'Trollope did not write for posterity,' observed Henry James. 'He wrote for the day, the moment; but these are just the writers whom posterity is apt to put into its pocket.' Considered by contemporary critics to be Trollope's greatest novel, The Way We Live Now is a satire of the literary world of London in the 1870s and a bold indictment of the new power of speculative finance in English life. 'I was instigated by what I conceived to be the commercial profligacy of the age,' Trollope said.
His story concerns Augustus Melmotte, a French swindler and scoundrel, and his daughter, to whom Felix Carbury, adored son of the authoress Lady Carbury, is induced to propose marriage for the sake of securing a fortune. Trollope knew well the difficulties of dealing with editors, publishers, reviewers, and the public; his portrait of Lady Carbury, impetuous, unprincipled, and unswervingly devoted to her own self-promotion, is one of his finest satirical achievements.
His picture of late-nineteenth-century England is a portrait of a society on the verge of moral bankruptcy. In The Way We Live Now Trollope combines his talents as a portraitist and his skills as a storyteller to give us life as it was lived more than a hundred years ago.
|Product dimensions:||5.20(w) x 5.70(h) x 0.00(d)|
About the Author
Anthony Trollope (1815–1882) grew up in London. He inherited his mother’s ambition to write and was famously disciplined in the development of his craft. His first novel was published in 1847 while he was working in Ireland as a surveyor for the General Post Office. He wrote a series of books set in the English countryside as well as those set in the political life, works that show great psychological penetration. One of his greatest strengths was his ability to re-create in his fiction his own vision of the social structures of Victorian England. The author of forty-seven novels, he was one of the most prolific and respected English novelists of the Victorian era.
David Shaw-Parker is an Earphones Award–winning narrator and finalist for the prestigious Audie Award. He trained at the Royal Academy of Dramatic Art in 1975 and began his career at the Royal Shakespeare Company in 1977, appearing in over twenty-five productions between then and 1991. He went on to appear at The National Theatre in Oedipus Rex, The False Servant, and My Fair Lady and in London’s West End in Grand Hotel, The Country Wife, Acorn Antiques, Heavenly Ivy,and Cyrano de Bergerac,among others. His numerous television credits include Inspector Morse, Space Precinct, and The Commander, and his films include Steven Soderbergh’s Kafka, Uberto Pasolini’s Still Life, and The Muppet Christmas Carol.
Read an Excerpt
LET THE READER be introduced to Lady Carbury, upon whose character and doings much will depend of whatever interest these pages may have, as she sits at her writing-table in her own room in her own house in Welbeck Street. Lady Carbury spent many hours at her desk, and wrote many letters, -- wrote also very much besides letters. She spoke of herself in these days as a woman devoted to Literature, always spelling the word with a big L. Something of the nature of her devotion may be learned by the perusal of three letters which on this morning she had written with a quickly running hand. Lady Carbury was rapid in everything, and in nothing more rapid than in the writing of letters. Here is Letter No. 1; --
Thursday, Welbeck Street
I have taken care that you shall have the early sheets of my two new volumes to-morrow, or Saturday at latest, so that you may, if so minded, give a poor struggler like myself a lift in your next week's paper. Do give a poor struggler a lift. You and I have so much in common, and I have ventured to flatter myself that we are really friends! I do not flatter you when I say, that not only would aid from you help me more than from any other quarter, but also that praise from you would gratify my vanity more than any other praise. I almost think you will like my ;Criminal Queens.' The sketch of Semiramis is at any rate spirited, though I had to twist it about a little to bring her in guilty. Cleopatra, of course, I have taken from Shakespeare. What a wench she was! I could not quite make Julia a queen; but it was impossible to pass over so piquant a character. You will recognise in the two or three ladies of the empirehow faithfully I have studied my Gibbon. Poor dear old Belisarius! I have done the best I could with Joanna, but I could not bring myself to care for her. In our days she would simply have gone to Broadmore. I hope you will not think that I have been too strong in my delineations of Henry VIII and his sinful but unfortunate Howard. I don't care a bit about Anne Boleyne. I am afraid that I have been tempted into too great length about the Italian Catherine; but in truth she has been my favourite. What a woman! What a devil! Pity that a second Dante could not have constructed for her a special hell. How one traces the effect of her training in the life of our Scotch Mary. I trust you will go with me in my view as to the Queen of Scots. Guilty! guilty always! Adultery, murder, treason, and all the rest of it. But recommended to mercy because she was royal. A queen bred, born and married, and with such other queens around her, how could she have escaped to be guilty? Marie Antoinette I have not quite acquitted. It would be uninteresting; -- perhaps untrue. I have accused her lovingly, and have kissed when I scourged. I trust the British public will not be angry because I do not whitewash Caroline, especially as I go along with them altogether in abusing her husband.
But I must not take up your time by sending you another book, though it gratifies me to think that I am writing what none but yourself will read. Do it yourself, like a dear man, and, as you are great, be merciful. Or rather, as you are a friend, be loving.
Yours gratefully and faithfully,----
After all how few women there are who can raise themselves above the quagmire of what we call love, and make themselves anything but playthings for men. Of almost all these royal and luxurious sinners it was the chief sin that in some phase of their lives they consented to be playthings without being wives. I have striven so hard to be proper; but when girls read everything, why should not an old woman write anything?
This letter was addressed to Nicholas Broune, Esq., the editor of the 'Morning Breakfast Table,' a daily newspaper of high character; and, as it was the longest, so was it considered to be the most important of the three. Mr. Broune was a man powerful in his profession, -- and he was fond of ladies. Lady Carbury in her letter had called herself an old woman, but she was satisfied to do so by a conviction that no one else regarded her in that light. Her age shall be no secret to the reader, though to her most intimate friends, even to Mr. Broune, it had never been divulged. She was forty-three, but carried her years so well, and had received such gifts from nature, that it was impossible to deny that she was still a beautiful woman. And she used her beauty not only to increase her influence, -- as is natural to women who are well-favoured, -- but also with a well-considered calculation that she could obtain material assistance in the procuring of bread and cheese, which was very necessary to her, by a prudent adaptation to her purposes of the good things with which providence had endowed her. She did not fall in love, she did not wilfully flirt, she did not commit herself; but she smiled and whispered, and made confidences, and looked out of her own eyes into men's eyes as though there might be some mysterious bond between her and them -- if only mysterious circumstances would permit it. But the end of all was to induce some one to do something which would cause a publisher to give her good payment for indifferent writing, or an editor to be lenient when, upon the merits of the case, he should have been severe. Among all her literary friends, Mr. Broune was the one on whom she most trusted; and Mr. Broune was fond of handsome women. It may be as well to give a short record of a scene which had taken place between Lady Carbury and her friend about a month before the writing of this letter which has been produced. She had wanted him to take a series of papers for the 'Morning Breakfast Table,' and to have them paid for at rate No. 1, whereas she suspected that he was rather doubtful as to their merit, and knew that, without special favour, she could not hope for remuneration above rate No. 2, or possibly even No. 3. So she had looked into his eyes, and had left her soft, plump hand for a moment in his. A man in such circumstances is so often awkward, not knowing with any accuracy when to do one thing and when another! Mr. Broune, in a moment of enthusiasm, had put his arm round Lady Carbury's waist and had kissed her. To say that Lady Carbury was angry, as most women would be angry if so treated, would be to give an unjust idea of her character. It was a little accident which really carried with it no injury, unless it should be the injury of leading to a rupture between herself and a valuable ally. No feeling of delicacy was shocked. What did it matter? No unpardonable insult had been offered; no harm had been done, if only the dear susceptible old donkey could be made at once to understand that that wasn't the way to go on!
Without a flutter, and without a blush, she escaped from his arm, and then made him an excellent little speech. 'Mr. Broune, how foolish, how wrong, how mistaken! Is it not so? Surely you do not wish to put an end to the friendship between us!'
'Put an end to our friendship, Lady Carbury! Oh, certainly not that.'
'Then why risk it by such an act? Think of my son and of my daughter, -- both grown up. Think of the past troubles of my life; -- so much suffered and so little deserved. No one knows them so well as you do. Think of my name, that has been so often slandered but never disgraced! Say that you are sorry, and it shall be forgotten.'
When a man has kissed a woman it goes against the grain with him to say the very next moment that he is sorry for what he has done. It is as much as to declare that the kiss had not answered his expectation. Mr. Broune could not do this, and perhaps Lady Carbury did not quite expect it. 'You know that for worlds I would not offend you,' he said. This sufficed. Lady Carbury again looked into his eyes, and a promise was given that the articles should be printed -- and with generous remuneration.
When the interview was over Lady Carbury regarded it as having been quite successful. Of course when struggles have to be made and hard work done, there will be little accidents. The lady who uses a street cab must encounter mud and dust which her richer neighbour, who has a private carriage, will escape. She would have preferred not to have been kissed; -- but what did it matter? With Mr. Broune the affair was more serious. 'Confound them all,' he said to himself as he left the house; 'no amount of experience enables a man to know them.' As he went away he almost thought that Lady Carbury had intended him to kiss her again, and he was almost angry with himself in that he had not done so. He had seen her three or four times since, but had not repeated the offence.
We will now go on to the other letters, both of which were addressed to the editors of other newspapers. The second was written to Mr. Booker, of the 'Literary Chronicle.' Mr. Booker was a hard-working professor of literature, by no means without talent, by no means without influence, and by no means without a conscience. But, from the nature of the struggles in which he had been engaged, by compromises which had gradually been driven upon him by the encroachment of brother authors on the one side and by the demands on the other of employers who looked only to their profits, he had fallen into a routine of work in which it was very difficult to be scrupulous, and almost impossible to maintain the delicacies of a literary conscience. He was now a bald-headed old man of sixty, with a large family of daughters, one of whom was a widow dependent on him with two little children. He had five hundred a year for editing the 'Literary Chronicle,' which, through his energy, had become a valuable property. He wrote for magazines, and brought out some book of his own almost annually. He kept his head above water, and was regarded by those who knew about him, but did not know him, as a successful man. He always kept up his spirits, and was able in literary circles to show that he could hold his own. But he was driven by the stress of circumstances to take such good things as came in his way, and could hardly afford to be independent. It must be confessed that literary scruple had long departed from his mind. Letter No. 2 was as follows; --
Table of Contents
1 Three Editors
2 The Carbury Family
3 The Beargarden
4 Madame Melmotte’s Ball
5 After the Ball
6 Roger Carbury and Paul Montague
9 The Great Railway to Vera Cruz
10 Mr. Fisker’s Success
11 Lady Carbury at Home
12 Sir Felix in His Mother’s House
13 The Longestaffes
14 Carbury Manor
15 ‘You Should Remember That I Am His Mother’
16 The Bishop and The Priest
17 Marie Melmotte Hears a Love Tale
18 Ruby Ruggles Hears a Love Tale
19 Hetta Carbury Hears a Love Tale
20 Lady Pomona’s Dinner Party
21 Everybody Goes to Them
22 Lord Nidderdale’s Morality
23 ‘Yes;— I’m a Baronet’
24 Miles Grendall’s Triumph
25 In Grosvenor Square
26 Mrs. Hurtle
27 Mrs. Hurtle Goes to the Play
28 Dolly Longestaffe Goes into the City
29 Miss Melmotte’s Courage
30 Mr. Melmotte’s Promise
31 Mr. Broune Has Made Up His Mind
32 Lady Monogram
33 John Crumb
34 Ruby Ruggles Obeys Her Grandfather
35 Melmotte’s Glory
36 Mr. Broune’s Perils
37 The Board-Room
38 Paul Montague’s Troubles
39 ‘I Do Love Him’
40 ‘Unanimity Is the Very Soul of These Things’
41 All Prepared
42 ‘Can You Be Ready in Ten Minutes?’
43 The City Road
44 The Coming Election
45 Mr. Melmotte Is Pressed for Time
46 Roger Carbury and His Two Friends
47 Mrs. Hurtle at Lowestoffe
48 Ruby a Prisoner
49 Sir Felix Makes Himself Ready
50 The Journey to Liverpool
51 Which Shall It Be?
52 The Results of Love and Wine
53 A Day in the City
54 The India Office
55 Clerical Charities
56 Father Barham Visits London
57 Lord Nidderdale Tries His Hand Again
58 Mr. Squercum Is Employed
59 The Dinner
60 Miss Longestaffe’s Lover
61 Lady Monogram Prepares for the Party
62 The Party
63 Mr. Melmotte on the Day of the Election
64 The Election
65 Miss Longestaffe Writes Home
66 ‘So Shall Be My Enmity’
67 Sir Felix Protects His Sister
68 Miss Melmotte Declares Her Purpose
69 Melmotte in Parliament
70 Sir Felix Meddles with Many Matters
71 John Crumb Falls into Trouble
72 ‘Ask Himself’
73 Marie’s Fortune
74 Melmotte Makes a Friend
75 In Bruton Street
76 Hetta and Her Lover
77 Another Scene in Bruton Street
78 Miss Longestaffe Again at Caversham
79 The Brehgert Correspondence
80 Ruby Prepares for Service
81 Mr. Cohenlupe Leaves London
82 Marie’s Perseverance
83 Melmotte Again at the House
84 Paul Montague’s Vindication
85 Breakfast in Berkeley Square
86 The Meeting in Bruton Street
87 Down at Carbury
88 The Inquest
89 ‘The Wheel of Fortune’
90 Hetta’s Sorrow
91 The Rivals
92 Hamilton K. Fisker Again
93 A True Lover
94 John Crumb’s Victory
95 The Longestaffe Marriages
96 Where ‘The Wild Asses Quench Their Thirst’
97 Mrs. Hurtle’s Fate
98 Marie Melmotte’s Fate
99 Lady Carbury and Mr. Broune
100 Down in Suffolk
What People are Saying About This
The Way We Live Now is the essence of Trollope. If he had written no other novel, it would have ensured his immortality.
Reading Group Guide
1. In 1873 the London Times praised The Way We Live Now as providing a "likeness of the face which society wears today." More recently Cynthia Ozick called the novel "very contemporary, despite its baronets and squires and rustics, and despite its penniless young women whose chief employment is husband seeking, and its penniless young lords whose chief employment is heiress-hunting. If all this sounds as far as possible from the way we live now, think again." Compare the world of Trollope's novel to our own. What are some similarities? Differences? Could this novel have been written today?
2. In his autobiography Trollope writes of The Way We Live Now: "I was instigated by what I conceived to be the commercial profligacy of the of the age." Discuss commercialism as taken up by Trollope, and its effect on society, from politics to morality to relations between the sexes to art.
3. Discuss the "great financier" Augustus Melmotte. How would you characterize him? What accounts for his rise and fall? Do you find him to be a compelling literary creation? What other characters in thenovel do you find interesting?
4. For the critic James Kincaid The Way We Live Now is concerned with "people's cynical admiration for successful dishonesty, their evasion of the tawdry moral realities underlying it for the sake of its surface glamour." Do you agree? Is this insight helpful in thinking about the meaning of the book?
5. What are some of the social institutions Trollope scrutinizes in this work? Do you agree with Kincaid's assessment, The Way We Live Now "comes closer than any of Trollope'sother novels to admitting the possibility that all existing social institutions may be obsolete and doomed, no longer having any real moral and economic foundations"?
6. Discuss the literary world taken by Trollope. How would you characterize the writing industry that Trollope portrays?