ELIZABETH GASKELL

North and South

WITH AN INTRODUCTION BY
Jenny Uglow

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North and South was first published in 1855 This revised edition was published later in the same year.

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Contents

 

Cover Page

 

Title Page

 

Copyright Page

 

About the Author

 

Other Works by Elizabeth Gaskell

 

Introduction by Jenny Uglow

I.

‘Haste to the Wedding’

II.

Roses and Thorns

III.

‘The More Haste the Worse Speed’

IV.

Doubts and Difficulties

V.

Decision

VI.

Farewell

VII.

New Scenes and Faces

VIII.

Home Sickness

IX.

Dressing for Tea

X.

Wrought Iron and Gold

XI.

First Impressions

XII.

Morning Calls

XIII.

A Soft Breeze in a Sultry Place

XIV.

The Mutiny

XV.

Masters and Men

XVI.

The Shadow of Death

XVII.

What is a Strike?

XVIII.

Likes and Dislikes

XIX.

Angel Visits

XX.

Men and Gentlemen

XXI.

The Dark Night

XXII.

A Blow and its Consequences

XXIII.

Mistakes

XXIV.

Mistakes Cleared Up

XXV.

Frederick

XXVI.

Mother and Son

XXVII.

Fruit-piece

XXVIII.

Comfort in Sorrow

XXIX.

A Ray of Sunshine

XXX.

Home at Last

XXXI.

‘Should Auld Acquaintance Be Forgot’

XXXII.

Mischances

XXXIII.

Peace

XXXIV.

False and True

XXXV.

Expiation

XXXVI.

Union Not Always Strength

XXXVII.

Looking South

XXXVIII.

Promises Fulfilled

XXXIX.

Making Friends

XL.

Out of Tune

XLI.

The Journey’s End

XLII.

Alone! Alone!

XLIII.

Margaret’s Flittin’

XLIV.

Ease Not Peace

XLV.

Not All a Dream

XLVI.

Once and Now

XLVII.

Something Wanting

XLVIII.

‘Ne’er To Be Found Again’

XLIX.

Breathing Tranquillity

L.

Changes at Milton

LI.

Meeting Again

LII.

‘Pack Clouds Away’

NORTH AND SOUTH

Elizabeth Gaskell was born on 29 September 1810 in London. She was brought up in Knutsford, Cheshire by her aunt after her mother died when she was two years old. In 1832 she married William Gaskell, a Unitarian minister, and they lived in Manchester with their children. Elizabeth Gaskell published her first novel, Mary Barton, in 1848 to great success. She went on to write for Charles Dickens’s magazine, Household Words where the Cranford stories appeared from 1851–3. As well as short stories and her famous Life of Charlotte Brontë (1857), she published five novels including North and South (1855). Her final novel, Wives and Daughters (1866), is unfinished as Elizabeth Gaskell died suddenly of heart failure on 12 November 1865.

OTHER WORKS BY ELIZABETH GASKELL

Novels
Mary Barton
Ruth
Cranford
Sylvia’s Lovers
Wives and Daughters

Collected Short Stories
The Moorland Cottage
Lizzie Leigh and Other Tales
Round the Sofa
Right at Last and Other Tales
A Dark Night’s Work
Cousin Phillis and Other Tales
The Grey Woman and Other Tales

Non-Fiction
The Life of Charlotte Brontë

Introduction

In the 1850s, Manchester dignitaries were bursting with pride: their town had fine streets and shops and their leading manufacturers lived far from the smoke, in grand villas with ballrooms and conservatories crammed with exotic plants. Manchester could claim to be the manufacturing capital of Britain, and, beyond that, a centre of culture. Dickens and Thackeray spoke at the opening of the Free Library in 1852, and five years later the Manchester Art Treasures Exhibition drew visitors from around the world. A few years before, in his novel Coningsby, Disraeli had described the town as ‘as great a human exploit as Athens’. But when guests from the South came to stay here with the Gaskells, they were more curious about the ‘other Manchester’ – the world of mills and looms, crashing steam hammers, slums and cellar dwellings clustering in its heart like the circles of hell. Outsiders sensed a dangerous energy, repressed and seething, a potential for conflict between masters and men, a threatening rustle rising like a storm from sites of despair, poverty and exploitation. They admired, but they were also afraid.

In North and South, published in 1854, Elizabeth Gaskell explored this fear and fascination in a dramatic, confrontational love story, an industrial re-writing of Pride and Prejudice. A series of conflicting ideals are explored through the fraught romance between Margaret Hale, who has moved, reluctantly, from her rose-covered southern rectory to the bleak streets of Milton, and John Thornton, a powerful young manufacturer, as downright – and prickly – as his name suggests. Like Margaret, Gaskell herself had come to Manchester as a young woman, when she married William Gaskell, the junior minister of Cross Street Unitarian chapel. She understood the dizzying impact of the town, the bustling, physical presence of the crowds, especially the independent mill girls who thronged the pavements, just as she describes them in North and South, ‘rushing along, with bold, fearless faces, and loud laughs and jests’. Her husband’s congregation included professional men, bankers and mill-owners, but the Unitarian spirit was radical and reforming and through William’s work Gaskell also saw the suffering in the slums, and met the hardworking factory workers and artisans who won her admiration and affection.

She felt for these people when depressions in the cotton trade forced factories to close or work half time, denying families a living and putting children at risk of starvation. In her first novel, Mary Barton – written partly as therapy after the death of her ten-month-old son, and published anonymously in 1848 – the heroine’s father is driven to despair after watching children die. Pushed still further by the failure of the Chartist petitions, John Barton draws the fatal lot to murder a young mill-owner. The novel was born, Gaskell said, from her deep sympathy with the people who elbowed her daily in the streets. She wanted merely ‘to give some utterance to the agony which, from time to time, convulses this dumb people’. She gave the poor a voice. Her picture of their plight was a revelation, more effective than any parliamentary reports, but many manufacturers were outraged, feeling sorely misrepresented and complaining of her bias towards the poor.

Gaskell was a daring, pioneering writer, determined to speak out against injustice. In 1851 she upset the public in a different way with Ruth, the first novel to feature a young woman with an illegitimate child as a heroine. Members of William’s congregation were horrified and two concerned fathers of families actually burnt it. ‘I think I must be an improper woman without knowing it,’ she lamented to a friend, ‘I do so manage to shock people.’ After braving the storms of criticism she took refuge in a return to the rural calm of her childhood with her Cranford stories. These were written for Dickens’s Household Magazine, and Dickens, who recognised her power as a great story-teller – calling her ‘my dear Scheherazade’ – then persuaded her to try her hand at a novel, which he would serialise.

North and South was the result. It was not written directly to make amends for Mary Barton – Gaskell stuck to the ‘truth’ of that vision – but it was in some senses a conciliatory book, designed to show that manufacturers were not all despots. Several manufacturers whom she knew had experimented with benevolent schemes, with varying success, like Samuel Greg of the Styal cotton-spinning factory, and Salis Schwabe, a calico printer who had built an industrial village. In London in 1853 she visited Spottiswoode’s printing works, where masters and workers ate together, shared prayers and went on outings. This sounds paternalistic, and indeed it was, but it was better, in Gaskell’s eyes, than the harsh, rigid attitudes she found in most workplaces. Her hero John Thornton must learn to be ‘tender and yet a master’.

We can see from the start that Thornton’s progress will be hard, chiefly because he feels that each man must be strong, and stand alone, but also because of his background. His widowed mother is stiff and fierce, living in her room above the mill, with its shrouded chairs, glittering mirrors and unread books, a room that feels ‘as if no one had been in it since the day when the furniture had been bagged up with as much care as if the house was to be overwhelmed with lava, and discovered a thousand years hence’. Damaged by the past, she wants to guard her son against eruptions of the workers – but also against the smouldering passions of love.

The novel’s power comes from its intensely physical evocation of attitudes and relationships. Gaskell makes a plea for tolerance, and for the introduction of a softer, ‘Southern’ ethic, by showing us men and women as distinct individuals, rather than as types or members of a class. She brings out the emotions – like parental love – that she feels all people share, regardless of their status or wealth. At the level of feeling we are all equal, even in the workplace: one of her favourite quotations, which shimmers in the background of this book, is from Wordsworth’s poem ‘The Old Cumberland Beggar’ – ‘we have all of us one human heart.’ She takes this insistence on our fundamental equality further, down to our basic physical needs. As Margaret’s godfather Mr Bell puts it, ‘the philosopher and idiot, publican and pharisee, all eat after the same fashion – given an equally good digestion. There’s theory for theory for you!’ This vivid, sensual apprehension of the body undercuts artificial divisions of class or faith, and also challenges those institutions which treat men as ciphers, pieces of machinery, tools to do a job, whether it be the navy – as Margaret’s brother Frederick finds out – or Thornton’s mill. We see into the mental as well as physical world of the mill, for example, when Bessy Higgins, whom Margaret has befriended, tells her why the factory owners take so little care to get rid of the fluff that has now invaded her lungs, and how the workers sometimes stubbornly collude with them:

‘Some folk have a great wheel at one end o’ their carding-rooms to make a draught, and carry off the dust; but that wheel costs a deal o’ money – five or six hundred pound, maybe, and brings in no profit: so it’s but a few of th’ masters as will put ’em up: and I’ve heard tell o’ men who didn’t like working in places where there was a wheel, because they said as how it made ’em hungry, as after they’d been long used to swallowing fluff, to go without it, and that their wage ought to be raised if they were to work in such places.’

Thinking only of their profits, the mill-owners find it easier to ignore human need – the pangs of hunger, the need to breathe freely – if they see their workers merely as ‘hands’. One tiny detail shows how Gaskell makes potent physical images flow through the book, underpinning her argument. In the romantic plot, Thornton is transfixed by the delicacy of Margaret’s hands and the beauty of her arms as she pours him tea, and the way that her hand is held by her father, who playfully uses her thumb and finger as sugar-tongs. She is her father’s daughter, the child of a principled man, who has put his beliefs before his family security. By contrast, she often refuses to take Thornton’s proffered hand. In the industrial plot, Margaret objects strongly to Thornton calling his men ‘hands’: we have to wait a long time before Thornton takes the hand of Bessy’s father Higgins, the leader of the workers, in a ‘good grip’.

The sexual and industrial tensions come to life through such moments of sudden contact, especially in the drama of the strike, when the atmosphere feels almost ready to ignite:

Margaret felt intuitively, that, in an instant, all would be uproar – that first touch would cause an explosion . . . in another instant, the stormy passions would have passed their bounds, and swept away all barriers of reason, or apprehension of consequence.

All the way through, people put their bodies on the line, as Margaret does in the strike, in sudden, irrational movement. The clash of interests between masters and men, and the clash of ideas between Margaret and Thornton are true battles, and to underline this, the Civil Wars of the seventeenth century are often evoked. Margaret’s mother is descended from a Cavalier family, while Thornton is an instinctive Roundhead. ‘Cromwell would have made a capital mill-owner,’ he declares during one of their sparring matches, ‘I wish we had him to put down this strike for us.’ Cromwell, she replies tartly, ‘is no hero of mine’. Despite their tough, contemporary surroundings, Gaskell’s hero and heroine are linked, too, to the old conflicts of chivalry. Thornton, the merchant prince, is associated with Homeric heroes and Norse legends, while Margaret’s daring and desire for conquest are those of the old heroines of romance: at different points she is compared to an Eastern queen, to a princess from the Arabian Nights, to Vashti, Zenobia, Cleopatra. But there is danger here too: both become entangled in images and stereotypes, and have to search within, plumbing the depths of their being, to find their true selves and to choose how to live in the modern world. And in Margaret’s story Gaskell subtly equates the position of Victorian women to that of the suppressed workers: the women too have to speak out, to take charge.

The story is a struggle of powerful personalities and Gaskell had her own jousts of strength while writing the novel. At the start, Dickens had reassured her that her theme of industrial conflict was ‘certainly NOT too serious, if sensibly treated’ for Household Words. But in early 1854, just before the serialisation started, he suddenly appeared as a rival rather than supporter. In January he visited Preston, which had been gripped for the past four months by a weavers’ strike, intensified by the factory-owners imposing lock-outs, and on his return he began writing Hard Times. Gaskell was furious, feeling that he had stolen her material. In fact – although both attacked the dehumanisation of working relations, her intimate fiction was very different from Dickens’s brilliantly schematic drama of heartless Gradgrinds, scheming agitators and victims. But the overlap rankled and they had already had problems over length: Dickens tore his hair out with frustration as her novel continually over-ran the allotted columns in his magazine. To make it worse, as he told Wilkie Collins, she ignored all his painstaking corrections to her proofs, when he had nobly laboured to take out ‘all the stiflings – hard plungings, lungeings and other convulsions’. In the end, lack of space forced her to a hurried conclusion, expanding the final chapters when the book was published in volume form. ‘I will never write for H.W. again’ she told her friend Maria James fiercely. But she soon relented, and wrote for Household Words until it ceased publication.

Gaskell knew what it was to fight her corner, and she gave this stubborn passion to her heroine in North and South. But she also gave her the ability to learn from experience, to accept that she needs, sometimes, to adopt a little humility. She finds out, from bitter experience, that people – including herself – may do the wrong things for the right motives. Can she put aside her prejudices? Can Thornton overcome his pride? Can she come to understand her northern home, and to see, by contrast, that a labourer’s life in the rural south is far from roses and honeysuckle? Such questions hold us in suspense as we trace Margaret’s path through misunderstandings and conflict. When she asked them, Gaskell wanted to wake up her middle-class readers, dozing in their cushioned lives, like Margaret’s cousin Edith at the start of this wonderful novel, curled up on the sofa in a ‘soft ball of muslin and ribbon and silken curls’, unaware of the urgent problems and new ideas of the industrial north. Melodrama is a problematic mode, since it falls too easily into crisis and resolution. But Gaskell never thought that the gulfs between classes, or between employers and workers could be bridged in a moment, or surmounted like the obstacles of a love story. What she did feel, passionately, was that if the people’s eyes were opened, and if ‘feminine’ values of sympathy and connection were introduced into the hard, male world of the manufacturers, there might be some hope – some way forward. North and South is sexy, vivid and full of suspense: its power still resonates and its conflicts still linger today.

Jenny Uglow, 2008

 

 

On its first appearance in Household Words, this tale was obliged to conform to the conditions imposed by the requirements of a weekly publication, and likewise to confine itself within certain advertised limits, in order that faith might be kept with the public. Although these conditions were made as light as they well could be, the author found it impossible to develop the story in the manner originally intended, and, more especially, was compelled to hurry on events with an improbable rapidity towards the close. In some degree to remedy this obvious defect, various short passages have been inserted, and several new chapters added. With this brief explanation, the tale is commended to the kindness of the reader;

‘Beseking hym lowly, of mercy and pité,
Of its rude makyng to have compassion.’

Chapter I

‘HASTE TO THE WEDDING.’

‘Wooed and married and a’.’

‘Edith!’ said Margaret gently, ‘Edith!’

But as Margaret half suspected, Edith had fallen asleep. She lay curled up on the sofa in the back drawing-room in Harley Street, looking very lovely in her white muslin and blue ribbons. If Titania had ever been dressed in white muslin and blue ribbons, and had fallen asleep on a crimson damask sofa in a back drawing-room, Edith might have been taken for her. Margaret was struck afresh by her cousin’s beauty. They had grown up together from childhood, and all along Edith had been remarked upon by every one, except Margaret, for her prettiness; but Margaret had never thought about it until the last few days, when the prospect of soon losing her companion seemed to give force to every sweet quality and charm which Edith possessed. They had been talking about wedding dresses, and wedding ceremonies; and Captain Lennox, and what he had told Edith about her future life at Corfu, where his regiment was stationed; and the difficulty of keeping a piano in good tune (a difficulty which Edith seemed to consider as one of the most formidable that could befall her in her married life), and what gowns she should want in the visits to Scotland, which would immediately succeed her marriage; but the whispered tone had latterly become more drowsy; and Margaret, after a pause of a few minutes, found, as she fancied, that in spite of the buzz in the next room, Edith had rolled herself up into a soft ball of muslin and ribbon, and silken curls, and gone off into a peaceful little after-dinner nap.

Margaret had been on the point of telling her cousin of some of the plans and visions which she entertained as to her future life in the country parsonage, where her father and mother lived; and where her bright holidays had always been passed, though for the last ten years her Aunt Shaw’s house had been considered as her home. But in default of a listener, she had to brood over the change in her life silently as heretofore. It was a happy brooding, although tinged with regret at being separated for an indefinite time from her gentle aunt and dear cousin. As she thought of the delight of filling the important post of only daughter in Helstone parsonage, pieces of the conversation out of the next room came upon her ears. Her Aunt Shaw was talking to the five or six ladies who had been dining there, and whose husbands were still in the dining-room. They were the familiar acquaintances of the house; neighbours whom Mrs. Shaw called friends, because she happened to dine with them more frequently than with any other people, and because if she or Edith wanted anything from them, or they from her, they did not scruple to make a call at each other’s houses before luncheon. These ladies and their husbands were invited, in their capacity of friends, to eat a farewell dinner in honour of Edith’s approaching marriage. Edith had rather objected to this arrangement, for Captain Lennox was expected to arrive by a late train this very evening; but, although she was a spoiled child, she was too careless and idle to have a very strong will of her own, and gave way when she found that her mother had absolutely ordered those extra delicacies of the season which are always supposed to be efficacious against immoderate grief at farewell dinners. She contented herself by leaning back in her chair, merely playing with the food on her plate, and looking grave and absent; while all around her were enjoying the mots of Mr. Grey, the gentleman who always took the bottom of the table at Mrs. Shaw’s dinner parties, and asked Edith to give them some music in the drawing-room. Mr. Grey was particularly agreeable over this farewell dinner, and the gentlemen stayed downstairs longer than usual. It was very well they did – to judge from the fragments of conversation which Margaret overheard.

‘I suffered too much myself; not that I was not extremely happy with the poor dear General, but still disparity of age is a drawback; one that I was resolved Edith should not have to encounter. Of course, without any maternal partiality, I foresaw that the dear child was likely to marry early; indeed I had often said that I was sure she would be married before she was nineteen. I had quite a prophetic feeling when Captain Lennox’ – and here the voice dropped into a whisper, but Margaret could easily supply the blank. The course of true love in Edith’s case had run remarkably smooth. Mrs. Shaw had given way to the presentiment, as she expressed it; and had rather urged on the marriage, although it was below the expectations which many of Edith’s acquaintances had formed for her, a young and pretty heiress. But Mrs. Shaw said that her only child should marry for love – and sighed emphatically, as if love had not been her motive for marrying the General. Mrs. Shaw enjoyed the romance of the present engagement rather more than her daughter. Not but that Edith was very thoroughly and properly in love; still she would certainly have preferred a good house in Belgravia, to all the picturesqueness of the life which Captain Lennox described at Corfu. The very parts which made Margaret glow as she listened, Edith pretended to shiver and shudder at; partly for the pleasure she had in being coaxed out of her dislike by her fond lover, and partly because anything of a gipsy or makeshift life was really distasteful to her. Yet had anyone come with a fine house, and a fine estate, and a fine title to boot, Edith would still have clung to Captain Lennox while the temptation lasted; when it was over, it is possible she might have had little qualms of ill-concealed regret that Captain Lennox could not have united in his person everything that was desirable. In this she was but her mother’s child; who, after deliberately marrying General Shaw with no warmer feeling than respect for his character and establishment, was constantly, though quietly, bemoaning her hard lot in being united to one whom she could not love.

‘I have spared no expense in her trousseau,’ were the next words Margaret heard. ‘She has all the beautiful Indian shawls and scarfs the General gave to me, but which I shall never wear again.’

‘She is a lucky girl,’ replied another voice, which Margaret knew to be that of Mrs. Gibson, a lady who was taking a double interest in the conversation, from the fact of one of her daughters having been married within the last few weeks. ‘Helen had set her heart upon an Indian shawl, but really when I found what an extravagant price was asked, I was obliged to refuse her. She will be quite envious when she hears of Edith having Indian shawls. What kinds are they? Delhi? with the lovely little borders?’

Margaret heard her aunt’s voice again, but this time it was as if she had raised herself up from her half-recumbent position, and were looking into the more dimly lighted back drawing-room. ‘Edith! Edith!’ cried she; and then she sank as if wearied by the exertion. Margaret stepped forward.

‘Edith is asleep, Aunt Shaw. Is it anything I can do?’ All the ladies said ‘Poor child!’ on receiving this distressing intelligence about Edith; and the minute lap-dog in Mrs. Shaw’s arms began to bark, as if excited by the burst of pity.

‘Hush, Tiny! you naughty little girl! you will waken your mistress. It was only to ask Edith if she would tell Newton to bring down her shawls; perhaps you would go, Margaret dear?’

Margaret went up into the old nursery at the very top of the house, where Newton was busy getting up some laces which were required for the wedding. While Newton went (not without a muttered grumbling) to undo the shawls, which had already been exhibited four or five times that day, Margaret looked round upon the nursery; the first room in that house with which she had become familiar nine years ago, when she was brought, all untamed from the forest, to share the home, the play, and the lessons of her cousin Edith. She remembered the dark, dim look of the London nursery, presided over by an austere and ceremonious nurse, who was terribly particular about clean hands and torn frocks. She recollected the first tea up there – separate from her father and aunt, who were dining somewhere down below, an infinite depth of stairs; for unless she were up in the sky (the child thought), they must be deep down in the bowels of the earth. At home – before she came to live in Harley Street – her mother’s dressing-room had been her nursery; and as they kept early hours in the country parsonage, Margaret had always had her meals with her father and mother. Oh! well did the tall stately girl of eighteen remember the tears shed with such wild passion of grief by the little girl of nine, as she hid her face under the bed-clothes in that first night; and how she was bidden not to cry by the nurse, because it would disturb Miss Edith; and how she had cried as bitterly, but more quietly, till her newly-seen, grand, pretty aunt had come softly upstairs with Mr. Hale to show him his little sleeping daughter. Then the little Margaret had hushed her sobs, and tried to lie quiet as if asleep, for fear of making her father unhappy by her grief, which she dared not express before her aunt, and which she rather thought it was wrong to feel at all after the long hoping, and planning, and contriving they had gone through at home, before her wardrobe could be arranged so as to suit her grander circumstances, and before papa could leave his parish to come up to London, even for a few days.

Now she had got to love the old nursery, though it was but a dismantled place; and she looked all round, with a kind of cat-like regret, at the idea of leaving it for ever in three days.

‘Ah, Newton!’ said she, ‘I think we shall all be sorry to leave this dear old room.’

‘Indeed, miss, I shan’t for one. My eyes are not so good as they were, and the light here is so bad that I can’t see to mend laces except just at the window, where there’s always a shocking draught – enough to give one one’s death of cold.’

‘Well, I dare say you will have both good light and plenty of warmth at Naples. You must keep as much of your darning as you can till then. Thank you, Newton, I can take them down – you’re busy.’

So Margaret went down laden with shawls, and snuffing up their spicy Eastern smell. Her aunt asked her to stand as a sort of lay figure on which to display them, as Edith was still asleep. No one thought about it; but Margaret’s tall, finely made figure, in the black silk dress which she was wearing as mourning for some distant relative of her father’s, set off the long beautiful folds of the gorgeous shawls that would have half-smothered Edith. Margaret stood right under the chandelier, quite silent and passive, while her aunt adjusted the draperies. Occasionally, as she was turned round, she caught a glimpse of herself in the mirror over the chimney-piece, and smiled at her own appearance there – the familiar features in the usual garb of a princess. She touched the shawls gently as they hung around her, and took a pleasure in their soft feel and their brilliant colours, and rather liked to be dressed in such splendour – enjoying it much as a child would do, with a quiet pleased smile on her lips. Just then the door opened, and Mr. Henry Lennox was suddenly announced. Some of the ladies started back, as if half-ashamed of their feminine interest in dress. Mrs. Shaw held out her hand to the new-comer; Margaret stood perfectly still, thinking she might be yet wanted as a sort of block for the shawls; but looking at Mr. Lennox, with a bright amused face, as if sure of his sympathy in her sense of the ludicrousness at being thus surprised.

Her aunt was so much absorbed in asking Mr. Henry Lennox – who had not been able to come to dinner – all sorts of questions about his brother the bridegroom, his sister the bridesmaid (coming with the Captain from Scotland for the occasion), and various other members of the Lennox family, that Margaret saw she was no more wanted as shawl-bearer, and devoted herself to the amusement of the other visitors, whom her aunt had for the moment forgotten. Almost immediately, Edith came in from the back drawing-room, winking and blinking her eyes at the stronger light, shaking back her slightly-ruffled curls, and altogether looking like the Sleeping Beauty just startled from her dreams. Even in her slumber she had instinctively felt that a Lennox was worth rousing herself for; and she had a multitude of questions to ask about dear Janet, the future, unseen sister-in-law, for whom she professed so much affection, that if Margaret had not been very proud she might have almost felt jealous of the mushroom rival. As Margaret sank rather more into the background on her aunt’s joining the conversation, she saw Henry Lennox directing his look towards a vacant seat near her; and she knew perfectly well that as soon as Edith released him from her questioning, he would take possession of that chair. She had not been quite sure, from her aunt’s rather confused account of his engagements, whether he would come that night; it was almost a surprise to see him; and now she was sure of a pleasant evening. He liked and disliked pretty nearly the same things that she did. Margaret’s face was lightened up into an honest, open brightness. By and by he came. She received him with a smile which had not a tinge of shyness or self-consciousness in it.

‘Well, I suppose you are all in the depths of business – ladies’ business, I mean. Very different to my business, which is the real true law business. Playing with shawls is very different work to drawing up settlements.’

‘Ah, I knew how you would be amused to find us all so occupied in admiring finery. But really Indian shawls are very perfect things of their kind.’

‘I have no doubt they are. Their prices are very perfect, too. Nothing wanting.’

The gentlemen came dropping in one by one, and the buzz and noise deepened in tone.

‘This is your last dinner-party, is it not? There are no more before Thursday?’

‘No. I think after this evening we shall feel at rest, which I am sure I have not done for many weeks; at least, that kind of rest when the hands have nothing more to do, and all the arrangements are complete for an event which must occupy one’s head and heart. I shall be glad to have time to think, and I am sure Edith will.’

‘I am not so sure about her; but I can fancy that you will. Whenever I have seen you lately, you have been carried away by a whirlwind of some other person’s making.’

‘Yes,’ said Margaret rather sadly, remembering the never-ending commotion about trifles that had been going on for more than a month past: ‘I wonder if a marriage must always be preceded by what you call a whirlwind, or whether in some cases there might not rather be a calm and peaceful time just before it.’

‘Cinderella’s godmother ordering the trousseau, the wedding-breakfast, writing the notes of invitation, for instance,’ said Mr. Lennox, laughing.

‘But are all these quite necessary troubles?’ asked Margaret, looking up straight at him for an answer. A sense of indescribable weariness of all the arrangements for a pretty effect, in which Edith had been busied as supreme authority for the last six weeks, oppressed her just now; and she really wanted some one to help her to a few pleasant, quiet ideas connected with a marriage.

‘Oh, of course,’ he replied, with a change to gravity in his tone. ‘There are forms and ceremonies to be gone through, not so much to satisfy oneself, as to stop the world’s mouth, without which stoppage there would be very little satisfaction in life. But how would you have a wedding arranged?’

‘Oh, I have never thought much about it; only I should like it to be a very fine summer morning; and I should like to walk to church through the shade of trees; and not to have so many bridesmaids, and to have no wedding-breakfast. I dare say I am resolving against the very things that have given me the most trouble just now.’

‘No, I don’t think you are. The idea of stately simplicity accords well with your character.’

Margaret did not quite like this speech; she winced away from it more, from remembering former occasions on which he had tried to lead her into a discussion (in which he took the complimentary part) about her own character and ways of going on. She cut his speech rather short by saying –

‘It is natural for me to think of Helstone church, and the walk to it, rather than of driving up to a London church in the middle of a paved street.’

‘Tell me about Helstone. You have never described it to me. I should like to have some idea of the place you will be living in, when 96 Harley Street will be looking dingy and dirty, and dull, and shut up. Is Helstone a village, or a town, in the first place?’

‘Oh, only a hamlet; I don’t think I could call it a village at all. There is the church and a few houses near it on the green – cottages, rather – with roses growing all over them.’

‘And flowering all the year round, especially at Christmas – make your picture complete,’ said he.

‘No,’ replied Margaret, somewhat annoyed; ‘I am not making a picture. I am trying to describe Helstone as it really is. You should not have said that.’

‘I am penitent,’ he answered. ‘Only it really sounded like a village in a tale rather than in real life.’

‘And so it is,’ replied Margaret eagerly. ‘All the other places in England that I have seen seem so hard and prosaic-looking, after the New Forest. Helstone is like a village in a poem – in one of Tennyson’s poems. But I won’t try and describe it any more. You would only laugh at me if I told you what I think of it – what it really is.’

‘Indeed, I would not. But I see you are going to be very resolved. Well, then, tell me that which I should like still better to know: what the parsonage is like.’

‘Oh, I can’t describe my home. It is home, and I can’t put its charm into words.’

‘I submit. You are rather severe to-night, Margaret.’

‘How?’ said she, turning her large soft eyes round full upon him. ‘I did not know I was.’

‘Why, because I made an unlucky remark, you will neither tell me what Helstone is like, nor will you say anything about your home, though I have told you how much I want to hear about both, the latter especially.’

‘But, indeed, I cannot tell you about my own home. I don’t quite think it is a thing to be talked about, unless you knew it.’

‘Well, then’ – pausing for a moment – ‘tell me what you do there. Here you read, or have lessons, or otherwise improve your mind, till the middle of the day; take a walk before lunch, go a drive with your aunt after, and have some kind of engagement in the evening. There, now fill up your day at Helstone. Shall you ride, drive, or walk?’

‘Walk, decidedly. We have no horse, not even for papa. He walks to the very extremity of his parish. The walks are so beautiful, it would be a shame to drive – almost a shame to ride.’

‘Shall you garden much? That, I believe, is a proper employment for young ladies in the country.’

‘I don’t know. I am afraid I shan’t like such hard work.’

‘Archery parties – pic-nics – race balls – hunt-balls?’

‘Oh no!’ said she, laughing. ‘Papa’s living is very small; and even if we were near such things, I doubt if I should go to them.’

‘I see, you won’t tell me anything. You will only tell me that you are not going to do this and that. Before the vacation ends, I think I shall pay you a call, and see what you really do employ yourself in.’

‘I hope you will. Then you will see for yourself how beautiful Helstone is. Now I must go. Edith is sitting down to play, and I just know enough of music to turn over the leaves for her: and besides, Aunt Shaw won’t like us to talk.’

Edith played brilliantly. In the middle of the piece the door half-opened, and Edith saw Captain Lennox hesitating whether to come in. She threw down her music, and rushed out of the room, leaving Margaret standing confused and blushing to explain to the astonished guests what vision had shown itself to cause Edith’s sudden flight. Captain Lennox had come earlier than was expected; or was it really so late? They looked at their watches, were duly shocked, and took their leave.

Then Edith came back, glowing with pleasure, half-shyly, half-proudly leading in her tall handsome Captain. His brother shook hands with him, and Mrs. Shaw welcomed him in her gentle kindly way, which had always something plaintive in it, arising from the long habit of considering herself a victim to an uncongenial marriage. Now that, the General being gone, she had every good of life, with as few drawbacks as possible, she had been rather perplexed to find an anxiety, if not a sorrow. She had, however, of late settled upon her own health as a source of apprehension; she had a nervous little cough whenever she thought about it; and some complaisant doctor ordered her just what she desired – a winter in Italy. Mrs. Shaw had as strong wishes as most people, but she never liked to do anything from the open and acknowledged motive of her own good will and pleasure; she preferred being compelled to gratify herself by some other person’s command or desire. She really did persuade herself that she was submitting to some hard external necessity; and thus she was able to moan and complain in her soft manner, all the time she was in reality doing just what she liked.

It was in this way she began to speak of her own journey. Captain Lennox, who assented, as in duty bound, to all his future mother-in-law said, while his eyes sought Edith, who was busying herself in re-arranging the tea-table, and ordering up all sorts of good things, in spite of his assurances that he had dined within the last two hours.

Mr. Henry Lennox stood leaning against the chimney-piece, amused with the family scene. He was close by his handsome brother; he was the plain one in a singularly good-looking family; but his face was intelligent, keen, and mobile; and now and then Margaret wondered what it was that he could be thinking about, while he kept silence, but was evidently observing, with an interest that was slightly sarcastic, all that Edith and she were doing. The sarcastic feeling was called out by Mrs. Shaw’s conversation with his brother; it was separate from the interest which was excited by what he saw. He thought it a pretty sight to see the two cousins so busy in their little arrangements about the table. Edith chose to do most herself. She was in a humour to enjoy showing her lover how well she could behave as a soldier’s wife. She found out that the water in the urn was cold, and ordered up the great kitchen tea-kettle; the only consequence of which was that when she met it at the door, and tried to carry it in, it was too heavy for her, and she came in pouting, with a black mark on her muslin gown, and a little round white hand indented by the handle, which she took to show to Captain Lennox, just like a hurt child, and of course, the remedy was the same in both cases. Margaret’s quickly-adjusted spirit-lamp was the most efficacious contrivance, though not so like the gipsy-encampment which Edith, in some of her moods, chose to consider the nearer resemblance to a barrack-life.

After this evening all was bustle till the wedding was over.

Chapter II

ROSES AND THORNS

‘By the soft green light in the woody glade,
On the banks of moss where thy childhood played;
By the household tree, thro’ which thine eye
First looked in love to the summer sky.’

– MRS. HEMANS.

Margaret was once more in her morning dress, travelling quietly home with her father, who had come up to assist at the wedding. Her mother had been detained at home by a multitude of half-reasons, none of which anybody fully understood, except Mr. Hale, who was perfectly aware that all his arguments in favour of a grey satin gown, which was midway between oldness and newness, had proved unavailing; and that, as he had not the money to equip his wife afresh, from top to toe, she would not show herself at her only sister’s only child’s wedding. If Mrs. Shaw had guessed at the real reason why Mrs. Hale did not accompany her husband, she would have showered down gowns upon her; but it was nearly twenty years since Mrs. Shaw had been the poor pretty Miss Beresford, and she had really forgotten all grievances except that of the unhappiness arising from disparity of age in married life, on which she could descant by the half-hour. Dearest Maria had married the man of her heart, only eight years older than herself, with the sweetest temper, and that blue-black hair one so seldom sees. Mr. Hale was one of the most delightful preachers she had ever heard, and a perfect model of a parish priest. Perhaps it was not quite a logical deduction from all these premises, but it was still Mrs. Shaw’s characteristic conclusion, as she thought over her sister’s lot: ‘Married for love, what can dearest Maria have to wish for in this world?’ Mrs. Hale, if she spoke truth, might have answered with a ready-made list, ‘a silver-grey glacé silk, a white chip bonnet, oh! dozens of things for the wedding, and hundreds of things for the house.’

Margaret only knew that her mother had not found it convenient to come, and she was not sorry to think that their meeting and greeting would take place at Helstone parsonage, rather than, during the confusion of the last two or three days, in the house in Harley Street, where she herself had had to play the part of Figaro, and was wanted everywhere at one and the same time. Her mind and body ached now with the recollection of all she had done and said within the last forty-eight hours. The farewells so hurriedly taken, amongst all the other good-byes, of those she had lived with so long, oppressed her now with a sad regret for the times that were no more; it did not signify what those times had been, they were gone never to return. Margaret’s heart felt more heavy than she could ever have thought it possible in going to her own dear home, the place and the life she had longed for for years – at that time of all times for yearning and longing, just before the sharp senses lose their outlines in sleep. She took her mind away with a wrench from the recollection of the past to the bright serene contemplation of the hopeful future. Her eyes began to see, not visions of what had been, but the sight actually before her; her dear father leaning back asleep in the railway carriage. His blue-black hair was grey now, and lay thinly over his brows. The bones of his face were plainly to be seen – too plainly for beauty, if his features had been less finely cut; as it was, they had a grace if not a comeliness of their own. The face was in repose; but it was rather rest after weariness than the serene calm of the countenance of one who led a placid, contented life. Margaret was painfully struck by the worn, anxious expression; and she went back over the open and avowed circumstances of her father’s life, to find the cause for the lines that spoke so plainly of habitual distress and depression.

‘Poor Frederick!’ thought she, sighing. ‘Oh! if Frederick had but been a clergyman, instead of going into the navy, and being lost to us all! I wish I knew all about it. I never understood it from Aunt Shaw; I only knew he could not come back to England because of that terrible affair. Poor dear papa! how sad he looks! I am so glad I am going home, to be at hand to comfort him and mamma.’

She was ready with a bright smile, in which there was not a trace of fatigue, to greet her father when he awakened. He smiled back again, but faintly, as if it were an unusual exertion. His face returned into its lines of habitual anxiety. He had a trick of half-opening his mouth as if to speak, which constantly unsettled the form of the lips, and gave the face an undecided expression. But he had the same large, soft eyes as his daughter – eyes which moved slowly and almost grandly round in their orbits, and were well veiled by their transparent white eyelids. Margaret was more like him than like her mother. Sometimes people wondered that parents so handsome should have a daughter who was so far from regularly beautiful; not beautiful at all, was occasionally said. Her mouth was wide; no rosebud that could only open just enough to let out a ‘yes’ and ‘no,’ and ‘an’t please you, sir.’ But the wide mouth was one soft curve of rich red lips; and the skin, if not white and fair, was of an ivory smoothness and delicacy. If the look on her face was, in general, too dignified and reserved for one so young, now, talking to her father, it was bright as the morning – full of dimples, and glances that spoke of childish gladness, and boundless hope in the future.

It was the latter part of July when Margaret returned home. The forest trees were all one dark, full, dusky green; the fern below them caught all the slanting sunbeams; the weather was sultry and broodingly still. Margaret used to tramp along by her father’s side, crushing down the fern with a cruel glee, as she felt it yield under her light foot, and send up the fragrance peculiar to it – out on the broad commons into the warm scented light, seeing multitudes of wild, free, living creatures, revelling in the sunshine, and the herbs and flowers it called forth. This life – at least these walks – realized all Margaret’s anticipations. She took a pride in her forest. Its people were her people. She made hearty friends with them; learned and delighted in using their peculiar words; took up her freedom amongst them; nursed their babies; talked or read with slow distinctness to their old people; carried dainty messes to their sick; resolved before long to teach at the school, where her father went every day as to an appointed task, but she was continually tempted off to go and see some