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Emily Fox-Seton #1-2
Как стать леди
Впервые на русском — одна из главных книг классика британской литературы Фрэнсис Бернетт, написавшей признанный шедевр «Таинственный сад», экранизированный восемь раз.
Главное богатство Эмили Фокс-Ситон, героини «Как стать леди», — ее золотой характер. Ей слегка за тридцать, она из знатной семьи, хорошо образована, но очень бедна. Девушка живет в Лондоне конца XIX века одна, без всякой поддержки, скромно, но с достоинством. Она умело справляется с обстоятельствами и получает больше, чем могла мечтать.
Полный английского изящества и очарования роман впервые увидел свет в 1901 году и был разбит на две части: «Появление маркизы» и «Манеры леди Уолдерхерст». В этой книге, продолжающей традиции «Золушки» и «Мисс Петтигрю», с особой силой проявился талант Бернетт писать оптимистичные и проникновенные истории.
Главное богатство Эмили Фокс-Ситон, героини «Как стать леди», — ее золотой характер. Ей слегка за тридцать, она из знатной семьи, хорошо образована, но очень бедна. Девушка живет в Лондоне конца XIX века одна, без всякой поддержки, скромно, но с достоинством. Она умело справляется с обстоятельствами и получает больше, чем могла мечтать.
Полный английского изящества и очарования роман впервые увидел свет в 1901 году и был разбит на две части: «Появление маркизы» и «Манеры леди Уолдерхерст». В этой книге, продолжающей традиции «Золушки» и «Мисс Петтигрю», с особой силой проявился талант Бернетт писать оптимистичные и проникновенные истории.
349 pages, Kindle Edition
Published January 1, 2021
About the author
Frances Hodgson Burnett
1,889 books5,233 followersFrances Eliza Hodgson Burnett was a British-American novelist and playwright. She is best known for the three children's novels Little Lord Fauntleroy (1886), A Little Princess (1905), and The Secret Garden (1911).
Frances Eliza Hodgson was born in Cheetham, Manchester, England. After her father died in 1853, when Frances was 4 years old, the family fell on straitened circumstances and in 1865 emigrated to the United States, settling in New Market, Tennessee. Frances began her writing career there at age 19 to help earn money for the family, publishing stories in magazines. In 1870, her mother died. In Knoxville, Tennessee, in 1873 she married Swan M. Burnett, who became a medical doctor. Their first son Lionel was born a year later. The Burnetts lived for two years in Paris, where their second son Vivian was born, before returning to the United States to live in Washington, D.C. Burnett then began to write novels, the first of which (That Lass o' Lowrie's), was published to good reviews. Little Lord Fauntleroy was published in 1886 and made her a popular writer of children's fiction, although her romantic adult novels written in the 1890s were also popular. She wrote and helped to produce stage versions of Little Lord Fauntleroy and A Little Princess.
Beginning in the 1880s, Burnett began to travel to England frequently and in the 1890s bought a home there, where she wrote The Secret Garden. Her elder son, Lionel, died of tuberculosis in 1890, which caused a relapse of the depression she had struggled with for much of her life. She divorced Swan Burnett in 1898, married Stephen Townesend in 1900, and divorced him in 1902. A few years later she settled in Nassau County, New York, where she died in 1924 and is buried in Roslyn Cemetery.
In 1936, a memorial sculpture by Bessie Potter Vonnoh was erected in her honor in Central Park's Conservatory Garden. The statue depicts her two famous Secret Garden characters, Mary and Dickon.
Frances Eliza Hodgson was born in Cheetham, Manchester, England. After her father died in 1853, when Frances was 4 years old, the family fell on straitened circumstances and in 1865 emigrated to the United States, settling in New Market, Tennessee. Frances began her writing career there at age 19 to help earn money for the family, publishing stories in magazines. In 1870, her mother died. In Knoxville, Tennessee, in 1873 she married Swan M. Burnett, who became a medical doctor. Their first son Lionel was born a year later. The Burnetts lived for two years in Paris, where their second son Vivian was born, before returning to the United States to live in Washington, D.C. Burnett then began to write novels, the first of which (That Lass o' Lowrie's), was published to good reviews. Little Lord Fauntleroy was published in 1886 and made her a popular writer of children's fiction, although her romantic adult novels written in the 1890s were also popular. She wrote and helped to produce stage versions of Little Lord Fauntleroy and A Little Princess.
Beginning in the 1880s, Burnett began to travel to England frequently and in the 1890s bought a home there, where she wrote The Secret Garden. Her elder son, Lionel, died of tuberculosis in 1890, which caused a relapse of the depression she had struggled with for much of her life. She divorced Swan Burnett in 1898, married Stephen Townesend in 1900, and divorced him in 1902. A few years later she settled in Nassau County, New York, where she died in 1924 and is buried in Roslyn Cemetery.
In 1936, a memorial sculpture by Bessie Potter Vonnoh was erected in her honor in Central Park's Conservatory Garden. The statue depicts her two famous Secret Garden characters, Mary and Dickon.
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Displaying 1 - 30 of 355 reviews
July 6, 2007
I am always impressed by Burnett's ability to write sweet stories without being twee or saccharine. This is what Edith Wharton would write on anti-depressants.
Edited to add on 5/16/19: Goodreads tells me I have read this 11 times. It might very well be even more than that, because I find myself going back to this story again and again, and every time I just intend to reread one of my favorite scenes, and every time I find myself reading the whole thing. I do tend to skip the particularly racist bits in the middle/end that feature Ameerah the deadly native. After many rereads I do find this rather more saccharine than before, but listen, I have a sweet tooth.
Edited to add on 5/16/19: Goodreads tells me I have read this 11 times. It might very well be even more than that, because I find myself going back to this story again and again, and every time I just intend to reread one of my favorite scenes, and every time I find myself reading the whole thing. I do tend to skip the particularly racist bits in the middle/end that feature Ameerah the deadly native. After many rereads I do find this rather more saccharine than before, but listen, I have a sweet tooth.
May 22, 2022
Emily Fox-Sitton is a scion of a side branch of a noble family, by origin belonging to the best English surnames, is poor. She is an orphan and from the fate of a servant, a governess (or worse) the only thing that saved her was that her first job was caring for a picky elderly lady. However, Miss Fox-Sitton's diligence, quickness, and benevolence melted this heart of stone and, according to the will, the lady wrote her several hundred pounds along with a recommendation to a good family boarding house in London. where she will be charged a very modest fee and advised to become a handmaiden to noble ladies.
Emily has impeccable taste and excellent manners, which, combined with inner dignity, benevolence, the ability to listen, a flair for sales, makes her necessary for a lot of noble rich women who are not averse to having a dozen pairs of stockings from the sale, but they themselves will not go for them; they like to organize charity events, but prefer to delegate the technical part to whom- the other one. And Miss Fox-Sitton is such a cheerful little sun. next to her, everyone is a little lighter and warmer.
I said "small", but this is in the sense of the sun. she is quite tall. Statuesque slender, quite tall and far from slender. Not a beauty, but charming and knows how to be content with little, sincerely rejoicing in that. what has. Therefore, the invitation of a lady from among her clients to live for a week at her country estate, acting as a personal secretary, is perceived with delight. At this time, the heroes of the secular chronicle, amazing beauties and one whole marquis will be staying there - the subject of the matrimonial plans of all unmarried high-society ladies.
Oh, girls, you'll be surprised (or you won't be surprised, we've read about Miss Bennet and Mr. Darcy: "He's a gentleman, I'm a gentleman's daughter, I don't understand how marrying me can harm his dignity"). BUT! This will only be the beginning of becoming a marquise, it is much more important to establish yourself in this status and in the heart of a loved one. And it is even more important to preserve yourself and the future heir. The inheritance system there is a entail, like Miss Austen's, and a young rake, by the almighty will of Zeus ... (further in the text) is painfully bad and dangerous.
"Pride and Prejudice" will smoothly flow into a Gothic thriller, like "Moonstone" and "The Woman in White". And oh, it's going to be cool! I was cold with horror and shed tears as I read. Looking for a cool reading - take this book. You won't regret it.
Английская роза
Великосветские дамы знали ее как хорошо воспитанную молодую женщину, которая за скромное вознаграждение могла выполнить бесчисленное множество разнообразных поручений. Она же знала о них гораздо больше и со свойственным ей искренним восхищением теми, кто проявлял к ней доброту, иногда рассказывала об их красоте и благородстве.
Охх, как, ну как я могла совершенно ничего не знать о Фрэнсис Элизабет Бёрнетт? Вернее не так, на окраине моего книжного пространства существовали "Маленькая принцесса" и "Маленьки лорд Фаунтлерой", и про "Таинственный сад" что-то краем уха слышала. Нет, фильм не смотрела. Ни одной из восьми (!) экранизаций.
Потому, на "Как стать леди" особых надежд не возлагала. Если честно, хотела отвлечься, развлечься чем-то, вроде истории Элизы Дулиттл или уайльдова "Как важно быть серьезным". И готова была даже поскучать с этой неизвестной Бёрнетт. Всегда бы так разочаровываться. Роман оказался очаровательным, трогательным. страшным и по-настоящему интересным все время чтения. А героиня замечательно здравомыслящей, умной и достойной молодой женщиной.
Согласитесь, встретить подобное во времена, когда каждый первый персонаж психотравмирован, одержим тайным пороком, ненавидит свою семью, употребляет вещества, страдает шизофренией, паранойей, манией величия - по отдельности или всем вместе, а у каждого второго левая рука не знает, что делает правая по причине синдрома множественных личностей - встретить абсолютно нормальную женщину уже хорошо. А когда она при этом еще глубоко порядочна и склонна видеть в людях лучшее, но ничуть не скучна, не ханжа и не лицемерка - то читать про нее просто именины сердца.
Эмили Фокс-Ситтон отпрыск побочной ветви знатного рода, по происхождению принадлежа к лучшим английским фамилиям, бедна. Она сирота и от участи прислуги, гувернантки (или чего похуже) спасло ее только то, что первым местом работы стал уход за придирчивой престарелой дамой. Впрочем, исполнительность, расторопность, доброжелательность мисс Фокс-Ситтон растопили это каменное сердце и по завещанию леди отписала ей несколько сотен фунтов вместе с рекомендацией в хороший семейный пансион в Лондоне. где с нее будут брать очень скромную плату и советом стать порученкой при знатных дамах.
У Эмили безупречный вкус и отменные манеры, что, в соединении с внутренним достоинством, доброжелательностью, умением слушать, чутьем на распродажи делает ее необходимой множеству знатных богачек, которые не прочь иметь дюжину пар чулок с распродажи, но сами нипочем не отправятся за ними; любят устраивать благотворительные мероприятия, но техническую часть предпочитают делегировать кому-то другому. А еще мисс Фокс-Ситтон такое маленькое неунывающее солнышко. рядом с ней всем чуть светлее и теплее.
Я сказала "маленькое", но это в смысле солнышка. росту она немалого. Статная стройная, довольно высокая и далеко не субтильная. Не красавица, но очаровательна и умеет довольствоваться малым, искренне радуясь тому. что имеет. Потому приглашение одной леди из числа своих клиентов пожить неделю в ее загородном имении, исполняя функции личного секретаря, воспринимает с восторгом. Там будут гостить в это время герои светской хроники, удивительные красавицы и один целый маркиз - предмет матримониальных планов всех незамужних великосветских дам.
Ох, девочки, вы удивитесь (или не удивитесь, мы ведь с вами читали про мисс Беннет и мистера Дарси: "Он джентльмен, я дочь джентльмена, не понимаю, каким образом брак со мной может повредить его достоинству"). НО! Это будет только началом Мало стать маркизой, куда важнее утвердиться в этом статусе и в сердце любимого человека. А еще важнее сохранить себя и будущего наследника. Система наследования там майорат, как у мисс Остен, а молодой повеса, всевышней волею Зевеса... (далее по тексту) уж больно нехорош и опасен.
"Гордость и предубеждение" плавно перетекут в готический триллер, вроде "Лунного камня" и "Женщины в белом". И ох, это будет круто! Я холодела от ужаса и обливалась слезами, читая. Ищете классное чтение - берите эту книгу. Не пожалеете.
Emily has impeccable taste and excellent manners, which, combined with inner dignity, benevolence, the ability to listen, a flair for sales, makes her necessary for a lot of noble rich women who are not averse to having a dozen pairs of stockings from the sale, but they themselves will not go for them; they like to organize charity events, but prefer to delegate the technical part to whom- the other one. And Miss Fox-Sitton is such a cheerful little sun. next to her, everyone is a little lighter and warmer.
I said "small", but this is in the sense of the sun. she is quite tall. Statuesque slender, quite tall and far from slender. Not a beauty, but charming and knows how to be content with little, sincerely rejoicing in that. what has. Therefore, the invitation of a lady from among her clients to live for a week at her country estate, acting as a personal secretary, is perceived with delight. At this time, the heroes of the secular chronicle, amazing beauties and one whole marquis will be staying there - the subject of the matrimonial plans of all unmarried high-society ladies.
Oh, girls, you'll be surprised (or you won't be surprised, we've read about Miss Bennet and Mr. Darcy: "He's a gentleman, I'm a gentleman's daughter, I don't understand how marrying me can harm his dignity"). BUT! This will only be the beginning of becoming a marquise, it is much more important to establish yourself in this status and in the heart of a loved one. And it is even more important to preserve yourself and the future heir. The inheritance system there is a entail, like Miss Austen's, and a young rake, by the almighty will of Zeus ... (further in the text) is painfully bad and dangerous.
"Pride and Prejudice" will smoothly flow into a Gothic thriller, like "Moonstone" and "The Woman in White". And oh, it's going to be cool! I was cold with horror and shed tears as I read. Looking for a cool reading - take this book. You won't regret it.
Английская роза
Великосветские дамы знали ее как хорошо воспитанную молодую женщину, которая за скромное вознаграждение могла выполнить бесчисленное множество разнообразных поручений. Она же знала о них гораздо больше и со свойственным ей искренним восхищением теми, кто проявлял к ней доброту, иногда рассказывала об их красоте и благородстве.
Охх, как, ну как я могла совершенно ничего не знать о Фрэнсис Элизабет Бёрнетт? Вернее не так, на окраине моего книжного пространства существовали "Маленькая принцесса" и "Маленьки лорд Фаунтлерой", и про "Таинственный сад" что-то краем уха слышала. Нет, фильм не смотрела. Ни одной из восьми (!) экранизаций.
Потому, на "Как стать леди" особых надежд не возлагала. Если честно, хотела отвлечься, развлечься чем-то, вроде истории Элизы Дулиттл или уайльдова "Как важно быть серьезным". И готова была даже поскучать с этой неизвестной Бёрнетт. Всегда бы так разочаровываться. Роман оказался очаровательным, трогательным. страшным и по-настоящему интересным все время чтения. А героиня замечательно здравомыслящей, умной и достойной молодой женщиной.
Согласитесь, встретить подобное во времена, когда каждый первый персонаж психотравмирован, одержим тайным пороком, ненавидит свою семью, употребляет вещества, страдает шизофренией, паранойей, манией величия - по отдельности или всем вместе, а у каждого второго левая рука не знает, что делает правая по причине синдрома множественных личностей - встретить абсолютно нормальную женщину уже хорошо. А когда она при этом еще глубоко порядочна и склонна видеть в людях лучшее, но ничуть не скучна, не ханжа и не лицемерка - то читать про нее просто именины сердца.
Эмили Фокс-Ситтон отпрыск побочной ветви знатного рода, по происхождению принадлежа к лучшим английским фамилиям, бедна. Она сирота и от участи прислуги, гувернантки (или чего похуже) спасло ее только то, что первым местом работы стал уход за придирчивой престарелой дамой. Впрочем, исполнительность, расторопность, доброжелательность мисс Фокс-Ситтон растопили это каменное сердце и по завещанию леди отписала ей несколько сотен фунтов вместе с рекомендацией в хороший семейный пансион в Лондоне. где с нее будут брать очень скромную плату и советом стать порученкой при знатных дамах.
У Эмили безупречный вкус и отменные манеры, что, в соединении с внутренним достоинством, доброжелательностью, умением слушать, чутьем на распродажи делает ее необходимой множеству знатных богачек, которые не прочь иметь дюжину пар чулок с распродажи, но сами нипочем не отправятся за ними; любят устраивать благотворительные мероприятия, но техническую часть предпочитают делегировать кому-то другому. А еще мисс Фокс-Ситтон такое маленькое неунывающее солнышко. рядом с ней всем чуть светлее и теплее.
Я сказала "маленькое", но это в смысле солнышка. росту она немалого. Статная стройная, довольно высокая и далеко не субтильная. Не красавица, но очаровательна и умеет довольствоваться малым, искренне радуясь тому. что имеет. Потому приглашение одной леди из числа своих клиентов пожить неделю в ее загородном имении, исполняя функции личного секретаря, воспринимает с восторгом. Там будут гостить в это время герои светской хроники, удивительные красавицы и один целый маркиз - предмет матримониальных планов всех незамужних великосветских дам.
Ох, девочки, вы удивитесь (или не удивитесь, мы ведь с вами читали про мисс Беннет и мистера Дарси: "Он джентльмен, я дочь джентльмена, не понимаю, каким образом брак со мной может повредить его достоинству"). НО! Это будет только началом Мало стать маркизой, куда важнее утвердиться в этом статусе и в сердце любимого человека. А еще важнее сохранить себя и будущего наследника. Система наследования там майорат, как у мисс Остен, а молодой повеса, всевышней волею Зевеса... (далее по тексту) уж больно нехорош и опасен.
"Гордость и предубеждение" плавно перетекут в готический триллер, вроде "Лунного камня" и "Женщины в белом". И ох, это будет круто! Я холодела от ужаса и обливалась слезами, читая. Ищете классное чтение - берите эту книгу. Не пожалеете.
July 10, 2020
2.5 stars.
I started this book without reading any reviews in my continued reading binge of Persephone titles and forgotten early 20th century literature. So I was in for quite a surprise with this book set out in 2 parts. The first part was straightforward fiction but the second part changed into melodramatic gothic. Throughout both parts the author compulsively writes about two things about Emily, the main character; her goodness and her lack of intelligence. The former was obvious because it was shown in the story and didn't require constant reminders to the reader (whom Burnett must also have thought dull-witted). Burnett even has Emily and her husband agreeing that she wasn't clever. However, I didn't find Emily to be dull or stupid but apparently cleverness was an unpleasant feature for women in the early 20th Century or Burnett may have thought that Emily needed to be dim in order to pull off the plot in the second part of the novel.
In the same vein Burnett reminds the reader constantly of Emily's goodness and self-sacrificing nature. It wasn't so much Emily's goodness which was irritating but Burnett's constant need to tell the reader what she shows though Emily's actions, thoughts and appraisals of other characters.
The second part, the gothic element was very loose, repetitive and predictable, not to mention a bit racist.
This book was written 10 years before The Secret Garden was published. It has the feel of a beginning writer. If written once Burnett was a more accomplished writer the book may have worked a bit better, especially the second half.
I started this book without reading any reviews in my continued reading binge of Persephone titles and forgotten early 20th century literature. So I was in for quite a surprise with this book set out in 2 parts. The first part was straightforward fiction but the second part changed into melodramatic gothic. Throughout both parts the author compulsively writes about two things about Emily, the main character; her goodness and her lack of intelligence. The former was obvious because it was shown in the story and didn't require constant reminders to the reader (whom Burnett must also have thought dull-witted). Burnett even has Emily and her husband agreeing that she wasn't clever. However, I didn't find Emily to be dull or stupid but apparently cleverness was an unpleasant feature for women in the early 20th Century or Burnett may have thought that Emily needed to be dim in order to pull off the plot in the second part of the novel.
In the same vein Burnett reminds the reader constantly of Emily's goodness and self-sacrificing nature. It wasn't so much Emily's goodness which was irritating but Burnett's constant need to tell the reader what she shows though Emily's actions, thoughts and appraisals of other characters.
The second part, the gothic element was very loose, repetitive and predictable, not to mention a bit racist.
This book was written 10 years before The Secret Garden was published. It has the feel of a beginning writer. If written once Burnett was a more accomplished writer the book may have worked a bit better, especially the second half.
August 28, 2021
*** Possible mild spoilers ***
This is a combination of two books. The first is the story of kind, gentle Emily Fox-Seton who almost inadvertently wins the heart of the Marquis of Waldenhurst. I enjoyed that part immensely, because really a good Cinderella story will never get old.
The second part, after Emily becomes the Marchioness, is not as delightful. Whereas her sweet and innocent nature has you rooting for her in the first book, in the second it becomes rather annoying. She’s not just TSTL but borderline brain-damaged. “Oh, person who clearly can't stand me and will inherit huge estates and vast riches if I were to drop dead and thereby fail to produce an heir… will you and your wife and her creepy, devoted maid please move into my house while husband is away in India? And will you teach me how to ride a horse?”
I’m curious why FHB wrote Emily this way, as she seems to realize it’s problematic. She has one character note that Emily had
And:
I wouldn’t go so far as to call myself unsparingly brilliant, but I contend the story could have been more interesting if Emily hadn’t been so stupid. Instead everything only comes out OK in the end because of all the people who do her thinking for her.
This is a combination of two books. The first is the story of kind, gentle Emily Fox-Seton who almost inadvertently wins the heart of the Marquis of Waldenhurst. I enjoyed that part immensely, because really a good Cinderella story will never get old.
The second part, after Emily becomes the Marchioness, is not as delightful. Whereas her sweet and innocent nature has you rooting for her in the first book, in the second it becomes rather annoying. She’s not just TSTL but borderline brain-damaged. “Oh, person who clearly can't stand me and will inherit huge estates and vast riches if I were to drop dead and thereby fail to produce an heir… will you and your wife and her creepy, devoted maid please move into my house while husband is away in India? And will you teach me how to ride a horse?”
I’m curious why FHB wrote Emily this way, as she seems to realize it’s problematic. She has one character note that Emily had
...a goodness which might prevent the brain acting in the manner in which a brutal world requires at present that the human brain should act in self-defence. Of a goodness which may possibly have betrayed her into the most pathetic trouble.
And:
An unsparingly brilliant person might feel himself entitled to the right to call her stupid.
I wouldn’t go so far as to call myself unsparingly brilliant, but I contend the story could have been more interesting if Emily hadn’t been so stupid. Instead everything only comes out OK in the end because of all the people who do her thinking for her.
January 14, 2022
A little princess by Frances Hodgson Burnett was my absolutely favorite book for many years in my childhood, read every version I could find and even the full unabridged book, which for a kid like me was a big thing. I've read a few of her stories since then and see definitely has a preferred style arc for her main characters. They are usually so sickeningly sweet and super well maned people. This was a good story with an interesting plot but not an new favorite by her. Felt a little hard to connect to the story but was still enjoyable
January 26, 2017
(warning: review contains spoilers)
So this was a funny little book, despite the occasional silliness.
Frances Hodgson Burnett tells the story of Emily Fox-Seton a gentlewoman in her thirties, who is the poor relation of an aristocratic family. Her wealthy relatives do not really care for her, so Emily has to make do by living the life of a respectable working woman in the beginning of the 20th century London. She works as a kind of secretary/errand girl for rich, noble ladies. There's even the mention of a duchess at some point. The whole plot brings to mind an Austen novel. Perhaps that's why it seems a bit dislocated from its time.
One of these noble ladies is Lady Maria Byrne who reminded me of Violet Crawley from Downton Abbey. The witty old lady who has a great knowledge of the world and can say whatever she wants because she's rich and old and part of the aristocracy so no one really cares. Lady Maria is lovable as a character precisely because she is funny (although the author clearly made an herculean effort for her to be so) but we are also told quite clearly that she is a thoroughly selfish woman. While she obviously cares for Emily Fox-Seton, she has no qualms in exploiting her and her talents to the point where poor Emily is exhausted.
Emily is the sweetest, kindest, most generous person. It's a wonder I didn't hate her. Her kindness and goodness are too exalted to be realistic. She is so gullible and uninteresting and she repeats clichés after clichés and yet, somehow, she managed to move me. What is noteworthy about her is that the author is obviously aware that she is writing a ridiculous, pathetic character. Only instead of hiding it, she owns up to it by openly stating her character's failings. Emily isn't stupid. But we are given several opportunities to see how her naivety and lack of cleverness make her unable to deal with certain situations. It's as though Burnett is aware that if she wants Emily to possess a kindness that is almost impossible for a human to have then she has to have some flaws.
Anyway, Emily goes off to the countryside to help aforementioned Lady Maria with her party guests and the village festivities. There she meets Lady Maria's cousin, Lord Walderhurst, a 50 year old Marquess, a widower who is being pressured to marry and have an heir. Walderhurst is actually the most interesting character in all the book because he is the farthest thing from a Romantic or a Regency hero - which one expects him to be given the setting and the way he's introduced. He is kind and considerate but also tremendously dull, inarticulate and too set in his proper, Victorian ways to actually notice any change in himself or in the people around him. He abhors sentimentality and takes a practical view of every subject under the sun. Burnett does not take him too seriously. She is aware that although he is a good man, he is also something of an absurdity. Near the ending of the story, as he is meeting his wife after his return from India, he feels "a slight movement in the cardiac region". In many ways, Walderhust is a parody of the Victorian gentleman. At the same time, however, it would be insensitive to dismiss him as a simple caricature because his feelings are genuine and his confusion at finding himself in love with his wife is somewhat moving.
Walderhust is also a noble man - in the true sense of the word. This is another reason he can't simply be written off as a parody. He decides to propose when he learns that Emily will be left homeless since her impossibly good tenants are moving to the North of England. Walderhust is also the first person to understand that people often take advantage of Emily's kindness. He is angry with Lady Maria - his cousin - when he realises how she thoughtlessly uses Emily as a simple commodity with little consideration for her well-being. He also sees that Emily's kindness and naivety are not the norm in polite society and he appreciates her all he more for it.
They marry. Emily moves to his Manor in the countryside and all seems well until Lord Walderhust is called away to India on some business or other. Emily is left living with her faithful lady's maid (Jane, the daughter of Emily's previous tenant, Mrs Cupp), a bunch of servants and her husband's cousin and his Anglo-Indian wife. Alec Osborn is the villain of the book. And thank God for him, because this book was in dire need of a villain. I mean, everyone is so good that you start wondering if this is an alternative Victorian universe with no horrible people.
Osborn, his wife and her terrifying Indian maid (upon whom all the racism of the book is concentrated) start to resent Emily because now that Walderhust has married her there's no chance for the Osborns to inherit the title.
Emily, naturally, is completely oblivious to this hatred. She is, naturally, extremely kind to them, especially to Osborn's wife, Hester, whom she proceeds to take under her wing. The whole plot takes a sinister - and unexpected - turn when you realise that Alec Osborn and the Indian maid are trying to kill Emily and her unborn child (oh, yes, she's pregnant). The Gothic murder plot is odd and even slightly amusing in its unpredictability. Imagine you're reading Pride and Prejudice when you suddenly realise that Mr Darcy's aunt is trying to kill Elizabeth.
It is true that the absurdity of this plot has limits which sober it up a little. Alec Osborn never explicitly discusses the plan. Hester struggles with her conscience and with the growing realisation of what her husband and her maid are planning. Furthermore, the plot is there to show that Emily really is a very naive person who knows nothing of the evilness of men. So despite it all, this story-line does create an interesting tension.
The book fails tremendously at the end. Emily gives birth to a healthy boy but she gets very ill and almost dies. Lord Walderhust finally arrives from India, and his presence saves her. There's an obvious cliché here and one can't help but roll one's eyes a little. Emily's love and adoration for her husband was always evident. She thinks that she was terribly lucky to marry him (which she was) and proceeds to idealize him to an extreme. To give the author credit, this is true to Emily's character. She was always inclined to idealize people's kindness towards her. Her near-death experience is also used for Lord Walderhust to understand the extent of his feelings for her. Still, the dying plot-device is just too much and just feels silly and melodramatic. It goes so far as declaring that Emily had expressively ordered the doctor to save the child instead of her if the situation demanded since she believed that her husband desperately wanted an heir. When Lord Walderhust arrives we see that this is not the case at all, and that he wouldn't give up her for life for anything. It is a nice sentiment but a bit soap-operish in the way it's written.
So why did I enjoy this book?
Despite its silliness and clichés, I feel that the author does not take her characters too seriously. There's a healthy, amusing distance she places between her thoughts and those of her characters. This makes the narrative very funny.
I also enjoy the little elements of realism. For instance, Emily's preoccupation with money and making a respectable living is remarkable. We see her discussing prices of things, worrying about where she'll end up as an old woman when her strength to work starts to fail. Here the subject of money, livelihood, the every day problems of a woman in Emily's initial position are written quite explicitly.
What is most annoying about this book is that we are supposed to believe that such a story would have gone exactly the way it did. Emily is very kind and the world seems to be very kind to her. Yet is it really believable that Lady Maria would be so fine with a minor, impoverished second rate noblewoman (whom she basically employs) marrying her cousin, a rich Marquis? Would polite society as a whole have received Emily the way it did, so nicely and with such good will? Would Emily have adapted so well to her new circumstances? Wouldn't she become something of an outcast? Where is the classism of British Victorian society? I feel that the novel would have been much, much better if it had been forced to confront these issues instead of forcing upon us the murder plot and the heroine's near death.
Furthermore, it is undeniable that the novel repeats itself constantly. We are often told that Emily is kind but not very intelligent, that Lord Walderhust is a good man but not an intellectual, that Lady Maria is witty and slightly amoral. The characters change little throughout the story with the exception of Walderhust who discovers, to his astonishment, that he does love his wife.
So this was a funny little book, despite the occasional silliness.
Frances Hodgson Burnett tells the story of Emily Fox-Seton a gentlewoman in her thirties, who is the poor relation of an aristocratic family. Her wealthy relatives do not really care for her, so Emily has to make do by living the life of a respectable working woman in the beginning of the 20th century London. She works as a kind of secretary/errand girl for rich, noble ladies. There's even the mention of a duchess at some point. The whole plot brings to mind an Austen novel. Perhaps that's why it seems a bit dislocated from its time.
One of these noble ladies is Lady Maria Byrne who reminded me of Violet Crawley from Downton Abbey. The witty old lady who has a great knowledge of the world and can say whatever she wants because she's rich and old and part of the aristocracy so no one really cares. Lady Maria is lovable as a character precisely because she is funny (although the author clearly made an herculean effort for her to be so) but we are also told quite clearly that she is a thoroughly selfish woman. While she obviously cares for Emily Fox-Seton, she has no qualms in exploiting her and her talents to the point where poor Emily is exhausted.
Emily is the sweetest, kindest, most generous person. It's a wonder I didn't hate her. Her kindness and goodness are too exalted to be realistic. She is so gullible and uninteresting and she repeats clichés after clichés and yet, somehow, she managed to move me. What is noteworthy about her is that the author is obviously aware that she is writing a ridiculous, pathetic character. Only instead of hiding it, she owns up to it by openly stating her character's failings. Emily isn't stupid. But we are given several opportunities to see how her naivety and lack of cleverness make her unable to deal with certain situations. It's as though Burnett is aware that if she wants Emily to possess a kindness that is almost impossible for a human to have then she has to have some flaws.
Anyway, Emily goes off to the countryside to help aforementioned Lady Maria with her party guests and the village festivities. There she meets Lady Maria's cousin, Lord Walderhurst, a 50 year old Marquess, a widower who is being pressured to marry and have an heir. Walderhurst is actually the most interesting character in all the book because he is the farthest thing from a Romantic or a Regency hero - which one expects him to be given the setting and the way he's introduced. He is kind and considerate but also tremendously dull, inarticulate and too set in his proper, Victorian ways to actually notice any change in himself or in the people around him. He abhors sentimentality and takes a practical view of every subject under the sun. Burnett does not take him too seriously. She is aware that although he is a good man, he is also something of an absurdity. Near the ending of the story, as he is meeting his wife after his return from India, he feels "a slight movement in the cardiac region". In many ways, Walderhust is a parody of the Victorian gentleman. At the same time, however, it would be insensitive to dismiss him as a simple caricature because his feelings are genuine and his confusion at finding himself in love with his wife is somewhat moving.
Walderhust is also a noble man - in the true sense of the word. This is another reason he can't simply be written off as a parody. He decides to propose when he learns that Emily will be left homeless since her impossibly good tenants are moving to the North of England. Walderhust is also the first person to understand that people often take advantage of Emily's kindness. He is angry with Lady Maria - his cousin - when he realises how she thoughtlessly uses Emily as a simple commodity with little consideration for her well-being. He also sees that Emily's kindness and naivety are not the norm in polite society and he appreciates her all he more for it.
They marry. Emily moves to his Manor in the countryside and all seems well until Lord Walderhust is called away to India on some business or other. Emily is left living with her faithful lady's maid (Jane, the daughter of Emily's previous tenant, Mrs Cupp), a bunch of servants and her husband's cousin and his Anglo-Indian wife. Alec Osborn is the villain of the book. And thank God for him, because this book was in dire need of a villain. I mean, everyone is so good that you start wondering if this is an alternative Victorian universe with no horrible people.
Osborn, his wife and her terrifying Indian maid (upon whom all the racism of the book is concentrated) start to resent Emily because now that Walderhust has married her there's no chance for the Osborns to inherit the title.
Emily, naturally, is completely oblivious to this hatred. She is, naturally, extremely kind to them, especially to Osborn's wife, Hester, whom she proceeds to take under her wing. The whole plot takes a sinister - and unexpected - turn when you realise that Alec Osborn and the Indian maid are trying to kill Emily and her unborn child (oh, yes, she's pregnant). The Gothic murder plot is odd and even slightly amusing in its unpredictability. Imagine you're reading Pride and Prejudice when you suddenly realise that Mr Darcy's aunt is trying to kill Elizabeth.
It is true that the absurdity of this plot has limits which sober it up a little. Alec Osborn never explicitly discusses the plan. Hester struggles with her conscience and with the growing realisation of what her husband and her maid are planning. Furthermore, the plot is there to show that Emily really is a very naive person who knows nothing of the evilness of men. So despite it all, this story-line does create an interesting tension.
The book fails tremendously at the end. Emily gives birth to a healthy boy but she gets very ill and almost dies. Lord Walderhust finally arrives from India, and his presence saves her. There's an obvious cliché here and one can't help but roll one's eyes a little. Emily's love and adoration for her husband was always evident. She thinks that she was terribly lucky to marry him (which she was) and proceeds to idealize him to an extreme. To give the author credit, this is true to Emily's character. She was always inclined to idealize people's kindness towards her. Her near-death experience is also used for Lord Walderhust to understand the extent of his feelings for her. Still, the dying plot-device is just too much and just feels silly and melodramatic. It goes so far as declaring that Emily had expressively ordered the doctor to save the child instead of her if the situation demanded since she believed that her husband desperately wanted an heir. When Lord Walderhust arrives we see that this is not the case at all, and that he wouldn't give up her for life for anything. It is a nice sentiment but a bit soap-operish in the way it's written.
So why did I enjoy this book?
Despite its silliness and clichés, I feel that the author does not take her characters too seriously. There's a healthy, amusing distance she places between her thoughts and those of her characters. This makes the narrative very funny.
I also enjoy the little elements of realism. For instance, Emily's preoccupation with money and making a respectable living is remarkable. We see her discussing prices of things, worrying about where she'll end up as an old woman when her strength to work starts to fail. Here the subject of money, livelihood, the every day problems of a woman in Emily's initial position are written quite explicitly.
What is most annoying about this book is that we are supposed to believe that such a story would have gone exactly the way it did. Emily is very kind and the world seems to be very kind to her. Yet is it really believable that Lady Maria would be so fine with a minor, impoverished second rate noblewoman (whom she basically employs) marrying her cousin, a rich Marquis? Would polite society as a whole have received Emily the way it did, so nicely and with such good will? Would Emily have adapted so well to her new circumstances? Wouldn't she become something of an outcast? Where is the classism of British Victorian society? I feel that the novel would have been much, much better if it had been forced to confront these issues instead of forcing upon us the murder plot and the heroine's near death.
Furthermore, it is undeniable that the novel repeats itself constantly. We are often told that Emily is kind but not very intelligent, that Lord Walderhust is a good man but not an intellectual, that Lady Maria is witty and slightly amoral. The characters change little throughout the story with the exception of Walderhust who discovers, to his astonishment, that he does love his wife.
Read
March 6, 2024FHB wrote this as two separate novels, and separate they should have remained. So, what we have first is a delightful little novella about a Fanny Price-style character who is invited to a house party so that her posh elderly connection can slack off while she does all the work, but events take a Cinderella-like turn. This was just charming, with wonderful turns of phrase from the author, insightful observations, and a plethora of detail about everyday life on different class levels in 1901, including descriptions of food. (Gold for the historical novelists among us!)
But then—and who knows WHAT she was thinking—FHB decides to revisit her character in a disastrously thin sequel with a genre switch into gothic. FHB did a much better job with gothic tropes in THE SECRET FARDEN.
The most striking part of the sequel is unfortunately the casually racist attitude towards India. On a recent reread of THE SECRET GARDEN, I sensed a bit of this and had some questions, but it is so very slight that it is easily overlooked, and the novel itself is worth it. In this novel, Indian people and ways are used to create a sense of unease and threat, which seems awfully unfair given the historical relationship between England and India. Really, these two works should be split up and assessed separately.
But then—and who knows WHAT she was thinking—FHB decides to revisit her character in a disastrously thin sequel with a genre switch into gothic. FHB did a much better job with gothic tropes in THE SECRET FARDEN.
The most striking part of the sequel is unfortunately the casually racist attitude towards India. On a recent reread of THE SECRET GARDEN, I sensed a bit of this and had some questions, but it is so very slight that it is easily overlooked, and the novel itself is worth it. In this novel, Indian people and ways are used to create a sense of unease and threat, which seems awfully unfair given the historical relationship between England and India. Really, these two works should be split up and assessed separately.
March 26, 2023
Frances Hodgson Burnett was a moralist. She was prizing one kind of life. But she also had a fairytale-ish kind of writing. So, depending on how one reads her stories, one sees sweet stories or old-fashioned, full of prejudiced stories. Enough of the preface.
I really enjoyed the first part ("The Making of a Marchioness"). It was charming, a bit funny. Rather hard to believe - that such people like Emily existed, but in a book it was heartwarming. [3.5-4 stars]
Unfortunately, the second part ("The Methods of Lady Walderhurst") was much less enjoyable. I forgive much prejudice in historical fiction because there were many in the past, and I prefer a realistic novel to one that lies. But, the moralistic soul of the author went too obvious in this book. I understood where she saw the evil, yet she kept saying it, again and again, to make sure the reader get it. The part about Emily's sacrifice made me roll my eyes too. And the last climax - too dramatic for my taste, even in such a story. [2 stars]
I liked the character of Emily and Walderhurst (mostly as they looked in the first part). They could have created a much better story. As it was, it was a little bizarre reading. [The second part I mostly listened to.]
I really enjoyed the first part ("The Making of a Marchioness"). It was charming, a bit funny. Rather hard to believe - that such people like Emily existed, but in a book it was heartwarming. [3.5-4 stars]
Unfortunately, the second part ("The Methods of Lady Walderhurst") was much less enjoyable. I forgive much prejudice in historical fiction because there were many in the past, and I prefer a realistic novel to one that lies. But, the moralistic soul of the author went too obvious in this book. I understood where she saw the evil, yet she kept saying it, again and again, to make sure the reader get it. The part about Emily's sacrifice made me roll my eyes too. And the last climax - too dramatic for my taste, even in such a story. [2 stars]
I liked the character of Emily and Walderhurst (mostly as they looked in the first part). They could have created a much better story. As it was, it was a little bizarre reading. [The second part I mostly listened to.]
September 18, 2017
Completely enjoyable. Emily is kind, unsuspecting, unselfish woman that on principle one should hate but I couldn't. I just liked her even when she saw the best in people (and they were trying to kill her). She's just so nice and real. This is two stories in one - the first half is a romance and the second half is a horror show (husband's heir is not fond of the new Marchioness). It shouldn't work, those two jarring stories, but it does. I really liked this edition, it had a intro and afterward that added to the book. I'd recommended this to someone looking for a book written in the early 1900's. This one was written 1901 which is about ten years before the Secret Garden was written.
December 22, 2020
Maybe deserving of 3 stars but I'm erring on the side of 'I spent half this book wondering if I should bother finishing' and am going to rate it 2 stars.
The book suffers from a terribly naïve, Mary Sue main character who is redeemed initially by the acerbic wit of the narrator and then by sheer drama of her husband's heir trying to murder her. Which sounds exciting and only is so-far as vaguely racist views of India natives exercising some form of voodoo make it.
Not my favorite Burnett. If looking for something off the beaten path by her, I'd recommend A Lady of Quality.
The book suffers from a terribly naïve, Mary Sue main character who is redeemed initially by the acerbic wit of the narrator and then by sheer drama of her husband's heir trying to murder her. Which sounds exciting and only is so-far as vaguely racist views of India natives exercising some form of voodoo make it.
Not my favorite Burnett. If looking for something off the beaten path by her, I'd recommend A Lady of Quality.
February 25, 2025
Dopo le nozze
Emily Fox-Seton ha 34 anni, un aspetto gradevole e una buona intelligenza, sebbene non sia molto brillante. È di buona famiglia, ma priva di mezzi e di un marito e di conseguenza si mantiene svolgendo lavoretti vari e piccole commissioni per le sue altolocate conoscenze. A fine giornata si ritira in una modesta, ma rispettabile pensione, dove è diventata molto amica della buona proprietaria, la signora Cupp, e della figlia di lei, Jane.
Un giorno una delle sue datrici di lavoro, Lady Maria, la invita a trascorrere l'estate con lei nella sua magione di campagna. Lady Maria è una donna gentile, ironica e intelligente, sinceramente affezionata a Emily e al tempo stesso ben decisa a scaricarle sulle spalle tutti i compiti più ingrati e faticosi che comporta l'ospitare in casa un folto gruppo di amici. Non lo fa con crudeltà o senso di superiorità, ma la legge sociale è questa: chi non possiede nulla deve chinare il capo davanti a chi possiede tutto. Emily, però, è un trionfo di buoni sentimenti, generosità, attenzioni per il prossimo. Non conosce l'invidia, il risentimento, l'aspettativa. È talmente candida che se non fosse la protagonista di un romanzo verrebbe proprio da pensare che è la protagonista di un romanzo. Accetta l'invito con entusiasmo e riconoscenza ed è così che incontra il marchese di Walderhurst, un vedovo di mezza età, senza figli e dall'umore cupo.
Stanco delle fanciulle che lo assediano nella speranza di diventare la prossima marchesa, Walderhurst posa gli occhi su Emily e, conquistato dalla sua umiltà, dalla gentilezza e dalla disponibilità a soddisfare le richieste di tutti, sceglie proprio lei. Una donna non più nel fiore degli anni, affascinante, ma non bellissima, senza denaro e per giunta una lavoratrice. Stupore e meraviglia: chi lo avrebbe mai detto?
Emily entra così da marchesa nella dimora di campagna di Walderhurst, ma le sue avventure non sono ancora finite. Inciampa infatti nell'erede presunto del marito, del titolo e di tutti i suoi beni, nel caso in cui morisse senza figli: suo nipote, lo sgradevole capitano Alec Osborne, e la moglie di lui, una ragazza mezza indiana. I due sono, naturalmente, tutt'altro che felici di trovarsi davanti un ostacolo imprevisto. E se iniziassero ad architettare un piano per liberarsi di Emily, possibilmente prima che dia un erede al marito?
Questo romanzo è stata una deliziosissima compagnia, me lo sono letteralmente divorato dalla prima all'ultima pagina. Già conoscevo Frances Hodgson-Burnett, di cui ho letto e apprezzato Il giardino segreto e La piccola principessa. Mi aspettavo una buona scrittura, un buon intrattenimento e una storia d'amore condita da un po' di suspense. La storia tra Emily e il marchese, invece, non è per nulla romantica. È al contrario piuttosto realistica, osservata con occhi scaltri e descritta con abbondanza di gustosa ironia british che rende queste pagine un vero spasso. La coloritura dark della vicenda, rappresentata dai terribili intrighi del capitano Osborne e di sua moglie, stempera ulteriormente il romance. Di solito i romanzi vittoriani che seguono le peripezie di una coppia si concludono con il matrimonio, mentre Hodgson-Burnett ci mostra cosa accade dopo le nozze, quali altre insidie possono celarsi dietro una perfetta vita matrimoniale.
Non è certo un capolavoro, ma una storia semplice e piuttosto prevedibile dalla quale, per qualche misteriosa ragione, non ci si riesce a staccare, scritta da una penna fluida e appassionante, popolata da una galleria di personaggi indimenticabili, come la tormentata signora Osborne, la caustica Lady Maria, l'impassibile Walderhurst e la fedelissima Jane Cupp. Una lettura perfetta per gli amanti di Jane Austen e anche di Downton Abbey, dal momento che non manca una dinamica upstairs-downstairs, sebbene non molto sviluppata.
Emily Fox-Seton ha 34 anni, un aspetto gradevole e una buona intelligenza, sebbene non sia molto brillante. È di buona famiglia, ma priva di mezzi e di un marito e di conseguenza si mantiene svolgendo lavoretti vari e piccole commissioni per le sue altolocate conoscenze. A fine giornata si ritira in una modesta, ma rispettabile pensione, dove è diventata molto amica della buona proprietaria, la signora Cupp, e della figlia di lei, Jane.
Un giorno una delle sue datrici di lavoro, Lady Maria, la invita a trascorrere l'estate con lei nella sua magione di campagna. Lady Maria è una donna gentile, ironica e intelligente, sinceramente affezionata a Emily e al tempo stesso ben decisa a scaricarle sulle spalle tutti i compiti più ingrati e faticosi che comporta l'ospitare in casa un folto gruppo di amici. Non lo fa con crudeltà o senso di superiorità, ma la legge sociale è questa: chi non possiede nulla deve chinare il capo davanti a chi possiede tutto. Emily, però, è un trionfo di buoni sentimenti, generosità, attenzioni per il prossimo. Non conosce l'invidia, il risentimento, l'aspettativa. È talmente candida che se non fosse la protagonista di un romanzo verrebbe proprio da pensare che è la protagonista di un romanzo. Accetta l'invito con entusiasmo e riconoscenza ed è così che incontra il marchese di Walderhurst, un vedovo di mezza età, senza figli e dall'umore cupo.
Stanco delle fanciulle che lo assediano nella speranza di diventare la prossima marchesa, Walderhurst posa gli occhi su Emily e, conquistato dalla sua umiltà, dalla gentilezza e dalla disponibilità a soddisfare le richieste di tutti, sceglie proprio lei. Una donna non più nel fiore degli anni, affascinante, ma non bellissima, senza denaro e per giunta una lavoratrice. Stupore e meraviglia: chi lo avrebbe mai detto?
Emily entra così da marchesa nella dimora di campagna di Walderhurst, ma le sue avventure non sono ancora finite. Inciampa infatti nell'erede presunto del marito, del titolo e di tutti i suoi beni, nel caso in cui morisse senza figli: suo nipote, lo sgradevole capitano Alec Osborne, e la moglie di lui, una ragazza mezza indiana. I due sono, naturalmente, tutt'altro che felici di trovarsi davanti un ostacolo imprevisto. E se iniziassero ad architettare un piano per liberarsi di Emily, possibilmente prima che dia un erede al marito?
Questo romanzo è stata una deliziosissima compagnia, me lo sono letteralmente divorato dalla prima all'ultima pagina. Già conoscevo Frances Hodgson-Burnett, di cui ho letto e apprezzato Il giardino segreto e La piccola principessa. Mi aspettavo una buona scrittura, un buon intrattenimento e una storia d'amore condita da un po' di suspense. La storia tra Emily e il marchese, invece, non è per nulla romantica. È al contrario piuttosto realistica, osservata con occhi scaltri e descritta con abbondanza di gustosa ironia british che rende queste pagine un vero spasso. La coloritura dark della vicenda, rappresentata dai terribili intrighi del capitano Osborne e di sua moglie, stempera ulteriormente il romance. Di solito i romanzi vittoriani che seguono le peripezie di una coppia si concludono con il matrimonio, mentre Hodgson-Burnett ci mostra cosa accade dopo le nozze, quali altre insidie possono celarsi dietro una perfetta vita matrimoniale.
Non è certo un capolavoro, ma una storia semplice e piuttosto prevedibile dalla quale, per qualche misteriosa ragione, non ci si riesce a staccare, scritta da una penna fluida e appassionante, popolata da una galleria di personaggi indimenticabili, come la tormentata signora Osborne, la caustica Lady Maria, l'impassibile Walderhurst e la fedelissima Jane Cupp. Una lettura perfetta per gli amanti di Jane Austen e anche di Downton Abbey, dal momento che non manca una dinamica upstairs-downstairs, sebbene non molto sviluppata.
September 7, 2017
I found a beautiful Persephone edition of ‘The Making of a Marchioness’ in a charity shop, after reading and enjoying The Shuttle. Frances Hodgson Burnett is a distinctive writer with an impressively cynical view of late Victorian marriage and limitations placed upon women. I preferred The Shuttle, though, as it had a more striking narrator and clearer structure. ‘The Making of a Marchioness’ was written in two parts, the first of which is much shorter and in my view much more effective. Both concern Emily Fox-Seton, initially a badly paid dogsbody who struggles to pay her rent. The first part ends with her life changing very significantly, then the second part plays this out at much greater length.
The highlight for me was the solidarity between women throughout. I particularly liked the dynamic between Emily and Lady Agatha, who are both very familiar with financial difficulty:
‘The Making of a Marchioness’ touches on some surprisingly radical topics for the time: pregnancy outside marriage, abortion, and domestic violence. However, the main character is so entirely virtuous as to beggar belief at times. I didn’t dislike her, in fact she seemed admirable, I just found her hard to understand. The depictions of class differences are cleverly done, albeit in an entirely uncritical fashion. ‘The Making of a Marchioness’ is well worth reading, although the first part is undoubtedly superior.
The highlight for me was the solidarity between women throughout. I particularly liked the dynamic between Emily and Lady Agatha, who are both very familiar with financial difficulty:
[Emily] had not lived in a world where marriage was a thing of romance, and, for that matter, neither had Agatha. It was nice if a girl liked the man who married her, but if he was a well-behaved, agreeable person, of good means, it was natural that she would end by liking him sufficiently, and to be provided for comfortably or luxuriously for life, and not left upon one’s own hands, or one’s parents’, was a thing to be thankful for in any case.
[...]
They both had hard lives, and knew what lay before them. Agatha knew she must make a marriage or fade out of existence in prosaic and narrowed dullness. Emily knew that there was no prospect for her of desirable marriage at all. She was too poor, too entirely unsupported by social surroundings, and not sufficiently radiant to catch the roving eye. To be able to maintain herself decently, to be given an occasional treat by her more fortunate friends, and to be allowed by fortune to present to the face of the world the appearance of a woman who was not a pauper, was all that she could expect.
‘The Making of a Marchioness’ touches on some surprisingly radical topics for the time: pregnancy outside marriage, abortion, and domestic violence. However, the main character is so entirely virtuous as to beggar belief at times. I didn’t dislike her, in fact she seemed admirable, I just found her hard to understand. The depictions of class differences are cleverly done, albeit in an entirely uncritical fashion. ‘The Making of a Marchioness’ is well worth reading, although the first part is undoubtedly superior.
January 24, 2013
Free download available at Project Gutenberg
The three week read and discussion of Emily Fox-Seton by Frances Hodgson Burnett begins Sunday, May 5, at the 19thCenturyLit group. Emily Fox-Seton includes The Making of a Marchioness and The Methods of Lady Walderhurst.
This book discussion can be joined at 19thCenturyLit - Literature of the 19th Century.
Discussion Schedule:
May 5 Part One (Chapters 1 - 6)
May 12 Part Two, Chapters 7 - 15
May 19 Part Two, Chapters 16 - 24
Both books, "The Making of a Marchioness" and "The Methods of Lady Walderhurst" are typical Edwardian's pieces of work where the heroine, a good, honest and hard-working woman, has a fairytale ending which is typical in the Burnett's books.
As very well pointed out by one of the members in the 19th Century Literature Yahoo Group, "the contrast between light and dark, comfort and poverty, was the dominant theme of her books."
I can feel some autobiographical hints during the narrative even if I didn't know so much about her life before reading these couple of books.
At Wikipedia, one can find a good biography of this author, namely Frances Hodgson Burnett: The Unexpected Life of the Author of "The Secret Garden" by Gretchen Holbrook Gerzina
Another interesting book about this author which should be mentioned here is Waiting for the Party: The Life of Frances Hodgson Burnett by Ann Thwaite
The three week read and discussion of Emily Fox-Seton by Frances Hodgson Burnett begins Sunday, May 5, at the 19thCenturyLit group. Emily Fox-Seton includes The Making of a Marchioness and The Methods of Lady Walderhurst.
This book discussion can be joined at 19thCenturyLit - Literature of the 19th Century.
Discussion Schedule:
May 5 Part One (Chapters 1 - 6)
May 12 Part Two, Chapters 7 - 15
May 19 Part Two, Chapters 16 - 24
Both books, "The Making of a Marchioness" and "The Methods of Lady Walderhurst" are typical Edwardian's pieces of work where the heroine, a good, honest and hard-working woman, has a fairytale ending which is typical in the Burnett's books.
As very well pointed out by one of the members in the 19th Century Literature Yahoo Group, "the contrast between light and dark, comfort and poverty, was the dominant theme of her books."
I can feel some autobiographical hints during the narrative even if I didn't know so much about her life before reading these couple of books.
At Wikipedia, one can find a good biography of this author, namely Frances Hodgson Burnett: The Unexpected Life of the Author of "The Secret Garden" by Gretchen Holbrook Gerzina
Another interesting book about this author which should be mentioned here is Waiting for the Party: The Life of Frances Hodgson Burnett by Ann Thwaite
July 28, 2013
I enjoyed this book so much that I read it within a day and a half. The writing was lush and descriptive enough to enchant me--full of tea and English country houses. I also enjoyed the suspense--are these dark, sinister people from India really dark and sinister? Well, yes. But it wasn't as cut and dried as it could have been, thankfully. I also enjoyed the heroine, who was too good and guileless for her own good, and it seemed she was even too good, at times, for the narrator's patience! Another thing I liked: it's a love story, but the bride is 34 and the groom is 54! They meet at a country house party when he is impressed by her enthusiastic selflessness in spite of her genteel poverty. So, in the first part, she's married off, and in the second part, his heir tries to kill her off. It was fun and well-written. I found it on a list of books that Persephone Press publishes, and I'm glad that I did. I read it on my Kindle, but it would have been more fun to read in print.
July 31, 2020
I love Frances Hodgson Burnett books. She was a very clever women who had to for most of her life had to earn her own and her families living at a time when nice ladies did not do that. All her book portrait life of this time very well and she very cleverly "hides her criticism of society and country very charmingly" as she would say. Of course, there is quite a bit of racism and it is not a book for a feminist, but it is in no way as bad as with other Georgian writers. She was one of Jane Austen's favourite writers, but managed the business of writing much better than poor Jane.
November 6, 2009
I really liked this one! The first half is a fairy tale with an endearing heroine (big, good-natured, poor, and disgustingly healthy), and the second half is a combination melodrama and commentary on Victorian marriage.
2013: I enjoyed listening to the recording of this book from librivox.org.
2019: I've upgraded to a recording from Audible.
2013: I enjoyed listening to the recording of this book from librivox.org.
2019: I've upgraded to a recording from Audible.
June 23, 2016
I always find it a bit challenging to write a review of a book that I consider a favorite.
I read a tattered, old library copy of this book many years ago, although I think it was only the second of the stories contained in this volume (The Methods of Lady Walderhurs) as I have no recollection of the first story. I recently picked up the Persephone edition, which contains both Emily Fox-Seton stories (The Making of a Marchioness and The Methods of Lady Walderhurst) and I was reminded why I love Frances Hodgson Burnett so much. Her children's books were some of my favorites as a girl.
This edition tells the story of the simple, selfless, kind, and just plain lovely Emily Fox-Seton. The first story is a Cinderella story of how Emily comes to marry the very eligible and desired Marquis of Walderhurst. In this story you are introduced to Emily in such a way that you cannot help but both love her and feel a little sorry for her - well born yet poor, she is continually taken advantage of by those she works for, yet she considers it the least she can do because everyone is so kind to her. What she fails to realize is that she is always giving more than she is receiving, but she soldiers on and continues to remain true to herself and her character. And, it all works out in the best way in the end.
The second story is very different, full of mystery and intrigue with villains and heroes, it was hard to put down. I fell even more in love with Emily and found her selflessness and innocence both beautiful and terrifying; terrifying because her trusting nature puts her in a rather precarious situation. It's tough to write much more without spoiling the story, but know that the ending is very satisfying.
One of my only criticisms of the book is how Hodgson Burnett feels the need to continually remind you of Emily's simplicity of intellect, it felt unnecessary and became a bit tedious to me. We get that she isn't a brilliant and calculating heroine, she has a unique innocence, unlimited kindness and is far too trusting, but it is these things along with her age and her situation, that make her such a compelling heroine. She is different to almost all other heroines and I think that is why I love her so. I also really liked how she saw her husband through a different lens to everyone else, and had not only a reverence for him, but a genuine love and devotion that was really quite sweet and served to reinforce both her simplicity and ability to see the best in others.
This will certainly remain one of my favorite books and a guilty pleasure I will read when life gets to be a little too much.
I read a tattered, old library copy of this book many years ago, although I think it was only the second of the stories contained in this volume (The Methods of Lady Walderhurs) as I have no recollection of the first story. I recently picked up the Persephone edition, which contains both Emily Fox-Seton stories (The Making of a Marchioness and The Methods of Lady Walderhurst) and I was reminded why I love Frances Hodgson Burnett so much. Her children's books were some of my favorites as a girl.
This edition tells the story of the simple, selfless, kind, and just plain lovely Emily Fox-Seton. The first story is a Cinderella story of how Emily comes to marry the very eligible and desired Marquis of Walderhurst. In this story you are introduced to Emily in such a way that you cannot help but both love her and feel a little sorry for her - well born yet poor, she is continually taken advantage of by those she works for, yet she considers it the least she can do because everyone is so kind to her. What she fails to realize is that she is always giving more than she is receiving, but she soldiers on and continues to remain true to herself and her character. And, it all works out in the best way in the end.
The second story is very different, full of mystery and intrigue with villains and heroes, it was hard to put down. I fell even more in love with Emily and found her selflessness and innocence both beautiful and terrifying; terrifying because her trusting nature puts her in a rather precarious situation. It's tough to write much more without spoiling the story, but know that the ending is very satisfying.
One of my only criticisms of the book is how Hodgson Burnett feels the need to continually remind you of Emily's simplicity of intellect, it felt unnecessary and became a bit tedious to me. We get that she isn't a brilliant and calculating heroine, she has a unique innocence, unlimited kindness and is far too trusting, but it is these things along with her age and her situation, that make her such a compelling heroine. She is different to almost all other heroines and I think that is why I love her so. I also really liked how she saw her husband through a different lens to everyone else, and had not only a reverence for him, but a genuine love and devotion that was really quite sweet and served to reinforce both her simplicity and ability to see the best in others.
This will certainly remain one of my favorite books and a guilty pleasure I will read when life gets to be a little too much.
March 5, 2016
Romanzo nel complesso gradevole, nulla da dire sullo stile narrativo ma, secondo me, nn superiore a Un matrimonio inglese che ho trovato sicuramente più "armonico".La prima parte introduce la figura di Emily, una sorta di Cenerentola, un'anima pura, una donna senza alcuna malizia, quasi indigente che, malgrado la vita non le sia stata particolarmente benigna, riesce a cavarsela dignitosamente ed è amata e rispettata da tutti quelli che godono dei suoi piccoli servizi che offre con grande slancio malgrado spesso venga sfruttata senza troppi riguardi.Tra questi aristocratici l'eccentrica Lady Maria che comunque nutre un certo affetto per Emily. Ed è proprio grazie a lei che la invita a soggiornare in una delle sue residenze di campagna per aiutarla nell'organizzazione di cene e picnic vari che riesce a farsi notare, suo malgrado, da Lord Walderhurst, un maturo cugino, nobiluomo piuttosto cinico e compassato in cerca di una nuova moglie, che, colpito dalla sua solarità e generosità, le chiederle di sposarlo.
Quindi fortunosamente e contro ogni più ottimistica previsione, la dolce ed ingenua Emily si ritrova in possesso di un titolo a vivere una vita che nn osava nemmeno sognare.
La seconda parte che, in teoria, avrebbe dovuto essere più interessante perché introduce personaggi subdoli ed elementi mistery che nn sto qui a spiegare, ad un certo punto però si sgonfia e quindi, personalmente, son rimasta un po' delusa dalla piega degli avvenimenti...
Il finale, che vede il ritorno di Walderhurst dall' India, scopre la povera Emily in fin di vita dopo aver partorito suo figlio, è piuttosto melodrammatico e si chiude con una rivelazione noir che riguarda la morte del presunto erede di Walderhurst
Non è una storia prettamente sentimentale come ci si poteva aspettare, la figura di Lord Walderhurst è defilata,inoltre lui stesso nn è il classico eroe romantico, tutt'altro... E' piuttosto un'altra testimonianza della durezza della condizione della donna nel tardo ottocento e della crudeltà del sistema delle classi britannico.
Però ciò che mi ha infastidito particolarmente sono stati i commenti piuttosto inclementi che l'autrice mette in bocca ai suoi personaggi e che si riferiscono quasi tutti alla scarsa brillantezza o intelligenza di Emily, per tanti troppo naive e quindi stupida, e anche qualche atteggiamento discrimante nei confonti degli angloindiani...
Quindi fortunosamente e contro ogni più ottimistica previsione, la dolce ed ingenua Emily si ritrova in possesso di un titolo a vivere una vita che nn osava nemmeno sognare.
La seconda parte che, in teoria, avrebbe dovuto essere più interessante perché introduce personaggi subdoli ed elementi mistery che nn sto qui a spiegare, ad un certo punto però si sgonfia e quindi, personalmente, son rimasta un po' delusa dalla piega degli avvenimenti...
Il finale, che vede il ritorno di Walderhurst dall' India, scopre la povera Emily in fin di vita dopo aver partorito suo figlio, è piuttosto melodrammatico e si chiude con una rivelazione noir che riguarda la morte del presunto erede di Walderhurst
Non è una storia prettamente sentimentale come ci si poteva aspettare, la figura di Lord Walderhurst è defilata,inoltre lui stesso nn è il classico eroe romantico, tutt'altro... E' piuttosto un'altra testimonianza della durezza della condizione della donna nel tardo ottocento e della crudeltà del sistema delle classi britannico.
Però ciò che mi ha infastidito particolarmente sono stati i commenti piuttosto inclementi che l'autrice mette in bocca ai suoi personaggi e che si riferiscono quasi tutti alla scarsa brillantezza o intelligenza di Emily, per tanti troppo naive e quindi stupida, e anche qualche atteggiamento discrimante nei confonti degli angloindiani...
August 1, 2013
This book, written by the author of A Little Princess and The Secret Garden, is an adult romance that set the pace for traditional romances by Georgette Heyer and other writers. The heroine, Emily Fox-Seton is very poor, but manages to get by on 20 pounds a year. She's not very bright, but she's good and kind and everyone loves to take advantage of her good nature. Lady Maria Bayne invites Emily to her house party in the country to assist with the duties of party planning and hosting. The guests include a widowed writer, an American heiress, the beautiful daughter of an impoverished Irish peer, Lady Agatha Slade and the widowed Marquis of Walderhurst, on the hunt for a new wife. Emily becomes invaluable to the hostess and befriends Lady Agatha and helps the younger girl bear her troubles. Emily catches the interest of the Marquis and soon becomes his bride! Emily loves her husband and he enjoys her company. Upon hearing of the Marquis's marriage, his black sheep heir, Osborne and his wife leave India and return to England to determine how to prevent the title from passing to Walderhusrst and Emily's prospective heir to their own. Kind Emily takes pity on Osborne's wife and tries to ease her burdens, but old hatreds die hard and the Osbornes may or may not be involved in a plot to take Emily's life. The plot is fairly typical though not predictable. It takes awhile for the story to get going and then it turns gothic. I didn't really like Emily because she was too kind and good and didn't stand up for herself, but I wanted her to have the happy ending she deserved. The Marquis is hardly in the book, but he seems like a decent fellow if you like dull heroes. If you've read and liked the traditional romances of Georgette Heyer, then you will probably enjoy this book.
Read
February 5, 2009Read on Gutenberg.net, with the vague idea that it would function as comfort reading. The first half did this fairly well, but the second half, holy racism, Batman!
I don't even know why I finished this. I think partly I persisted in the desperate hope that everyone's racism would be shown to be totally unfair and the Indian servant would NOT kill anyone and their suspicions of her would be shown to be wrong, but I don't even know why I was so stupid as to hope for that.
I don't even know why I finished this. I think partly I persisted in the desperate hope that everyone's racism would be shown to be totally unfair and the Indian servant would NOT kill anyone and their suspicions of her would be shown to be wrong, but I don't even know why I was so stupid as to hope for that.
March 6, 2016
una donna buona, radiosa, gentile e indigente si ritrova, per un caso fortuito, a sposare un ricchissimo marchese e, allo stesso tempo, finisce per diventare l'oggetto di un misterioso intrigo. un libro forse romantico e fiabesco- se letto con gli occhi di oggi- ma allo stesso tempo godibile e avvincente; dedicato a chi pensa che l'amore possa cambiare le persone e che sia dedizione e l'intelligenza discreta aiutino a conquistarsi un posto nel mondo. lievemente delizioso.
October 3, 2022
Many of my friends like this book a lot, so I feel badly for saying that I found it to be complete tripe. Although not badly enough not to say so! Frances Hodgson Burnett, author of The Secret Garden and The Little Princess writes about real social issue with no realism. Her main character, Emily Fox-Seton, lives in respectable poverty. Having no parents to shelter her or provide a dowry, and no one to care for her, she lives hand-to-mouth, doing little jobs for rich women, and making her tiny room as cosy as she can. She fears being unable to work and ending up in the workhouse. These were real fears for many women at this time, but Burnett doesn't expand on this social problem, or venture any opinion on it other than that Emily is unlucky to be in this position.
Luckily for Emily, she is rescued by a wealthy Marquis, owner of estates, and becomes his wife. This book falls into roughly two halves: a romantic story followed by a melodramatic one, in which Emily is pursued by the Marquis's relations. Both halves are ridiculous, though the second is a bit more entertaining. Burnett gives her characters no nuance -- they are either wonderfully good, or inexcusable -- and her descriptions of India and Indian characters are marked by their prejudice and lack of insight. The novel rushes from one over-the-top setting to another, and becomes more and more sentimental as it continues.
Luckily for Emily, she is rescued by a wealthy Marquis, owner of estates, and becomes his wife. This book falls into roughly two halves: a romantic story followed by a melodramatic one, in which Emily is pursued by the Marquis's relations. Both halves are ridiculous, though the second is a bit more entertaining. Burnett gives her characters no nuance -- they are either wonderfully good, or inexcusable -- and her descriptions of India and Indian characters are marked by their prejudice and lack of insight. The novel rushes from one over-the-top setting to another, and becomes more and more sentimental as it continues.
June 10, 2016
Although primarily known today for her children's books, France's Hodgson Burnett wrote a great many novels for adults, and, in fact, The Making of A Marchioness was written ten years befor A Little Princess. Many of the same themes appear in both books, however.
Marchioness is, like Priness, a Cinderella story. In each, a kind, well-mannered character is left in reduced financial circumstances through no fault of her own and must make do in getting on in the world. As in most Cinderlla stories, things work out well for them in the end, but the struggle is the story.
Marchioness is well told, full of enough detail so that a reader can quite easily picture Emily's small bed sit, done up in reds, as well as the people she meets.
The one drawback for modern readers is the slightly racist anti-"Hindoo" themes surrounding two of the characters. As these are fought against be Emily herself, however, perhaps these can be seen more as a commentary on society at the time rather than straight racism. Not all the evil- doers are "Hindoo," after all, and the motivations for their bad acts are quite British, as are Burnett's views on marriage.
Overall, an enjoyable, well-written book, with characters one can root for.
Marchioness is, like Priness, a Cinderella story. In each, a kind, well-mannered character is left in reduced financial circumstances through no fault of her own and must make do in getting on in the world. As in most Cinderlla stories, things work out well for them in the end, but the struggle is the story.
Marchioness is well told, full of enough detail so that a reader can quite easily picture Emily's small bed sit, done up in reds, as well as the people she meets.
The one drawback for modern readers is the slightly racist anti-"Hindoo" themes surrounding two of the characters. As these are fought against be Emily herself, however, perhaps these can be seen more as a commentary on society at the time rather than straight racism. Not all the evil- doers are "Hindoo," after all, and the motivations for their bad acts are quite British, as are Burnett's views on marriage.
Overall, an enjoyable, well-written book, with characters one can root for.
June 20, 2009
I read this because I could get it for free on Kindle--I was interested in seeing how Burnett writes for adults. The racism is typical for the time period, but no more pleasant because of that, and the main character is just a little too good. The moral of the story seems to be that if you allow yourself to be put upon by everybody, eventually everything will work out beautifully. For all my complaining, though,Burnett does keep things humming--it doesn't drag the way some books from that period do. It is interesting to see some of the themes from her books for children making an appearance here as well.
January 15, 2024
What a lovely story of Emily Fox-Seton and her life, which turns out to be pretty traumatic! Part 1 is so sweet and cute; Part 2 is more disquieting, with some mystery and drama, keeping me on the edge of my seat. I couldn't put it down 'til I knew what was going to happen to Emily! But if you know anything about Frances Hodgson Burnett, you know "all's well that ends well." And I really liked that.
If you've read any other of Burnett's books, you'll enjoy meeting and spending time with Emily :)
If you've read any other of Burnett's books, you'll enjoy meeting and spending time with Emily :)
August 8, 2015
I really enjoyed the first part of the story, but was very disappointed by the second part. I thought the second half of the story would be a commentary on domesticity and Victorian marriage, but instead it turned out to be a melodrama with racist undertones. Unfortunately just expected more from a book that is taught alongside P and P and Jane Eyre by some american colleges. Would still recommend though for the lovely first half of the story!
October 22, 2017
Yeah. So. I can't even begin to enumerate all the tropes that are in the second book. The white saviour, the damsel in distress, the angel in the house, the exotic, evil foreigner woman redeemed by the white woman, long etc. Emily is so good she lets herself almost die just so she doesn't bother her husband, who, by the way, is a piece of shit. Everything ends well [spoilers], Emily is alive, she and Walderhurst have a son, the evil cousin is dead. But at what price. My brain is fried.
May 22, 2011
I thought this was lovely. What an unusual heroine - not clever, not exactly beautiful, but big and too NICE for her own good. The whole thing is extremely unlikely, but no less enjoyable for all that. The story has a racist element but the heroine even rises above that.
June 1, 2023
Mlle Alice, pouvez-vous nous raconter votre rencontre avec The Making of a Marchioness ?
"Je suis littéralement amoureuse des romans jeunesse de Frances Hodgson Burnett et j'était très curieuse de découvrir le reste de son oeuvre. Et comme, en plus, celui-ci est édité dans la très belle collection des Persephone Classics, il n'y avait vraiment aucune chance que je résiste."
Dites-nous en un peu plus sur son histoire...
"Emily Fox-Sexton est une jeune femme de bonne famille, qui a reçu une éducation de qualité mais qui est malheureusement seule et sans ressource. Elle ne s'en plaint pas pour autant et se met au service des plus riches pour les aider dans leurs petits tracas quotidiens..."
Mais que s'est-il exactement passé entre vous ?
"J'ai adoré ce roman très particulier. Dès les premières pages, j'ai surtout aimé faire la connaissance de son personnage principal, d'une grande bonté et aussi doux que ceux de ses romans pour enfants, sans jamais paraître mièvre. Le charme opère.
Mais il est vrai que l'histoire est déroutante parce que l'ambiance change du tout au tout d'une page à l'autre. Bien que très différentes, j'ai aimé chaque partie. La première est proche du conte de fées. Il ne s'y passe rien et on s'en délecte pourtant. Je connais peu d'auteurs capables de passionner le lecteur avec si peu et c'est là l'un des grands talents de Frances Hodgson Burnett. Ensuite, la tension s'installe, on plongerait presque dans le thriller psychologique pour finalement avoir l'impression d'enquêter au côté du Docteur Watson. C'est comme si j'avais lu plusieurs romans en un. Je suis consciente que cela manque un peu de cohérence mais ça m'a plutôt amusée. Je pense d'ailleurs qu'il serait interessant de relire The Making of a Marchioness maintenant que je sais exactement ce qu'il en est mais je suis aussi curieuse de voir si avec le temps, le roman me marquera durablement.
Et comment cela s'est-il fini ?
"Il m'a fallu digérer tout ça avant de pouvoir écrire mon avis mais, une chose est sûre, je l'ai dévoré et je me suis régalée. J'ai d'autant plus hâte de découvrir d'autres romans de F.H. Burnett, qui en a écrit un très grand nombre, et je ne comprends pas qu'on ne les trouve pas en français !"
http://booksaremywonderland.hautetfor...
"Je suis littéralement amoureuse des romans jeunesse de Frances Hodgson Burnett et j'était très curieuse de découvrir le reste de son oeuvre. Et comme, en plus, celui-ci est édité dans la très belle collection des Persephone Classics, il n'y avait vraiment aucune chance que je résiste."
Dites-nous en un peu plus sur son histoire...
"Emily Fox-Sexton est une jeune femme de bonne famille, qui a reçu une éducation de qualité mais qui est malheureusement seule et sans ressource. Elle ne s'en plaint pas pour autant et se met au service des plus riches pour les aider dans leurs petits tracas quotidiens..."
Mais que s'est-il exactement passé entre vous ?
"J'ai adoré ce roman très particulier. Dès les premières pages, j'ai surtout aimé faire la connaissance de son personnage principal, d'une grande bonté et aussi doux que ceux de ses romans pour enfants, sans jamais paraître mièvre. Le charme opère.
Mais il est vrai que l'histoire est déroutante parce que l'ambiance change du tout au tout d'une page à l'autre. Bien que très différentes, j'ai aimé chaque partie. La première est proche du conte de fées. Il ne s'y passe rien et on s'en délecte pourtant. Je connais peu d'auteurs capables de passionner le lecteur avec si peu et c'est là l'un des grands talents de Frances Hodgson Burnett. Ensuite, la tension s'installe, on plongerait presque dans le thriller psychologique pour finalement avoir l'impression d'enquêter au côté du Docteur Watson. C'est comme si j'avais lu plusieurs romans en un. Je suis consciente que cela manque un peu de cohérence mais ça m'a plutôt amusée. Je pense d'ailleurs qu'il serait interessant de relire The Making of a Marchioness maintenant que je sais exactement ce qu'il en est mais je suis aussi curieuse de voir si avec le temps, le roman me marquera durablement.
Et comment cela s'est-il fini ?
"Il m'a fallu digérer tout ça avant de pouvoir écrire mon avis mais, une chose est sûre, je l'ai dévoré et je me suis régalée. J'ai d'autant plus hâte de découvrir d'autres romans de F.H. Burnett, qui en a écrit un très grand nombre, et je ne comprends pas qu'on ne les trouve pas en français !"
http://booksaremywonderland.hautetfor...
August 24, 2021
My Interest
I love participating in the Classics Club Spins! It’s such a fun way to read through classics you might never try.
The Story
Impoverished gentlewoman, Emily Fox-Seton, supports herself being useful to busy ladies. She’s the Victoria equivalent of Door Dash, Stitch Fix, Amazon and more rolled into one. She does errands to keep herself barely above penury. She fears the Work House and lies awake at night fretting that genteel ladies will no longer need her to walk a hundred miles to pick up fish and save their dinner parties from the shame of no fish course!
But, being “the right sort,” only down-on-her-luck financially, she is at least in the company of people who think nothing of hosting a house party for 20 for at least a month. Sadly, the poor thing doesn’t ride–not to the hounds or just in the home park.Nonetheless, her circumstances have the advantage of putting her in the path of well-off men, some of whom are single. Now, she’s a bit past her sell-by date in Victorian terms, but still within her childbearing years albeit at an age where a husband could only likely expect about 10 children instead of 18.
After saving the above-mentioned-dinner-party, she is rescued by the Marquess of Walderhurst–an eligible, older widower with no heir. She is a lovely, quiet, sensible thing and James Walderhurst sees her potential. He has a money-grubbing distant relative as his heir presumptive, so why not take a chance on this little chit who colors so prettily when he speaks to her. Better still, his sister likes Emily, too.
My Thoughts
This was a delightful story. Could you see the plot a mile off? Of course! Was the putative “Cousin Matthew” [Downton Abbey] hatching schemes at a rate that would have made Miss O’Brien need a cuppa and a fag out back with Thomas? [Downton, again]. Oh, yes! But this story is Victorian and we know it ends on a happy note–it must, it simply had to hadn’t it? (Yes, sadly, there are racist comments about an Indian servant. Be aware.)
I listened to the excellent audio book from Persephone Books which is only $4.99 on Audible (linked)
I love participating in the Classics Club Spins! It’s such a fun way to read through classics you might never try.
The Story
Impoverished gentlewoman, Emily Fox-Seton, supports herself being useful to busy ladies. She’s the Victoria equivalent of Door Dash, Stitch Fix, Amazon and more rolled into one. She does errands to keep herself barely above penury. She fears the Work House and lies awake at night fretting that genteel ladies will no longer need her to walk a hundred miles to pick up fish and save their dinner parties from the shame of no fish course!
But, being “the right sort,” only down-on-her-luck financially, she is at least in the company of people who think nothing of hosting a house party for 20 for at least a month. Sadly, the poor thing doesn’t ride–not to the hounds or just in the home park.Nonetheless, her circumstances have the advantage of putting her in the path of well-off men, some of whom are single. Now, she’s a bit past her sell-by date in Victorian terms, but still within her childbearing years albeit at an age where a husband could only likely expect about 10 children instead of 18.
After saving the above-mentioned-dinner-party, she is rescued by the Marquess of Walderhurst–an eligible, older widower with no heir. She is a lovely, quiet, sensible thing and James Walderhurst sees her potential. He has a money-grubbing distant relative as his heir presumptive, so why not take a chance on this little chit who colors so prettily when he speaks to her. Better still, his sister likes Emily, too.
My Thoughts
This was a delightful story. Could you see the plot a mile off? Of course! Was the putative “Cousin Matthew” [Downton Abbey] hatching schemes at a rate that would have made Miss O’Brien need a cuppa and a fag out back with Thomas? [Downton, again]. Oh, yes! But this story is Victorian and we know it ends on a happy note–it must, it simply had to hadn’t it? (Yes, sadly, there are racist comments about an Indian servant. Be aware.)
I listened to the excellent audio book from Persephone Books which is only $4.99 on Audible (linked)
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