A Poem for the Day: "A Thunderstorm in Town" By Thomas Hardy

I just returned from a nearly week-long business trip to Arizona.  I had the opportunity to spend some quality time with my elderly parents at their house, some twenty-five miles south of Tucson, Arizona.  We had some wonderful late-summer monsoon storm events with loads of thunder, lightning, and rain; and it reminded me of this wonderful short poem written by Thomas Hardy.

One of Thomas Hardy's best female friends was Mrs. Florence Henniker.  Mrs. Henniker (1855-1923) was married to the Honorable Arthur Henry Henniker, who rose to the rank of General in the British Army and fought in the Boer War.  It is abundantly clear that Hardy fell in love with her, but it was not returned.  They did collaborate on a short story together, and remained great friends for thirty years until her death in 1923 of heart failure, five years before Hardy's own death.

This short, two-stanza, poem seems to sum up Hardy's unrequited love for this beautiful and intellectually intriguing woman--

A Thunderstorm in Town
(A Reminiscence: 1893)

She wore a new 'terra-cotta' dress,
And we stayed, because of the pelting storm,
Within the hansom's dry recess,
Though the horse had stopped; yea, motionless
We sat on, snug and warm.

Then the downpour ceased, to my sharp sad pain,
And the glass that had screened our forms before
Flew up, and out she sprang to her door:
I should have kissed her if the rain
Had lasted a minute more.

***

I was immediately struck with what an interesting memory this is of one little fleeting emotional event that occurred within the first year of their meeting one another.  Also, it seems that Mrs. Henniker never knew of Hardy's initial romantic passion for her.  Apparently, he never pressed the issue further.  It is thought that his poem A Broken Appointment also dealt with his feelings for Florence Henniker  (i.e., No. 99, in Thomas Hardy: The Complete Poems, edited by James Gibson, Palgrave, 2001).  'Click' on her photograph for a slightly larger view.

Short Story Review: "The Romantic Adventures of a Milkmaid" By Thomas Hardy

What I am doing here is a first for me on ProSe.  Normally, I review books I've completed reading, including collections of short stories.  In this case, I really want to share my observations and thoughts about one short story in particular from a collection of Thomas Hardy's stories entitled The Withered Arm and Other Stories (Edited by Kristin Brady, Penguin Classics, 1999).  Within this superb collection of stories, written by Hardy between 1874 and 1888, is a truly fascinating tale of near-novella length titled The Romantic Adventures of a Milkmaid.  Hardy wrote this story while living in Wimbourne in Dorset, and it first  appeared in a special 'summer edition' of the 1883 Graphic literary journal.  The story was also simultaneously published in seven installments from June 23rd through August 4th in Harper's Weekly.  I want you to read this story so much that I am also providing a link to an electronic version of the story so that you can download and print it.  Here's the link to The Romantic Adventures of a Milkmaid.  Bear in mind that this on-line version is slightly different than the version I read in the Penguin Classics collection.    The version I've attached is from Hardy's final manuscript for a 1913 collection of his short stories that was published under the title A Changed Man, The Waiting Supper, and Other Tales, Concluding with The Romantic Adventures of a Milkmaid; but the changes he made to the story were relatively minor and more editorial in nature.

While 'Romantic Adventures' may not be Hardy's best short story, it is in my opinion nonetheless vintage Hardy, and very much well-worth reading.  Let me explain why I say that.  First, as expected, Hardy places us firmly in his 'Wessex' landscape; a pastoral place with an emphasis on Nature and the ever-changing seasons, and the country rustics that occupy and work the land.  Second, and while perhaps formulaic, the story utilizes a well-worked literary device--the 'romantic triangle'; and in this tale we have the young and innocent milkmaid and her two potential suitors.  Thirdly, Hardy, in crafting the tale, has cleverly incorporated themes from well-known fairytales like Little Red Riding Hood and Cinderella, and allusions to the ballad James Harris (The Daemon Lover).  Finally, I believe that Hardy uses this story as a bit of  a 'dry-run' in an effort to develop his plotting, character development, and thoughts associated with what was to become one of his major literary achievements-- Tess of the d'Urbervilles (1891).

Without giving away too much of the plot, let me say that 'Romantic Adventures' revolves around the milkmaid, Margaret 'Margery' Tucker; the world-wise, morose, and quasi-Byronic hero, Baron von Xanten; and Margery's beau, the rustic lime kiln operator, James Hayward.  The story opens with Margery, in her pink dress, carrying a basket of fresh butter and walking through the woods on her way to her grandmother's house ('Ah,' you say, you see where this is going, don't you?).  While taking a shortcut, Margery meets the mysterious Baron who has recently occupied a manor house so that he can indulge himself in meditation and trout fishing.  The Baron tells Margery that her interruption at that very moment has averted a great personal crisis (see the original illustration, above), and offers to reward her with a gift or "a treat."  Margery thinks for a moment, and then says that she'd prefer to think on it a while and could she give her answer later?  The Baron says that he will come to see her at dusk outside the stile on the edge of her father's property.  She tells the Baron that her wish is to attend a ball, and that she wants to dance like a lady.  The Baron tells her that he will grant her wish--Margery will get her ball!  I think I shall stop here, but suffice it to say that the tale spins on quite magically from this point forward with significant fairytale-like qualities.

Kristin Brady, in her insightful Introduction to the collection, says of 'Romantic Adventures' that the story

"...shows how a rural milkmaid might make a 'demi-god' of a suitor above her in class, while he might see her equally falsely, as a figure of pastoral simplicity and naturalness."

Hmm, does this comment bring to mind elements of another Hardy plot?  How about the situation of 'Tess Durbeyfield' and 'Angel Clare' in Tess of the d'Urbervilles?  Throughout this compelling little novella I found all sorts of images, bits of dialog and description, including geography, that all seem to point to and anticipate the later 'Tess.'

Interestingly, 'Romantic Adventures' is not so much a story of romantic love, as no one really 'falls in love' with anyone else.  It is all about the 'fantasy' or 'desire' of romantic love that each of the characters fosters in his or her mind.  Jim believes himself to be in love with Margery whom he has intended to marry for several years.  Margery is more than intrigued with the notion of the Baron loving her and traveling the world with him on his yacht.  In my opinion, the Baron is perhaps the most complicated and enigmatic character of all.  It is not at all clear what his real intentions are until the very end of the story.  In some instances, the Baron seems predatorial like the 'Wolf,' and in others he is truly Margery's 'Prince Charming,' and in still others he is making 'Mephistophelian' bargains with both Jim and Margery.  Clearly, the Baron has enchanted Margery, and to some degree, holds young Jim Hayward in his thrall as well.  Conversely, while the Baron is undoubtedly bewitched by the young and innocent milkmaid, he also very much admires and respects the fortitude and constancy of Jim's commitment to Margery.

The ending of the story may be a little, as Hardy would say, "phantastical"; but it is, nonetheless, a satisfying conclusion.  I couldn't put it down once I started reading.  In fact, I was so enamored with the plot and characters, recognizing the links and relationships to 'Tess' and some of Hardy's poetry, that I decided to read it again more carefully and then work up this blog posting for all of you.

If you haven't read 'Tess' yet, this will be an intriguing and enjoyable prelude; if you have, you'll feel clever and enjoy finding glimpses of that later great novel in this story.  There is also an interesting brief discussion of marriage between Margery and Jim that seems to portend the deeply philosophical and intensely emotional discussions between Sue Bridehead and Jude Fawley in Hardy's final novel, Jude the Obscure.  Also, as is typical for Hardy, this story is full of literary allusions to Greek mythology, the Bible, Shakespeare, Tennyson, and as we have discussed above, fairytales and ballads.  If you are a teacher, I should think it would be simply brilliant to have your students read this in conjunction with 'Tess'; or use it on its own, as I'm betting that it will engender significant discussion.  This was a fun and challenging little tale to dig into, and I hope you enjoy it as much as I did.  I'd love to hear your thoughts and comments too.

Review: "Our Mutual Friend" By Charles Dickens

I recently realized that I have, on several occasions,  referred to the "greatness," in my opinion, of Charles Dickens's last completed novel, Our Mutual Friend, but that I have never explained why I believe this to be so.  Therefore, without further ado, my review of what I consider to be Dickens's magnum opus.

In completing Our Mutual Friend, I believe that I may well have read one of the finest books written in the English language.  One could perhaps argue that Austen's prose in her novel Emma is more perfect; but Dickens's plotting and character-development in Our Mutual Friend is bordering on exquisite.  Our Mutual Friend rivals Tolstoy’s War and Peace in breadth, scope, scale, and number of characters; but while War and Peace proceeds forward majestically in a somewhat linear fashion; Our Mutual Friend, like Dickens's “Circumlocution Office” (Little Dorrit) proceeds circuitously, bobbing and weaving, exposing its mysteries and delights, one-by-one, like peeling back the layers of an onion.

In Our Mutual Friend, Dickens plumbs the deep and dark depths of humanity’s soul with the creation and actions of some of fiction’s most horrifying villains.  At the same time Dickens balances the novel’s darkness and depravity as we meet, and fall in love with, some of the kindest, noblest, and most good-natured saints and souls that ever graced the pages of any his novels.  One cannot but be completely taken with little Jenny Wren (“my back is bad, and my legs are queer”), and the beautiful Bella Wilfur and Lizzie Hexam, and kindly Betty Higdon.  One must admire and respect the steadfastness and resolute nature of John Rokesmith, Eugene Wrayburn, and Mortimer Lightwood.  One cannot help but laugh and smile at the comical goodness of Our Mutual Friend’s 'saints':  the Boffins, Mr. Twemlow, “Rumty” Wilfur, and Mr. Riah.  Then there are the multitude in the gray ambiguity between light and dark; the Veneerings, and those of “Podsnappery” like the Lammles.  But it is the grotesque evil of the novel’s villains that makes the good characters shine so bright.  There’s “Weggery”, an awful tasting dose of “Fascination” Fledgeby, all horrifyingly blended with “Rogue” Riderhood and the Dark Prince himself – Bradley Headstone.

From Dickens's pen, Our Mutual Friend falls forth onto the printed pages like the brush strokes on the canvas of the grandest painting of an old master.  Our Mutual Friend depicts the freshness and rawness of human emotions in all of its attendant forms, including: joy and happiness, pain and sorrow, anger and hatred, and love and tenderness.  Like looking too closely at a painting of Hieronymous Bosch, we have an almost macabre fascination as we follow the novel’s characters through life’s stages – life, death, rebirth, and even resurrection.  Primary roles and responsibilities are switched too; with children 'raising' parents, the disadvantaged aiding the advantaged, and the poor enriching the well-off.


In Our Mutual Friend things are never as they appear or ought to be.  On some levels, Our Mutual Friend is the quintessential detective novel or mystery; but it is really more a series of mysteries nested inside a larger mystery.  The reader must pay close attention to the seemingly slightest detail, for all does truly come together in the march to the grand, and most satisfying, conclusion.  Through it all, however, there is one overarching and unifying theme, one thread that connects all–The River Thames.  The Thames is the source of life, of death, of rebirth, and even resurrection; it infects and purifies; it is the source of depravity, horror, hope, and even prosperity.  The river is always there, relentlessly rushing onward, carrying the flotsam and jetsam, and the hopes and desires, of the novel’s characters, and even those of the reader.  All I can say, upon turning the last page with a 'sigh', is that this is a novel for the ages; and one that I shall visit and revisit; setting forth again in my little boat upon the river of Our Mutual Friend.

I awarded this five of five stars, and highly recommend it.  This novel has become a personal favorite of mine, and is right up there with Bleak House and Little Dorrit.  Also, if you enjoy the period drama film adaptations prepared by the BBC, go find yourself the six-hour miniseries done in 1998.  It is very well done!  The photograph I've included is of some of the cast members from this adaptation.

Meme: Teaser Tuesdays

TEASER TUESDAYS asks you to:
- Grab your current read
- Open to a random page
- Share two (2) “teaser” sentences from somewhere on that page
- BE CAREFUL NOT TO INCLUDE SPOILERS! (make sure that what you share doesn’t give too much away! You don’t want to ruin the book for others!)
- Share the title and author, too, so that other TT participants can add the book to their TBR Lists if they like your teasers!

My teaser is:

"Some women's love of being loved is insatiable: and so, often, is their love of loving; and in the last case they may find that they can't give it continuously to the chamber-officer appointed by the bishop's licence to receive it.  But you are so straight-forward, Jude, that you can't understand me!"

My teaser was taken from page 256 of my current read-- Jude the Obscure, by Thomas Hardy, Everyman's Library hardcover edition, Alfred A. Knopf, 1992, pp. 519.

I am a first-time reader of Jude the Obscure, and I can tell you that it is a devastatingly powerful book!  Because of the reviews and criticism that Hardy received upon the release of "Jude" in 1895, he stopped writing fiction completely and spent the remaining thirty-three years of his life concentrating on his poetry.  The cover illustration is a tie-in to the film adaptation Jude (1996) directed by Michael Winterbottom, starring Christopher Eccleston and Kate Winslet.

[The rules for Teaser Tuesdays comes from MizB at Should Be Reading]

Review: "Daniel Deronda" By George Eliot

I have just finished a leisurely eight-week group-read of George Eliot's last completed novel, Daniel Deronda, with my 'Anglophiles Anonymous' group on Shelfari.com.  I very much enjoyed the experience of reading and discussing the book, section by section, each week.  I am convinced that I got so much more out of it this way than if I'd read it by myself.  Without the incentive of the group-read, I am also quite sure that this is a novel that I probably would not have even acquired, much less read.

The novel, first published in 1876, is quasi-Tolstoyan in scope and complexity.  It has a whole raft of fairly interesting characters that border on being 'Dickensian.'  While written in her characteristic style of 'social realism,' Eliot uses some quite elegant and sophisticated literary and plot devices too.  For example, she is adept at using flashbacks to bounce characters and events back and forth in time.  She also runs dual storylines through much of the novel, that are quite divergent at the beginning, but close in a relatively satisfying convergence near the end.  Her use of allusion, allegory, and metaphor is deft and appropriate.  Eliot, in writing this novel, is clearly didactic, without being overtly 'preachy' or academic like Tolstoy (e.g., Anna Karenina) or Victor Hugo (Les Miserables).

In some respects, for much of the first half of the novel I found myself more interested in the character and plot-threads associated with Gwendolen Harleth versus that of the eponymous Daniel Deronda.  Gwendolen reminded me, at various times, of Jane Austen's 'Emma' or even Eliot's own 'Dorothea Brooke' (Middlemarch).  With the convergence of Gwendolen's storyline with that of Daniel's, I did find that Daniel's story and character became much more compelling and interesting.

All in all, this is a novel about double-standards, redemption and balance.  Eliot provides a fascinating portrait of the situation and lives of English and European Jews during the Victorian period, and particularly the nascent proto-Zionist movement and her interpretation of the Kaballistic philosophy.  Eliot balances this portrait with a similar examination of the ways and social mores of the well-established English upper class.  Eliot pulls off this balancing act superbly through having the novel's primary male protagonist, Daniel Deronda, having a foot in the both worlds.  I was also completely taken with the intelligent young Jewish woman, Mirah Lapidoth.  From her introduction, early on in the novel, I eagerly looked forward to each of her appearances.  The Meyrick family, especially Mrs. "Little Mother" Meyrick and her vivacious daughters, are splendidly wonderful characters as well.  The novel also contains some characters that you simply love to hate, and others that you hate to love.  Ambiguity and shades of gray abound.

In conclusion, I enjoyed reading George Eliot's last novel, Daniel Deronda, very much.  I can say, however, that it did not affect me in the same visceral and emotional sort of way that her earlier books have; specifically, The Mill on the Floss, or Silas Marner.  I could also tell that writing Daniel Deronda and telling this story was somehow quite important to George Eliot, and for that reason alone I am glad that I read it.  While perhaps not as monumental as her Middlemarch masterpiece, this is a big and meaty novel and well worth reading.  Four out of five stars for me.

***

[My review is based upon the 2003 Penguin Classics soft-cover edition of Daniel Deronda, by George Eliot, 850 pages.  The photograph that I have included in the review is that of the actress Romola Garai in the character of 'Gwendolen Harleth' in the superb 2002 BBC film adaptation of Daniel Deronda.]

Review: "Tess of the d'Urbervilles" By Thomas Hardy

I have almost finished reading much of the major fiction of Thomas Hardy this summer.  I just completed a re-reading of Tess of the d'Urbervilles.  As I recall, the last time I read this novel was in the mid-1970s while I was in the U.S. Coast Guard.  All I can say is that this has to have been one of the most intense novels that I believe that I've ever read.  Reading this book rivals the literary and emotional experiences I have had with Hardy's The Return of the Native, Charlotte Bronte's Villette, Dickens's Our Mutual Friend, and Tolstoy's masterpiece, Anna Karenina.  In my opinion, Tess of the d'Urbervilles is one of the monumental literary achievements of the entire Victorian Era.  A stunning novel!

A tragedy in six parts, Tess of the d'Urbervilles is set in Hardy's fictional Wessex in southwestern England.  The novel follows the beautiful Tess Durbeyfield from the age of about sixteen until she is about twenty or twenty-one.  The story's plot revolves around Tess and the two men that feature prominently in her life; the first is Alec Stoke-d'Urberville; and the second, Angel Clare, is the youngest son of a country parson.  Like in all of Hardy's novels, names are everything.  For example, it turns out that even Tess's name, 'Durbeyfield,' is simply a corruption, over time, of the name of her noble d'Urberville ancestors who now reside in their stone vaults in the church-yard in Kingsbere.

With all the recent reviews of Hardy’s novels that I have written this summer I am sure that I am beginning to sound like a broken record, but Hardy’s descriptions of the pastoral lives of the Wessex simple folk are ever so beautiful and enchanting.  With his descriptions I always feel like I am right there experiencing the moment with the characters of the novel.  Even in the scenes loaded with human drama and pathos there is always the touchstone to the natural environment.  Hardy’s literary signature seems to be his ability to relate, and even bind together, the natural environment with the environment of real human emotion.

This is a novel of double-standards and sacrifice and the young and noble Tess is the unfortunate recipient of the negative consequences associated with the actions and feelings of both Alec and Angel.  Tess becomes, if you will, the Magdalen continually seeking redemption from those who probably can't, or won't grant it.  Based upon Hardy's own view of the Victorian society, it was highly unlikely that the Magdalen could be absolved or redeemed, and I believe that that realization must have affected him profoundly.  In reading this novel, I have come to believe that Hardy loved Tess more than any other woman that he "invented" and wrote about; you can almost feel his love for this "pure woman" emanating from each page.  Hardy wrote in one of his notebooks in 1895 that “Love lives on propinquity, but dies of contact.”  For me, this relatively short sentence completely illuminates the common thread and theme that links every one of Hardy’s novels and much of his poetry.

Symbolism, visual imagery, and allusion are all deftly used by Hardy as this 'folk tale' is recounted; and at times it does feel like a nightmarish and horrifying folk tale told around the fire on a dark and stormy night.  There are numerous references to Milton's Paradise Lost, the Book of Genesis, and several of the Pauline letters of The New Testament.  This is a harsh and unforgiving world that Tess finds herself in, with 'Punishment' the watchword and little in the way of 'Hope' or 'Happiness' looming on her horizon.  Mixed with the religious, there are also numerous examples of pagan symbolism and rituals; all of which contribute to the colored pigments that Hardy has applied to the canvas of Tess's life as the sacrificial victim of her society.

Having now read most of Hardy's novels, and a good number of his short stories, I can make the observation that Hardy likes to include a 'witch' in his tales.  There are good witches and bad witches, but they are all here in Hardy’s Wessex, including: 'Bathsheba Everdene' (Far From the Madding Crowd); 'Eustacia Vye' (The Return of the Native); 'Lucetta Le Sueur' or ‘Elizabeth Jane’ (The Mayor of Casterbridge); 'Felice Charmond' (The Woodlanders); 'Tess'; and, finally, 'Sue Bridehead' and ‘Arabella Donn’ (Jude the Obscure).  Think about it for a momentl; but each of these women absolutely bewitches and intoxicates one or more of the male characters in each of the novels; generally with tragic and disastrous results.  And Tess is no different.  Both Alec and Angel are completely besotted with Tess, and almost continually blame her for being a 'temptress'; the 'Eve' to their 'Adam.' 

I have to say that both, Alec and Angel, infuriated me to no end throughout much of the novel.  While Tess, with her simple ways and innocence, makes bad decisions (with Fate's kind help, I might add), these two men are the basest, most cowardly and hypocritical, and end up becoming two of the most despicable male protagonists in fiction, in my opinion.  Each of these men, at numerous times, could well have done the right thing and brought Tess salvation and full redemption, as well as given her the love and affection that she so desired and deserved.

Finally, even when Angel Clare comes to his senses and realizes what Tess is, and what she means to him, it is Tess, herself, that says, near the end, "It is too late...Too late, too late!" 

For Tess it truly is too late!

***

Now it is on to Jude the Obscure.

[My review was based upon the Everyman's Library hardcover edition of Tess of the d'Urbervilles, published in 1991 by Alfred A.Knopf.  The black and white photograph accompanying this review was taken by me on Christmas Eve in 2006 in a cornfield near my daughter's home in Lincoln, Nebraska.  Somehow, this image reminds me of the fields and tree-lined borders of Hardy's Wessex countryside.  'Click' on the image for a larger view.  Enjoy!]

Review: "The Woodlanders" By Thomas Hardy

I am continuing on with my summer of reading the written works of George Eliot and Thomas Hardy.  I just finished reading Thomas Hardy's beautiful novel The Woodlanders last night.  I have been reading Hardy's novels in the order in which he wrote them, and The Woodlanders, first published in 1887, follows closely on the heels of The Mayor of Casterbridge (1886).  In all honesty, I very much enjoyed this novel much, much more than the relentlessly tragic tale told in The Mayor of Casterbridge (see review below, dated July 13th).

Hardy has an amazing knack for thoroughly placing his reader into the environment of his novel.  Interesting to me too, is that each of Hardy's novels tends to focus on a different environment and ecology found within the fictional Wessex region of southwestern England.  For example, in A Pair of Blue Eyes, the reader becomes fully immersed in the beauty of the vales, forests, and sea-cliffs along the Cornwall coastline; in The Return of the Native Hardy brings vividly to life the peoples and environment of the Egdon Heath; and in Far From the Madding Crowd we are treated to the rolling hills and pastoral landscape of small rural English farms and pastures used by the sheep herders and their flocks; and, finally, The Mayor of Casterbridge largely takes place in the urban environment of his fictional town, Casterbridge.

In The Woodlanders the reader is introduced to the shaded and leafy world of the forest of Blackmoor Vale and the hamlet of Little Hintock.  The novel's characters live in the midst of this forested world and make a living with and among the trees.  They are involved in lumbering, forestry, and management of  orchards.  It is a beautiful environment, and lovingly described and re-described by Hardy as the course of the novel moves through the seasons of the year.

I love how Hardy integrates the 'mood' of his environment into the plot of the novel.  The sounds, sights, and smells of the forest and bridle paths are as much a part of The Woodlanders as are the dialog, thoughts and actions of the characters themselves.  In fact, I have come to realize that Hardy intentionally develops the environment in each of his novels to become a fully empowered character in the same sense as his human players.  Also, this novel seems to have been one of Hardy's favorites as it was based upon the area where his mother had grown up, a location that he was apparently quite fond of.

The novel revolves around Grace Melbury, a young woman who returns to her father's and stepmother's home in Little Hintock, after some years away becoming educated and more socially refined.  Unlike Clym Yeobright, in The Return of the Native, Grace is not quite sure that she really wants to remain in the forest of Little Hintock surrounded by the peasant class of her childhood.  Her father sent her off to school and has always encouraged her to aspire to a 'grander' lifestyle.  She returns to find the young man that still loves her, Giles Winterborne, is still there, and working for her father's timber business, and operating a traveling apple cider press during the harvest season.  At first blush it would seem that all looks well for the future of Grace and Giles.

As is typical in a Hardy novel, Fate and Irony have a curious way of inserting themselves, generally quite tragically, into the lives of the plot's characters.  Quickly the reader is also introduced to the novel's other players:  the steadfast and loyal young peasant woman, Marty South; the newly arrived gentlemanly young doctor, Edred Fitzpiers; and the local landowner, the widowed Mrs. Felice Charmond.  While Giles and Marty are relatively contented and happy folk of the forest, Dr. Fitzpiers and Mrs. Charmond are clearly out of their element in the Blackmoor Vale, and Grace Melbury is betwixt and between as she endeavors to determine the course of her future.

I really do not want to give anything of the plot away at all, but suffice it to say that the novel is quite seductive in that while the reader becomes completely enthralled with the pastoral scenes and life in the forest around Little Hintock, there is at the same time an incredibly epic and pathos-driven tragic drama that is unfolding and spiraling out of control that is of almost Shakespearean proportions.  It really is vintage Hardy!  I honestly couldn't put the book down for several days.

I loved the characters of Giles Winterborne and Marty South.  These are two people who are completely in touch with the natural world around them in Blackmoor Vale.  Hardy describes a scene deep in the forest with Marty helping Giles plant new seedling trees to replace those harvested by the foresters,

"Winterborne's fingers were endowed with a gentle conjurer's touch in spreading the roots of each little tree, resulting in a sort of caress under which the delicate fibres all laid themselves out in in their proper directions for growth.  He put most of these roots towards the south-west; for, he said, in forty years' time, when some great gale is blowing from that quarter, the trees will require the strongest holdfast on that side to stand against it and not fall.

'How they sigh directly when we put 'em upright, though while they are lying down they don't sigh at all,' said Marty.

'Do they?' said Giles.  'I've never noticed it.'

She erected one of the young pines into its hole, and held up her finger; the soft musical breathing instantly set in which was not to cease night or day till the grown tree should be felled--probably long after the two planters had been felled themselves.

Now that's just some great prose!  I found myself, time and again, reading a section like this, and then re-reading it and just reveling in the lilting lyricism of Hardy's sentences and paragraphs.

A couple of final thoughts--

As you read the novel, periodically refer to the single stanza of poetry, written by Hardy, that serves as the novel's epigraph, and give it some thought,

"Not boskiest bow'r,
When hearts are ill affin'd,
Hath tree of pow'r
To shelter from the wind!"

Secondly, the reader will encounter the term "man-trap" periodically.  These were large, metal traps that game-keepers and land-managers used to try and prevent poaching and other illegal activities on the gentry's lands and estates.  Hardy's use of allusion and metaphor is wonderful.

This was a beautiful novel to read, and I thoroughly enjoyed it!  I highly recommend The Woodlanders.  It is Thomas Hardy at his best.  Five out of Five Stars, and a Personal Favorite for me!

[The black and white photograph that I have included within this review was one that I took in June 2008 deep in the forest at the "Bartholomew's Cobble Preserve" along the banks of the Housatonic River in the Berkshire Mountains of western Massachusetts.  Somehow, this photograph evokes, for me, the image of the forest of Blackmoor Vale described by Hardy in The Woodlanders.  For a larger view of the photograph, 'click' on the image.]

Review: "A Pair of Blue Eyes" By Thomas Hardy

This was a fast read, and I very much enjoyed it!  If you are already a Hardy fan, I heartily recommend reading A Pair of Blue Eyes (1873); if you aren't, this just might make you one.  A Pair of Blues Eyes was the third novel published by Hardy, and the first published under his own name.  In his later years, Hardy created three categories in which he placed all of his fiction.  The largest category, "Novels of Character and Environment," includes the well known core of his oeuvre also known as the Wessex Novels; this novel falls in Hardy's second category, the novels of "Romance and Fantasies; with the third category, "Novels of Ingenuity," containing just three relatively minor works.

A Pair of Blue Eyes is set in Hardy's fictional 'Wessex' of southwestern England; and, in fact, this novel is largely played out in 'Lower' and 'Off Wessex,' in reality that part of England referred to as Cornwall with its rural countryside and majestic sea-cliffs.  As is typical of Hardy's prose, the novel does a wonderful job of connecting the reader with the characters and the character's place in the natural environment.  Every time I read a Hardy novel, or short story, I have this over-whelming feel that I am experiencing the sights, sounds, smells and emotions of the characters that he is writing about.  The reader can't help but fall in love with his pastoral scenes; feeling the breezes at it ruffles the leaves on the trees, and watching the hay-grasses waving back and forth in the fields and meadows.  Hardy involves his reader, time and again, in the simple things like watching the sun set in all of its orange, red, and purple glory, or the glimmer of the stars and planets as they brighten in the darkening night sky.  I think it is this deep connection with environment and the passage of time that seems to make the human elements and aspects of Hardy's stories resonate even more strongly with me.

Through Hardy's fiction, I find another example of my own understanding that the individual human experience and existence is nothing more than a infinitesimally tiny blip when compared to the history and time-line of the Cosmos; but that it also makes my understanding of those brief experiences we have with one another, and the emotions that we feel, so much more important and interesting.

In A Pair of Blue Eyes, Hardy addresses the well-trod literary ground associated with class-consciousness and its effects on courtship and Love.  The novel's primary protagonist, Elfride Swancourt, the beautiful daughter of the local parson, struggles with becoming a woman and experiencing romantic feelings for the first time when she meets the young architect, Stephen Smith, upon his visit to 'Endelstowe' to begin restoring the old parish church.  It is generally considered that much of the courtship between Stephen Smith and Elfride Swancourt is based upon Hardy's own courtship of Miss Emma Gifford, whom he later married in 1874.  Like his character, Stephen Smith, Hardy was also trained as an architect, and undertook a trip to Cornwall to help restore the parish church of St. Juliot in Cornwall (see photograph, at left).

[In the spirit of full-disclosure, I am inserting a Mild Spoiler Alert here.  If you are one who wants no hint of plot direction or details, I suggest that you scroll past the next paragraph and two block-quote sections]

Suffice it to say that the novel is not just a simple little tale of young blossoming love set in the quiet bucolic countryside.  There is plenty of drama, passion, and intrigue involving various characters of all class levels of English life in the mid-Victorian period in Hardy's telling of Elfride's tale.  During the initial serialization of the novel, the term "cliff-hanger" was coined, referring to one of the more exciting events that occurs on the precipice of the 'Cliff without a Name.'  One of the characters is literally hanging by his fingertips on the edge of the cliff, with the rocks and thundering sea one-hundred feet below him.  While the personal terror described by Hardy is palpable, as a geologist myself I just had to marvel as I read the following--

"By one of those familiar conjunctions of things wherewith the inanimate world baits the mind of man when he pauses in moments of suspense, opposite Knight's eyes was an imbedded fossil, standing forth in low relief from the rock.  It was a creature with eyes.  The eyes, dead and turned to stone, were even now regarding him.  It was one of the early crustaceans called Trilobites.  Separated by millions of years in their lives, Knight and this underling seemed to have met in their death.  It was the single instance within reach of his vision of anything that had ever been alive and had had a body to save, as he himself had now."

and

"Knight was a geologist; and such is the supremacy of habit over occasion, as a pioneer of the thoughts of men, that at this dreadful juncture his mind found time to take in, by a momentary sweep, the varied scenes that had had their day between the creature's epoch and his own.  There is no place like a cleft landscape for bringing home such imaginings as these."

Now that I have your attention, I urge you to read the novel!  You'll enjoy it!  I think that this is an important novel, and is one of his works that Hardy was known to be personally quite fond of.  Typical of Hardy's fiction, Fate and Chance play a prominent role in this novel too.  Also, the character of Elfride Swancourt, as a heroine, is interesting to consider in the evolutionary continuum from 'Fancy Day' (Under the Greenwood Tree), 'Bathsheba Everdene' (Far From the Madding Crowd), 'Eustacia Vye' (The Return of the Native), 'Tess Durbeyfield' (Tess of the d'Urbervilles), and that culminates with 'Sue Bridehead' (Jude the Obscure).

I hope you enjoy A Pair of Blue Eyes as much as I did.  As for me; well, I am taking Far From the Madding Crowd off of the shelf now for a re-read over the next few days.  It is time to spend some more time with 'Gabriel Oak' and 'Bathsheba Everdene.'

Enjoy your July 4th holiday weekend too!

[My review is based upon the Wordsworth Classics softcover edition of A Pair of Blue Eyes, published in 1995, 305 pp.; the photograph of St. Juliot Church is included courtesy of Mr. Steve Wheeler, 2003, and was posted on Wikipedia]

Review: "The Return of the Native" By Thomas Hardy

Every once in a great while you read a novel that just knocks you back onto your keister.  Well, for me, this was just one of those novels.  I finished reading Thomas Hardy's The Return of the Native several days ago, and it made such an impression upon me that I turned to page one, and began it all over again!  The first impression?  Wow!  Upon finishing it for the second time?  I concur with the first impression.

This is the fourth in Hardy's series of eight 'Wessex' novels, all being set in his native countryside of southwestern England.  Originally, The Return of the Native was serialized in twelve monthly installments in Belgravia magazine in 1878.  Interestingly, Belgravia magazine was edited by Mary Elizabeth Braddon (of Lady Audley's Secret fame) and her husband, John Maxwell.

The Return of the Native takes place over the course of a year and one-day, and the setting of the novel is entirely on the fictional Egdon Heath of Hardy's Wessex.  In fact, Egdon Heath with its rolling hills and dense warrens of scrubby, spiny, and brown furze should absolutely be considered one of the main characters listed in the novel's Dramatis Personae.

The novel, as Hardy originally intended and envisioned, is a tragedy in five parts; however, he was persuaded by the editors, for serialization purposes, to add a final sixth book (Aftercourses).  Hardy even includes a disclaimer at the start of this sixth book suggesting that the reader choose the ending for the novel that he or she deems appropriate.  Hardy was not a fan of adding the sixth book to the novel.

The first fifty pages, or so, of the novel feels like something out of the Britain of the Druids.  Hardy's description of the Egdon Heath, the late fall weather, and the magical, almost pagan, customs of the people surrounding their bonfires next to the ancient Celtic barrows on the night of November Fifth was simply spell-binding.  And it just gets better! 

Early on we are introduced to the novel's primary protagonists.  There's the seemingly-Mephistophelean Diggory Venn, the Reddleman, covered in red, from head-to-toe in the ochre he uses to mark the flocks of sheep; the beautiful and good-hearted Thomasin Yeobright; the handsome 'failed' engineer, now inn-owner, Damon Wildeve; the solid and steady matron of the heath, Mrs. Yeobright; the 'Queen of Night,' the darkly beautiful 'wayward and erring heroine,' Eustacia Vye ("to be loved to madness, was her great desire"); and, finally, the 'Native,' who has returned to the heath, the only child of Mrs. Yeobright, Clym Yeobright.  The novel travels through the four seasons of the year with these six characters locked together in a tale of passion, drama, pathos, and tragedy where, in typical Hardyian fashion, only Fate, Chance, and Irony exert any control whatsoever.  Like a moth is drawn to a flame, the reader is inexorably drawn into the tale, and recognizes with a growing horror that a full release can only be attained through reaching and experiencing the novel's shocking climax.

The novel contains more than a superficial nod to the great choric scenes of the Greek Tragedies, and includes the gatherings of commoners like many of Shakespeare's dramas.  Hardy's characters' dialog is spare and clipped, but each word is chosen carefully and packs an emotional wallop.  The descriptions of the environment, the role of the humans in it, and the interactions between the characters reminds me of the great modern American novelist, Cormac McCarthy.  The Return of the Native is Hardy's Naturalism at its finest; and becomes an almost poetic homage to the interaction of the human species with one another as well as with the Earth Mother herself.

Hardy chose an ode from Keats's epic Endymion as an epigraph to lead off the novel.  Nothing could describe this novel better--

"To sorrow
I bade good morrow,
And thought to leave her far away behind;
But cheerly, cheerly,
She loves me dearly;
She is so constant to me, and so kind.
I would deceive her,
And so leave her,
But ah! she is so constant and so kind."

(Endymion, Book IV, 1817)

***

Finally, I want share one of Thomas Hardy's poems that directly speaks to his beautiful novel, The Return of the Native.  This poem is entitled, The Moth Signal--

The Moth-Signal
(On Egdon Heath)

'What are you still, still thinking,
  He asked in vague surmise,
'That you stare at the wick unblinking
  With those great lost luminous eyes?'

'O, I see a poor moth burning
  In the candle-flame,' said she,
'Its wings and legs are turning
  To a cinder rapidly.'

'Moths fly in from the heather,'
  He said, 'now the days decline.'
'I know,' said she.  'The weather,
  I hope, will at last be fine.

'I think,' she added lightly,
  'I'll look out at the door.
The ring the moon wears nightly,
  May be visible now no more.

She rose, and, little heeding,
  Her husband then went on
With his attentive reading
  In the annals of ages gone.

Outside the house a figure
  Came from the tumulus near,
And speedily waxed bigger,
  And clasped and called her Dear.

'I saw the pale-winged token
  You sent through the crack,' sighed she.
'That moth is burnt and broken
  With which you lured out me.

'And were I as the moth is
  It might be better far
For one whose marriage troth is
  Shattered as potsherds are!'

Then grinned the Ancient Briton
  From the tumulus treed with pine:
'So, hearts are thwartly smitten
  In these days as in mine!'

[Published in Satires of Circumstance, 1914]

Reads & Reviews: September & October 2009

I am finally settled back in a groove back here in southern California after my long 3,000 mile photography road-trip in mid- to late-September. I realized that it is time to update the blog with all of the books I've read, I'm reading, and those in the queue. I found some great new stuff too.

1. Freedom & Necessity, by Emma Bull and Stephen Brust - This was a fabulous book; and I have no qualms recommending this at all. I really have to give it up to Emma Bull and Stephen Brust on this one. The epistolary style; comprised of correspondence, journal entries, and newspaper articles; works perfectly with the plot.

This is an exciting historical mystery set in 1849 in Victorian England. It is loaded with political intrigue, budding romances, murder and mayhem, and a healthy dose of Hegelian philosophy. In and amongst the very engaging fictional characters, Emma Bull and Stephen Brust have realistically inserted some well-known historical figures. The novel does an excellent job of educating the reader on the Chartist's movement that caused significant angst among members of Her Majesty's government, as well as in other European monarchies. One can tell that Bull and Brust did their homework in developing the plot; it just feels right and seems completely plausible. Finally, Susan Voight is one of the most likable, brilliant, and witty heroines I've encountered in a novel in a long, long time. She is a giant in this novel! I will definitely read this book again!

2. Beowulf, translation by Seamus Heaney - This was incredible! First of all, the story was told in the spare, sparse, and gritty language of Seamus Heaney's bilingual translation of the Anglo-Saxon original. Second, the plot of this elegiac poem was absolutely epic. The horror of Grendel and his Dam was palpable; and the heroism of Beowulf and his spear-fellows timeless. Finally, the ability to carefully study Heaney's translation, alliteration, and interpretation and then compare it to the Anglo-Saxon was almost surrealistic. It was an amazing experience to have the ability to look at and study the root language of modern English.

My younger brother recommended the Heaney translation to me, and now I know why. This has become a poem I intend to visit, and revisit, many, many times in the years to come. From the perspective of my personal enjoyment of poetry, reading Beowulf has been transformative. Reading Beowulf has led me to go back and reinvestigate the ancient Icelandic poetry of the Poetic Edda (or "Elder Edda"), including the Volsungasaga. From epics like Beowulf and the Poetic Edda, it is abundantly clear what a profound influence these early writings have had on the literature of the English language.

In conclusion, I cannot believe that it has taken me this long to actually sit down and read this beautiful poem. All I can say is "Bravo!" "Bravo!" to the original eighth or ninth century poet, and to Seamus Heaney for his beautiful relatively new presentation of this early treasure of the English language.

3. The Legend of Sigurd and Gudrun, by J.R.R. Tolkien - As soon as I found this hardbound edition in the bookstore, I snapped it up. This 350-page book contains J.R.R. Tolkien's interpretation of two of the ancient epic poems from the Poetic Edda (or "Elder Edda") of the Icelandic peoples. Tolkien's son, Christopher has compiled and edited his father's work on the "Lay of the Volsungs" and the "Lay of Gudrun." This is earthy and spare poetry; rich in story and tradition; and provides a tangible connection to our ancestors and their mythology more than a thousand years ago.

This is a book to read, re-read, and study; and, I have to say, it somehow feels canonical, as "Beowulf" is considered to be. Christopher Tolkien's notes and comments on his father's work help place these poems in their proper context. Finally, I see that some of the ideas and concepts developed in Tolkien's fiction (e.g., The Hobbit, The Lord of the Rings, and The Silmarillion) are the direct result of his life-long fascination and study of the Poetic Edda. I highly recommend this book; it is real a treasure!

4. Perdido Street Station, by China Mieville - This was an awesome book! First, Mieville elevates the sci-fi/steampunk genre to an entirely new plane of existence. It is almost as though Charles Dickens were writing with a view to the future. The characters in Perdido Street Station are some of the most amazing you'll encounter in fiction. The horror associated with the main plot of the novel is virtually beyond imagination, and is some of the most terrifying stuff I've ever read. I simply could not put this down once I started; even though there were times when I was absolutely scared spitless! This book may not be for everyone; but it has left an indelible mark on me. I look forward to reading the next two novels in this series of three set in the world of Bas-Lag. Somehow the energy of China Mieville's writing feels right for the time. This is some seriously good stuff!

5. Isis, by Douglas Clegg - A gripping, poignant, and truly macabre tale. The perfect read for late-October, or when you feel the need for something on the scary side. Douglas Clegg has given us a superb retelling of the Osiris and Isis myth, set in Cornwall during the Victorian Period. This is no tale for young children either; it is gritty, realistic, and terribly bittersweet, with moral lessons throughout. The scenes and plot remind me a bit of Poe, but the writing is superb and brings to mind Edith Wharton's ghost stories. This little novella is one to read aloud to family and friends while safely ensconced in a warm living room in front of the fire. The illustrations are beautiful and complement the plot exquisitely.

6. The Affinity Bridge, by George Mann - This was rollicking good fun to read! Is it great literature? No; but then it is not meant to be. It is a wonderful page-turner, with engaging characters, a superb mystery plot, and set in the interesting alternative world of a 'steampunk' Victorian London. This is the first in a series of three proposed mystery novels featuring Sir Maurice Newbury and his fetching assistant, Miss Veronica Hobbes. Fun stuff to read, and I look forward to reading the second in the series, "The Osiris Ritual."

7. The Court of the Air and The Kingdom Beyond the Waves, by Stephen Hunt - In my humble opinion, don't waste your time (or money) on these two books. Here are my thoughts on the first two books in Stephen Hunt's 'steampunk' world.

"The Court of the Air" - I liked the cast of characters in this novel (there's a lot of 'em), and the plot was, at times, intriguing. I can't quite put my finger on what it was, but the novel never really fully engaged me. I read it with an eye toward simply finishing it, and moving on to something else. I was kind of hoping for an epic experience similar to Susanna Clarke's brilliant, Jonathan Strange & Mr. Norrell. In my opinion, this is not it. If your looking for some really serious steampunk, go directly (do not pass 'Go') to China Mieville's three-volume Bas-Lag series.

"The Kingdom Beyond the Waves" - A middling effort by author Stephen Hunt. I liked this even less than his debut novel, "The Court of the Air." While some of the characters were interesting, the plot really seemed overly contrived. Not too much else to say about this book. I think I'll take a pass on reading the third volume which has yet to be released in the U.S.

***

Here's what it is in the queue to be read in the very near future:

1. Christina Rossetti: A Literary Biography, by Jan Marsh - The author of several books on the Pre-Raphaelite Brotherhood has written what is acknowledged to be the seminal biography of Christina Rossetti, one of my all-time favorite poets. I have been carefully reading and studying Christina's poetry contained within my copy of the Penguin Classics edition, Christina Rossetti: The Complete Poems. So, I am very much looking forward to reading this biography and going back through her beautiful poetry. If you're interested, I have several earlier blog posts here discussing Rossetti's poetry.

2. The Children's Book, by A.S. Byatt - This is the latest novel written by A.S. Byatt, one of my favorite modern authors. Byatt is the author of the Booker-award winning Possession. The Children's Book was also shortlisted for the 2009 Booker Award (won by Hilary Mantel for her novel, Wolf Hall, about Thomas Cromwell in the Tudor Court). Apparently, Byatt's novel spans a period of time from the late-Victorian period, through the Edwardian, and through the First World War; and follows several generations in two families in England. I am very much looking forward to reading this novel.

3. The Poetic Edda - The Poetic Edda or Elder Edda is the collection of ancient Icelandic alliterative poetry containing much of the mythology of the early Norse peoples. It is generally thought that this poetry was written late in the first millennium, and existed as an oral tradition. It is from these beautiful poems that J.R.R. Tolkien received much of his inspiration for many of the primary elements in his tales of Middle Earth. Additionally, the Poetic Edda was the source of inspiration and material for Richard Wagner's operas in the Ring Cycle. Having read Beowulf, I am very much looking forward to reading this collection of ancient Norse poetry.

4. Ice Land, by Betsy Tobin - In the same vein, this recent fantasy novel by Tobin incorporates a lot of the mythology from the Poetic Edda, described above. I have heard that this is a fun book that describes life in Iceland in the 700-800 A.D. time frame and involves the eruption of the great Icelandic volcano, Hekla.

5. The Faerie Queene, by Edmund Spenser - I have been derelict for most of my adult life for not having read this ageless epic poem. Harold Bloom said, "One is tempted to maintain that a reader who cannot apprehend Spenser's voice as being, at its best, the voice of poetry itself is not capable of reading adequately any poetry whatsoever." About the knights and ladies in The Faerie Queene, the great Irish poet, William Butler Yeats, felt that they were fastened "with allegorical nails to a big barn door of common sense, of merely practical virtue." Suffice it to say, that Spenser's The Faerie Queene is high on my teetering To-Be-Read pile.

6. The Complete Poems of Anna Akhmatova - I have heard nothing but wondrous things about the poetry of Anna Akhmatova (1889-1966), is one of the best known Russian poets of the 20th century. She was also known as "The Queen of the Neva," and was a member of the "Acmeists" or "Guild of Poets." The Acmeists were a confederation of Russian poets that met in The Stray Dog Cafe in St. Petersburg in the early 1900s before the Russian Revolution. Akhmatova's poems range from short lyrical poetry to her long epic, Requiem, about the Stalinist purges. I have a feeling that I am going to enjoy her poetry immensely.

7. The Complete Poems of Emily Bronte - I have read several of Emily Bronte's beautiful poems; and I am now ready to embark on a wholesale reading and analysis of all of her poems. I read her single novel, Wuthering Heights; which I recognize for its Byronic and Gothic passion and intensity, but have always been profoundly unsettled by the horrifying dysfunction in the relationship between Cathy and Heathcliff. Whilst Charlotte and Anne Bronte also wrote poetry, it is my opinion that Emily was, far and away, the better poet of the three sisters. Stay tuned, I'll let you know in a month or two.

Well, that's it for now. I hope you enjoyed this quick tour through the novels and poetry that I have sampled over the past six weeks or so. I'd also like to acknowledge and cite the use of biographical material from the on-line encyclopedia Wikipedia and from Dr. Harold Bloom's recent poetry anthology The Best Poems of the English Language: From Chaucer through Robert Frost.

Finally, the photograph I have attached to this blog entry is entitled, "Golden Grasses" and is a photograph that I took in late fall 2008 on the flanks of Bear Mountain in the southern end of the Sierras here in California. Fall around here, while it can still be warm, is incredibly beautiful; especially in the Sierra foothills. Please feel free to click on the photograph for a much larger view.

***

Charles Dickens and His ‘Bodhisattvas’

Right up front I'll say it - "I love Charles Dickens's novels, all fifteen of them!" True, there are some that I love more than others, but they have all been a delight to read.

Charles John Huffam Dickens was born in 1812, and died, following a stroke, at his home, Gad's Hill Place, near London, on June 9, 1870. By all accounts, he was a prolific writer. He wrote short stories, founded and edited several literary magazines, wrote novels, dabbled in writing plays, and traveled about giving public readings of selections from his writings.

All of Dickens's novels were serialized in weekly or monthly literary magazines. In his novels, Dickens tended to address issues of social consciousness; and he did it with a mix of commentary, satire, fantasy and realism, and with a touch of sentimentality and Gothic romance. In several of his novels there are even quasi-autobiographical elements too. Dickens wrote about what he knew about. He wandered the streets of London with an observant eye cast upon the people and conditions around him.

About a year ago, I undertook the major project of reading, or re-reading, all of Dickens's novels in the order in which he wrote them. I wanted to carefully analyze his writing style and how it had matured over the thirty-three years between his first novel, The Pickwick Papers (1837), and his final, uncompleted, novel, The Mystery of Edwin Drood (1870). This reading project has been an amazing experience for me; and while I have enjoyed each of the novels, my top four or five Dickens novels come from the latter half of his work (i.e., from Dombey and Son on). My all-time favorites include: Our Mutual Friend (1865), Bleak House (1853), Little Dorrit (1857), and Dombey and Son (1848). From his earlier work, I have to say that I do greatly admire Nicholas Nickleby (1839) and Martin Chuzzlewit (1844) too. In my humble opinion, Dickens's magnum opus is his last completed novel, Our Mutual Friend. This is a novel for the ages, and it provides the segue to the real purpose behind this blog posting.

If you've read any of Dickens's novels, you've encountered his heroes and villains. They are obvious, and there's far too many to count or list here. However, there's another type of character that Dickens typically includes in most of his novels; the ones that I have come to refer to as his 'Saints.' These are the characters, in some cases quite minor, that adhere to the following principle - That they do no harm, and always look to do good. I have a friend in one of my discussion groups on Shelfari.com that refers to these characters as "Bodhisattvas." Loosely translated from Pali (a middle Indo-Aryan language of India), "Bodhisattvas," found in the Buddhist canon, means "enlightened beings," or "a being on the way to full enlightenment." Some prime examples of Dickens's Bodhisattvas include: Sam Pickwick (Pickwick Papers), the Cheeryble brothers and probably Newman Noggs (Nicholas Nickleby), and one of the 'saintliest,' John Jarndyce (Bleak House).

I would like to use Our Mutual Friend and Dombey and Son to illustrate the role that these Bodhisattvas play in Dickens's novels. First, in Dombey and Son, there's my personal favorite, the affable and comical Captain Edward (Ned) Cuttle; and then there is Miss Susan Nipper and Mrs. Polly Toodle (Mrs. Richards). Captain Cuttle, throughout the entire novel goes out of his way to look after those he loves and cares about; namely Walter Gay, Sol Gillis, and later Florence Dombey. He bumbles about a bit; but there's never any question that his heart is in the right spot; and he is the 'good and kind' counterbalance to the malevolent evil of James Carker, the novel's principal villain. Miss Susan Nipper is a Bodhisattva because of her unbending loyalty and love for Florence Dombey whom she has nursed and cared for through childhood and beyond. Polly Toodle is recognized because of her love and care for poor little Paul Dombey, as well as her own large brood of children. Polly Toodle is the personification of 'Motherhood.'

In Dickens's Our Mutual Friend, there are several Bodhisattvas that I've identified. There is Miss Jenny Wren ("My back's bad, and my legs are queer"), the tiny doll's dressmaker; Miss Lizzie Hexam; the lawyer, Mortimer Lightwood; and then there are Noddy and Henrietta Boffin. Mr. Melvin Twemlow, a minor character in the novel, may qualify for the one truly heroic act he performs near the end of the novel; and also in that he does no harm to anyone throughout the book.

Miss Jenny Wren is fiercely loyal to the beautiful, but very poor, Lizzie Hexam. Jenny is also incredibly insightful and perceptive in ferreting out the true motives of all of the novel's major protagonists that she encounters. She doles out information, or mis-information, that influences subsequent actions on the part of some of the players. Perhaps her only flaw is her own personal relationship to her completely ruined alcoholic father (her "very bad child").

Miss Lizzie Hexam is a true Bodhisattva. Even with her very difficult background, she sacrifices virtually everything, including her own happiness, for the sake of family (i.e., her father, Gaffer Hexam, and her selfish younger brother, Charlie). She is willing to give up her love for Eugene Wrayburn because she believes that she is not worthy of his love because of their class differences. Throughout the novel, Lizzie goes out of her way to help those in need, including Jenny Wren and Mrs Betty Higdon. Ultimately, Lizzie is responsible for rescuing and caring for Eugene Wrayburn after he is viciously attacked and left for dead by the horrifying Bradley Headstone.

Finally, it is my contention that the Boffins can be granted 'sainthood,' although at times in the novel it seems to be at odds with the 'facts.' Even with all of the treasure that comes to the Boffins from the Harmon estate, they never lose their sense of self and their kindly nature to all around them. They take in the villainous Silas Wegg (of "Weggery" fame); the lovely, but initially greedy, Bella Wilfer; endeavor to adopt one of Betty Higdon's little orphans, and end up caring for 'Sloppy,' another one of the orphan boys. While the Boffins are equal part comic, satirical, and over-the-top sentimental do-gooders, they may also be Dickens's most obvious candidates for the Bodhisattva designation. With the novel's progression, the Boffins become more and more saintly; and at the end almost achieve the status of canonization.

So, the next time you pick up a Dickens novel to read (and I hope it is soon), do keep an eye peeled for Dickens's Bodhisattvas - his Saints. Give some thought to why you think Dickens included this type of a character in each of his novels. Finally, I'd be curious to know if you agree with this whole notion, and of the 'saints' I've identified here; or if I've missed any other potential candidates. Happy reading!

***

I'd like to acknowledge the use of Wikipedia for some of the background biographical information for Dickens; and my friend 'Lord Manleigh' for the use of his term for Dickens's saints - Bodhisattvas.