Bigamy

So I read Jane Eyre, and then The Nine Tailors because I felt like it, and I was reminded that I hadn't blogged about my new Victorian discovery - Wilkie Collins. I downloaded some ebooks because I kept reading that his novels were examples of early detective fiction; and not only that, he wrote about social injustices. Which I felt might be interesting. Oh, and bigamy: Jane Eyre - Mr Rochester wants to be a bigamist, in The Nine Tailors a woman is an unintentional bigamist and her presumed dead husband an intentional one, which is an important part of the plot (the woman is religious and doesn't want her daughters to be bastards for one), shich leads us to Collins's novel No Name from 1862, about a gentleman's daughters who discover, to their shock and surprise, that their parents were not married and that they have no right to their father's anything, including his name. Do you follow my train of thought? Bigamy?

But first I read The Woman in White from 1860. Read the synopsis there on Wikipedia - it would be character-building for me to write one myself, but hey.

The main character is Miss Marian Halcombe, who is plain - even described as ugly -, but intelligent and forceful, and who adores her half-sister and does her utmost to protect her even when she is married to an abusive man. Marian is interesting from that point alone, being such a strong person. Collins can't keep from harping on about how unfeminine that is but we'll make allowances for that. He did write her, after all.

I have 16 bookmarked notes. Sadly, I have been too lazy to actually write anything in the notes, so I don't recall now what I thought was note-worthy ... let's see though ... I'll do a few cut and paste quotes I think, that's fun! Long, but fun.

From the selfish uncle:

Nothing, in my opinion, sets the odious selfishness of mankind in such a repulsively vivid light as the treatment, in all classes of society, which the Single people receive at the hands of the Married people. When you have once shown yourself too considerate and self-denying to add a family of your own to an already overcrowded population, you are vindictively marked out by your married friends, who have no similar consideration and no similar self-denial, as the recipient of half their conjugal troubles, and the born friend of all their children. Husbands and wives TALK of the cares of matrimony, and bachelors and spinsters BEAR them. Take my own case. I considerately remain single, and my poor dear brother Philip inconsiderately marries. What does he do when he dies? He leaves his daughter to ME. She is a sweet girl—she is also a dreadful responsibility. Why lay her on my shoulders? Because I am bound, in the harmless character of a single man, to relieve my married connections of all their own troubles. I do my best with my brother's responsibility—I marry my niece, with infinite fuss and difficulty, to the man her father wanted her to marry. She and her husband disagree, and unpleasant consequences follow. What does she do with those consequences? She transfers them to ME. Why transfer them to ME? Because I am bound, in the harmless character of a single man, to relieve my married connections of all their own troubles. Poor single people! Poor human nature! 

 An abused woman? and her forceful husband:

As Eleanor Fairlie (aged seven-and-thirty), she was always talking pretentious nonsense, and always worrying the unfortunate men with every small exaction which a vain and foolish woman can impose on long-suffering male humanity. As Madame Fosco (aged three-and-forty), she sits for hours together without saying a word, frozen up in the strangest manner in herself. The hideously ridiculous love-locks which used to hang on either side of her face are now replaced by stiff little rows of very short curls, of the sort one sees in old-fashioned wigs. A plain, matronly cap covers her head, and makes her look, for the first time in her life since I remember her, like a decent woman. Nobody (putting her husband out of the question, of course) now sees in her, what everybody once saw—I mean the structure of the female skeleton, in the upper regions of the collar-bones and the shoulder-blades. Clad in quiet black or grey gowns, made high round the throat—dresses that she would have laughed at, or screamed at, as the whim of the moment inclined her, in her maiden days—she sits speechless in corners; her dry white hands (so dry that the pores of her skin look chalky) incessantly engaged, either in monotonous embroidery work or in rolling up endless cigarettes for the Count's own particular smoking. On the few occasions when her cold blue eyes are off her work, they are generally turned on her husband, with the look of mute submissive inquiry which we are all familiar with in the eyes of a faithful dog. The only approach to an inward thaw which I have yet detected under her outer covering of icy constraint, has betrayed itself, once or twice, in the form of a suppressed tigerish jealousy of any woman in the house (the maids included) to whom the Count speaks, or on whom he looks with anything approaching to special interest or attention. Except in this one particular, she is always, morning, noon, and night, indoors and out, fair weather or foul, as cold as a statue, and as impenetrable as the stone out of which it is cut. For the common purposes of society the extraordinary change thus produced in her is, beyond all doubt, a change for the better, seeing that it has transformed her into a civil, silent, unobtrusive woman, who is never in the way. How far she is really reformed or deteriorated in her secret self, is another question. I have once or twice seen sudden changes of expression on her pinched lips, and heard sudden inflexions of tone in her calm voice, which have led me to suspect that her present state of suppression may have sealed up something dangerous in her nature, which used to evaporate harmlessly in the freedom of her former life. It is quite possible that I may be altogether wrong in this idea. My own impression, however, is, that I am right. Time will show.

And the magician who has wrought this wonderful transformation—the foreign husband who has tamed this once wayward English woman till her own relations hardly know her again—the Count himself? What of the Count?

This in two words: He looks like a man who could tame anything. If he had married a tigress, instead of a woman, he would have tamed the tigress. If he had married me, I should have made his cigarettes, as his wife does—I should have held my tongue when he looked at me, as she holds hers.

Queen Elizabeth:

The main body of the building is of the time of that highly-overrated woman, Queen Elizabeth. On the ground floor there are two hugely long galleries, with low ceilings lying parallel with each other, and rendered additionally dark and dismal by hideous family portraits—every one of which I should like to burn. The rooms on the floor above the two galleries are kept in tolerable repair, but are very seldom used. The civil housekeeper, who acted as my guide, offered to show me over them, but considerately added that she feared I should find them rather out of order. My respect for the integrity of my own petticoats and stockings infinitely exceeds my respect for all the Elizabethan bedrooms in the kingdom, so I positively declined exploring the upper regions of dust and dirt at the risk of soiling my nice clean clothes. The housekeeper said, "I am quite of your opinion, miss," and appeared to think me the most sensible woman she had met with for a long time past.

So much, then, for the main building. Two wings are added at either end of it. The half-ruined wing on the left (as you approach the house) was once a place of residence standing by itself, and was built in the fourteenth century. One of Sir Percival's maternal ancestors—I don't remember, and don't care which—tacked on the main building, at right angles to it, in the aforesaid Queen Elizabeth's time. The housekeeper told me that the architecture of "the old wing," both outside and inside, was considered remarkably fine by good judges. On further investigation I discovered that good judges could only exercise their abilities on Sir Percival's piece of antiquity by previously dismissing from their minds all fear of damp, darkness, and rats. Under these circumstances, I unhesitatingly acknowledged myself to be no judge at all, and suggested that we should treat "the old wing" precisely as we had previously treated the Elizabethan bedrooms. Once more the housekeeper said, "I am quite of your opinion, miss," and once more she looked at me with undisguised admiration of my extraordinary common-sense.

The selfish uncle again, and photographers! In 1860!:

As for Mr. Fairlie, I believe I am guilty of no injustice if I describe him as being unutterably relieved by having the house clear of us women. The idea of his missing his niece is simply preposterous—he used to let months pass in the old times without attempting to see her—and in my case and Mrs. Vesey's, I take leave to consider his telling us both that he was half heart-broken at our departure, to be equivalent to a confession that he was secretly rejoiced to get rid of us. His last caprice has led him to keep two photographers incessantly employed in producing sun-pictures of all the treasures and curiosities in his possession. One complete copy of the collection of the photographs is to be presented to the Mechanics' Institution of Carlisle, mounted on the finest cardboard, with ostentatious red-letter inscriptions underneath, "Madonna and Child by Raphael. In the possession of Frederick Fairlie, Esquire." "Copper coin of the period of Tiglath Pileser. In the possession of Frederick Fairlie, Esquire." "Unique Rembrandt etching. Known all over Europe as THE SMUDGE, from a printer's blot in the corner which exists in no other copy. Valued at three hundred guineas. In the possession of Frederick Fairlie, Esq." Dozens of photographs of this sort, and all inscribed in this manner, were completed before I left Cumberland, and hundreds more remain to be done. With this new interest to occupy him, Mr. Fairlie will be a happy man for months and months to come, and the two unfortunate photographers will share the social martyrdom which he has hitherto inflicted on his valet alone. 

Being only a woman:

No, I am not half sleepy enough. Sleepy, did I say? I feel as if I should never close my eyes again. The bare anticipation of seeing that dear face, and hearing that well-known voice to-morrow, keeps me in a perpetual fever of excitement. If I only had the privileges of a man, I would order out Sir Percival's best horse instantly, and tear away on a night-gallop, eastward, to meet the rising sun—a long, hard, heavy, ceaseless gallop of hours and hours, like the famous highwayman's ride to York. Being, however, nothing but a woman, condemned to patience, propriety, and petticoats for life, I must respect the house-keeper's opinions, and try to compose myself in some feeble and feminine way. 

 Modern music:

In the evening she went to the piano, choosing new music of the dexterous, tuneless, florid kind. The lovely old melodies of Mozart, which poor Hartright was so fond of, she has never played since he left.

 Social failings of modern young men:

I had been favourably impressed by Mr. Hartright on our first introduction to one another, but I soon discovered that he was not free from the social failings incidental to his age. There are three things that none of the young men of the present generation can do. They can't sit over their wine, they can't play at whist, and they can't pay a lady a compliment. Mr. Hartright was no exception to the general rule. Otherwise, even in those early days and on that short acquaintance, he struck me as being a modest and gentlemanlike young man.

Finally, first impressions of our foremost heroine Marian Halcombe:

My first glance round me, as the man opened the door, disclosed a well-furnished breakfast-table, standing in the middle of a long room, with many windows in it. I looked from the table to the window farthest from me, and saw a lady standing at it, with her back turned towards me. The instant my eyes rested on her, I was struck by the rare beauty of her form, and by the unaffected grace of her attitude. Her figure was tall, yet not too tall; comely and well-developed, yet not fat; her head set on her shoulders with an easy, pliant firmness; her waist, perfection in the eyes of a man, for it occupied its natural place, it filled out its natural circle, it was visibly and delightfully undeformed by stays. She had not heard my entrance into the room; and I allowed myself the luxury of admiring her for a few moments, before I moved one of the chairs near me, as the least embarrassing means of attracting her attention. She turned towards me immediately. The easy elegance of every movement of her limbs and body as soon as she began to advance from the far end of the room, set me in a flutter of expectation to see her face clearly. She left the window—and I said to myself, The lady is dark. She moved forward a few steps—and I said to myself, The lady is young. She approached nearer—and I said to myself (with a sense of surprise which words fail me to express), The lady is ugly!

Never was the old conventional maxim, that Nature cannot err, more flatly contradicted—never was the fair promise of a lovely figure more strangely and startlingly belied by the face and head that crowned it. The lady's complexion was almost swarthy, and the dark down on her upper lip was almost a moustache. She had a large, firm, masculine mouth and jaw; prominent, piercing, resolute brown eyes; and thick, coal-black hair, growing unusually low down on her forehead. Her expression—bright, frank, and intelligent—appeared, while she was silent, to be altogether wanting in those feminine attractions of gentleness and pliability, without which the beauty of the handsomest woman alive is beauty incomplete. To see such a face as this set on shoulders that a sculptor would have longed to model—to be charmed by the modest graces of action through which the symmetrical limbs betrayed their beauty when they moved, and then to be almost repelled by the masculine form and masculine look of the features in which the perfectly shaped figure ended—was to feel a sensation oddly akin to the helpless discomfort familiar to us all in sleep, when we recognise yet cannot reconcile the anomalies and contradictions of a dream.

Charming, eh? By the way,  Aldiko sorts the bookmarks backwards, with the youngest ones last, and that's how I've posted them now. Confusing! Only just realised ...

Just like Dickens, Collins wrote serialized novels, which shows in the length, the cliffhangers and the sometimes over-large number of characters. Dickens wins hands-down though. He's a master of the genre. I think Collins's plots might be a bit better sometimes though. And The Woman In White is wonderfully suspenseful in parts. Wow, it could be filmed now with great success I think. Very evocative and moody.  

Then I read No Name of previously mentioned bigamist greatness. 12 notes here. Only one named, but it's a good one on the greedy rich:

People with small means sometimes have generous impulses in connection with money—rich people, never. My lord, with forty thousand a year; Sir John, with property in half a dozen counties—those are the men who never forgive the genteel beggar for swindling them out of a sovereign; those are the men who send for the mendicity officers; those are the men who take care of their money. Who are the people who lose shillings and sixpences by sheer thoughtlessness? Servants and small clerks, to whom shillings and sixpences are of consequence. Did you ever hear of Rothschild or Baring dropping a fourpenny-piece down a gutter-hole? Fourpence in Rothschild's pocket is safer than fourpence in the pocket of that woman who is crying stale shrimps in Skeldergate at this moment. Fortified by these sound principles, enlightened by the stores of written information in my commercial library, I have ranged through the population for years past, and have raised my charitable crops with the most cheering success. Here, in book Number One, are all my Districts mapped out, with the prevalent public feeling to appeal to in each: Military District, Clerical District, Agricultural District; et cetera, et cetera. Here, in Number Two, are my cases that I plead: Family of an officer who fell at Waterloo; Wife of a poor curate stricken down by nervous debility; Widow of a grazier in difficulties gored to death by a mad bull; et cetera, et cetera.

The person speaking is the captain, a shady relation of the destitute young ladies, who takes up with the youngest sister as she embarks on a mission to revenge herself on the uncle who refuses to bury the hatchet and take care of his illegitimate nieces. He is a swindler and a rather marvellous character. Again - film?

The main protagonist is not the uncle though, but his immensely clever housekeeper, who will stop at nothing to maintain her influence over the family and her hold on a piece of the fortune:

Magdalen turned, and confronted Mrs. Lecount. She had expected—founding her anticipations on the letter which the housekeeper had written to her—to see a hard, wily, ill-favored, insolent old woman. She found herself in the presence of a lady of mild, ingratiating manners, whose dress was the perfection of neatness, taste, and matronly simplicity, whose personal appearance was little less than a triumph of physical resistance to the deteriorating influence of time. If Mrs. Lecount had struck some fifteen or sixteen years off her real age, and had asserted herself to be eight-and-thirty, there would not have been one man in a thousand, or one woman in a hundred, who would have hesitated to believe her. Her dark hair was just turning to gray, and no more. It was plainly parted under a spotless lace cap, sparingly ornamented with mourning ribbons. Not a wrinkle appeared on her smooth white forehead, or her plump white cheeks. Her double chin was dimpled, and her teeth were marvels of whiteness and regularity. Her lips might have been critically considered as too thin, if they had not been accustomed to make the best of their defects by means of a pleading and persuasive smile. Her large black eyes might have looked fierce if they had been set in the face of another woman, they were mild and melting in the face of Mrs. Lecount; they were tenderly interested in everything she looked at—in Magdalen, in the toad on the rock-work, in the back-yard view from the window; in her own plump fair hands,—which she rubbed softly one over the other while she spoke; in her own pretty cambric chemisette, which she had a habit of looking at complacently while she listened to others. The elegant black gown in which she mourned the memory of Michael Vanstone was not a mere dress—it was a well-made compliment paid to Death. Her innocent white muslin apron was a little domestic poem in itself. Her jet earrings were so modest in their pretensions that a Quaker might have looked at them and committed no sin. The comely plumpness of her face was matched by the comely plumpness of her figure; it glided smoothly over the ground; it flowed in sedate undulations when she walked. There are not many men who could have observed Mrs. Lecount entirely from the Platonic point of view—lads in their teens would have found her irresistible—women only could have hardened their hearts against her, and mercilessly forced their way inward through that fair and smiling surface. Magdalen's first glance at this Venus of the autumn period of female life more than satisfied her that she had done well to feel her ground in disguise before she ventured on matching herself against Mrs. Lecount.

It's fantastic. It's a heist book, the Captain and the youngest sister, Magdalen, embark on this super-elaborate scheme to con the evil uncle and his son out of their money (but only Magdalen's fair share). I was on the edge of my seat sometimes, I love stuff like this.

Then I read The Moonstone, Collins's most famous novel from 1868. It's gotten credit as the earliest and best detective novel, but I think I liked No Name and its heist theme better. It's supposed to show Collins's enlightened attitude towards for example servants and Indians, according to Wikipedia, but I dunno. I think it's pretty anglocentric, imperialistic and racist myself. 20 notes. Good Lord. None named - I don't think I have the energy to go through them all.

RETRACTION, because I just noticed something: fun thing about bookmarking on the Aldiko reader - I can see when I read the book. In The Moonstone all notes are from late January, for No Name from March and for The Woman in White from earlier January. So everything I've written about in what order I read the books is obviously wrong - funny how my mind plays tricks on me!

Moving on. Let's see if there's a quote her too ... HA, found the best one! The greedy rich, again!

The upshot of it was, that Rosanna Spearman had been a thief, and not being of the sort that get up Companies in the City, and rob from thousands, instead of only robbing from one, the law laid hold of her, and the prison and the reformatory followed the lead of the law.

That's good enough to end on.  Ah no, we'll do one more:

the regular speech delivered annually by me as the chief. I follow the plan adopted by the Queen in opening Parliament—namely, the plan of saying much the same thing regularly every year. Before it is delivered, my speech (like the Queen's) is looked for as eagerly as if nothing of the kind had ever been heard before. When it is delivered, and turns out not to be the novelty anticipated, though they grumble a little, they look forward hopefully to something newer next year. An easy people to govern, in the Parliament and in the Kitchen—that's the moral of it.

 So.