord?
You might be thinking that Trollope’s book’s main point is to savagely satirise such nasty goings-on, but it isn’t. That’s all just background radiation to the “small ecclesiastical maneuvers” (in Trollope’s phrase) and the more than somewhat standard romantic shuffling about of the main quincunx of characters.
THE BEST CHARACTER IN THE BOOK
Was not the disabled man-eating Signora Neroni
“You don’t know the intriguing villainy of that woman,” said Mrs Proudie
“But you say she has only got one leg!”
“She is as full of mischief as though she had ten.”
but the author himself who keeps breaking the fourth wall and chatting casually to the reader, as they used to in those days. Trollope cheerfully points out all this is fiction, he gives spoilers for his own novel because he doesn’t think there should be “secrets” between author and reader, and at one point he says well, this minor character has a very interesting story but I couldn’t include it because Mr Longman wouldn’t let me write a fourth volume!
IN THE END
This was too much about too little.
I AGREE!
THIS NOVEL WAS A BIG HIT
In 1855 Trollope earned less than £10 from his writing (=£1200 in modern money); by 1860 he was getting £3000 per novel (=£255,000).
THE EXCRUCIATINGLY POLITE CIVIL WAR
This novel is about two things modern readers will not care two hoots about : 19th century church politics, and whether the rich young widow will marry a nice clergyman or not. In the first case, readers are expected to know the difference between an archdeacon, a dean, a precentor, a canon, a chaplain and a bishop and why a chaplain could offend the entire town of Barchester by preaching a sermon. There are heavy duty paragraphs all about church etiquette. There was a very mild civil war going on at the time between High Church types and Low Church types. It’s all very rarefied. It is like watching some gentle pushing and shoving between butterfly collectors about whether a new species has been discovered in Uruguay or not. Some readers are going to be eye rolling.
VAMPIRES, LEECHES AND DRONES
The first Barchester novel (The Warden - better than this one) is all about a nice old clergyman who has a sinecure which is a job where you collect a FAT PAYCHECK (or “annual stipend” trala) in return for doing SWEET F.A. The church in the 19th century was, it seems, stuffed full of these non-jobs. In The Warden an annoying young person pointed out loudly and uncouthly that this harmless old fart was collecting a shedload of banknotes every year as the warden of a charity for broke down old men, and the broke down old men were getting ALMOST NOTHING. When this grotesque anomaly was brought to the attention of the harmless old man he resigned out of sheer embarrassment.
He is back in this second Barchester novel being offered not one but two wonderful jobs where he wouldn’t have to do hardly anything. Man, this must be a very sweet old guy. Why do the church authorities want to shower him with unearned income in this way? He turns the first down because it would now involve preaching a sermon every day. Oh no! Too much! What do you take me for, a beast of burden??
So the plot of BT is all about whether this guy or another guy will be appointed to this job or that job, and every job mentioned is carefully labelled with a salary (plus free house and land, naturellement). I myself would label these sinecure holders as vampires and drones and leeches but in Barsetshire they are considered as sweet deserving Godly types who you should never say boo to.
There is even a guy who is a canon, which is pretty high up, who hasn’t been seen in England, never mind Barsetshire, for years, because he took himself and his family off to the shores of Lake Como in Italy, because why wouldn’t you. The old bishop just didn’t notice this. When the new bishop requires his attendance at the cathedral to perform his light duties he huffs and puffs his family back to England cursing his fate – why me, o Lord?
You might be thinking that Trollope’s book’s main point is to savagely satirise such nasty goings-on, but it isn’t. That’s all just background radiation to the “small ecclesiastical maneuvers” (in Trollope’s phrase) and the more than somewhat standard romantic shuffling about of the main quincunx of characters.
THE BEST CHARACTER IN THE BOOK
Was not the disabled man-eating Signora Neroni
“You don’t know the intriguing villainy of that woman,” said Mrs Proudie
“But you say she has only got one leg!”
“She is as full of mischief as though she had ten.”
but the author himself who keeps breaking the fourth wall and chatting casually to the reader, as they used to in those days. Trollope cheerfully points out all this is fiction, he gives spoilers for his own novel because he doesn’t think there should be “secrets” between author and reader, and at one point he says well, this minor character has a very interesting story but I couldn’t include it because Mr Longman wouldn’t let me write a fourth volume!
IN THE END
This was too much about too little.
March 16, 2019
«Οι Πύργοι του Μπάρτσεστερ»,είναι μια ανθρώπινη εκδήλωση συμπεριφορών και συναισθημάτων.
Πύργοι γεμάτοι ρομαντισμό και άρωμα παλιών και πολλών αιώνων που μολύνθηκαν απο κάποιες τραγωδίες και ακολουθούν την κλίμακα αξιών της ανθρώπινης ζωής.
Όσο εξελίσσεται η πλοκή και η δράση των πρωταγ��νιστών μας ανακαλύπτουμε μια ανθρώπινη κωμωδία που μοιάζει να ακολουθεί την παράδοση του Μπαλζάκ.
Ο Τρόλοπ έχει ένα φοβερό ταλέντο να δημιουργεί χαρακτήρες που σκέφτονται, αλληλεπιδρούν και συμπεριφέρονται με τρόπο ταύτισης προς τους αναγνώστες.
Μαγεύει με την πένα του και θολώνει με την προφανέστατη αγάπη του
και με γλυκίσματα κωμωδίας, κάθε ίχνος οργής,
ακόμη και για τους χειρότερους ήρωες του, αυτούς,
τους πιο κακούς, τους λιγότερο έντιμους,
τους περισσότερο δόλιους και εγωκεντρικούς.
Παρόλο που το σκηνικό μας είναι οι εκκλησιαστικοί πύργοι του Μπάρτσεστερ και τα επαρχιακά υπέροχα περίχωρα, με όλη την υποβλητική ατμόσφαιρα μιας χαμένης, αλλοτινής εποχής, αρχ��κά, διαφαίνεται η πάλη ανάμεσα στις ιεραρχικές δυνάμεις των ιερωμένων για δύναμη, εξουσία, πλούτη και αξίωματα.
Δεν υπάρχουν περιθώρια για άσκοπες φλυαρίες σε αυτόν τον συγγραφέα, παρόλο που τα αποτελέσματα και η κορύφωση στις ζωές των χαρακτήρων είναι προφανέστατα και καταγεγραμμένα εξ αρχής,
κανένα αρνητικό απόθεμα πλήξης δεν θα περισσέψει σε ένα τόσο παραγωγικό μυθιστορηματικό έργο.
Έξω και γύρω απο τους πύργους του Μπάρτσεστερ, στα θεμέλια των κτισμάτων, στα παράθυρα των ναών, στους ήχους των καμπαναριών, στις υπαίθρους της ματαιοδοξίας και στις πολιτισμένες εκτιμήσεις ζωής και θανάτου, εξυφαίνονται τα σχέδια των θεών και των ανθρώπων που επιθυμούν μια θέση με όμορφη θέα και άμεση πρόσβαση σε κάποιο κολασμένο παράδεισο.
Υπάρχουν πολλοί τρόποι να αντιληφθείς, διαβάζοντας, την τεχνοτροπία του Τρόλοπ.
Χτίζει έναν δικό του κόσμο και φέρεται σαν εκπρόσωπος του βικτωριανού νου χωρίς να εκφέρει άμεσα την γνώμη του ή να παίρνει θέση σε κάθε είδους πολιτικο-κοινωνική κατάσταση.
Πολιτικά φέρεται ως φιλελεύθερος με συντηρητικό τρόπο και καταφέρνει με απόλυτη ανεξαρτησία να το περάσει σε κάθε σταγόνα απο το μελάνι της πένας του.
Επικεντρώνεται σχεδον πάντα στην μεσαία, ανώτερη, αριστοκρατική τάξη της κοινωνικής κλίμακας, αλλά προσεγγίζει πολύ ταπεινά και οικεία, με προσεγμένη τρυφερότητα και γλυκιά προσμονή όλα τα ανθρώπινα προβλήματα.
Σε ηθικά πολύπλοκες καταστάσεις αρωματίζει διακριτικά την γυναικεία ανεξαρτησία και χαρίζει σε κάθε θηλυκό του δημιούργημα επιλογές, ευκαιρίες, δυνάμεις και δικαιώματα που εξαιρούνται απο τα βικτωριανά πρότυπα.
Μπείτε στους Πύργους του Μπάρτσεστερ.
Έχουν τον πιο εθιστικό τόπο ονείρων και εφιαλτών για να σας φιλοξενήσουν και να σας χαρίσουν άφθονες στιγμές απόλαυσης, έντασης, δραματικές σκηνές και ιερές σχέσεις απόλυτης αφοσίωσης που πλημμυρίζουν κάθε ανθρώπινη καρδιά.
Καλή ανάγνωση!!!
Πολλούς ασπασμούς.
Πύργοι γεμάτοι ρομαντισμό και άρωμα παλιών και πολλών αιώνων που μολύνθηκαν απο κάποιες τραγωδίες και ακολουθούν την κλίμακα αξιών της ανθρώπινης ζωής.
Όσο εξελίσσεται η πλοκή και η δράση των πρωταγ��νιστών μας ανακαλύπτουμε μια ανθρώπινη κωμωδία που μοιάζει να ακολουθεί την παράδοση του Μπαλζάκ.
Ο Τρόλοπ έχει ένα φοβερό ταλέντο να δημιουργεί χαρακτήρες που σκέφτονται, αλληλεπιδρούν και συμπεριφέρονται με τρόπο ταύτισης προς τους αναγνώστες.
Μαγεύει με την πένα του και θολώνει με την προφανέστατη αγάπη του
και με γλυκίσματα κωμωδίας, κάθε ίχνος οργής,
ακόμη και για τους χειρότερους ήρωες του, αυτούς,
τους πιο κακούς, τους λιγότερο έντιμους,
τους περισσότερο δόλιους και εγωκεντρικούς.
Παρόλο που το σκηνικό μας είναι οι εκκλησιαστικοί πύργοι του Μπάρτσεστερ και τα επαρχιακά υπέροχα περίχωρα, με όλη την υποβλητική ατμόσφαιρα μιας χαμένης, αλλοτινής εποχής, αρχ��κά, διαφαίνεται η πάλη ανάμεσα στις ιεραρχικές δυνάμεις των ιερωμένων για δύναμη, εξουσία, πλούτη και αξίωματα.
Δεν υπάρχουν περιθώρια για άσκοπες φλυαρίες σε αυτόν τον συγγραφέα, παρόλο που τα αποτελέσματα και η κορύφωση στις ζωές των χαρακτήρων είναι προφανέστατα και καταγεγραμμένα εξ αρχής,
κανένα αρνητικό απόθεμα πλήξης δεν θα περισσέψει σε ένα τόσο παραγωγικό μυθιστορηματικό έργο.
Έξω και γύρω απο τους πύργους του Μπάρτσεστερ, στα θεμέλια των κτισμάτων, στα παράθυρα των ναών, στους ήχους των καμπαναριών, στις υπαίθρους της ματαιοδοξίας και στις πολιτισμένες εκτιμήσεις ζωής και θανάτου, εξυφαίνονται τα σχέδια των θεών και των ανθρώπων που επιθυμούν μια θέση με όμορφη θέα και άμεση πρόσβαση σε κάποιο κολασμένο παράδεισο.
Υπάρχουν πολλοί τρόποι να αντιληφθείς, διαβάζοντας, την τεχνοτροπία του Τρόλοπ.
Χτίζει έναν δικό του κόσμο και φέρεται σαν εκπρόσωπος του βικτωριανού νου χωρίς να εκφέρει άμεσα την γνώμη του ή να παίρνει θέση σε κάθε είδους πολιτικο-κοινωνική κατάσταση.
Πολιτικά φέρεται ως φιλελεύθερος με συντηρητικό τρόπο και καταφέρνει με απόλυτη ανεξαρτησία να το περάσει σε κάθε σταγόνα απο το μελάνι της πένας του.
Επικεντρώνεται σχεδον πάντα στην μεσαία, ανώτερη, αριστοκρατική τάξη της κοινωνικής κλίμακας, αλλά προσεγγίζει πολύ ταπεινά και οικεία, με προσεγμένη τρυφερότητα και γλυκιά προσμονή όλα τα ανθρώπινα προβλήματα.
Σε ηθικά πολύπλοκες καταστάσεις αρωματίζει διακριτικά την γυναικεία ανεξαρτησία και χαρίζει σε κάθε θηλυκό του δημιούργημα επιλογές, ευκαιρίες, δυνάμεις και δικαιώματα που εξαιρούνται απο τα βικτωριανά πρότυπα.
Μπείτε στους Πύργους του Μπάρτσεστερ.
Έχουν τον πιο εθιστικό τόπο ονείρων και εφιαλτών για να σας φιλοξενήσουν και να σας χαρίσουν άφθονες στιγμές απόλαυσης, έντασης, δραματικές σκηνές και ιερές σχέσεις απόλυτης αφοσίωσης που πλημμυρίζουν κάθε ανθρώπινη καρδιά.
Καλή ανάγνωση!!!
Πολλούς ασπασμούς.
October 13, 2019
Me ha gustado mucho más de lo que esperaba, me ha atrapado casi desde el principio y las últimas 200 páginas las he devorado.
La historia sigue a una serie de personajes que viven en Barchester y van a sufrir un gran cambio en sus vidas tras la muerte del obispo y la llegada de su sucesor.
La narración es entretenida y ágil, cargada de una ironía cercana a la sátira que a mi personalmente me ha conquistado, aunque reconozco que el narrador y su interés por hablar directamente al lector no siempre eran de mi agrado...
Lo que me acabó encandilando fueron sus personajes, eso sí. Al principio no parecían demasiado espectaculares pero poco a poco van calándote, especialmente los "malvados" como el despreciable (y contemporáneo) Señor Slope o la Signora Madeline Stanhope y toda su genial y maquiavélica familia.
Trollope me ha recordado aquí a una mezcla de Elizabeth Gaskell con George Eliot, aunque es más irónico que la primera y mucho más ligero que la segunda.
En fin, una gran lectura, sin duda leeré El doctor Thorne más pronto que tarde :)
La historia sigue a una serie de personajes que viven en Barchester y van a sufrir un gran cambio en sus vidas tras la muerte del obispo y la llegada de su sucesor.
La narración es entretenida y ágil, cargada de una ironía cercana a la sátira que a mi personalmente me ha conquistado, aunque reconozco que el narrador y su interés por hablar directamente al lector no siempre eran de mi agrado...
Lo que me acabó encandilando fueron sus personajes, eso sí. Al principio no parecían demasiado espectaculares pero poco a poco van calándote, especialmente los "malvados" como el despreciable (y contemporáneo) Señor Slope o la Signora Madeline Stanhope y toda su genial y maquiavélica familia.
Trollope me ha recordado aquí a una mezcla de Elizabeth Gaskell con George Eliot, aunque es más irónico que la primera y mucho más ligero que la segunda.
En fin, una gran lectura, sin duda leeré El doctor Thorne más pronto que tarde :)
February 17, 2023
This is by far the best Trollope novel that I've read. His writing is clever, satirical, and almost hilarious that I felt as if I was watching a comedy. Perhaps it's unfair to compare this Victorian novel to a comedy, but the comicality achieved by Trollope through some of the characters paints such a picture. I was a little bit reluctant to read Barchester Towers following the disappointment in The Warden, since the story here is more or less a continuation of what began in The Warden. But I was encouraged by many of my GR friends to continue with it since Barhester Towers is the better of the two. I'm really thankful to them and happy that I took their advice.
Chruch politics continues here on a full scale, and I was surprised to find with what little favour Trollope has portrayed his clergy. :) However, they hugely contributed to the enjoyment of the story. In Barchester Tower, Trollope introduces one of the sliest clergymen in Victorian literature in the shape of Obadiah Slope. Even though he isn't the protagonist, his role in the story justified my considering him as such, for the whole story nearly revolves around him. Odious though he may be, and annoying enough to feel like boxing his ears yourself as Eleanor did, he certainly provides the foremost entertainment of the story. :)
At the outset of the story, a "war" begins between Mr. Slope and Dr. Grantly. Neither being ready to surrender, they keep on at it, finding their own allies in the course - Mr. Slope within the robes of the bishop, and Dr. Grantly in the scholarly mind of Mr. Arabin. I wouldn't venture to say the outcome of the battle; that'd spoil the story. But I could certainly say that the subtle battle between these two factions of the clergy was far more entertaining than any real battle could. :) Dr. Grantly is portrayed in a much different light here. Although he hasn't greatly outgrown his arrogance and presumptive nature, his feeling of utter helplessness when things work against him, and his resignation to those inevitable, showed a human side to him not seen before.
While these clergymen provided the best entertainment, the non-clergy too was not far behind. These characters, most being women, show that when it comes to scheming, they could outdo the learned dons. :) Out of them, Madeline Neroni holds the brightest candle, closely followed by Mrs. Proudie, the true power behind the bishop's robe. It is interesting to note that how much these two characters entertained me in their different way, even though I couldn't like either of them. This shows how well Trollope has portrayed his characters. Except for my slight disappointment at Mr. Harding and Eleanor playing second fiddle to the new characters, I've no complaint against him.
The merit of this book lies in Trollope's writing. I've admired his keen wit, satire, and humour in his previous works, but not so much as in here. Trollope's whole tone is light and bantering which makes the story more engaging and entertaining. I've read a lot of Victorian satire, but in my opinion, no author can produce such entertaining satire in a light and bantering manner as Anthony Trollope. In that respect, Trollope is a Victorian Jane Austen.
I'm beginning to warm up to this series, and I'm eager to know what more stories the inhabitants of Barchester can tell me.
Chruch politics continues here on a full scale, and I was surprised to find with what little favour Trollope has portrayed his clergy. :) However, they hugely contributed to the enjoyment of the story. In Barchester Tower, Trollope introduces one of the sliest clergymen in Victorian literature in the shape of Obadiah Slope. Even though he isn't the protagonist, his role in the story justified my considering him as such, for the whole story nearly revolves around him. Odious though he may be, and annoying enough to feel like boxing his ears yourself as Eleanor did, he certainly provides the foremost entertainment of the story. :)
At the outset of the story, a "war" begins between Mr. Slope and Dr. Grantly. Neither being ready to surrender, they keep on at it, finding their own allies in the course - Mr. Slope within the robes of the bishop, and Dr. Grantly in the scholarly mind of Mr. Arabin. I wouldn't venture to say the outcome of the battle; that'd spoil the story. But I could certainly say that the subtle battle between these two factions of the clergy was far more entertaining than any real battle could. :) Dr. Grantly is portrayed in a much different light here. Although he hasn't greatly outgrown his arrogance and presumptive nature, his feeling of utter helplessness when things work against him, and his resignation to those inevitable, showed a human side to him not seen before.
While these clergymen provided the best entertainment, the non-clergy too was not far behind. These characters, most being women, show that when it comes to scheming, they could outdo the learned dons. :) Out of them, Madeline Neroni holds the brightest candle, closely followed by Mrs. Proudie, the true power behind the bishop's robe. It is interesting to note that how much these two characters entertained me in their different way, even though I couldn't like either of them. This shows how well Trollope has portrayed his characters. Except for my slight disappointment at Mr. Harding and Eleanor playing second fiddle to the new characters, I've no complaint against him.
The merit of this book lies in Trollope's writing. I've admired his keen wit, satire, and humour in his previous works, but not so much as in here. Trollope's whole tone is light and bantering which makes the story more engaging and entertaining. I've read a lot of Victorian satire, but in my opinion, no author can produce such entertaining satire in a light and bantering manner as Anthony Trollope. In that respect, Trollope is a Victorian Jane Austen.
I'm beginning to warm up to this series, and I'm eager to know what more stories the inhabitants of Barchester can tell me.
November 24, 2020
The 2nd Barchester novel. Some of the church politics is rather too esoteric (but less than The Warden), but mostly it is charming, astutely ascerbic and amusing, yet also a little twee. But Eleanor is a feisty and somewhat unconventional heroine for a male writer of Trollope's time.
The names of most minor characters are too comic for the style of the novel (eg farmers Greenacre & Topsoil; Drs Fillgrave, Rerechild, Lamda Mewnew & Omicron Pie; Revs Brown, White, Grey & Green; aspirational Lookalofts; Rev Quiverful with 14 children; diplomatic Mr Plomacy; loud Mrs Clantantram; attorney Vellem Deeds); some aren't even characters, just names on a guest list. Yet the main characters have more suitably subtle names (Proudie, Grantly & Slope).
The names of most minor characters are too comic for the style of the novel (eg farmers Greenacre & Topsoil; Drs Fillgrave, Rerechild, Lamda Mewnew & Omicron Pie; Revs Brown, White, Grey & Green; aspirational Lookalofts; Rev Quiverful with 14 children; diplomatic Mr Plomacy; loud Mrs Clantantram; attorney Vellem Deeds); some aren't even characters, just names on a guest list. Yet the main characters have more suitably subtle names (Proudie, Grantly & Slope).
February 23, 2020
"Till we can become divine we must be content to be human, lest in our hurry for change we sink to something lower."
- Barchester Towers, Anthony Trollope
This was lovely. Barchester Towers in probably Trollope's best known and most popular work. It could stand alone, but really should be read after Warden as book 2 in the Barsetshire Series (six books). Trollope's prose is beautiful but his characters (good and bad; pretty and plain) are sketched with such nuance and understanding that two books in I feel like many of them are family.
This year, I committed to reading the six novels in the Chronicles of Barsetshire and the six novels that compose his Palliser series. After finishing book two, however, I'm about read to commit to reading all 47 of his novels PLUS his autobiography. I surprised my wife by joining The Trollope Society last night (£36) and feel it is inevitable that one of these days I'm going to have to explain to my lovely wife, my partner, my soul why 47 books just came here from London (you can order a very nice set of Trollope's complete novels for £950 + £50 for shipping to the US). It really does seem almost as inevitable as entropy. Unstoppable really. It might not be this week, this month, or this year, but it just seems easier to bite it in one chunk than collect these novels higgledy-piggledy.
- Barchester Towers, Anthony Trollope
This was lovely. Barchester Towers in probably Trollope's best known and most popular work. It could stand alone, but really should be read after Warden as book 2 in the Barsetshire Series (six books). Trollope's prose is beautiful but his characters (good and bad; pretty and plain) are sketched with such nuance and understanding that two books in I feel like many of them are family.
This year, I committed to reading the six novels in the Chronicles of Barsetshire and the six novels that compose his Palliser series. After finishing book two, however, I'm about read to commit to reading all 47 of his novels PLUS his autobiography. I surprised my wife by joining The Trollope Society last night (£36) and feel it is inevitable that one of these days I'm going to have to explain to my lovely wife, my partner, my soul why 47 books just came here from London (you can order a very nice set of Trollope's complete novels for £950 + £50 for shipping to the US). It really does seem almost as inevitable as entropy. Unstoppable really. It might not be this week, this month, or this year, but it just seems easier to bite it in one chunk than collect these novels higgledy-piggledy.
Read
February 26, 2023
Anthony Trollope's Barchester Towers is one of the most beloved novels in all of English literature, the second novel (The Warden is the first) in the cycle of six forming Chronicles of Barsetshire.
We are in Barchester, modeled on Westminster, a small city southwest of London that, at the time of the novel's publication in 1857, was a two hour train ride from London. It's war! A new bishop and bishop's chaplain of the Church of England have arrived in Barchester and immediately proclaim doctrines completely contrary to the longstanding traditions and practices of the churchmen of this fair city.
With this exquisitely crafted work, Anthony Trollope has created some of the most memorable characters in literature. Certainly, we have an engaging plot and subplots but what keeps many readers (for sure, this reader) eager to find out what happens next and next and next is an interest in the women and men gracing the novel's pages. For me, this was particularly true of four individuals I'll never forget. Here they are:
Mrs. Proudie, the bishop's wife - “This lady is habitually authoritative to all, but to her poor husband she is despotic. Successful as has been his career in the eyes of the world, it would seem that in the eyes of his wife he is never right. All hope of defending himself has long passed from him; indeed he rarely even attempts self-justification, and is aware that submission produces the nearest approach to peace which his own house can ever attain.” My dear Mrs. Proudie, do you take pride in being a domineering, autocratic, overbearing, imperious wife and lawgiver? The good lady's answer: absolutely!
Mr. Obadiah Slope, the bishop's chaplain - “Of the Rev. Mr. Slope's parentage I am not able to say much. I have heard it asserted that he is lineally descended from that eminent physician who assisted at the birth of Mr. T. Shandy, and that in early years he added an "e" to his name, for the sake of euphony, as other great men have done before him.” Gotta love Anthony Trollope's reference to Tristram Shandy. Every single scene featuring Mr. Slope is a dark, lustrous gem since he's a man that could be characterized as the perfect cross between Iago and fire-breathing preacher Jonathan Edwards with Richard III's thirst for power added as icing on the diabolical cake.
Among Anthony Trollop's extraordinary gifts as a novelist is a genius for quick character sketches. “Mr. Slope is tall, and not ill-made. His feet and hands are large, as has ever been the case with all his family, but he has a broad chest and wide shoulders to carry off these excrescences, and on the whole his figure is good. His countenance, however, is not specially prepossessing. His hair is lank and of a dull pale reddish hue. It is always formed into three straight, lumpy masses, each brushed with admirable precision and cemented with much grease; two of them adhere closely to the sides of his face, and the other lies at right angles above them. He wears no whiskers, and is always punctiliously shaven. His face is nearly of the same colour as his hair, though perhaps a little redder: it is not unlike beef—beef, however, one would say, of a bad quality. His forehead is capacious and high, but square and heavy and unpleasantly shining. His mouth is large, though his lips are thin and bloodless; and his big, prominent, pale-brown eyes inspire anything but confidence. His nose, however, is his redeeming feature: it is pronounced, straight and well-formed; though I myself should have liked it better did it not possess a somewhat spongy, porous appearance, as though it had been cleverly formed out of a red-coloured cork.”
The novelist narrator doesn't hold back when he adds: “I never could endure to shake hands with Mr. Slope. A cold, clammy perspiration always exudes from him, the small drops are ever to be seen standing on his brow, and his friendly grasp is unpleasant.”
Signora Madeline Vesey Neroni née Madeline Stanhope, daughter of a cleric returned from Italy to Barchester with his family - “Madame Neroni, though forced to give up all motion in the world, had no intention whatever of giving up the world itself. The beauty of her face was uninjured, and that beauty was of a peculiar kind. Her copious rich brown hair was worn in Grecian bandeaux round her head, displaying as much as possible of her forehead and cheeks. Her forehead, though rather low, was very beautiful from its perfect contour and pearly whiteness. Her eyes were long and large, and marvelously bright; might I venture to say bright as Lucifer's...” Anthony Trollope both describes and examines the various ways the Signora, sitting up on her coach, traps men as if a spider trapping flies in her web. Satire so stinging, as a man reading the novel, I almost had to hold the book at a distance from my eyes so as to avoid the Signora trapping me as well.
“Bertie” Stanhope, younger brother of Madeline - “His great fault was an entire absence of that principle which should have induced him, as the son of a man without fortune, to earn his own bread. Many attempts had been made to get him to do so, but these had all been frustrated, not so much by idleness on his part as by a disinclination to exert himself in any way not to his taste.” Oh, may Anthony Trollope be praised! Having an Oscar Wilde-style dandy allergic to work in the midst of this bunch of stiff, uptight, church-oriented Barchester men and women adds so much color and flair. Go get 'em, Bertie!
Lastly, I'd like to point out a feature I found delightful: at points throughout the novel, Anthony Trollope as author steps back from his unfolding story to speak directly to me, the reader. For instance: "These leave-takings in novels are as disagreeable as they are in real life; not so sad, indeed, for they want the reality of sadness; but quite as perplexing, and generally less satisfactory. What novelist, what Fielding, what Scott, what George Sand, or Sue, or Dumas, can impart an interest to the last chapter of his fictitious history?"
If there is only one Victorian English novel you read in your lifetime, you will not do better than Barchester Towers.
British author Anthony Trollope, 1815-1882
January 27, 2019
To call this a delight is an understatement.
December 24, 2014
It is with great regret that I assign my dear Trollope a mere four stars—really four-and-a-half stars. To me, the most shameful part of being slightly disappointed in Barchester Towers was just how much weight is given to the novel: not only in terms of Trollope’s own oeuvre, but in terms of Victorian literature more generally. With that said, though, having read around and dappled in work of his both in and outside the Chronicles of Barsetshire, I found Barchester Towers lacking in what for me is what makes Trollope such an extraordinary writer—namely, his pacing and the way in which he engages his readers right from the start in the conflicts and dramas of his dramatis personae.
Here, though, in the second book in the Chronicles of Barsetshire series, Trollope is actually atypical: he takes over half the book to set up his characters, to concoct (an admittedly compelling) mise-en-scène from which to focus closely on three characters’ struggles for power in the tiny cathedral close of Barchester. As always, Trollope’s characterization is flawless: Mr. Slope’s drive to transform Barchester as a middle-man of sorts, pitting the incoming bishop Dr. Proudie against his obdurate and power-hungry wife in order to wield authority in any way he can… this is done extremely well in Trollope’s deft hands, especially as the trio is meant to symbolize at the microcosmic level changes in the world at large, but “progress” that is by no means untouched by a more primal individual desire to get whatever it is one wants by any means necessary.
Trollope is always brilliant in painting unlikeable characters, and, in doing so, making us see their flaws and their various vices in ourselves. In Barchester Towers, Trollope adds to this gift something that is much more covert in his other works: a rich use of comedy and humor. Barchester Towers is, above all, a very funny book, a satire, and one that shows Trollope balancing well the individual, the social, and the narcissistic desire for power and position. While his other novels have a humor that is more covert, Barchester Towers is rare in Trollope’s oeuvre in that it will actually cause one to laugh aloud: one wonders why—if not from realizing that such a treatment did not agree with his vision of the novelist’s duties—Trollope abandoned the outrageously comic in his subsequent work.
And that, perhaps, is why I felt this novel to be a disappointment when compared with the others of his that I’ve read—and also why I find it hard to believe that Barchester Towers is his most famous and widely-read novel. Although weak Trollope is far better than the best work by a novelist less talented than he—e.g., see my review of Doctor Wortle’s School—still, this novel is in no way indicative of the scope and utter humanity to be found in Trollope’s richer and more complex novels like The Claverings, which remains my all-time favorite of his to this day.
This is by no means meant to dissuade anyone from reading Barchester Towers… far from it. The world would be a better place is more people read Trollope. But it would be unwise to read his most lauded work and presume that this is all Trollope is about, because this is far from the case. Instead, one should read Barchester Towers for what it is: Trollope’s successful attempt at integrating comedy with pathos, humor with his analyses of greed, lightness with his examination of the darkness of which we are all capable. And, of course, one should read Barchester Towers on the path toward completing the Chronicles in their entirety: something all readers should do, at least once, in their reading lives.
Here, though, in the second book in the Chronicles of Barsetshire series, Trollope is actually atypical: he takes over half the book to set up his characters, to concoct (an admittedly compelling) mise-en-scène from which to focus closely on three characters’ struggles for power in the tiny cathedral close of Barchester. As always, Trollope’s characterization is flawless: Mr. Slope’s drive to transform Barchester as a middle-man of sorts, pitting the incoming bishop Dr. Proudie against his obdurate and power-hungry wife in order to wield authority in any way he can… this is done extremely well in Trollope’s deft hands, especially as the trio is meant to symbolize at the microcosmic level changes in the world at large, but “progress” that is by no means untouched by a more primal individual desire to get whatever it is one wants by any means necessary.
Trollope is always brilliant in painting unlikeable characters, and, in doing so, making us see their flaws and their various vices in ourselves. In Barchester Towers, Trollope adds to this gift something that is much more covert in his other works: a rich use of comedy and humor. Barchester Towers is, above all, a very funny book, a satire, and one that shows Trollope balancing well the individual, the social, and the narcissistic desire for power and position. While his other novels have a humor that is more covert, Barchester Towers is rare in Trollope’s oeuvre in that it will actually cause one to laugh aloud: one wonders why—if not from realizing that such a treatment did not agree with his vision of the novelist’s duties—Trollope abandoned the outrageously comic in his subsequent work.
And that, perhaps, is why I felt this novel to be a disappointment when compared with the others of his that I’ve read—and also why I find it hard to believe that Barchester Towers is his most famous and widely-read novel. Although weak Trollope is far better than the best work by a novelist less talented than he—e.g., see my review of Doctor Wortle’s School—still, this novel is in no way indicative of the scope and utter humanity to be found in Trollope’s richer and more complex novels like The Claverings, which remains my all-time favorite of his to this day.
This is by no means meant to dissuade anyone from reading Barchester Towers… far from it. The world would be a better place is more people read Trollope. But it would be unwise to read his most lauded work and presume that this is all Trollope is about, because this is far from the case. Instead, one should read Barchester Towers for what it is: Trollope’s successful attempt at integrating comedy with pathos, humor with his analyses of greed, lightness with his examination of the darkness of which we are all capable. And, of course, one should read Barchester Towers on the path toward completing the Chronicles in their entirety: something all readers should do, at least once, in their reading lives.
April 21, 2023
Clerics die. Who will fill the vacant posts? A husband dies. Whom should the widow marry? A rector and his family return after twelve years abroad in Italy. What havoc is wrought by their return?
In my view, it is however NOT the plot, that is the draw of this book!
The setting is the fictional cathedral town of Barchester, not far distant from London. The year is 1856. The story, covering a period of three months, circles around the opposition that arises between two factions within the Anglican Church, the High versus Low Church constituents.
This is a work of satire. It pokes a finger at the press. It draws attention to church infighting and squabbling for the attainment of position and prestige rather than Christian beliefs. Human relationships, between friends, between enemies, between siblings and between husbands and wives, are presented in such a manner as to make readers nod in recognition, smile and laugh.
The writing seems to have flown easily from the author’s pen. Points are made, and then events flow smoothly on. The telling of the tale neither staggers nor twists. The author has control over where he is headed; he doesn’t get sidetracked.
If not the plot, what is the draw of the book? For me, two things make the book special. First of all, the characters. Secondly, the way Trollope tells the story. He inserts himself into the telling; he talks to his readers. He confides in us, telling us that Mr. X is certainly not going to marry Y. It may look so at the start, but it will not be so by the end. His way of presenting information is just plain clever. He keeps our attention. His words, turns of phrase and the situations that he invents are both believable and amusing. You will laugh yourself silly in observing how one character proposes marriage, while at the same time scheming how marriage can be avoided!
The characters are initially well described. One’s interest is immediately aroused. As the story continues, we get to know each one better and better; their respective personalities come alive. They become living, breathing individuals. Some you will despise—but for the most part even these have qualities that make them not all bad! They are not turned into simplistic, black and white, good versus bad characters. This I like very, very much. Wait till you meet Signora Madeline Neroni. She is a perfect example. She is beautiful and knows how to wield her powers. She is an inveterate flirt and seductress. She is at the same time highly intelligent and, when she so wishes, kind. Trollope does not draw her or his other characters as all bad or good. One might first jump to the conclusion that the characters can be heaped into two piles. This is not so. The more we know of them, the more nuanced they become. On the other hand, the chaplain, Mr. Obadiah Slope, might legitimately be characterized as the villain of the tale. In any case, my hackles rose on meeting him. His duplicity and subterfuge make him permanently despicable to me. There are certainly individuals such as Slope! His archenemies will remain forever my friends. One realizes, as one nears the end, that you have been thoroughly pulled in by the characters.
It is helpful if a person is acquainted with the rank and importance of the characters’ clerical position. It is handy if a person already knows the respective duties of, for example, a warden, a precentor, an archdeacon, a dean a vicar, a bishop, a chaplain… I name but a few of the many clerical posts mentioned! The clerical titles became a bit of a jumble for me. In this respect, Trollope’s writing was probably easier for people of his own day.
Timothy West’s narration is superb, fantastic, sublime. I have listened to other audiobooks read by West, but this is his best. It cannot be improved upon. His intonations are marvelous. He captures, through the nflections of his voice, the characters’ personalities perfectly-–the meek, the obsequious, the brash, the kind and the generous. The narration is outstanding. If I mention how much I like one intonation, you’ll think this one is the best, but they are all very well performed. Five stars for the audiobook narration by Timothy West. I did decrease the speed to 90%.
There is something in the writing, in how this book is told, that makes it very, very special.
This is the second of Trollope’s Chronicles of Barsetshire . Many claim it to be his best. It is my favorite so far. I am not a fan of series, but this is so good, I will soon read Dr. Thorne, the next in line. In the second book we have already been introduced to Wilfred and Monica Thorne. My curiosity is piqued, and I want to know more about them. A hunch tells me they will become favorites of mine.
If you read for character portrayal, I think it is best to read the books in the series’ designated order.
*********************
Palliser Series :
1.Can You Forgive Her? 3 stars
2.Phineas Finn 4 stars
Standalones :
*The Vicar of Bullhampton 5 stars
*Orley Farm 4 stars
*Miss Mackenzie 3 stars
*Dr. Wortle's School 3 stars
*Sir Harry Hotspur Of Humblethwaite 2 stars
*The Way We Live Now 1 star
Chronicles of Barsetshire :
1.The Warden 3 stars
2.Barchester Towers 4 stars
3.Dr. Thorne 4 stars
4.Framley Parsonage 4 stars
5.The Small House at Allington 5 stars
6.The Last Chronicle of Barset 5 stars
*The Life, Manners, and Travels of Fanny Trollope: A Biography 4 stars by Johanna Johnston
In my view, it is however NOT the plot, that is the draw of this book!
The setting is the fictional cathedral town of Barchester, not far distant from London. The year is 1856. The story, covering a period of three months, circles around the opposition that arises between two factions within the Anglican Church, the High versus Low Church constituents.
This is a work of satire. It pokes a finger at the press. It draws attention to church infighting and squabbling for the attainment of position and prestige rather than Christian beliefs. Human relationships, between friends, between enemies, between siblings and between husbands and wives, are presented in such a manner as to make readers nod in recognition, smile and laugh.
The writing seems to have flown easily from the author’s pen. Points are made, and then events flow smoothly on. The telling of the tale neither staggers nor twists. The author has control over where he is headed; he doesn’t get sidetracked.
If not the plot, what is the draw of the book? For me, two things make the book special. First of all, the characters. Secondly, the way Trollope tells the story. He inserts himself into the telling; he talks to his readers. He confides in us, telling us that Mr. X is certainly not going to marry Y. It may look so at the start, but it will not be so by the end. His way of presenting information is just plain clever. He keeps our attention. His words, turns of phrase and the situations that he invents are both believable and amusing. You will laugh yourself silly in observing how one character proposes marriage, while at the same time scheming how marriage can be avoided!
The characters are initially well described. One’s interest is immediately aroused. As the story continues, we get to know each one better and better; their respective personalities come alive. They become living, breathing individuals. Some you will despise—but for the most part even these have qualities that make them not all bad! They are not turned into simplistic, black and white, good versus bad characters. This I like very, very much. Wait till you meet Signora Madeline Neroni. She is a perfect example. She is beautiful and knows how to wield her powers. She is an inveterate flirt and seductress. She is at the same time highly intelligent and, when she so wishes, kind. Trollope does not draw her or his other characters as all bad or good. One might first jump to the conclusion that the characters can be heaped into two piles. This is not so. The more we know of them, the more nuanced they become. On the other hand, the chaplain, Mr. Obadiah Slope, might legitimately be characterized as the villain of the tale. In any case, my hackles rose on meeting him. His duplicity and subterfuge make him permanently despicable to me. There are certainly individuals such as Slope! His archenemies will remain forever my friends. One realizes, as one nears the end, that you have been thoroughly pulled in by the characters.
It is helpful if a person is acquainted with the rank and importance of the characters’ clerical position. It is handy if a person already knows the respective duties of, for example, a warden, a precentor, an archdeacon, a dean a vicar, a bishop, a chaplain… I name but a few of the many clerical posts mentioned! The clerical titles became a bit of a jumble for me. In this respect, Trollope’s writing was probably easier for people of his own day.
Timothy West’s narration is superb, fantastic, sublime. I have listened to other audiobooks read by West, but this is his best. It cannot be improved upon. His intonations are marvelous. He captures, through the nflections of his voice, the characters’ personalities perfectly-–the meek, the obsequious, the brash, the kind and the generous. The narration is outstanding. If I mention how much I like one intonation, you’ll think this one is the best, but they are all very well performed. Five stars for the audiobook narration by Timothy West. I did decrease the speed to 90%.
There is something in the writing, in how this book is told, that makes it very, very special.
This is the second of Trollope’s Chronicles of Barsetshire . Many claim it to be his best. It is my favorite so far. I am not a fan of series, but this is so good, I will soon read Dr. Thorne, the next in line. In the second book we have already been introduced to Wilfred and Monica Thorne. My curiosity is piqued, and I want to know more about them. A hunch tells me they will become favorites of mine.
If you read for character portrayal, I think it is best to read the books in the series’ designated order.
*********************
Palliser Series :
1.Can You Forgive Her? 3 stars
2.Phineas Finn 4 stars
Standalones :
*The Vicar of Bullhampton 5 stars
*Orley Farm 4 stars
*Miss Mackenzie 3 stars
*Dr. Wortle's School 3 stars
*Sir Harry Hotspur Of Humblethwaite 2 stars
*The Way We Live Now 1 star
Chronicles of Barsetshire :
1.The Warden 3 stars
2.Barchester Towers 4 stars
3.Dr. Thorne 4 stars
4.Framley Parsonage 4 stars
5.The Small House at Allington 5 stars
6.The Last Chronicle of Barset 5 stars
*The Life, Manners, and Travels of Fanny Trollope: A Biography 4 stars by Johanna Johnston
October 13, 2021
I overall liked this novel quite a bit. 🙂 🙃
Not sure I would have liked it as much without having first been acquainted with some of the characters from another novel, ‘The Warden’, in which we are introduced to the warden, Mr. Harding, and his two daughters, Eleanor and Susan (married to the archdeacon), and the archdeacon, Dr. Grantly. In Barchester Towers, they return along with a bunch of other characters. And this had its pros and cons. Pros for introducing the nemesis, Mr. Slope, who reminded me a bit of the character Uriah Heep from Charles Dickens’ David Copperfield. Brown nosing person, who had his own hidden agendas, and hurting people along the way. And then the Italian crippled Signora Neroni, Madeline, was really good (quite funny at times). Cons for introducing some characters who I could have done without, and which only lengthened the story (needlessly IMHO). Cons regarding the offices and customs of the Church of England. So many different positions….I could not keep them all straight in my head and who did what and who was the boss of whom. 🤨
So what made this book 4 stars for me was that at times I would get bored/frustrated and thought the book was 2 stars but then there would be chapters which were really good, and then it would go downhill, but then it would go uphill again. With some books that disappoint me, they start out good, but then they go downhill and they remain at that level. With this book things went up and down and up and down, but in the long run my interest was maintained and I was quite gratified with the ending. And at times I teared up near the end… I am getting too emotional and verklempt for my own good!
Reviews:
• https://patricktreardon.com/book-revi...
• http://www.squeakycleanreviews.com/re...
• https://rosannelortz.com/2010/08/06/b...
Not sure I would have liked it as much without having first been acquainted with some of the characters from another novel, ‘The Warden’, in which we are introduced to the warden, Mr. Harding, and his two daughters, Eleanor and Susan (married to the archdeacon), and the archdeacon, Dr. Grantly. In Barchester Towers, they return along with a bunch of other characters. And this had its pros and cons. Pros for introducing the nemesis, Mr. Slope, who reminded me a bit of the character Uriah Heep from Charles Dickens’ David Copperfield. Brown nosing person, who had his own hidden agendas, and hurting people along the way. And then the Italian crippled Signora Neroni, Madeline, was really good (quite funny at times). Cons for introducing some characters who I could have done without, and which only lengthened the story (needlessly IMHO). Cons regarding the offices and customs of the Church of England. So many different positions….I could not keep them all straight in my head and who did what and who was the boss of whom. 🤨
So what made this book 4 stars for me was that at times I would get bored/frustrated and thought the book was 2 stars but then there would be chapters which were really good, and then it would go downhill, but then it would go uphill again. With some books that disappoint me, they start out good, but then they go downhill and they remain at that level. With this book things went up and down and up and down, but in the long run my interest was maintained and I was quite gratified with the ending. And at times I teared up near the end… I am getting too emotional and verklempt for my own good!
Reviews:
• https://patricktreardon.com/book-revi...
• http://www.squeakycleanreviews.com/re...
• https://rosannelortz.com/2010/08/06/b...
February 11, 2021
In quella dolce campagna inglese
Un libro di grande piacevolezza, il secondo romanzo del famoso ciclo del Barset. Per chi cerca una lettura rilassante e di alta qualità, Trollope è davvero una risorsa.
Qui siamo nella provincia meridionale dell'Inghilterra a metà '800 . Un luogo non contaminato dalla rivoluzione industriale che incombe in altre zone.
Gli ambienti sono quelli del clero anglicano del periodo, spesso in ambivalenza tra aspetto religioso e favoritismi politici, rendite economiche, talvolta a caccia di una moglie con ricca dote.
Alcuni personaggi erano già presenti nel romanzo precedente, altri giungono nuovi e forse inaspettati.
L'evoluzione delle vicende poggia comunque su una struttura molto solida e i mutamenti si succedono in modo realisticamente ponderato, senza quei colpi di scena 'gratuiti' e forzati che troviamo nei romanzetti prettamente commerciali.
L'arrivo del nuovo vescovo con tanto di moglie quasi comicamente volitiva e imperante, ed un cappellano di troppa intraprendenza mettono in subbuglio la tranquilla comunità.
Non mancano certo i personaggi virtuosi ; pertanto la realtà sociale viene colta nella sua eterogeneità e complessità.
La scrittura è magnifica : lieve, garbatamente umoristica e di piacevolissima leggibilità.
Trollope, autore di numerose opere letterarie, si conferma sicuramente fra gli scrittori più brillanti della grande letteratura vittoriana, e non solo.
Un libro di grande piacevolezza, il secondo romanzo del famoso ciclo del Barset. Per chi cerca una lettura rilassante e di alta qualità, Trollope è davvero una risorsa.
Qui siamo nella provincia meridionale dell'Inghilterra a metà '800 . Un luogo non contaminato dalla rivoluzione industriale che incombe in altre zone.
Gli ambienti sono quelli del clero anglicano del periodo, spesso in ambivalenza tra aspetto religioso e favoritismi politici, rendite economiche, talvolta a caccia di una moglie con ricca dote.
Alcuni personaggi erano già presenti nel romanzo precedente, altri giungono nuovi e forse inaspettati.
L'evoluzione delle vicende poggia comunque su una struttura molto solida e i mutamenti si succedono in modo realisticamente ponderato, senza quei colpi di scena 'gratuiti' e forzati che troviamo nei romanzetti prettamente commerciali.
L'arrivo del nuovo vescovo con tanto di moglie quasi comicamente volitiva e imperante, ed un cappellano di troppa intraprendenza mettono in subbuglio la tranquilla comunità.
Non mancano certo i personaggi virtuosi ; pertanto la realtà sociale viene colta nella sua eterogeneità e complessità.
La scrittura è magnifica : lieve, garbatamente umoristica e di piacevolissima leggibilità.
Trollope, autore di numerose opere letterarie, si conferma sicuramente fra gli scrittori più brillanti della grande letteratura vittoriana, e non solo.
November 20, 2022
4.5 stars - MORE church political drama? With a strong romance sub plot? And hate-able villains? Anthony, you spoil me!
July 30, 2016
Everything a good book should be - witty, moving, beautiful and Victorian!
October 16, 2018
Having read The Warden last year and thoroughly enjoyed it, I had determined to read the next book in the Chronicles of Barsetshire this year. I did not know what to expect, but was delighted to find Mr. Harding and his daughter, Eleanor, waiting for the next phase of their story, along with some new characters and story lines.
The book is worth reading if for nothing more than the names of it’s characters, which leave no doubt in the mind as to occupation or moral qualities. Dr. Fillgrave must surely make the most somber smile, and who would have difficulty determining the greatest failing of Mrs. Proudie? In fact, his humor is scattered throughout the novel in equal portions with his wisdom.
Oh, husbands, oh, my marital friends, what great comfort is there to be derived from a wife well obeyed.
Can’t find any fault with the humor or the wisdom there, can you? But, beyond the playfulness, there are some serious issues at work, including the struggle for power that takes place between the two factions in the church. Trollope understood the political nature of the Church in his time, and the shenanigans were as bad as some we see in the political arena of our own. I certainly felt that neither side was as interested in serving the higher good or the people of the parish so much as their own interests and advancements.
There are representatives of the high church in the Grantly faction, Tory by political leaning, and the newly established Proudie faction, Whigs, unfortunately, represented by not only the spineless Bishop Proudie and his oppressive wife, but also by our most obvious villain, Obadiah Slope (his name makes you cringe, does it not?). Trollope is a master of description and I had no difficulty in reading Mr. Slope’s character in his demeanor.
His hair is lank and of a dull pale reddish hue. It is always formed into three straight, lumpy masses, each brushed with admirable precision and cemented with much grease; two of them adhere closely to the sides of his face, and the other lies at right angles above them. His face is nearly of the same color as his hair, though perhaps a little redder; it is not unlike beef--beef, however, one would say, of a bad quality. His forehead is capacious and high, but square and heavy and unpleasantly shiny.
He goes on to describe his mouth and his nose (which is “spongy and porous”). I dare say, we walk away with a complete picture of Slope and we cannot mistake him, even on this first meeting, for a man we would ever wish to invite to preach us a sermon or take tea with us. That Eleanor attempts to give Slope the benefit of the doubt is a testament to the fairness of her character.
To my delight, Trollope has also created Mr. Harding, a truly good man who attempts to always take the high road, and while perhaps a little naive, garners all our admiration and hope. On the female side, we have the independent thinking Eleanor Bold and the lascivious Signora Neroni.
I can promise that Trollope has taken what might have been a very dry subject in the politics of the church, and woven a complete and never boring tale of the people affected by it. This is only my second Trollope, but I found it both interesting and easy to read. It has a bit more character development and length than The Warden and would stand alone as a story, but I find that having read The Warden added a depth to the novel that I believe would have been missing otherwise. I am planning to continue the series next year with Dr. Thorne, and I am happy to have come to Trollope. Late to the table, but the feast is still fine.
The book is worth reading if for nothing more than the names of it’s characters, which leave no doubt in the mind as to occupation or moral qualities. Dr. Fillgrave must surely make the most somber smile, and who would have difficulty determining the greatest failing of Mrs. Proudie? In fact, his humor is scattered throughout the novel in equal portions with his wisdom.
Oh, husbands, oh, my marital friends, what great comfort is there to be derived from a wife well obeyed.
Can’t find any fault with the humor or the wisdom there, can you? But, beyond the playfulness, there are some serious issues at work, including the struggle for power that takes place between the two factions in the church. Trollope understood the political nature of the Church in his time, and the shenanigans were as bad as some we see in the political arena of our own. I certainly felt that neither side was as interested in serving the higher good or the people of the parish so much as their own interests and advancements.
There are representatives of the high church in the Grantly faction, Tory by political leaning, and the newly established Proudie faction, Whigs, unfortunately, represented by not only the spineless Bishop Proudie and his oppressive wife, but also by our most obvious villain, Obadiah Slope (his name makes you cringe, does it not?). Trollope is a master of description and I had no difficulty in reading Mr. Slope’s character in his demeanor.
His hair is lank and of a dull pale reddish hue. It is always formed into three straight, lumpy masses, each brushed with admirable precision and cemented with much grease; two of them adhere closely to the sides of his face, and the other lies at right angles above them. His face is nearly of the same color as his hair, though perhaps a little redder; it is not unlike beef--beef, however, one would say, of a bad quality. His forehead is capacious and high, but square and heavy and unpleasantly shiny.
He goes on to describe his mouth and his nose (which is “spongy and porous”). I dare say, we walk away with a complete picture of Slope and we cannot mistake him, even on this first meeting, for a man we would ever wish to invite to preach us a sermon or take tea with us. That Eleanor attempts to give Slope the benefit of the doubt is a testament to the fairness of her character.
To my delight, Trollope has also created Mr. Harding, a truly good man who attempts to always take the high road, and while perhaps a little naive, garners all our admiration and hope. On the female side, we have the independent thinking Eleanor Bold and the lascivious Signora Neroni.
I can promise that Trollope has taken what might have been a very dry subject in the politics of the church, and woven a complete and never boring tale of the people affected by it. This is only my second Trollope, but I found it both interesting and easy to read. It has a bit more character development and length than The Warden and would stand alone as a story, but I find that having read The Warden added a depth to the novel that I believe would have been missing otherwise. I am planning to continue the series next year with Dr. Thorne, and I am happy to have come to Trollope. Late to the table, but the feast is still fine.
February 27, 2021
This was like a game of musical chairs, with multiple candidates vying for several available ecclesiastical positions. In the meantime, the daughter of one of the candidates contends with several ambitious suitors. After a lot of scheming, the good guys win, the bad guys lose and all’s well at the end. This is the second book in the series and it’s charming and witty with a satisfying conclusion. I will continue with the series, but this book works as a standalone. I listened to the audiobook narrated by Timothy West and he was perfect.
March 24, 2023
If you get three people or three chimpanzees in one place, you will surely see politics in action. The cathedral town of Barchester provides the backdrop for a poo-throwing extravaganza as the old Bishop dies and is replaced by someone from outside the community. The clergy of the town could have tolerated that, had the new Bishop not proven to be a puppet of his wife and her chosen chaplain, Mr. Slope. The Bishop's wife may have chosen Mr. Slope, but he intends to rule the diocese (and her) and begins to plot and plan immediately.
Trollope picks up the story where he left off in The Warden. In the interim, John Bold has died, leaving Eleanor with a new baby. Of course she has inherited her husband's money and thus becomes a desirable potential spouse for both the greasy Mr. Slope and the feckless and useless Bertie Stanhope. Trollope sets both these men up to pursue the young widow and then immediately offers a spoiler, assuring the reader that she does not wed either one. My first thought was “Mr. Trollope, you do not seem to understand plot tension!” However, I was proven wrong, as that knowledge allowed me to completely enjoy the machinations of both men in their useless pursuit of Eleanor. Their arrogance in assuming that they had only to pay a little attention to her to secure her as a spouse is misguided. I was pleased to see Eleanor stand up for herself firmly in this book!
Trollope has a field day showing how the clergy are subject to the same passions, foibles, temptations, and failings as their congregations. He still manages to wrap things up happily and make the tale entertaining. I look forward to future visits to Barsetshire.
Trollope picks up the story where he left off in The Warden. In the interim, John Bold has died, leaving Eleanor with a new baby. Of course she has inherited her husband's money and thus becomes a desirable potential spouse for both the greasy Mr. Slope and the feckless and useless Bertie Stanhope. Trollope sets both these men up to pursue the young widow and then immediately offers a spoiler, assuring the reader that she does not wed either one. My first thought was “Mr. Trollope, you do not seem to understand plot tension!” However, I was proven wrong, as that knowledge allowed me to completely enjoy the machinations of both men in their useless pursuit of Eleanor. Their arrogance in assuming that they had only to pay a little attention to her to secure her as a spouse is misguided. I was pleased to see Eleanor stand up for herself firmly in this book!
Trollope has a field day showing how the clergy are subject to the same passions, foibles, temptations, and failings as their congregations. He still manages to wrap things up happily and make the tale entertaining. I look forward to future visits to Barsetshire.
April 16, 2022
In its basic style and literary vision, setting and milieu, and in the author's predilection for nuanced characters, dry satirical humor and balanced social messages (not to mention symbolic character names!), this second novel of the series has much in common with the first one; and several of the characters from the earlier book, including its protagonist Mr. Harding, are important characters here as well. (Many of the general comments in my review of that book would also apply to this one.) At 543 pages, however, it's a much longer novel than the preceding one, affording greater scope for character development and complexity in the plot lines; and Trollope puts that opportunity to good use. According to literary critic John Sutherland, the author had originally planned the two novels to be about the same length; but there was a long hiatus in the writing of this one, from Feb. 1855 to May 1856 (during which he was working on a different book), and over that interval his plan became more elaborate. The interruption in the work, and consequent forgetting of details, apparently was the cause of a discrepancy in the internal chronology of events in the book, which is detailed in the Wikipedia entry (which of course contains significant spoilers); but I don't recall picking up on it in my reading, and I think for most readers the effect would be minor if they noticed it at all.
In the fictional world of Barchester, at the novel's beginning, some five years have passed since the end of The Warden. Given that the title of the first chapter here is "Who Will Be the New Bishop?" it's perhaps not surprising that much of the plotting will revolve around intrigues and jockeying for appointments to ecclesiastical office. The question of the dying Bishop Grantley's successor is answered already in the first chapter (episcopal appointments are made by the Crown, on the advice of the Prime Minister). But there's also the vacant Warden position at the almshouse ("Hiram's Hospital") which was the focal point of the first book, its income now newly regulated by an act of Parliament and no longer an object of controversy. Before the book ends, the office of Dean of the Cathedral (that is, the chief cleric of that parish itself --the bishop is mainly occupied with administration of the diocese as a whole) will also fall vacant. But there's also going to be some intrigue in the matrimonial sphere. Dr. Bold has died some time ago; his widow Eleanor, Mr. Harding's younger daughter, is now over her mourning period. More than one unattached male will be eying her --and since Dr. Bold left her well-to-do, some of them may be more motivated by cupidity than by Cupid.
Trollope's genius for character creation is even more on display here than in the earlier book. Among the most striking new characters here are Dr. and Mrs. Proudie, the Stanhope family (especially the married --but separated-- daughter, Madame Neroni) and above all the new bishop's chaplain, Obadiah Slope; all of these are among the most unforgettable characters of Victorian literature. Our old friends from the first book are developed in more depth (Eleanor in particular comes more into her own here). This book also looks more at the intra-church factional infighting of that day between the "High" Church Anglicans vs. their "Low" Church, or evangelical, rivals, which sometimes tended to take on a political cast of Conservative/Tory vs. Whig/Liberal party. Here again, Trollope tends to take what struck me as a via media position, not rabidly partisan towards one side or another, very aware of the way that factional shibboleths could mask out-and-out tribalism and desire for personal power and preferment, and inclined to be more interested in Christian character than in wrangling over questions of ritual, one way or the other.
If anything, I enjoyed this book even more than the first one. I'd also be remiss if I didn't put in a plug for the 1982 miniseries adaptation of both books, The Barchester Chronicles, starring Donald Pleasence, Alan Hickman, and Susan Hampshire (https://www.imdb.com/title/tt0086667/ ), which I also mentioned in reviewing the first book. While I didn't see every episode, I believe it to be basically faithful to the books (with some differences), and I was very impressed with it.
In the fictional world of Barchester, at the novel's beginning, some five years have passed since the end of The Warden. Given that the title of the first chapter here is "Who Will Be the New Bishop?" it's perhaps not surprising that much of the plotting will revolve around intrigues and jockeying for appointments to ecclesiastical office. The question of the dying Bishop Grantley's successor is answered already in the first chapter (episcopal appointments are made by the Crown, on the advice of the Prime Minister). But there's also the vacant Warden position at the almshouse ("Hiram's Hospital") which was the focal point of the first book, its income now newly regulated by an act of Parliament and no longer an object of controversy. Before the book ends, the office of Dean of the Cathedral (that is, the chief cleric of that parish itself --the bishop is mainly occupied with administration of the diocese as a whole) will also fall vacant. But there's also going to be some intrigue in the matrimonial sphere. Dr. Bold has died some time ago; his widow Eleanor, Mr. Harding's younger daughter, is now over her mourning period. More than one unattached male will be eying her --and since Dr. Bold left her well-to-do, some of them may be more motivated by cupidity than by Cupid.
Trollope's genius for character creation is even more on display here than in the earlier book. Among the most striking new characters here are Dr. and Mrs. Proudie, the Stanhope family (especially the married --but separated-- daughter, Madame Neroni) and above all the new bishop's chaplain, Obadiah Slope; all of these are among the most unforgettable characters of Victorian literature. Our old friends from the first book are developed in more depth (Eleanor in particular comes more into her own here). This book also looks more at the intra-church factional infighting of that day between the "High" Church Anglicans vs. their "Low" Church, or evangelical, rivals, which sometimes tended to take on a political cast of Conservative/Tory vs. Whig/Liberal party. Here again, Trollope tends to take what struck me as a via media position, not rabidly partisan towards one side or another, very aware of the way that factional shibboleths could mask out-and-out tribalism and desire for personal power and preferment, and inclined to be more interested in Christian character than in wrangling over questions of ritual, one way or the other.
If anything, I enjoyed this book even more than the first one. I'd also be remiss if I didn't put in a plug for the 1982 miniseries adaptation of both books, The Barchester Chronicles, starring Donald Pleasence, Alan Hickman, and Susan Hampshire (https://www.imdb.com/title/tt0086667/ ), which I also mentioned in reviewing the first book. While I didn't see every episode, I believe it to be basically faithful to the books (with some differences), and I was very impressed with it.
September 15, 2022
Im Jahr 1855, als bisher nicht allzu erfolgreicher Autor, veröffentlichte Anthony Trollope mit THE WARDEN (1855; Dt. SEPTIMUS HARDING, SPITALVORSTEHER) den ersten Band der Barchester Chronicles, die schließlich auf sechs Bände anwachsen sollten. Es sollte auch sein erster bescheidener Erfolg werden, der zugleich Anklang bei Publikum und Kritikern fand. Trollope, der als Postbeamter in Irland arbeitete, entschloß sich erst jetzt, es weiterhin mit der Schriftstellerei zu versuchen. Und so erschien kaum zwei Jahre später der Folgeband BARCHESTER TOWERS (1857; Dt. DIE TÜRME VON BARCHESTER, hier: Zürich 2005 in der Neuübersetzung von Andrea Ott).
Da Trollope zunächst auf das Personal des Vorgängers zurückgreift, könnte man BARCHESTER TOWERS für einen direkten Anschlußband halten, jedoch erzählt der Autor hier doch in weit ausholender Manier eine eigenständige Geschichte von den Ereignissen in der Stadt, die eine fiktionalisierte Version Winchesters ist. Der Leser spürt, daß der Autor sich mittlerweile besser in seinem Universum auskennt, er arbeitet die gesellschaftlichen Strukturen deutlicher heraus, gibt uns mehr Details über die Stadt und das Umland und führt eine viel größere Anzahl von Figuren in die Handlung ein als im doch deutlich schmaleren ersten Band der Chronicles. So lernen wir diesmal nicht nur die Menschen aus der unmittelbaren Umgebung des ein wenig naiven, doch rechtschaffenen Septimus Harding, dem nun ehemaligen Vorsteher des Spitals der Stadt, kennen, sondern auch führende Mitglieder der Oberschicht und sogar des Adels, die die Stadt prägen und beherrschen. Der Kreis der Figuren geht nun deutlich über den der kirchlichen Würdenträger des ersten Bands hinaus.
Die Handlung ist schnell wiedergegeben: Der alte Bischof – Hardings Freund und zugleich Vater eines seiner Schwiegersöhne, des Erzdiakons Grantly – ist tot. Da sein Ableben in eine Zeit politischer wie gesellschaftlicher Umwälzungen fällt, sieht die Stadt, allen voran der Erzdiakon selbst, mit bangem Interesse dem neu zu bestimmenden Nachfolger entgegen. Als der benannt ist, stellt sich bald heraus, daß es kaum dieser selbst sein wird, der die Amtsgeschäfte führt, sondern hinter den Kulissen ein Kampf zwischen seiner Gattin und dem Kaplan Slope tobt, die beide ihren Einfluß auf den Bischof zu erweitern suchen. Daraus resultiert ein regelrechter Krieg um Ämter, Posten und die Herzen der entscheidenden Beteiligten – oder besser gesagt derer, die für entscheidend gehalten werden. Denn Hardings jüngere Tochter, mittlerweile verwitwet, steht mit ihrem Ansehen, mehr noch aufgrund ihres guten Jahreseinkommens, recht hoch auf der Liste der noch oder neu zu vergebenden Damen der Stadt. Und nichts würde Erzdiakon Grantly mehr ärgern, als die Vermählung seiner Schwägerin mit dem windigen Slope, der offenkundig um sie wirbt und dem sie – in Grantlys Augen zumindest – viel zu viel Aufmerksamkeit widmet.
Es entsteht ein vielschichtiges Spiel aus Intrigen, Gerüchten und Tratsch, welches zu immer komplizierteren Verwicklungen der verschiedenen Parteien führt, zu Brüchen und Wiedervereinigungen zwischen Freunden, gar Familienmitgliedern, zu tiefen Verletzungen und echter Rachsucht bei mindestens einem Beteiligten. Doch ist es weniger dieser Haupthandlungsstrang, der das Buch so interessant und lesenswert macht, sondern die vielen, vielen Nebenhandlungen und Nebenfiguren sind es, die den eigentlichen Reiz der Lektüre ausmachen. Allen voran ist es die Familie Stanhope, deren Oberhaupt zwar eine Pfründe in der Umgebung von Barchester innehat, mit den seinen aber ganzjährig in Italien lebt und sich somit einen entsprechenden Ruf eingehandelt hat. Die Stanhopes sind nun aber gezwungen, nach Barchester zurückzukehren, da die Anwesenheit des Pfarrers zur Stärkung der jeweiligen Fronten gefragt ist. In seinem Gefolge treten auch Bernie, sein Sohn, ein Tunichtgut, der gern das Geld anderer Leute ausgibt und seines Zeichens als Künstler – Bildhauer – durchs Leben geht, und die Tochter Madeline Neroni auf. Letztere ist sicherlich der dem Leser am deutlichsten in Erinnerung bleibende Charakter dieses literarischen Reigens.
Einst mit dem Grafen Neroni verheiratet, der sie derart mißhandelt hat, daß sie aufgrund einer Paralyse ihrer Beine nicht mehr laufen kann, hat sich die außergewöhnlich schöne Frau darauf verlegt, ihre Umwelt einerseits mit ihrem Aussehen und ihrem zweifellos vorhandenen Charme zu becircen, zugleich aber auch ohne Rücksicht auf Etikette, Anstand oder Verhaltensregeln nach Strich und Faden ihrem Spott auszusetzen und, wenn möglich, zu ihrem persönlichen Vergnügen etliche Intrigen zu spinnen. Sie macht die Männer verliebt, spielt sie gegeneinander aus, verrät ihre Geheimnisse und konfrontiert sie nur allzu gern mit allerlei Wahrheiten, die jene nur ungern hören wollen. Madeline Neroni ist außerordentlich klug, versteht sehr viel von der menschlichen Seele und der Psyche und fast genauso viel von den Herzen der Menschen. Und das obwohl der Erzähler dem Leser mehrfach versichert, daß die ganze Stanhope-Sippe schlicht kein Herz habe. Niemand von ihnen. Sie sind, auch dies wird explizit erwähnt, nicht böse, auch nicht verschlagen oder hinterhältig, sondern schlicht frei von jeglicher Empathie. Das macht sie vielleicht unsympathisch aber ausgesprochen interessant.
Seinerzeit war Madeline Neroni eine Skandalfigur und es lässt sich gerade an ihr herrlich ablesen, wie die Rezeption von Literatur sich im Laufe der Zeiten ändert. Wo Trollope sie eben auch als Skandalfigur anlegt, eine Gestalt, die Unruhe, gelegentlich sogar Chaos in die Kreise der besseren Gesellschaft Barchesters bringt – und dies zu einer Zeit, in der die bessere Gesellschaft sowieso schon in Aufruhr ist ob all der politischen Umwälzungen – wird sie dem modernen Leser zu einem Anker des Gegenwärtigen im doch fernen 19. Jahrhundert des englischen Viktorianismus. Denn eine solche Figur heute gelesen, ist nicht nur ausgesprochen witzig, sondern vor allem sehr, sehr emanzipiert. Dieser Frau macht keiner und keine etwas vor und sie ist furchtlos in ihrer Bereitschaft, die meisten Menschen mit dem, was sie wahrnimmt, auch zu konfrontieren. Trollope braucht sie gerade mit dieser Charaktereigenschaft allerdings auch, denn nur durch sie und ihre vermeintliche Weisheit gelingt es, den Roman nach fast 870 Seiten zu einem befriedigenden Ende zu bringen. Und das meint in diesem Fall ein Happyend. Es bedeutet allerdings auch, daß der Erzähler seine eigenen Andeutungen hinsichtlich des Charakters der Dame in Frage stellen muß, denn sie beschließt, das in ihren Augen richtige zu tun, woraus ein durchaus intakter moralischer Kompass abzuleiten ist.
Trollope nutzt – stärker noch als in THE WARDEN – das Spiel um die Kirchenämter – im Laufe der Handlung müssen auch etliche Pfarrstellen, Vikar- und Kaplanposten und schließlich auch noch die des Diakons neu ausgeschrieben und bestellt werden – als Parabel auf die zeitgenössische Politik und ihre Auswüchse auf die gehobenen Kreise der Gesellschaft. Es ist ein Spiel von konservativen und (markt)liberalen Kreisen, das ununterbrochen im Hintergrund auf der großen Bühne nationaler Politik, also in London, spielt, dessen Auswirkungen aber in Barchester deutlich zu spüren sind, nicht zuletzt durch die Besetzung des Bischofssitzes mit einem der Low Church eher zugeneigten Mann. Und in der Auseinandersetzung jener beiden theologischen Strömungen – eben der Low Church, also eher protestantischer Natur, und der High Church, die die anglikanische Kirche eher sakramental und damit katholischer geprägt sehen wollte – kann Trollope die grundsätzliche Auseinandersetzung zwischen Konservativen und Liberalen in England zur Mitte des 19. Jahrhunderts anschaulich machen. Und er kann sich über das Ziehen und Zerren um Traditionen und die durch Traditionen geschützten Pfründe der Beteiligten – also recht weltlichen Wohlstand und vor allem Macht – trefflich lustig machen. Ohne dabei selbst eine Haltung beziehen und verteidigen zu müssen.
Trollope ist, anders als bspw. Elizabeth Gaskell oder Thomas Hardy, auch Dickens, kein sozialkritischer Beobachter seiner Zeit. Trollope ist ein bürgerlicher Schriftsteller, seine Protagonisten entstammen eben diesem Bürgertum, oft auch der Upper Class, und seine Beobachtungen sind auch da am genauesten, wo er genau diese Menschen beschreibt. In der Art, wie er sie auftreten und wie er sie agieren lässt. Allerdings sieht der Autor durchaus die Zeichen seiner Zeit und man kann seine Romane schon als – eben bürgerliche – Gesellschaftskritik lesen. Kaum ein Autor seiner Zeit sieht so genau, inwiefern Geld und Macht sich bedingen und daß er ausgerechnet kirchliche Themen nutzt, hat auch mit der spezifischen Struktur der anglikanischen Kirche zu tun, deren Wohl und Wehe stark von weltlichen Entscheidungen abhängt. So kommen in den beschriebenen Konflikten Politik und Kirche als ausgesprochen starke gesellschaftliche Institution zur Deckung.
Was neben dem Humor, der Ironie, zudem besonders modern heraussticht, ist Trollopes Erzählstil. Sein Erzähler – der namenlos bleibt, dessen Hintergrund nie genauer erläutert wird, der aber viel vom Beobachten und vom Schreiben versteht – tritt immer wieder direkt an den Leser heran, teilt ihm seine persönlichen Ansichten mit, weist deutlich darauf hin, wo sie sich von den „objektiven“ Ansichten, womit zumeist gesellschaftlich sanktionierte gemeint sind, unterscheiden und gibt hier und da preis, daß er bei einigen der beschriebenen Situationen und Begebenheiten zugegen gewesen ist. Dies kollidiert dann allerdings mit seiner oftmals wirklich auktorialen Position, die es ihm erlaubt, in die Köpfe aller Beteiligten zu blicken und uns auch an Momenten teilhaben zu lassen, in denen sich nur zwei Personen gegenüberstehen.
So bleibt die Erzählerposition prekär, daß hier der Autor Trollope direkt zum Leser spricht, deutet sich an, denn nur er kann als wahrlich „göttlicher“ Erzähler fungieren. Zugleich unterläuft er diese Annahme, indem er – darauf weist Doris Feldmann in ihrem ausgesprochen informativen Nachwort deutlich hin – in Mr. Harding eine Figur installiert, die die teils auch moralisch geprägten Anmerkungen des Erzählers konterkarieren und ihn als strenge Instanz ausweisen, während Harding zwar naiv sein mag, doch immer, in allen, auch ihm zuwiderlaufenden, Situationen menschenfreundlich bleibt und auch seinen erklärten Feinden (also jene, die sich zu seinen Feinden erklärt haben) freundlich gesinnt bleibt. Er ist ein Korrektiv zur Erzählung (des Erzählers) selbst, der zugleich eine zwar passive, jedoch ausgesprochen wichtige Rolle im Gesamtkonstrukt des Romans spielt. In ihm kommt vielleicht Trollopes Sehnsucht nach einem Humanismus zum Ausdruck, den sich die aktiv Handlenden des Romans nicht leisten zu können meinen.
Ähnlich verhält es sich mit den Erklärungen des Erzählers zum Roman und dem Verfassen längerer Texte. Daß Trollope seinen Erzähler überhaupt auf eine Metaebene treten lässt, wo dieser sich – am stärksten ausgeprägt ist dies sicher am Ende des Romans, wenn wir mitgeteilt bekommen, welche Schwierigkeiten das Verfassen eines ebensolchen macht – nicht nur seine Gedanken zum Schreiben generell macht, sondern etwaige Schwächen des Romans als Gattung reflektiert und selbstkritisch darüber sinniert, inwiefern dieser dann überhaupt Realität abbilden kann, zeugt von einem äußerst modernen Stil (manche würden vielleicht schon von postmodernem Stil sprechen, da im Grund echte, wenn auch ironisch verpackte, Gattungsreflektion und -kritik stattfindet).
BARCHESTER TOWERS gilt heute als einer der großen Romane der englischen Literatur des 19. Jahrhunderts, die an großen Romanen nun wahrlich nicht arm ist. Und nach wie vor ist es ein höchst vergnüglicher, gut lesbarer Roman, der vor allem unterhält, wer sich für die englische Provinz, die englische Politik und die englische Gesellschaft des Viktorianismus interessiert. Man sollte sich ein paar Kenntnisse der politischen Umwälzungen der ersten Hälfte des 19. Jahrhunderts in England aneignen, man sollte zumindest rudimentäre Kenntnisse davon besitzen, was High Church und was Low Church innerhalb der anglikanischen Kirche für Bedeutungen hatten und man sollte verstehen, daß dies auch und vor allem ein Unterhaltungsroman war, der sich heutzutage komplett anders liest, als zur Zeit seines Erscheinens. Doch kann man anhand eines Romans wie diesem auch begreifen, daß neben dem unvermeidlichen Charles Dickens, neben Thomas Hardy, George Eliot, Jane Austen, den Schwestern Brontë und all den britischen Schriftstellern, die zum Glanz der englischen Literatur beigetragen haben, auch Anthony Trollope zu den Großen in diesem Reigen gehört und es verdient hätte, mehr übersetzt und mehr gelesen zu werden.
Da Trollope zunächst auf das Personal des Vorgängers zurückgreift, könnte man BARCHESTER TOWERS für einen direkten Anschlußband halten, jedoch erzählt der Autor hier doch in weit ausholender Manier eine eigenständige Geschichte von den Ereignissen in der Stadt, die eine fiktionalisierte Version Winchesters ist. Der Leser spürt, daß der Autor sich mittlerweile besser in seinem Universum auskennt, er arbeitet die gesellschaftlichen Strukturen deutlicher heraus, gibt uns mehr Details über die Stadt und das Umland und führt eine viel größere Anzahl von Figuren in die Handlung ein als im doch deutlich schmaleren ersten Band der Chronicles. So lernen wir diesmal nicht nur die Menschen aus der unmittelbaren Umgebung des ein wenig naiven, doch rechtschaffenen Septimus Harding, dem nun ehemaligen Vorsteher des Spitals der Stadt, kennen, sondern auch führende Mitglieder der Oberschicht und sogar des Adels, die die Stadt prägen und beherrschen. Der Kreis der Figuren geht nun deutlich über den der kirchlichen Würdenträger des ersten Bands hinaus.
Die Handlung ist schnell wiedergegeben: Der alte Bischof – Hardings Freund und zugleich Vater eines seiner Schwiegersöhne, des Erzdiakons Grantly – ist tot. Da sein Ableben in eine Zeit politischer wie gesellschaftlicher Umwälzungen fällt, sieht die Stadt, allen voran der Erzdiakon selbst, mit bangem Interesse dem neu zu bestimmenden Nachfolger entgegen. Als der benannt ist, stellt sich bald heraus, daß es kaum dieser selbst sein wird, der die Amtsgeschäfte führt, sondern hinter den Kulissen ein Kampf zwischen seiner Gattin und dem Kaplan Slope tobt, die beide ihren Einfluß auf den Bischof zu erweitern suchen. Daraus resultiert ein regelrechter Krieg um Ämter, Posten und die Herzen der entscheidenden Beteiligten – oder besser gesagt derer, die für entscheidend gehalten werden. Denn Hardings jüngere Tochter, mittlerweile verwitwet, steht mit ihrem Ansehen, mehr noch aufgrund ihres guten Jahreseinkommens, recht hoch auf der Liste der noch oder neu zu vergebenden Damen der Stadt. Und nichts würde Erzdiakon Grantly mehr ärgern, als die Vermählung seiner Schwägerin mit dem windigen Slope, der offenkundig um sie wirbt und dem sie – in Grantlys Augen zumindest – viel zu viel Aufmerksamkeit widmet.
Es entsteht ein vielschichtiges Spiel aus Intrigen, Gerüchten und Tratsch, welches zu immer komplizierteren Verwicklungen der verschiedenen Parteien führt, zu Brüchen und Wiedervereinigungen zwischen Freunden, gar Familienmitgliedern, zu tiefen Verletzungen und echter Rachsucht bei mindestens einem Beteiligten. Doch ist es weniger dieser Haupthandlungsstrang, der das Buch so interessant und lesenswert macht, sondern die vielen, vielen Nebenhandlungen und Nebenfiguren sind es, die den eigentlichen Reiz der Lektüre ausmachen. Allen voran ist es die Familie Stanhope, deren Oberhaupt zwar eine Pfründe in der Umgebung von Barchester innehat, mit den seinen aber ganzjährig in Italien lebt und sich somit einen entsprechenden Ruf eingehandelt hat. Die Stanhopes sind nun aber gezwungen, nach Barchester zurückzukehren, da die Anwesenheit des Pfarrers zur Stärkung der jeweiligen Fronten gefragt ist. In seinem Gefolge treten auch Bernie, sein Sohn, ein Tunichtgut, der gern das Geld anderer Leute ausgibt und seines Zeichens als Künstler – Bildhauer – durchs Leben geht, und die Tochter Madeline Neroni auf. Letztere ist sicherlich der dem Leser am deutlichsten in Erinnerung bleibende Charakter dieses literarischen Reigens.
Einst mit dem Grafen Neroni verheiratet, der sie derart mißhandelt hat, daß sie aufgrund einer Paralyse ihrer Beine nicht mehr laufen kann, hat sich die außergewöhnlich schöne Frau darauf verlegt, ihre Umwelt einerseits mit ihrem Aussehen und ihrem zweifellos vorhandenen Charme zu becircen, zugleich aber auch ohne Rücksicht auf Etikette, Anstand oder Verhaltensregeln nach Strich und Faden ihrem Spott auszusetzen und, wenn möglich, zu ihrem persönlichen Vergnügen etliche Intrigen zu spinnen. Sie macht die Männer verliebt, spielt sie gegeneinander aus, verrät ihre Geheimnisse und konfrontiert sie nur allzu gern mit allerlei Wahrheiten, die jene nur ungern hören wollen. Madeline Neroni ist außerordentlich klug, versteht sehr viel von der menschlichen Seele und der Psyche und fast genauso viel von den Herzen der Menschen. Und das obwohl der Erzähler dem Leser mehrfach versichert, daß die ganze Stanhope-Sippe schlicht kein Herz habe. Niemand von ihnen. Sie sind, auch dies wird explizit erwähnt, nicht böse, auch nicht verschlagen oder hinterhältig, sondern schlicht frei von jeglicher Empathie. Das macht sie vielleicht unsympathisch aber ausgesprochen interessant.
Seinerzeit war Madeline Neroni eine Skandalfigur und es lässt sich gerade an ihr herrlich ablesen, wie die Rezeption von Literatur sich im Laufe der Zeiten ändert. Wo Trollope sie eben auch als Skandalfigur anlegt, eine Gestalt, die Unruhe, gelegentlich sogar Chaos in die Kreise der besseren Gesellschaft Barchesters bringt – und dies zu einer Zeit, in der die bessere Gesellschaft sowieso schon in Aufruhr ist ob all der politischen Umwälzungen – wird sie dem modernen Leser zu einem Anker des Gegenwärtigen im doch fernen 19. Jahrhundert des englischen Viktorianismus. Denn eine solche Figur heute gelesen, ist nicht nur ausgesprochen witzig, sondern vor allem sehr, sehr emanzipiert. Dieser Frau macht keiner und keine etwas vor und sie ist furchtlos in ihrer Bereitschaft, die meisten Menschen mit dem, was sie wahrnimmt, auch zu konfrontieren. Trollope braucht sie gerade mit dieser Charaktereigenschaft allerdings auch, denn nur durch sie und ihre vermeintliche Weisheit gelingt es, den Roman nach fast 870 Seiten zu einem befriedigenden Ende zu bringen. Und das meint in diesem Fall ein Happyend. Es bedeutet allerdings auch, daß der Erzähler seine eigenen Andeutungen hinsichtlich des Charakters der Dame in Frage stellen muß, denn sie beschließt, das in ihren Augen richtige zu tun, woraus ein durchaus intakter moralischer Kompass abzuleiten ist.
Trollope nutzt – stärker noch als in THE WARDEN – das Spiel um die Kirchenämter – im Laufe der Handlung müssen auch etliche Pfarrstellen, Vikar- und Kaplanposten und schließlich auch noch die des Diakons neu ausgeschrieben und bestellt werden – als Parabel auf die zeitgenössische Politik und ihre Auswüchse auf die gehobenen Kreise der Gesellschaft. Es ist ein Spiel von konservativen und (markt)liberalen Kreisen, das ununterbrochen im Hintergrund auf der großen Bühne nationaler Politik, also in London, spielt, dessen Auswirkungen aber in Barchester deutlich zu spüren sind, nicht zuletzt durch die Besetzung des Bischofssitzes mit einem der Low Church eher zugeneigten Mann. Und in der Auseinandersetzung jener beiden theologischen Strömungen – eben der Low Church, also eher protestantischer Natur, und der High Church, die die anglikanische Kirche eher sakramental und damit katholischer geprägt sehen wollte – kann Trollope die grundsätzliche Auseinandersetzung zwischen Konservativen und Liberalen in England zur Mitte des 19. Jahrhunderts anschaulich machen. Und er kann sich über das Ziehen und Zerren um Traditionen und die durch Traditionen geschützten Pfründe der Beteiligten – also recht weltlichen Wohlstand und vor allem Macht – trefflich lustig machen. Ohne dabei selbst eine Haltung beziehen und verteidigen zu müssen.
Trollope ist, anders als bspw. Elizabeth Gaskell oder Thomas Hardy, auch Dickens, kein sozialkritischer Beobachter seiner Zeit. Trollope ist ein bürgerlicher Schriftsteller, seine Protagonisten entstammen eben diesem Bürgertum, oft auch der Upper Class, und seine Beobachtungen sind auch da am genauesten, wo er genau diese Menschen beschreibt. In der Art, wie er sie auftreten und wie er sie agieren lässt. Allerdings sieht der Autor durchaus die Zeichen seiner Zeit und man kann seine Romane schon als – eben bürgerliche – Gesellschaftskritik lesen. Kaum ein Autor seiner Zeit sieht so genau, inwiefern Geld und Macht sich bedingen und daß er ausgerechnet kirchliche Themen nutzt, hat auch mit der spezifischen Struktur der anglikanischen Kirche zu tun, deren Wohl und Wehe stark von weltlichen Entscheidungen abhängt. So kommen in den beschriebenen Konflikten Politik und Kirche als ausgesprochen starke gesellschaftliche Institution zur Deckung.
Was neben dem Humor, der Ironie, zudem besonders modern heraussticht, ist Trollopes Erzählstil. Sein Erzähler – der namenlos bleibt, dessen Hintergrund nie genauer erläutert wird, der aber viel vom Beobachten und vom Schreiben versteht – tritt immer wieder direkt an den Leser heran, teilt ihm seine persönlichen Ansichten mit, weist deutlich darauf hin, wo sie sich von den „objektiven“ Ansichten, womit zumeist gesellschaftlich sanktionierte gemeint sind, unterscheiden und gibt hier und da preis, daß er bei einigen der beschriebenen Situationen und Begebenheiten zugegen gewesen ist. Dies kollidiert dann allerdings mit seiner oftmals wirklich auktorialen Position, die es ihm erlaubt, in die Köpfe aller Beteiligten zu blicken und uns auch an Momenten teilhaben zu lassen, in denen sich nur zwei Personen gegenüberstehen.
So bleibt die Erzählerposition prekär, daß hier der Autor Trollope direkt zum Leser spricht, deutet sich an, denn nur er kann als wahrlich „göttlicher“ Erzähler fungieren. Zugleich unterläuft er diese Annahme, indem er – darauf weist Doris Feldmann in ihrem ausgesprochen informativen Nachwort deutlich hin – in Mr. Harding eine Figur installiert, die die teils auch moralisch geprägten Anmerkungen des Erzählers konterkarieren und ihn als strenge Instanz ausweisen, während Harding zwar naiv sein mag, doch immer, in allen, auch ihm zuwiderlaufenden, Situationen menschenfreundlich bleibt und auch seinen erklärten Feinden (also jene, die sich zu seinen Feinden erklärt haben) freundlich gesinnt bleibt. Er ist ein Korrektiv zur Erzählung (des Erzählers) selbst, der zugleich eine zwar passive, jedoch ausgesprochen wichtige Rolle im Gesamtkonstrukt des Romans spielt. In ihm kommt vielleicht Trollopes Sehnsucht nach einem Humanismus zum Ausdruck, den sich die aktiv Handlenden des Romans nicht leisten zu können meinen.
Ähnlich verhält es sich mit den Erklärungen des Erzählers zum Roman und dem Verfassen längerer Texte. Daß Trollope seinen Erzähler überhaupt auf eine Metaebene treten lässt, wo dieser sich – am stärksten ausgeprägt ist dies sicher am Ende des Romans, wenn wir mitgeteilt bekommen, welche Schwierigkeiten das Verfassen eines ebensolchen macht – nicht nur seine Gedanken zum Schreiben generell macht, sondern etwaige Schwächen des Romans als Gattung reflektiert und selbstkritisch darüber sinniert, inwiefern dieser dann überhaupt Realität abbilden kann, zeugt von einem äußerst modernen Stil (manche würden vielleicht schon von postmodernem Stil sprechen, da im Grund echte, wenn auch ironisch verpackte, Gattungsreflektion und -kritik stattfindet).
BARCHESTER TOWERS gilt heute als einer der großen Romane der englischen Literatur des 19. Jahrhunderts, die an großen Romanen nun wahrlich nicht arm ist. Und nach wie vor ist es ein höchst vergnüglicher, gut lesbarer Roman, der vor allem unterhält, wer sich für die englische Provinz, die englische Politik und die englische Gesellschaft des Viktorianismus interessiert. Man sollte sich ein paar Kenntnisse der politischen Umwälzungen der ersten Hälfte des 19. Jahrhunderts in England aneignen, man sollte zumindest rudimentäre Kenntnisse davon besitzen, was High Church und was Low Church innerhalb der anglikanischen Kirche für Bedeutungen hatten und man sollte verstehen, daß dies auch und vor allem ein Unterhaltungsroman war, der sich heutzutage komplett anders liest, als zur Zeit seines Erscheinens. Doch kann man anhand eines Romans wie diesem auch begreifen, daß neben dem unvermeidlichen Charles Dickens, neben Thomas Hardy, George Eliot, Jane Austen, den Schwestern Brontë und all den britischen Schriftstellern, die zum Glanz der englischen Literatur beigetragen haben, auch Anthony Trollope zu den Großen in diesem Reigen gehört und es verdient hätte, mehr übersetzt und mehr gelesen zu werden.
December 5, 2024
Dato alle stampe nel 1857 dallo scrittore Anthony Trollope [1815-1887], questo romanzo è il secondo episodio del ciclo di romanzi denominato “Cronache del Barsetshire” nel quale l’autore affronta con originalità e arguzia tematiche politiche e sociali nell’Inghilterra dell’epoca. Dopo il timido esordio con “L’Amministratore” che introduce il lettore nell’ambiente dell’immaginaria regione del Barset e mi ha fatto conoscere i protagonisti che ho ritrovato anche in questo secondo volume come l’arrogante arcidiacono Grantly, il modesto e buon reverendo Harding e la sua bella e orgogliosa figlia Eleanor, in questo secondo volume, grazie anche alla presenza di personaggi capaci di calamitare l’attenzione del lettore come l’intrigante e arrogante cappellano Slope e Madeline Stanhope donna fatale e incantatrice d’uomini ma soprattutto di una indiscutibile maestria narrativa e all’abilità di tenere sempre alta la tensione del racconto, Anthony Trollope si manifesta come un grande scrittore e intrattenitore scrivendo un romanzo indimenticabile nella trama, avvincente nello svolgimento e nella capacità di sbrogliare ad uno ad uno tutti i nodi che la sua trama crea nella prima parte dell’opera.
March 27, 2023
This is the second volume in the Barsetshire Chronicles by Anthony Trollope. As compared to the first book, this is more humorous, more satirical and more people centric. Some lines were very funny. Trollope is a keen observer of the absurdities and little foibles of human nature. There is an inherent simplicity in this writing that gives the books a more comforting and a “friendly” feeling. There are again some topics related to Church politics that I would have been clueless against had it not been for the helpful endnotes.
The book starts a few years after the end of the events of The Warden. The current Bishop of Barchester, the old Dr Grantly dies, leaving a vacancy in the seat of power at the Barchester diocese. This is filled by the new bishop, the hen-pecked Dr Proudie who is a proxy bishop for his wife Mrs Proudie, and his puppeteer, his chaplain Mr Slope. Thus, we are introduced with an interesting new cast of characters and observe that this new preferment has divided the clergy of Barchester into two factions. Thus, we have internecine battles, comedy of errors, some tragedy of errors, and a struggle for power. But all this is in a very light tone.
Dr Grantly was going to fight because he found that he hated the man. Mr Slope had predetermined to hate the man, because he foresaw the necessity of fighting him.
There are many parallel plots as well. We also follow the misunderstandings and miscommunications around our sharp-willed and headstrong heroine, Mrs. Bold. We also are acquainted with the family of Standhopes and Thornes. (The chapter introducing the Standhopes was very funny).
The best part of the novel is the way in which the author is having a conversation with his readers. He is not only the creator here, the one who is creating and telling the story. But is one of us and is enjoying with us. He is involved with his creations, like all authors are, but in this case, it comes across wonderfully. There were some lovely quotes and observations in the book.
He ventures to reprobate that system which goes so far to violate all proper confidence between the author and his readers, by maintaining nearly to the end of the third volume a mystery as to the fate of their favourite personage. Nay, more, and worse than this is too frequently done. Have not often the profoundest efforts of genius been used to baffle the aspirations of the reader, to raise false hopes and false fears, and to give rise to expectations which are never to be realized? Are not promises all but made of delightful horrors, in lieu of which the writer produces nothing but most commonplace realities in his final chapter? And is there not a species of deceit in this to which the honesty of the present age should lend no countenance?
How often does the novelist feel, ay, and the historian also and the biographer, that he has conceived within his mind and accurately depicted on the tablet of his brain the full character and personage of a man, and that nevertheless, when he flies to pen and ink to perpetuate the portrait, his words forsake, elude, disappoint, and play the deuce with him, till at the end of a dozen pages the man described has no more resemblance to the man conceived than the signboard at the corner of the street has to the Duke of Cambridge?
It often is so felt; but we are inclined to say that it never produces half the discomfort or half the feeling of implied inferiority that is shown by a great man who desires his visitor to be seated while he himself speaks from his legs.
Such a solecism in good breeding, when construed into English, means this: 'The accepted rules of courtesy in the world require that I should offer you a seat; if I did not do so, you would bring a charge against me in the world of being arrogant and ill-mannered; I will obey the world; but, nevertheless, I will not put myself on an equality with you. You may sit down, but I won't sit with you. Sit, therefore, at my bidding, and I'll stand and talk at you!'
The book starts a few years after the end of the events of The Warden. The current Bishop of Barchester, the old Dr Grantly dies, leaving a vacancy in the seat of power at the Barchester diocese. This is filled by the new bishop, the hen-pecked Dr Proudie who is a proxy bishop for his wife Mrs Proudie, and his puppeteer, his chaplain Mr Slope. Thus, we are introduced with an interesting new cast of characters and observe that this new preferment has divided the clergy of Barchester into two factions. Thus, we have internecine battles, comedy of errors, some tragedy of errors, and a struggle for power. But all this is in a very light tone.
Dr Grantly was going to fight because he found that he hated the man. Mr Slope had predetermined to hate the man, because he foresaw the necessity of fighting him.
There are many parallel plots as well. We also follow the misunderstandings and miscommunications around our sharp-willed and headstrong heroine, Mrs. Bold. We also are acquainted with the family of Standhopes and Thornes. (The chapter introducing the Standhopes was very funny).
The best part of the novel is the way in which the author is having a conversation with his readers. He is not only the creator here, the one who is creating and telling the story. But is one of us and is enjoying with us. He is involved with his creations, like all authors are, but in this case, it comes across wonderfully. There were some lovely quotes and observations in the book.
He ventures to reprobate that system which goes so far to violate all proper confidence between the author and his readers, by maintaining nearly to the end of the third volume a mystery as to the fate of their favourite personage. Nay, more, and worse than this is too frequently done. Have not often the profoundest efforts of genius been used to baffle the aspirations of the reader, to raise false hopes and false fears, and to give rise to expectations which are never to be realized? Are not promises all but made of delightful horrors, in lieu of which the writer produces nothing but most commonplace realities in his final chapter? And is there not a species of deceit in this to which the honesty of the present age should lend no countenance?
How often does the novelist feel, ay, and the historian also and the biographer, that he has conceived within his mind and accurately depicted on the tablet of his brain the full character and personage of a man, and that nevertheless, when he flies to pen and ink to perpetuate the portrait, his words forsake, elude, disappoint, and play the deuce with him, till at the end of a dozen pages the man described has no more resemblance to the man conceived than the signboard at the corner of the street has to the Duke of Cambridge?
It often is so felt; but we are inclined to say that it never produces half the discomfort or half the feeling of implied inferiority that is shown by a great man who desires his visitor to be seated while he himself speaks from his legs.
Such a solecism in good breeding, when construed into English, means this: 'The accepted rules of courtesy in the world require that I should offer you a seat; if I did not do so, you would bring a charge against me in the world of being arrogant and ill-mannered; I will obey the world; but, nevertheless, I will not put myself on an equality with you. You may sit down, but I won't sit with you. Sit, therefore, at my bidding, and I'll stand and talk at you!'
March 26, 2021
After reading The Warden I couldn’t wait to find out what Anthony Trollope had in store for Mr. Harding and everyone else living in Barchester. What I found in Barchester Towers was another wonderfully written and humorous tome. This second in the series picks up the previous storyline but we are saddened to learn of the impending death of Mr. Harding’s friend and mentor, the Bishop of Barchester. Thus, right from the start of the novel, we are swept up into a world of church hierarchy and ladder climbing by those who wish to move up to higher positions. We are also thrust into a war of factions where the newer ideas from the more liberal side are contested against keeping the status quo and preserving the traditions on the conservative side. Thus, through Trollope’s wit and humor he creates tension and intrigue among the new characters that inhabit this quaint Victorian village.
I am sold on Trollope’s writing and the way he constructs his characters so vividly. There are many, many different characters introduced here with a plethora of personalities and idiosyncrasies to enjoy. Some of the most despicable and conniving characters enable the reader to sit back and watch the story unfold as their next biggest scheme and plot is fleshed out. And then there are some of the nicest and peaceable characters who truly want to do what is right. As I said, Trollope’s humor is quite infectious and leaves you rolling on the floor in some instances and growling at the audacity of others. Surprisingly, one might think this a modern story with all of the plotting and scheming and backstabbing but no, Trollope penned this in 1857. His prose is perfectly entertaining and easy to read while the plot is quite engaging and viable. I loved it and am in awe of Trollope’s ability to comprehend the human nature of individuals that stands the test of time.
I am sold on Trollope’s writing and the way he constructs his characters so vividly. There are many, many different characters introduced here with a plethora of personalities and idiosyncrasies to enjoy. Some of the most despicable and conniving characters enable the reader to sit back and watch the story unfold as their next biggest scheme and plot is fleshed out. And then there are some of the nicest and peaceable characters who truly want to do what is right. As I said, Trollope’s humor is quite infectious and leaves you rolling on the floor in some instances and growling at the audacity of others. Surprisingly, one might think this a modern story with all of the plotting and scheming and backstabbing but no, Trollope penned this in 1857. His prose is perfectly entertaining and easy to read while the plot is quite engaging and viable. I loved it and am in awe of Trollope’s ability to comprehend the human nature of individuals that stands the test of time.
June 14, 2020
Πολύ πολύ καλό. Εκκλησιαστικές κόντρες, ακαδημαϊκές έριδες επί των εκκλησιαστικών και οι ήρωες που ξέρουμε ήδη από τον "Επίτροπο". Ένα χορταστικό μείγμα από τον αντίπαλο του Ντίκενς με φόντο την υψηλή κοινωνία και τον κλήρο του Μπαρτσεστερ.
September 10, 2019
Ο Trollope συνεχίζει τον Ο Επίτροπος με τους Πύργους του Μπάρτσεστερ, παρουσιάζοντας αυτή τη φορά κάτι πιο βαθύ και Μεγάλο.
Φαινομενικά, πρόκειται για ένα παιχνίδι-κυνήγι θέσεων εξουσίας. Αρκετοί γνώριμοι ήρωες από τον Επίτροπο επιστρέφουν και με την παρουσία νέων Προσώπων μπλέκονται όλοι μαζί σε έναν Χορό όπου μάχονται για τις πρώτες θέσεις. Κάποιοι από αυτούς είναι στην ορχήστρα και διευθύνον τον χορό, κάποιοι θέλουν να γίνουν ο Μαέστρος για να ελέγξουν την ορχήστρα, άλλοι παραχωρούν την πρώτη θέση οικειοθελώς και άλλοι πηγαίνουν όπου τους παρασύρει ο ρυθμός. Μέσα σε αυτή τη γιορτή, όλοι οι εμπλεκόμενοι αναπόφευκτα, έρχονται σε επαφή μεταξύ τους.
Ο Trollope αρπάζει τη ευκαιρία και μέσα από αυτήν την αλληλεπίδραση εξάγει ολόκληρη την παλέτα των ανθρωπίνων συναισθημάτων και συμπεριφορών. Χαρακτήρες και προσωπικότητες διαμορφώνονται και συστήνονται στον αναγνώστη μέσα από συζυγικές και επαγγελματικές σχέσεις, από πλεκτάνες που σχεδιάζουν οι ήρωες ή από έρωτες που ανθίζουν στα ξαφνικά.
Στον Trollope όμως δεν διακρίνεται μόνο το ταλέντο να δημιουργεί ρεαλιστικούς και πειστικούς χαρακτήρες ή πειστική πλοκή. Διαθέτει και ένα άλλο είδος πειθούς, μία πειθώ αφηγηματικού τύπου...
Πιο πάνω τόνισα την λέξη εξάγει. Επέλεξα να πω εξάγει και όχι εισάγει (από την στιγμή που είναι ο συγγραφέας, αυτός θα έπρεπε να εισάγει ό,τι θέλει και όχι να εξάγει) γιατί όσο διαβάζεις, ο Trollope σε συντροφεύει σαν Συν-αναγνώστης όπου ανακαλύπτει και αυτός μαζί σου για πρώτη φορά το βιβλίο. Πολλές φορές, σχολιάζοντας τις πράξεις των ηρώων του σαν να σχολιάζει ένα άρθρο εφημερίδας, έκοβε τον δεσμό που έχει κάθε συγγραφέας με τους ήρωες του. Χαιρόταν με τις θετικές εξελίξεις και εκνευριζόταν με την συμπεριφορά ορισμένων ηρώων. Με αυτόν τον τρόπο έδινε την ψευδαίσθηση ότι δεν γνωρίζει τους ήρωες του και ότι τους ανακαλύπτει παρέα με τον αναγνώστη προσδίδοντάς τους μια αυθεντικότητα και αληθοφάνεια.
Με άλλα λόγια σου έλεγε: «Κοίτα, δεν μπορεί να είναι δημιουργήματα της φαντασίας μου όλα αυτά. Τώρα τα διαβάζω για πρώτη φορά και μαθαίνω μαζί σου την εξέλιξη.»
Άλλες φορές πάλι καθησύχαζε τον αναγνώστη για την μελλοντική κατάληξη ορισμένων ηρώων χωρίς όμως να μαρτυρεί κάτι για την πλοκή και χωρίς να δείχνει ότι ο ίδιος ξέρει πώς θα φτάσουμε σε αυτό το σημείο.
Είναι σαν ο ίδιος, στον παραπάνω χορό, να αναλαμβάνει για πολύ λίγο τον ρόλο του Μαέστρου, να αλλάζει τον ρυθμό της ορχήστρας, και στην συνέχεια να την δίνει εντολή να αυτοσχεδιάσει πάνω σε αυτό το μέτρο ενώ ο ίδιος πιάνεται ξανά στον χορό περιμένοντας με ανυπομονησία τι θα παίξει η ορχήστρα για να χορέψει.
Τέλος, δεν γίνεται να μην αναφερθώ στο εξής:
Υπάρχουν κάποια βιβλία όπου μπορεί μετά από χρόνια να έχεις ξεχάσει την εξέλιξη της πλοκής ή τα δευτερεύων θέματα που έθιγαν, θυμάσαι όμως τον Κακό τους. Έχεις μια λίστα με αυτούς τους Αντι-ήρωες και ενώ σε όλη την διάρκεια της ανάγνωσης τους καταριόσουν, τώρα τους θαυμάζεις -ενδόμυχα- ακριβώς για αυτό, δηλαδή για το πόσο Κακοί και Μοχθηροί ήταν.
Η Λίστα μου με το παρόν βιβλίο μάκρυνε ;)
Προτείνω σε όσους σκέφτονται να το δώσουν μια ευκαιρία, να δοκιμάσουν πρώτα το Ο Επίτροπος για να γνωριστούν με τον Trollope και ύστερα να συνεχίσουν με αυτό.
Όσοι ξεκινήσουν απευθείας με αυτό, να του δώσουν λίγο χρόνο καθώς δεν εντυπωσιάζει από την πρώτη σελίδα. Η Μαεστρία του Trollope φαίνεται αθροιστικά αφού προχωρήσει η πλοκή. Χρειάζεται χρόνος για να γνωριστείς μαζί του και για να τον εκτιμήσεις.
Φαινομενικά, πρόκειται για ένα παιχνίδι-κυνήγι θέσεων εξουσίας. Αρκετοί γνώριμοι ήρωες από τον Επίτροπο επιστρέφουν και με την παρουσία νέων Προσώπων μπλέκονται όλοι μαζί σε έναν Χορό όπου μάχονται για τις πρώτες θέσεις. Κάποιοι από αυτούς είναι στην ορχήστρα και διευθύνον τον χορό, κάποιοι θέλουν να γίνουν ο Μαέστρος για να ελέγξουν την ορχήστρα, άλλοι παραχωρούν την πρώτη θέση οικειοθελώς και άλλοι πηγαίνουν όπου τους παρασύρει ο ρυθμός. Μέσα σε αυτή τη γιορτή, όλοι οι εμπλεκόμενοι αναπόφευκτα, έρχονται σε επαφή μεταξύ τους.
Ο Trollope αρπάζει τη ευκαιρία και μέσα από αυτήν την αλληλεπίδραση εξάγει ολόκληρη την παλέτα των ανθρωπίνων συναισθημάτων και συμπεριφορών. Χαρακτήρες και προσωπικότητες διαμορφώνονται και συστήνονται στον αναγνώστη μέσα από συζυγικές και επαγγελματικές σχέσεις, από πλεκτάνες που σχεδιάζουν οι ήρωες ή από έρωτες που ανθίζουν στα ξαφνικά.
Στον Trollope όμως δεν διακρίνεται μόνο το ταλέντο να δημιουργεί ρεαλιστικούς και πειστικούς χαρακτήρες ή πειστική πλοκή. Διαθέτει και ένα άλλο είδος πειθούς, μία πειθώ αφηγηματικού τύπου...
Πιο πάνω τόνισα την λέξη εξάγει. Επέλεξα να πω εξάγει και όχι εισάγει (από την στιγμή που είναι ο συγγραφέας, αυτός θα έπρεπε να εισάγει ό,τι θέλει και όχι να εξάγει) γιατί όσο διαβάζεις, ο Trollope σε συντροφεύει σαν Συν-αναγνώστης όπου ανακαλύπτει και αυτός μαζί σου για πρώτη φορά το βιβλίο. Πολλές φορές, σχολιάζοντας τις πράξεις των ηρώων του σαν να σχολιάζει ένα άρθρο εφημερίδας, έκοβε τον δεσμό που έχει κάθε συγγραφέας με τους ήρωες του. Χαιρόταν με τις θετικές εξελίξεις και εκνευριζόταν με την συμπεριφορά ορισμένων ηρώων. Με αυτόν τον τρόπο έδινε την ψευδαίσθηση ότι δεν γνωρίζει τους ήρωες του και ότι τους ανακαλύπτει παρέα με τον αναγνώστη προσδίδοντάς τους μια αυθεντικότητα και αληθοφάνεια.
Με άλλα λόγια σου έλεγε: «Κοίτα, δεν μπορεί να είναι δημιουργήματα της φαντασίας μου όλα αυτά. Τώρα τα διαβάζω για πρώτη φορά και μαθαίνω μαζί σου την εξέλιξη.»
Άλλες φορές πάλι καθησύχαζε τον αναγνώστη για την μελλοντική κατάληξη ορισμένων ηρώων χωρίς όμως να μαρτυρεί κάτι για την πλοκή και χωρίς να δείχνει ότι ο ίδιος ξέρει πώς θα φτάσουμε σε αυτό το σημείο.
Είναι σαν ο ίδιος, στον παραπάνω χορό, να αναλαμβάνει για πολύ λίγο τον ρόλο του Μαέστρου, να αλλάζει τον ρυθμό της ορχήστρας, και στην συνέχεια να την δίνει εντολή να αυτοσχεδιάσει πάνω σε αυτό το μέτρο ενώ ο ίδιος πιάνεται ξανά στον χορό περιμένοντας με ανυπομονησία τι θα παίξει η ορχήστρα για να χορέψει.
Τέλος, δεν γίνεται να μην αναφερθώ στο εξής:
Υπάρχουν κάποια βιβλία όπου μπορεί μετά από χρόνια να έχεις ξεχάσει την εξέλιξη της πλοκής ή τα δευτερεύων θέματα που έθιγαν, θυμάσαι όμως τον Κακό τους. Έχεις μια λίστα με αυτούς τους Αντι-ήρωες και ενώ σε όλη την διάρκεια της ανάγνωσης τους καταριόσουν, τώρα τους θαυμάζεις -ενδόμυχα- ακριβώς για αυτό, δηλαδή για το πόσο Κακοί και Μοχθηροί ήταν.
Η Λίστα μου με το παρόν βιβλίο μάκρυνε ;)
Προτείνω σε όσους σκέφτονται να το δώσουν μια ευκαιρία, να δοκιμάσουν πρώτα το Ο Επίτροπος για να γνωριστούν με τον Trollope και ύστερα να συνεχίσουν με αυτό.
Όσοι ξεκινήσουν απευθείας με αυτό, να του δώσουν λίγο χρόνο καθώς δεν εντυπωσιάζει από την πρώτη σελίδα. Η Μαεστρία του Trollope φαίνεται αθροιστικά αφού προχωρήσει η πλοκή. Χρειάζεται χρόνος για να γνωριστείς μαζί του και για να τον εκτιμήσεις.
September 26, 2021
In this second installment of the Chronicles of Barsetshire we once again find ourselves immersed into the stormy ocean of clerical intrigues in 19th century England, but thrice deeper and for thrice longer than in "The Warden".
Imagine Alexander Dumas confined to the realms of Anglican church and limited to the settings of deanery and parsonage -- then Barchester Town would be his Three Musketeers: clerical passions rage over comfortable livings and powerful positions, clash over the burning matter of High Church rituals versus Evangelical alternatives; evil chaplains, coward bishops and their power-hungry wives plot against kind precentors, bold archdeacons, thoughtful vicars and charming widows.
In spite of the entertaining intrigue and plentiful satire, I personally couldn't get rid of the sense of being caught in a petty storm in a Barchester teacup.
Nevertheless, the three delightfully ungodly Stanhope siblings deserve a special mention for providing some welcome relief.
So, once again, a moderately entertaining but not engrossing time travel into the world of English clerical intrigue.
P.S. Characters' names also deserve an honorary mention, especially of those belonging to medical profession: there's Doctor Bumpwell, my personal favorite Doctor Omicron Pie (aka the two neighboring letters of the Greek alphabeth), but nothing beats the proud sobriquet of Doctor Filgrave. Practically all the other characters' names also encode the author's attitude to the character.
Imagine Alexander Dumas confined to the realms of Anglican church and limited to the settings of deanery and parsonage -- then Barchester Town would be his Three Musketeers: clerical passions rage over comfortable livings and powerful positions, clash over the burning matter of High Church rituals versus Evangelical alternatives; evil chaplains, coward bishops and their power-hungry wives plot against kind precentors, bold archdeacons, thoughtful vicars and charming widows.
In spite of the entertaining intrigue and plentiful satire, I personally couldn't get rid of the sense of being caught in a petty storm in a Barchester teacup.
Nevertheless, the three delightfully ungodly Stanhope siblings deserve a special mention for providing some welcome relief.
So, once again, a moderately entertaining but not engrossing time travel into the world of English clerical intrigue.
P.S. Characters' names also deserve an honorary mention, especially of those belonging to medical profession: there's Doctor Bumpwell, my personal favorite Doctor Omicron Pie (aka the two neighboring letters of the Greek alphabeth), but nothing beats the proud sobriquet of Doctor Filgrave. Practically all the other characters' names also encode the author's attitude to the character.
March 20, 2007
With this, his fifth novel, and second in the Barsetshire series, Trollope hits his stride. This is Trollope at his best. It is the favorite novel of many Trollope nuts, and certainly one of my favorites. If you read the Barsetshire novels in order (as I recommend you do), you will start with The Warden, a much inferior novel (but fortunately one of Trollope's shortest), but when you get to Barchester Towers, it will all have been worth it.
June 28, 2022
Excelente, una maravilla.
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