An Eye for an Eye: Trollope's Works
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Introduction.
At a private asylum in the west of England there lives, and has lived for some years past, an unfortunate lady, as to whom there has long since ceased to be any hope that she should ever live elsewhere. Indeed, there is no one left belonging to her by whom the indulgence of such a hope on her behalf could be cherished. Friends she has none; and her own condition is such, that she recks nothing of confinement and does not even sigh for release. And yet her mind is ever at work,—as is doubtless always the case with the insane. She has present to her, apparently in every waking moment of her existence, an object of intense interest, and at that she works with a constancy which never wearies herself, however fatiguing it may be to those who are near her. She is ever justifying some past action of her life. "An eye for an eye," she says, "and a tooth for a tooth. Is it not the law?" And these words she will repeat daily, almost from morn till night.
It has been said that this poor lady has no friends. Friends who would be anxious for her recovery, who would care to see her even in her wretched condition, who might try to soothe her harassed heart with words of love, she has none. Such is her condition now, and her temperament, that it may be doubted whether any words of love, however tender, could be efficacious with her. She is always demanding justification, and as those who are around her never thwart her she has probably all the solace which kindness could give her.
But, though she has no friends—none who love her,—she has all the material comfort which friendship or even love could supply. All that money can do to lessen her misery, is done. The house in which she lives is surrounded by soft lawns and secluded groves. It has been prepared altogether for the wealthy, and is furnished with every luxury which it may be within the power of a maniac to enjoy. This lady has her own woman to attend her; and the woman, though stout and masterful, is gentle in language and kind in treatment. "An eye for an eye, ma'am. Oh, certainly. That is the law. An eye for an eye, no doubt." This formula she will repeat a dozen times a day—ay, a dozen dozen times, till the wonder is that she also should not be mad.
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About Anthony Trollope
Anthony Trollope (24 April 1815 – 6 December 1882) was one of the most successful, prolific and respected English novelists of the Victorian era. Among his best-loved works is a series of novels collectively known as the Chronicles of Barsetshire, which revolves around the imaginary county of Barsetshire. He also wrote perceptive novels on political, social, and gender issues, and on other topical matters.
Trollope's literary reputation dipped somewhat during the last years of his life, but he regained the esteem of critics by the mid-twentieth century.
Trollope's first major success came with The Warden (1855)—the first of six novels set in the fictional county of "Barsetshire" (often collectively referred to as the Chronicles of Barsetshire), dealing primarily with the clergy and landed gentry. Barchester Towers (1857) has probably become the best-known of these. Trollope's other major series, the Palliser novels, which overlap with the Barset novels, concerned itself with politics, with the wealthy, industrious Plantagenet Palliser (later Duke of Omnium) and his delightfully spontaneous, even richer wife Lady Glencora usually featuring prominently (although, as with the Barsetshire series, many other well-developed characters populated each novel, and in one, The Eustace Diamonds, the Pallisers only play a small role).
Trollope's popularity and critical success diminished in his later years, but he continued to write prolifically, and some of his later novels have acquired a good reputation. In particular, critics who concur that the book was not popular when published, generally acknowledge the sweeping satire The Way We Live Now (1875) as his masterpiece. In all, Trollope wrote forty-seven novels, as well as dozens of short stories and a few books on travel.
After his death, Trollope's Autobiography appeared and was a best-seller in London. Trollope's downfall in the eyes of the critics stemmed largely from this volume. Even during his writing career, reviewers tended increasingly to shake their heads over his prodigious output, but when Trollope revealed that he strictly adhered to a daily writing quota, he confirmed his critics' worst fears. The Muse, in their view, might prove immensely prolific, but she would never ever follow a schedule. Furthermore, Trollope admitted that he wrote for money; at the same time he called the disdain of money false and foolish. The Muse, claimed the critics[who?], should not be aware of money.
Julian Hawthorne, an American writer, critic and friend of Trollope, while praising him as a man, calling him "a credit to England and to human nature, and ...[deserving] to be numbered among the darlings of mankind", also says that "he has done great harm to English fictitious literature by his novels".
Henry James also expressed mixed opinions of Trollope. The young James wrote some scathing reviews of Trollope's novels (The Belton Estate, for instance, he called "a stupid book, without a single thought or idea in it ... a sort of mental pabulum"). He also made it clear that he disliked Trollope's narrative method; Trollope's cheerful interpolations into his novels about how his storylines could take any twist their author wanted did not appeal to James' sense of artistic integrity. However, James thoroughly appreciated Trollope's attention to realistic detail, as he wrote in an essay shortly after the novelist's death:
His [Trollope's] great, his inestimable merit was a complete appreciation of the usual. ... [H]e felt all daily and immediate things as well as saw them; felt them in a simple, direct, salubrious way, with their sadness, their gladness, their charm, their comicality, all their obvious and measurable meanings. ... Trollope will remain one of the most trustworthy, though not one of the most eloquent, of the writers who have helped the heart of man to know itself. ... A race is fortunate when it has a good deal of the sort of imagination—of imaginative feeling—that had fallen to the share of Anthony Trollope; and in this possession our English race is not poor.
James disliked Trollope's habit of addressing readers directly. However, Trollope may have had some influence on James's own work; the earlier novelist's treatment of family tensions, especially between fathers and daughters, may resonate in some of James' novels. For instance, Alice Vavasor and her selfish father in the first of the so-called Palliser novels, Can You Forgive Her?, may pre-figure Kate Croy and her own insufferable father, Lionel, in The Wings of the Dove.[citation needed]
Writers such as Thackeray, Eliot and Collins admired and befriended Trollope, and George Eliot noted that she could not have embarked on so ambitious a project as Middlemarch without the precedent set by Trollope in his own novels of the fictional—yet thoroughly alive—county of Barsetshire. Other contemporaries of Trollope praised his understanding of the quotidian world of institutions, official life, and daily business; he is one of the few novelists who find the office a creative environment. W. H. Auden wrote of Trollope as follows: "Of all novelists in any country, Trollope best understands the role of money. Compared with him, even Balzac is too romantic."
