From Pemberley to Milton gives In Consequence 4.5 stars. Rita's lovely review of my second North and South variation can be found here.
When do John and Margaret Stop Arguing?
The BBC's John Thornton tries to recover from Margaret's rejection.
No, this isn't a trick question. There's a definite end to their arguing in the book. And you may be surprised at the answer.
When John comes to declare his love for Margaret the morning after the riot, the tense relationship between the master and the Milton newcomer reaches a blistering vocal climax. Pent-up emotions on each side explode into forceful words and both are left stunned by the unexpected vehemence of their exchange.
Margaret is temporarily immobilized after Thornton's departure.
After this staggering tempest, the dynamic between these two strong-minded individuals is forever changed. After this day, Margaret never again raises her voice to argue against him. In fact, the very next day she finds herself defending Thornton to a grieving and bitter Higgins.
The end of the verbal battles between Thornton and Margaret comes precisely at the half-way point of the book. The remaining two hundred pages of the story reveals a softer, meeker Margaret in relation to Thornton. She is jolted into taking a closer look at the man behind the master's mask.
Thornton is too bitterly jealous to really see a softer and repentant Margaret.
But wait, isn't there still bristling friction between these two passionate people throughout the second half? Yes, of course. But it no longer stems from any perceived ideological or character differences. Outbursts in this portion of the drama erupt not from an indignant Margaret but from an emotionally tortured Thornton, who simply cannot control his bitter jealousy.
The potent tension between Thornton and Margaret after the failed proposal is the result of repressed passions and the accumulation of misunderstandings. The unfortunate havoc wrought by Frederick's appearance convinces Thornton that Margaret loves another and causes Margaret to believe Thornton could never love a confirmed liar. The mistaken belief that they are despised by the other costs both of them almost two years of unnecessary suffering.
This is wholly romantic tension, which has nothing to do with socio-economic conflicting opinions. And it is not resolved until those final pages (or the illustrious train station scene), when their pathetic illusions dissolve in the glorious light of reality.
The very last page has playful arguing between the lovers -- perfect.
Was it Love at First Sight for Thornton?
Valentine's Day has come and gone, but I'm still thinking about the celebration of romantic love. It's the perfect reason for taking a closer look at the dizzying emotional whirlwind we call "falling in love." Eros is that that form of love that can make mature adults suddenly feel like awkward teenagers and send perfectly rational people into frenzies of mildly insane behavior.
Was it love at first sight for Thornton when he met the Southern girl from Helstone? Something definitely happened in those first few moments of being in Margaret's presence that rocked the mill master's world.
The book's first meeting between John and Margaret may seem dull compared to the explosive action in the BBC's version of North and South, in which the vicar's daughter plays the moral hero against the onslaught of violence erupting from the cotton factory's CEO. But if you take a closer look at Gaskell's narrative, the scene she wrote is far from dull. Although Margaret is wishing her father's Milton contact would leave so she could take a nap, there are some internal fireworks going on inside the Thornton systems that the man can barely contain.
BBC's John Thornton surveys newcomer Margaret Hale
Let's take a look at what's going on with Thornton. He's taken by surprise the very moment Margaret enters the room: first, because she isn't Mr. Hale (or a little girl) and second, because she is "a young lady of a different type to most of those he was in the habit of seeing."
What is is that sets Margaret apart from the rest? What is he seeing? She has a self-composed natural dignity, a straight-forward unabashed manner, a simple yet elegant costume, and a beautiful countenance. All this he notices in a few seconds.
Then Margaret speaks: "Mr. Thornton, I believe."
And he can't even formulate a response! "The ready words would not come."
He's standing there, staring at her, already tongue-tied. Can you picture this? I hope he at least remembered it's not polite to leave your mouth hanging open!
Since Thornton seems mute, Margaret takes command of the social situation. Explaining that her father will return soon, she asks Thornton to sit. Here's how Thornton -- venerated Milton magistrate and master over hundreds of men -- reacts:
"Mr Thornton was in habits of authority himself, but she seemed to assume some kind of rule over him at once. He had been getting impatient at the loss of his time on a market-day, the moment before she appeared, but now he calmly took a seat at her bidding."
He manages to utter something about going to find her father. And as she replies about the house her family intends to take, Thornton suddenly feels that the place he approved for the Hales in Crampton will not be good enough "now that he [sees] Margaret with her superb ways of moving and looking."
Okay, so now she at least got him to sit down, but I don't think he's been able to take his eyes off of her. I mean, he's known her for less than two minutes and he's internally raving about "her superb ways of moving and looking?!" I think the man has been gobsmacked.
Margaret, however, has no clue she's causing any internal combustion. But as she takes off her shawl and takes a seat in front of him, Thornton is drinking in every detail of her feminine appearance:
"... her full beauty met his eye; her round white flexile throat rising out of the full, yet lithe figure; her lips, moving so slightly as she spoke, not breaking the cold serene look of her face with any variation from the one lovely curve; her eyes, with their soft gloom, meeting his with quiet maiden freedom."
There's only so much that Gaskell can describe while staying within the confines of Victorian propriety, but with these well-chosen words I am imagining Thornton's gaze roving over Margaret's body in a way that is unmistakably sensual. He's watching her lips as she speaks and noticing her bare neck? Whew! But that's not all. If his eyes are sweeping up to notice her throat "rising out of the full, yet lithe figure," I think we can assume he hasn't missed surveying the ample curves found below the neck. Ahem.
Go ahead and read that passage again and visualize where Thornton's gaze is lingering. The physical attraction is potent.
Yet, it's not merely physical attraction that enchants him. The beauty he sees in her is tied to the qualities she exudes: self-possessed dignity, serene freedom, natural grace, gentle frankness, unshrinking self-confidence and strength. He seems to discern the essence of Margaret Hale in one short occasion. She's a rather amazing blend of both masculine and feminine natures. And Thornton is drawn to her expression of these qualities, so many of which he himself possesses and venerates.
So how does this unexpected powerful attraction to a woman impact Thornton? He's thoroughly discombobulated. He can't formulate full sentences in response to Margaret's attempt to make conversation. He's irritated and mortified to recognize that "while he looked upon her with an admiration he could not repress, she looked upon him with proud indifference." He feels inadequate as a match for her and feels resentment rise at the thought that she must look down on him. And when it's time for him to leave, her respectful bow to him makes him feel "more awkward and self-conscious in every limb than he had ever done in all his life before."
I love that he exits that scene almost literally off-balance! Even walking is a new sensation when Margaret is in the room.
Can we, then, certify that Thornton has fallen in love at first sight? Well, let's see if we can tic the boxes on a few common elements of what falling in love often looks and feels like:
- Undeniable, strong physical attraction. √
- Vaulted admiration of character/qualities. √
- Feeling awkward, self-conscious, and unworthy. √
- Bumbling, stuttering like an idiot. √
Whether or not his feelings can actually can be called "love" after such a brief encounter, Thornton has all the symptoms of falling for Margaret at their very first encounter.
And it only gets worse from him as the story continues. Poor man.
North and South: 10 Ways the Film is Not Like the Book
What does North and South mean to you?
If you're like me, you first discovered Gaskell's story as a captivating drama on film. The BBC's television adaptation of North and South made Milton come to life, and brought a little known romantic hero -- John Thornton -- into glorious, palpitating presence on the world stage with a reverberating gasp.
Strangely enough, I didn't feel the impact of my first viewing like I'd been struck by lightening. I only re-watched the ending once (or maybe twice!). I didn't even realize how much I had been pulled into the power of the drama until I found myself constantly reimagining scenes and wondering about the characters's feelings. I plunged into C19 (an Internet forum) within days, because I needed to ask questions. I needed to talk to someone about this story. And I've really never stopped wanting to talk about it.
I've since fallen in love with Gaskell's book. I regularly see its relevance to all the pressing issues of our world today. Gaskell had a heart and mind that saw the human scene with hope.
North and South turned me into an author, it introduced me to a new world of friends and fanship, and it inspired me to dive into similar classic novels. I owe much to Gaskell's North and South, as it's given me so much to think about and to share with others.
So what does North and South mean to me? It means so many things that lay close to my heart, that it seems daunting to try to explain. But here (beyond the fervent appeal of the gold standard for all romantic literary heroes -- John Thornton) are some of the many hopes, ideals, and concepts found in North and South that invigorate my soul and enliven my heart:
Love. Love in all its variations: erotic and romantic love, brotherly affection, self-sacrificing duty, genuine respect, and consideration for others.
The utter necessity of individuality -- forging your own path and living your own values.
Moral courage -- the strength and determination that moves us forward in crushing circumstances.
Widening our view of the world and our sphere of caring -- interacting with and learning from those different from us.
Seeing past class, gender, religion, and economic status to the equal worthiness of every human being.
Loneliness and the desperation of being misunderstood, and the corresponding desire to cherish and to be cherished.
The overpowering yearning to do good in this world, not just exist in it.
Striving for what matters most.
The possibility of a kinder, gentler capitalism that contributes to humanity's progress.
Hope of harmony in relating to our fellow beings. Finding unity among all mankind.
Finding home, finding our purpose.
These are just some of the many themes that make North and South my favorite novel of romantic love and Elizabeth Gaskell a favorite author for her hope for humanity.
What does North and South mean to you?
