Although “Barchester Towers” is often considered to be the most widely-read and best-loved of Trollope's novels (it was voted the public's favourite in a recent poll held by The Trollope Society), it is the second book in the author's Barsetshire series. Therefore, I'm glad I read “The Warden” first because this new tale follows directly on from the first by developing (or quickly dispensing with) many of the characters and continuing the dilemma of who will be the warden of Hiram's Hospital. But it also introduces several absolutely fascinating new characters into this English cathedral town and positions them in sharp opposition to each other. It's as if Trollope sets out a number of beautifully-crafted chess pieces and lets them battle with each other. But, rather than bloodshed and earth-trembling theatrics, the drama of this novel is relatively low-key concerning prospects of marriage and who will be employed in different professional positions. That doesn't mean the emotions in this book are less intensely felt. Rather, it's a wholly absorbing narrative which is both entertaining in its plot and fascinating in the way it evokes a particular society from a certain era.
The esteemed bishop of Barchester recently died and, rather than being replaced by his son Archdeacon Grantly as expected, a new Prime Minister instead decrees that relative newcomer Mr Proudie take the appointment of bishop. It soon becomes clear that Bishop Proudie is rather weak-willed and heavily influenced by the figures of his domineering wife Mrs Proudie and the calculating chaplain Obadiah Slope. Their new power immediately introduces a schism in the community and church between Bishop Proudie's camp on one side and Dr Grantly, Mrs Grantly and Mr Harding's camp on the other. This leads to a lot of scheming and gossip especially when it comes to the programmes the church will conduct and who will be appointed to that controversial position of the warden of Barchester. Will it be Mr Harding, Mr Slope or Mr Quiverful, a poor clergyman with fourteen children? In a way the dilemma regarding this role of warden is so drawn out having been debated about over two novels that it does become a bit tiresome. Yet, it also allows for moments of great humour as the heated discussions bring out the petty, conniving attitudes or befuddled natures of many different characters.
Caught between these two camps is Mr Harding's daughter Mrs Eleanor Bold, a widow who possesses a comfortable fortune. Unbeknownst to her, she's become the most eligible bachelorette in town and multiple men including Mr Slope, Bertie Stanhope (an idle, roguish, bearded artist) and Mr Arabin (the vicar of St Ewold) all vie for her favour. Other parties become involved in trying to arrange her suitor as well. The romantic question of who Eleanor might ultimately end up with is the more interesting dilemma of the novel especially because she's such a strong-willed individual whose best interests are subsumed by the gossip and political battles of those that surround her. I felt Eleanor's plight is sympathetically handled as she tries to introduce an even-handed attitude towards the warring factions of this community but finds that speculation about her intentions sadly supersedes honest engagement about what she wants.
As if these dilemmas and array of personalities weren't enough, Trollope introduces a number of other sub-plots and characters to the story. The most striking of which is the imposing presence of La Signora Madeline Vesey Neroni who is the imperious sister of Bertie Stanhope. She likes to pretend she's a member of high nobility through her estranged Italian husband though he “had not the faintest title to call himself a scion of even Italian nobility.” She has a wickedly flirtatious manner and commands the attention of any room she enters, especially because the leg injuries she sustained because of her husband's abuse means she must be carried around on a sofa. This is such a fascinating character I felt she really deserved a novel of her own. And her presence, in addition to many other characters, does make the flow of this story a bit too unwieldy and overly complex. However, I think a reread of the novel would make the presence and motives of these individuals a lot more clear. There's also so much pleasure to be had in the story that I know it's one I'd like to return to.
Trollope's writing style is so fascinating because, as in “The Warden”, the author's presence is strongly felt over the course of “Barchester Towers”. He'll sometimes self-consciously direct the narrative (especially based on his preference for certain characters), introduce opinionated asides or debate about the form of the novel itself within the story. Rather than being disruptive, this adds more humour to the novel and makes it almost theatrical in the conceit that what we're experiencing is fiction rather than a straightforwardly realistic drama. Sometimes the characters themselves seem in on the joke such as when at one point Signora Neroni remarks: “There is no happiness in love except at the end of an English novel.” As with all great classics, the plot isn't the most interesting aspect of the novel. Rather, the process and discussion which happens in between the action is consistently fascinating. That's what makes it a book worth going back to because it offers such an interesting point of view and is full of compelling ideas. Reading this novel, especially in the context of the Trollope Society's 'Big Read', was so enjoyable and I'm greatly looking forward to reading the third book in the Barsetshire series.
