Trollope’s Pallisers books are a worthy reading challenge. Certainly padded but entertaining and thought provoking. National politics are a topic but more so are the politics of the home and heart.
On the surface Anthony Trollope’s six PALLISER NOVELS, also called the Parliamentary Chronicles are another in the many life styles of the rich and famous Victorian novels. Almost every major character is titled and all are or are looking to marry rich. What makes Trollope worthy of the time that might otherwise be devoted to more by Jane Austen or Charles Dickens is his keen analysis of the complexities within this otherwise detached society.
Like much of Austin’s novels there flashes humor and the focus is on people for whom work is optional rather than a matter of survival. Like Dickens Trollope has an awareness of work as a means of survival but also as a way to live out a mission at least superficially based on an image of the public good.
Rather than many specific about each book, a more general discussion may help a potential reader.
In common with Dickens, Trollope was writing to a contact for publishers that were printing his books as a serial. He was contracted to produce about 4 chapters at a time, each of a certain length with the goal being 80 chapters or over 700 pages per book. Taking up this series is a commitment to about 4200 pages of reading. You will find entire pages of padding and the occasional sub plot that however entertaining is not a necessary contribution to further the larger plot of the books. This means that characters may appear as important only to disappear.
The Pallsers are said to be the political novels. Politics are a running theme through the books, but more as a background. A faint one in The Eustice Diamonds and Phineas Redux and not all that central to The Prime Minister.
The time period of the novels, roughly form the 1830s to the 1880s was a very busy time for the British Government. There were wars to fight, major changed to the rules for electing members to Parliament, the legal relationship between England and the Church of England, Even The reformulation of Victoria, Queen of England to Empress.
Much of the important things before the Parliament of the Pallisers is trivial or where important is about character development rather than politics. Trollope as a failed politician has an ax to grind. To him Parliament is unimportant and more a matter of management than of governance. His single most prominent male figure is Plantagenet Pallister, later the Duke of Omnium and Gatherum. For all of his seriousness and honest earnestness; his most important goal is to move the British money system to decimal coinage. Trollope at his slyest, making our protagonist a figure of fun. One of the few characters know by a nick name, he is Planty Pal.
The real politics of the novels is in the politics of the household and of the heart. Who is to marry who, why and what is allowable. Across the novels, Trollope carefully crafts a series of literary experiments. We get ladies who are rarely anyone’s passive vessel, actively seeking their own advantage whether advantage to their hearts or to their income. The female characters are almost always his best and most completely presented figures. Each has her initial starting points on the social and economic latter and each her own methods for allowing a suit to be paid. Likewise the males vary, ranging from obvious scoundrels to the nicest of gentlemen. There is a regular presence of potential suitors who are comically bad at romancing. There are the usual mix of overly protective fathers and threats to withhold money from otherwise impoverished ‘ungrateful’ sons.
Trollope is very good about giving us women with independent minds and fixed determinations to control how they are to be disposed among the various males to whom they are presented. Even so, the one common goal is marriage, never an independent existence.
Given how central romance is to every novel. Trollope rarely admits us to anything private. Rarely do we see the wooing that might inspire the passions we are told loving pairs share. Conversation is mannered, indirect and carefully crafted to be only just personal. The passive voice rules. People are in love because we are told that they are. The initial impulse may be no more than looks or a turn of phrase. Rarely is there anything more than a common childhood to give any sense of what any one person actually knows about the other. Almost every pairing in this books would be more credible had Victorian society admitted to anything like dating. Neither the reader nor, I suspect, most of the future spouses could recognize their significant other given a sample of their unguarded conversation.
One of my favorite smaller aspects of the book is how much you can know a character by their name. Can there be a more ostentatiously over grand name than Plantagenet Pallister, Duke of Omnium and Gatherum? How much can we guess about a supervising aunt named Lady Baldock? What can we expect from Burgo Fitzgerald or the well-off Mr. Cheeseacre? What kind of politician is Sir Timothy Beeswax .
On the less certain side is the characterization of outsiders. Madame Max Goesle is not merely of foreign origins, but may have had a Jewish (now deceased) husband. She is allowed to carefully earn her way into this society but is also the target of rumors. Other darkly completed, and perhaps Jewish characters are less sympathetic.