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No Fairy-tale: the Story of Marriage in Trollope’s He Knew He Was Right

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Scarlet Letters
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Abstract

The first library that gave me a reader’s ticket was the municipal library in Birmingham, when I was a child. Harborne Public Library offered a service which the university libraries that I use these days fail to provide. Or perhaps they have reason to hesitate before the task. In Harborne Library the books were divided strictly into two categories, fiction and non-fiction and they were issued on separate tickets. As a child, I was given a ticket for each one; they did not let us take out storybooks on the ticket meant for non-fiction. At the time I sensed an implied rebuke, without examining what might lie behind it but today, as I sit down to write about fictions of adultery, I come to a pause. I find myself asking today whether I believe that a taste for fiction is really less commendable than a taste for what passes itself off as the truth. And I wonder on what shelf and in what library I should find a book that would tell the truth about marriage.

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Notes

  1. Luce Irigaray, Le corps-à-corps avec la mère (Montreal, 1981).

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  2. See also Margaret Whitford, Luce Irigaray: Philosophy in the Feminine (London and New York, 1991), 75–97.

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  3. Oxford Classical Dictionary, second edition, eds N.G.L. Hammond and H.H. Scullard (Oxford, 1970), 81–2.

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  4. See G.W. Stocking*** Jr, Victorian Anthropology (London and New York, 1987), pp. 35–6 and passim.

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  5. See Lynda Nead, Myths of sexuality: the representation of women in Victorian Britain (Oxford and New York, 1988), pp. 13–47.

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  6. Since completing this argument my attention has been drawn to the work of Joseph A. Kestner, Masculinities in Victorian Painting (Aldershot, 1995). Kestner proposes five key paradigms of masculinity: classical hero, gallant knight, challenged paterfamilias, valiant soldier and male nude. These coincide interestingly with the set of positions that Trevelyan, his father-in-law and Colonel Osborne could be said to take up between them.

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  7. See Hugh Honour, The Image of the Black in Western Art (Cambridge, Mass., 1989) Vol. IV, Part 2, 54 and Sander L. Gilman ‘Black Bodies, White Bodies: Toward an Iconography of Female Sexuality in Late Nineteenth-Century Art, Medecine, and Literature’, Critical Inquiry 12, no. 1 (Autumn 1985): 213–19.

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  8. Mary Douglas, Purity and Danger: an Examination of Ritual and Taboo (New York, 1966), 159–79.

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  9. See ‘Anthony Trollope’ (1883), reprinted in Leon Edel ed., The House of Fiction (London, 1957), 103–4.

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© 1997 Palgrave Macmillan, a division of Macmillan Publishers Limited

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Hamer, M. (1997). No Fairy-tale: the Story of Marriage in Trollope’s He Knew He Was Right. In: Scarlet Letters. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-25446-0_12

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