2

Is Mary Barton an Industrial Novel?

Ta ts u h i r o O h n o

I.

Introduction

John Barton was the original title, confesses Elizabeth Gaskell to M a r y G r e g , t h e s i s t e r - i n - l a w o f W. R . G r e g , t h e m o s t e m i n e n t d e t r a c t o r o f Mary Barton (1848), Round the character of John Barton all the others formed themselves; he was my hero, the person with whom all my sympathies went, with whom I tried to identify myself at the time [of writing].
1

A confession of a similar intention is made in a letter to Julia

2

Lamont, her friend.

I n h e r P r e f a c e t o t h i s n o v e l , m o r e o v e r, G a s k e l l d e -

clares that her compassion towards Manchester labourers motivated her writing it. C r i t i c s o p i n i o n s a b o u t i ts p r o t a g o n i s t d i ff e r d e p e n d i n g o n t h e i r r e sponses to these authorial avowals. Some favour John Barton, the epito m e o f M a n c h e s t e r s p o v e r t y - s t r i c k e n w o r k e r s ; o t h e r s t h e e p o n y m o u s h e r o i n e M a r y B a r t o n , h i s d a u g h t e r.
3

These interpretations, advanced through their own individual app r o a c h e s , a r e a l l s o u n d a n d e n l i g h t e n i n g . R e g r e t t a b l y, h o w e v e r, n o n e o f the critics I have consulted take a formal approach to determining the n o v e l s p r o t a g o n i s t . T h e u n d e r s t a n d i n g o f a n o v e l w i l l b e g r e a t l y p r o moted if its structure is seen clearly alongside its theme, because theme and structure are usually intricately interwoven, as themes are conveyed only through structural elements, and as structure invariably mirrors the

a u t h o r s i n t e n t i o n s . A c c o r d i n g l y, i f h e r i n t e n t i o n s r e g a r d i n g h e r p r o t a g o n i s t , h i d d e n i n t h e n o v e l s s t r u c t u r e , w e r e e x p l a i n e d , w e m i g h t b e a b l e t o end the debate as to who her central character is. In the following argument, we are trying to demonstrate that Mary Barton and her love are central to the design of the novel, and that her f a t h e r s t r a g e d y c o n s t i t u t e s o n l y o n e o f i t s t w o m a i n p l o ts . T h i s d i s c u s sion depends on the result of the investigations made of the frequency of t h e m a i n c h a r a c t e r s a p p e a r a n c e s . We a r e a l s o t r y i n g t o s h o w t h a t t h e a u t h o r s o w n r e m a r k s o n t h i s f i c t i o n b e f o r e a n d a f t e r i t s p u b l i c a t i o n a r e m i s l e a d i n g . O u r a n a l y s i s , i f s u c c e s s f u l l y c o n d u c t e d , w i l l a ff e c t t h e r e a d ing of Mary Barton as an industrial novel.

II. Characters Activities To c l a r i f y t h e n o v e l s f o r m a l s c h e m e , I h a v e c o n s t r u c t e d a s p r e c i s e a c h r o n o l o g y a s p o s s i b l e b y c h e c k i n g c a l e n d a r f a c ts a n d f i g u r e s s c a t t e r e d over the whole text.

4

As scene progress is not always in parallel with

chapter progress, some chapters are divided into appropriate numbers of scenes, to which Scene Numbers are allocated. In addition, the length of each scene is specified by the number of pages for the later analysis of scene proportions. Emphasis is placed on the cells corresponding to M a r y s a d v e n t u r o u s s i x - d a y s t o e s t a b l i s h J e m s i n n o c e n c e b y c o l o u r i n g them grey since this period plays a significant part in the structure of t h i s f i c t i o n . T h e s u b s e q u e n t e x p l a n a t i o n w i l l b e b e t t e r u n d e r s t o o d i f Ta ble 1: Chronology and Scenes in Mary Barton is referred to whenever n e c e s s a r y, t o g e t h e r w i t h F i g u r e 1 : M a i n C h a r a c t e r s i n M a r y B a r t o n .

Ta b l e 1 : C h r o n o l o g y a n d S c e n e s i n M a r y B a r t o n
Time In fe rre d Chapter Month Ye a r Day Number open Scene pages Brief Summary of Each Scene

end

1 1834 2 3 1837 5

one day

1 2 3 4 5

1 11 18 22 28 30 40 45 48

11 18 22 28 30 40 45 48 62

10 7.5 4 6 1 11 5.5 2 15

1838
win ter

one day

6 7 8

5 2

At Green Hey Fields, John Barton tells George Wilson about missing Esther and pitiless masters. A tea-party at the Bartons the death of Mrs Barton Mary is apprenticed to Mrs Simmonds. Another year passes on. Marys first meeting with Margaret Jennings at old Alices dwelling Job Leigh appears. Mary and Margaret become close friends. Jem saves his father from the fire at Carsons mill. the plight Davenports of the starving

one evening one evening next day a few days later one day next morni ng one Sunday spring one night

10

63

74

11 . 5

11

74

82

George Wilson calls on John Carson to have an infirmary order for Ben Davenport. Bens funeral Mrs Davenports recovery the death of the Wilson twins; Jems confession of love to Mary Mary prefers Harry Carson to J e m a s h e r m a r r i a g e p a r t n e r. Jems fruitless visit to Mary Barton is appointed a Manchester delegate to the Chartist petition. Neighbours come to Bartons house with their demands on the Parliament. Bartons departure for London; Sally Leadbitter appears. George Wilsons sudden death; Margaret tells Mary her d e b u t a s a s i n g e r. Barton tells Job, Margaret, and Mary his bitter experiences in London. Barton becomes opium-addicted. Marys visit to Jane Wilson Barton turns a deaf ear to Esther s warning against Mary; Esther is imprisoned.

12 13

82 83 85

83 85 90

0.5 2 5

3 or 4 1839 4

14

15

90

92

16

93

96

17

96

98

2.5

8 5

18

98

102

7 9

next morning one evening next evening

19

102

104

20

104

111

21 22

111 130

129 136

18 6.5

10 1840

one afternoon

23

136

142

6.5

11

24

142

145

25 one evening next day evening 26 27 28 29 12 4 5 13 14 9 10 30 31 32 33 34 35 15 14 15 16 16 Tue 18 Thu 36 37 38 39 40 41 42 18 1840 43 44 19 3 19 Fri 45 46 47 48 49 50 22 20 Sat

146 148 154 155 162 164 169 173 184 186 197 204 206 2 11 217 224 230 237 250 251 255 258 265 272 273 285

148 154 155 162 164 169 172 183 186 197 204 206 2 11 217 224 230 236 250 251 255 258 265 272 273 285 290

3 5.5 0.5 7.5 2 4.5 4 11 2.5 11 8 1.5 5.5 5.5 7 6.5 6 13 1 4.5 3 6.5 7.5 1 12 5.5

11 2

Bartons search for Esther Soon after rejecting Jems proposal, Mary discovers he is the man she truly loves. Marys avoidance of Harry Harrys vicious intentions revealed Harry and Jems contrastive approaches to Mary Mary confides her love for Jem to Margaret. Mary meets Will at Jane Wilsons house. Will entertains his new friends with his tales. Esther s release Jems interview with Esther mutual distrust between masters and workers Mary notices Wills love for Margaret. the scuffle bet ween Harry and Jem Harry draws a caricature of worker delegates. An assassin is chosen. Wills farewell visit to Mary Bartons assassination of Harry Harrys body is brought home Carson swears vengeance on t h e m u r d e r e r. Mary calls at Jane Wilsons house to see decaying Alice. Mary hears Harrys death from S a l l y. a disguised policemans interview with Jane Mary hears from Jane that her son was arrested on suspicion o f m u r d e r i n g H a r r y. M a r y d r e a m s o f h e r m o t h e r. Esther s visit to Mary The scrap of paper her aunt has brought reveals to Mary that the murderer is her fat h e r. Marys efforts to prove Jems alibi begin. Mary receives a subpoena. Mary finds that Jane also has received a subpoena; Alice becomes unconscious. Mary tells Jane her plan of rescuing Jem. Marys anxiety about Janes strength Janes determination to go to the trial Mary discovers in Liverpool that Will has already left his lodging. Mary sits in a boat to catch t h e J o h n C r o p p e r.

17

20 21

51 52 53

290 298 312 317 319 323 332 336

298 312 317 319 322 332 336 345

7.5 14 4.5 2.5 3 9 4 9

23

24 21 Sun 25 26 27

54 55 56 57 58

22 Mon

28

59 60 61

345 351 354 357 360 366 371 372 394 395 399 400 405 409 412 413 419 421 424 426 427 433 438 439 442 444 447 458 459 460 463

351 353 357 360 365 371 371 394 395 399 400 405 408 412 413 419 421 424 426 427 433 438 439 442 444 447 458 459 460 463 464

6.5 2.5 4 2.5 5.5 5.5 0.5 22 2 3 1.5 5 3.5 4 1 6 1.5 3 2.5 1 5.5 5 1 2.5 3 2.5 11 1 1.5 2.5 1 463

29

22 Mon

62 63 64

30 31 3 32 23 Tue 24 33 28 Sun 29 one day 5 [?] 7

65 66 67 68 69 70 71 72 73 74 75 76 77 8 78

Marys message is heard by Will. B e n St u r g i s t a k e s M a r y h o m e . Mr Bridgenorth, Jems attorn e y, i n c l i n e s t o t h i n k h i m i n nocent. Job goes to Wills lodging to f i n d M a r y s a c t i o n o f t h e d a y. Job Legh deceives Jane to a s s u r e h e r o f h e r s o n s s a f e t y. Mary spends the night at the St u r g i s e s s h o m e . Marys sleepless night Jem wins the verdict of Not Guilty. Mary becomes delirious. The Wilsons return home to see dying Alice. the death of Alice Wilson Alices funeral John Barton reappears. J e m n u r s e s M a r y a t t h e St u r gisess house. Mary gradually recovers. Jem and Mary return home. Bartons agony Mary hears from Sally that Jem was dismissed from his f o u n d r y. Jem discloses to Mary his plan of emigration. Jane Wilson gives Mary a hearty welcome. Bartons confession of his guilt Carson reads the Bible. Barton dies in Carsons arms. Jem hides the truth from his mother for Marys sake. Jems talk with his former master Janes condolatory visit to M a r y. Carson asks Job and Jem about the details of the murd e r. The emigration plan is arranged. Mary and E s t h e r. Jem talk about

34 1840

35 79 80 81 4 36 10 37 9 82 83 84 85 86 one evening next day 1842 late auor 43 tumn [?] total pages 87 88 89

38

the death of Esther Mary and Jem live a happy life in Canada.

Page references are to the Worlds Classics edition.

Ta b l e 2 : C h a r a c t e r s A c t i v i t i e s i n M a r y B a r t o n i s a d e v i c e t o d i s p l a y w h o i s a c t i v e i n e a c h o f t h e s c e n e s w h i c h Ta b l e 1 p r o v i d e s . I f a c h a r a c t e r a p p e a r s i n a c e r t a i n s c e n e , h i s o r h e r c e l l i s p a i n t e d d e e p g r e y. If not,

it is blank. If he or she is only referred to by others including the narrat o r, i t i s c o l o u r e d l i g h t g r e y. I n a s c e n e i n w h i c h a c h a r a c t e r d i e s , t h e relevant cell is crossed. F o r e x a m p l e , C h a p t e r 1 , w h i c h r e l a t e s t h e a ft e r n o o n e x c u r s i o n o f t h e Bartons and the Wilsons to Green Heys Fields, features all members of b o t h f a m i l i e s , s o t h a t t h e i r c e l l s a r e s h a d e d d e e p g r e y. O n t h e o t h e r hand, Esther and Alice Wilson are only spoken of in the conversation between John Barton and George Wilson;
5

thus, their cells are coloured

l i g h t g r e y. N o m e n t i o n i s m a d e o f o t h e r m a i n c h a r a c t e r s i n t h i s c h a p t e r ; therefore, their cells are blank. Because the first two pages (83-85) of C h a p t e r 7 , o r S c e n e 1 3 , g i v e o n l y t h e n a r r a t o r s e x p l a n a t i o n o f M r s D a v e n p o r t s r e c o v e r y, a n d h e r b r i e f a l l u s i o n s t o t h e W i l s o n s , A l i c e , M a r g a r e t , M r a n d M r s B a r t o n , a n d M a r y s f l i r t a t i o n w i t h H a r r y C a r s o n , t h e s e c h a r a c t e r s c e l l s a r e a l l t i n t e d l i g h t g r e y. T h e l i g h t g r e y c e l l s w h i c h s o m e t i m e s a p p e a r i n M r s B a r t o n s c o l u m n a ft e r S c e n e 3 s h o w t h a t s h e i s s t i l l m e n t i o n e d e v e n a ft e r h e r d e a t h . Ta b l e 2 a l s o h e l ps t o s h o w t h e p r o g r e s s o f a n e p i s o d e i n t h e p l o t : f o r i n s t a n c e , M a r y s f i r s t r e u n i o n w i t h J e m s i n c e h e r r e j e c t i o n o f h i s p r o p o s a l o n a n e v e n i n g i n F e b r u a r y 1 8 4 0 ( C h a p t e r 11 : S c e n e 2 6 ) t a k e s place during the assizes of 23 March 1840 (Chapter 32: Scene 66), ina s m u c h a s S c e n e 6 6 i s t h e f i r s t s c e n e a ft e r S c e n e 2 6 f o r w h i c h t h e i r c e l l s a r e b o t h i m b u e d w i t h d e e p g r e y. L i k e w i s e , Ta b l e 2 s h o w s t h a t

8 Ta b l e 2 : C h a r a c t e r s A c t i v i t i e s i n M a r y B a r t o n
active Ti m e I n f e r r e d
WilMary Barton Jane Wilson Chapter

referred

non-appearance Main Characters

dead

Mrs Davenport Sally Leadbitter

John Carson
1 6

Scene No.

Pages (%)

1 2 3 4

1834 1837 1838

one day

win ter 2

one day one evening one evening next day a few days later

1 2 3 4 5 6 7 8 9

2.2 1.6 0.9 1.3 0.2 2.4 1.2 0.4 3.2

10 11 12 13

2.5

1.7 0.1 0.4 1.1 0.6

7 1839

3 or 4

Part I

one day next morning one Sun4 day spring one night 5 next morning one evening 7 next evening one after-no on 11 one evening next day evening 4 5 9 10 14 15 16 Tu e

14 15

16 17 18 19

0.6 0.5 0.9 0.4

20

1.5

21 22

3.9 1.4 1.4 0.6 0.6 1.2 0.1 1.6 0.4 1 0.9 2.4 0.5 2.4 1.7 0.3 1.2 1.2 1.5 21 15 21 3 2 6 7 7 8 3 8 4 4 2 4

10

23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39

11

12 13 14 15

1840

3 16

active Part I

13

13

14

referred

19

11

John Barton

Mrs Barton

Month

Part

Job Legh

Ye a r

Margaret

Day

George son

Esther

Harry

Alice

Jem

Will

34

10

19

18

14

22

12

23

Part I 17 18 19 20 21 22 Part II 23 24 25 26 27 28 29 30 31 32 33 1840 3

subtotal 1 18 Thu
40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 1.4 1.3 2.8 0.2 1 0.6 1.4 1.6 0.2 2.6 1.2 1.6 3 1 0.5 0.6 1.9 0.9 1.9 1.4 0.5 0.9 0.5 1.2 1.2 0.1 4.8 0.4

19 Fri

20 Sat

21 Sun

22 Mon

23 Tu e

21

10

active referred subtotal 2 24

68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 0.6 0.3 1.1 0.8 0.9 0.2 1.3 0.3 0.6 0.5 0.2 1.2 1.1 0.2 0.5 0.6 0.5 2.4 0.2 0.3 0.5 0.2

11

3 2 4 3 7 8 19
JC

22

13

15

Part II

26

16

13

23

16

14

15

33

34

28 Sun 29 one day 5[?] 7

8 Part III 35 9 10 37 one evening next day 1842 or 43 [?] late autumn

4 36

38

16

active Part III referred subtotal 3 Active Scenes Referred Scenes G r a n d To t a l

99.2

21

22

13

22

14

58

25

14

30

18

24

24

18

22

18

37

17

13

39

82

14

16

24

47

32

67

25

29

37

13

10

43

Esth er

Jem

Mrs B

Mrs D

GW

AW

MB

JW

HC

MJ

SL

JB

JL

Main Characters

Will

66

44

11

11

11

11

22

17

11

11

13

12

36

10

M a r y s m e e t i n g w i t h h e r f a t h e r o n 5 A p r i l ( C h a p t e r 3 4 : S c e n e 7 4 ) c o m e s a b o u t 1 8 d a y s a ft e r h i s d i s a p p e a r a n c e o n 1 8 M a r c h ( C h a p t e r 1 7 : S c e n e 4 0 ) . N e v e r t h e l e s s , t h e m o s t i n t e r e s t i n g r e s u l t d e m o n s t r a t e d b y Ta b l e 2 i s that it is not John Barton but Mary Barton who is most active throughout the novel,
6

and that Jem Wilson is one of the three major characters.

T h i s i s d i s t i n c t l y s h o w n b y t h e n u m b e r s i n t h e G r a n d To t a l b o x a t t h e b o t t o m o f Ta b l e 2 . T h e y a l s o b r i n g i n t o s h a r p r e l i e f t h e e x i s t e n c e o f t h e t w o p l o ts f o c u s i n g o n J o h n a n d M a r y, a n d J e m s d e e p i n v o l v e m e n t i n t h e m . B e f o r e m o v i n g o n t o a c l o s e r e x a m i n a t i o n o f t h e n o v e l s d o u ble-plot composition, a few remarks should be made concerning Figure 2: Scene Percentage in Mary Barton.

Figure 2: Scene Percentage in Mary Barton

75 77 76 78 81 83 84 86 87 88 89 82 85 1 2 3 4 11 12 13 79 80 71 67 74 5 6 7 8 14 9 10 15 16 17 18 20 19

73 70

72 68 66 64 65 63 62 61 60 69

59 58 57 56 55 54 53 52 51 50 49 48 47 38 37 36 35 34 33 32 29 30 31 28 39 42 41 40

21 22 24 26 27 23 25

46 45 44 43

T h i s 3 - D p i e c h a r t p i c t u r e s t h e p e r c e n ta g e o f e a c h o f t h e s c e n e s w h i c h a r e p r o v i d e d i n Ta b l e 2 . F i g u r e 2 t h r o w s l i g h t o n t w o s i g n i f i c a n t f e a t u r e s o f t h e n o v e l s s t r u c t u r e . F i r s t , m o r e t h a n o n e t h i r d o f t h e t o t a l

11

number of pages is assigned to Chapters 17-33, or Scenes 40-67, which p o r t r a y J o h n B a r t o n s m u r d e r o f H a r r y C a r s o n , M a r y s f r a n t i c e ff o r ts t o p r o v e J e m s i n n o c e n c e , h i s t r i a l , a n d h e r c o l l a p s e .

8

That 37 percent of

the story is spent narrating only six days from 18 to 23 March 1840, although the book as it stands covers eight or nine years in totalthis fact is curious enough to make us suspect that it conceals an important key t o u n d e r s t a n d i n g o f t h e a u t h o r s p u r p o s e .
9

F i g u r e 2 a l s o s u g g e s ts t h a t

the novel is constructed in three parts: Introduction (Chapters 1-16: Scenes 1-39), Development (Chapters 17-33: Scenes 40-67), and Finale ( C h a p t e r s 3 3 - 3 8 : S c e n e s 6 8 - 8 9 ) . T h e p e r c e n t a g e o f t h e t e x t a ff o r d e d t o each part is roughly 48%, 37%, and 15%. I t h a s l o n g b e e n h i g h l i g h t e d t h a t M a r y B a r t o n h a s t w o m a i n p l o ts : J o h n B a r t o n s m u r d e r p l o t a n d M a r y B a r t o n s r o m a n c e p l o t . summary of each would be as follows: J O H N S P L O T: r i c h p e o p l e s l a c k o f s y m p a t h y f o r t h e p o o r J o h n B a r t o n s m u r d e r o f H a r r y C a r s o n J e m W i l s o n s t r i a l J o h n B a r t o n s death; MARYS
P L O T:
10

A brief

confessionJohn

C a r s o n s

forgivenessJohn

Bartons

J e m s

love of

for her

Maryher love for

association

with of

Harryher Harryher

recognition e ff o r ts to

Jemthe

murder

prove

J e m s

innocencehis

trialher

marriage to him. T h e f i r s t p l o t s a p p a r e n t l y s u d d e n d i s a p p e a r a n c e a f t e r J o h n B a r t o n s a c t of violence has been criticized especially by those who favour John Bart o n a s t h e n o v e l s c e n t r a l c h a r a c t e r.
11

C o n v e r s e l y, t h i s d u a l i t y i s e u l o -

12

g i z e d b y o t h e r c r i t i c s , p a r t i c u l a r l y f e m i n i s ts , w h o r e c o g n i z e M a r y s r a i s o n dtre in the double-plot framework.

12

The opinions of both groups are insightful enough to aid our comp r e h e n s i o n o f t h e n o v e l . T h e o n l y d r a w b a c k , h o w e v e r, i s t h a t t h e y p a y l i t t l e a t t e n t i o n t o t h e t w o p o i n t s F i g u r e 2 a d v a n c e s : M a r y s c o n s t a n t a p p e a r a n c e i n t h e f i r s t h a l f ( o r, a s I p u t i t , P a r t I ) a s w e l l a s i n t h e s e c o n d ( P a r ts I I a n d I I I ) , a n d t h e n o v e l s c o n s t r u c t i o n i n t h r e e p a r t s , n o t t w o . A s t h e s u b t o t a l 1 b o x i n Ta b l e 2 s h o w s , M a r y i s i n v o l v e d i n t h e s t o r y (34 scenes) as closely as her father is (36 scenes); furthermore, the act i v e b o x r e v e a l s t h a t s h e a p p e a r s m o r e o ft e n ( 2 1 s c e n e s ) t h a n h e d o e s ( 1 5 s c e n e s ) i n P a r t I . T h e s e f a c ts r e m i n d u s t h a t , h o w e v e r a r d e n t l y c r i t i c s m a y u n d e r l i n e t h e g r a p h i c r e p r e s e n t a t i o n o f J o h n B a r t o n s i n c r e a s i n g i n d i g n a t i o n a g a i n s t t h e i n d u s t r i a l m a s t e r s i n P a r t I , M a r y s l o v e f o r t w o young men is also depicted as one of its two main streams. Almost all critics are ambiguous about the existence of the third part.
13

A s Ta b l e 2

a n d F i g u r e 2 n o n e t h e l e s s d i s p l a y, t h e r e i s a d e f i n i t e d i s t i n c t i o n b e t w e e n t h e c o n t e n ts o f P a r t I I a n d P a r t I I I . M a r y s s i x - d a y o r d e a l e n d s w h e n P a r t III begins, as her father reappears to complete his own plot. Ta b l e 2 d e m o n s t r a t e s J o h n B a r t o n s v i r t u a l d i s a p p e a r a n c e f r o m t h e d r a m a a n d h i s d a u g h t e r s m o n o p o l i z a t i o n o f t h e n a r r a t i v e ( a s r e p r e sented in the active box for Part II, he appears only in one scene while M a r y a p p e a r s i n t w e n t y o n e ) . T h i s i s w h y M a r y, a d e c i d e d l y m i n o r f i g u r e , a rather negligible personality
14

in the first part, appears suddenly to

15

emerge from the book with increased stature

i n t h e s e c o n d . I n e ff e c t ,

h o w e v e r, J o h n B a r t o n s p l o t d o e s n o t v a n i s h a l t o g e t h e r b u t i s i n c o r p o -

13

r a t e d i n t o h i s d a u g h t e r s p l o t : M a r y m u s t p r o v e h e r l o v e r s i n n o c e n c e w i t h o u t d i s c l o s i n g h e r f a t h e r s g u i l t . T h e p l o ts i n t e r a c t i o n s a r e p r o m p t e d b y t h e k i l l i n g o f H a r r y C a r s o n , b e c a u s e t h e e n e m y o f t h e w e a v e r s i s , i n r e a l i t y, J e m W i l s o n s r i v a l f o r M a r y s h e a r t . T h e s u s p i c i o n o f m u r d e r i s c a s t u p o n J e m , w h o h a d h i s s c u ff l e w i t h H a r r y w i t n e s s e d b y a c o n s t a b l e t h r e e d a y s b e f o r e t h e l a t t e r s death. The wadding paper Esther brings from the scene of the crime serves to convince Mary of the true criminal; thus begins her tough task o f p r o v i n g J e m s i n n o c e n c e w i t h o u t s a c r i f i c i n g h e r f a t h e r, a s i t u a t i o n f i t for the highest Greek tragedy.
16

The close interlacing of the two

strands weakens after the trial scene in which she fulfils her mission with complete success.
17

J o h n B a r t o n s a s s a s s i n a t i o n o f t h e m i l l - o w n e r s s o n l i e s a t t h e h e a r t o f M a r y s e n d e a v o u r t o s a v e h e r l o v e r s l i f e w h i c h s i m u l t a n e o u s l y i n v o l v e s h e r a t t e m p t t o k e e p h e r f a t h e r s g u i l t s e c r e t ; i n o t h e r w o r d s , h i s i n d u s t r i a l p l o t h e l p s h i s d a u g h t e r s r o m a n c e p l o t f l o w, a n d v i c e v e r s a . T h i s a r r a n g e m e n t i s p i v o t a l t o a d v a n c e b o t h p l o ts e ff e c t i v e l y : t o e n d h e r s in marriage, his in death. This principal design underlies the author s i n t e r l i n k i n g o f t h e t w o p l o ts . I t i s f o r t h i s r e a s o n t h a t s h e a l l o c a t e d t w o f i f t h s o f t h e t o t a l p a g e c o u n t t o t h e n a r r a t i o n o f M a r y s g r e a t t e s t a n d t h e n o v e l s c l i m a x .

18

T h e a u t h o r s i n t e n t i o n t o e m p h a s i z e t h e s i g n i f i -

cance of Part II is also hinted at in the fact that Chapter 32, centring on J e m s t r i a l s c e n e , a g r e a t s h o w p i e c e i n t h e n o v e l , chapter in the book.
20 19

is the longest

This idea of the interweaving of storylines is shown in Figure 3: Im-

14

age of Plot Flow. In the first part, the two plots are introduced in parallel. In the middle section, their threads are cleverly condensed into M a r y s d i l e m m a . I n t h e f i n a l p a r t , t h e l o v e b e t w e e n M a r y a n d J e m r i p e n s into marriage, whereas John Bartons confession and death bring about J o h n C a r s o n s u n d e r s t a n d i n g o f t h e w o r k e r s ; t h u s e n d b o t h p l o ts . S o m e

Figure 3: Image of Plot Flow

c r i t i c s e v a l u a t e M a r y s p l o t a s l e s s a r r e s t i n g , l e s s s t r i k i n g l y o r i g i n a l , [dealing] ta n c e .
23

21

with

secondary

characters,

22

and

of

secondary

impor-

H o p k i n s d i s p a r a g e s i t : A l t h o u g h t h e t i t l e d i r e c ts t h a t M a r y

should bear the responsibility of the central figure, she does not step forward in this role until the latter part of the story.
24

In contrast,

S h e l s t o n f i n d s a p o s i t i v e a n d d e e p e r m e a n i n g i n h e r s t o r y l i n e : M a r y s story is integral from the start. novel Mary

27 25

So does Colby: Throughout the

26

is

portrayed
28

as

acting;

his

remark

is

upheld

by

F r y c k s t e dt

a n d U g l o w.

O u r s c r u t i n y o f t h e n o v e l s s t r u c t u r e r e v e a l s t h a t M a r y i s p r e s e n t

15

t h r o u g h o u t t h e n o v e l , a n d t h a t , e v e n i f t h e f o c u s a p p e a r s t o s h i ft i n t h e m i d d l e f r o m J o h n s c o n f l i c t t o M a r y s r o m a n c e , i t i s b e c a u s e h e t e m p o rarily hides himself from the readers eyes, not because she makes a s u d d e n a p p e a r a n c e i n t h e l i m e l i g h t . W h a t e v e r G a s k e l l s l a t e r f e e l i n g s about the centrality of John Barton, Easson writes, she did accept the t i t l e M a r y B a r t o n a n d M a r y s i s t h e d o m i n a n t c o n s c i o u s n e s s , t h r o u g h which much of the action is mediated. dorses his assertion.
29

Our structural analysis en-

III. Conclusion To e l u c i d a t e t h e s t r u c t u r e o f M a r y B a r t o n , w e f i r s t c o n c e n t r a t e d o n t h e details of dates and times in the novel to construct an accurate chronolo g y. T h i s d e m o n s t r a t e d t h a t t h e s t o r y o p e n e d i n M a y 1 8 3 4 a n d e n d e d i n the autumn of 1842 or 1843. Next, we examined the main characters a p p e a r a n c e s i n e a c h s c e n e t h e c h r o n o l o g y p r o v i d e d . Ta b l e 2 : C h a r a c ters Activities in Mary Barton showed that it was Mary Barton not John B a r t o n w h o w a s m o s t a c t i v e i n t h e s t o r y, a n d t h a t J e m W i l s o n w a s o n e o f the three leading characters. Figure 2: Scene Percentage in Mary Barton displayed that Gaskell used thirty-seven percent of her total number o f p a g e s t o d e s c r i b e M a r y s s i x - d a y s o f d e s p e r a t e e ff o r ts t o p r o v e J e m s alibi. Figure 2 also showed that the story consisted of three parts: introd u c t i o n , d e v e l o p m e n t , a n d f i n a l e . A c c o r d i n g t o Ta b l e 2 , M a r y a n d J o h n were the most active characters in the introductory part; Mary in the development part; and, Mary and Jem in the finale. This three-part struct u r e f a i t h f u l l y r e f l e c ts t h e c o n t e n t o f e a c h p a r t , a n d t h e a u t h o r s d e s i g n

16

f o r w e a v i n g t h e t w o p l o ts t o g e t h e r. Since the date of its publication, Mary Barton has been considered as one of those so-called industrial, social, or Condition of England novels. The most feasible reasons for this interpretation would be: the a u t h o r s a n n o u n c e m e n t i n t h e P r e f a c e t h a t s h e h a s w r i t t e n h e r b o o k t o g i v e s o m e u t t e r a n c e t o t h e M a n c h e s t e r f a c t o r y - w o r k e r s a g o n y o f s u ff e r ing for which the rich have shown little sympathy;
30

the early reviewers

condemnations of her account of industrial employers lack of compassion for their employees; and, her naive response to these reviews, esp e c i a l l y W. R . G r e g s . T h e M a n c h e s t e r m a g n a t e s r e f u ta t i o n s o f t h e c h a r g e s w h i c h G a s k e l l s i n d u s t r i a l p l o t l e v e l l e d a g a i n s t t h e m w a s v e n t e d by some of the early reviewers.
31

One of the most prominent critics

a m o n g t h e m w a s W. R . G r e g , t h e e s s a y i s t a n d i n d u s t r i a l i s t , w h o a l l o cated most of his essay

32

to a defence of the employers rather than to

33

any literary appreciation of the work.

I t w o u l d n o t b e u n f a i r t o s a y t h e s e e a r l y j u d g e m e n ts d e c i d e d t h e d i r e c t i o n o f M a r y B a r t o n s r e c e p t i o n . T h e s t r u c t u r a l a n a l y s i s o f t h e b o o k , h o w e v e r, s h o w s t h a t t h e t r u e p r o t a g o n i s t i s n o t J o h n B a r t o n b u t h i s d a u g h t e r. I t i s r e a s o n a b l e t o c o n c l u d e , t h e r e f o r e , t h a t t h e m a i n p u r p o s e of the novel is not to spotlight the plight of John Barton in order to s t r e s s t h e i n d u s t r i a l m a s t e r s m e r c i l e s s n e s s , b u t t o t e l l a l o v e s t o r y, against the background of the everyday life of M a n c h e s t e r s
34

pov-

erty-stricken people, with John and Mary as their representatives.

We m u s t r e c a l l t h a t G a s k e l l s c o n f e s s i o n t h a t J o h n B a r t o n w a s h e r h e r o , a s q u o t e d a t t h e b e g i n n i n g o f t h i s p a p e r, w a s m a d e i n r e s p o n s e t o

17

W. R . G r e g s b i a s e d r e a d i n g o f M a r y B a r t o n h e c o u l d n o t b u t b e a b i t t e r critic especially because of the bankruptcy of his brother Samuel, cotton-spinner and philanthropist: this adversity befell him months before the appearance of this fiction, and due to his workers strike.
35

In addi-

t i o n , G a s k e l l s c o m m e n t s t o M i s s L a m o n t w e r e m a d e w h e n s h e w a s u ps e t b y p e o p l e s d i s a p p r o v a l o f J o h n B a r t o n .
36

M o r e o v e r, t h e a u t h o r s P r e f 37

ace to the novel was unwillingly concocted a f e w w e e k s b e f o r e i ts p u b l i c a t i o n .

38

a t h e r p u b l i s h e r s r e q u e s t

D e s p i t e G a s k e l l s c l a i m a ft e r p u b l i c a t i o n t h a t J o h n B a r t o n w a s t h e original title, claims Easson, the original names [A Manchester Love St o r y a n d A Ta l e o f M a n c h e s t e r L i f e ] s u g g e s t t h a t M a r y s l o v e w a s , along with Manchester life, always central to her design.
39

Our analysis

h a s p r o d u c e d a n o u t c o m e w h i c h c o n f i r m s E a s s o n s r e m a r k s . J o h n B a r t o n s t r a g e d y s h o u l d b e i n t e r p r e t e d a s o n l y o n e o f t w o m a i n p l o t s i n t h i s p a g e a n t o f M a n c h e s t e r s p o o r p e o p l e . O t h e r w i s e , M a r y B a r t o n w o u l d t u r n out to be a failure, because we should have to admit that the author s intention to write about John Barton was not properly reflected in its structure.

18

Notes

T h e L e t t e r s o f M r s G a s k e l l , e d . J . A . V. C h a p p l e a n d A r t h u r P o l l a r d

(Manchester: Manchester University Press, 1966), p. 74. At the beginn i n g o f t h i s o f t e n - q u o t e d l e t t e r, G a s k e l l m i s t a k e n l y c o n j e c t u r e s t h a t t h e w r i t e r o f t h e c r i t i c a l r e m a r k s i s S a m u e l G r e g , h e r c o r e s p o n d e n t s h u s b a n d a n d W. R . G r e g s b r o t h e r ( E l i z a b e t h G a s k e l l : T h e C r i t i c a l H e r i t a g e , e d . b y A n g u s E a s s o n ( L o n d o n : R o u t l e d g e , 1 9 9 1 ) , p . 1 6 3 ; J e n n y U g l o w, E l i z a b e t h G a s k e l l : A H a b i t o f St o r i e s ( L o n d o n : F a b e r a n d F a b e r, 1 9 9 3 ) , p . 1 6 0 ; A . W. W a r d , I n t r o d u c t i o n , M a r y B a r t o n : A Ta l e o f M a n c h e s t e r L i f e , b y E l i z a b e t h G a s k e l l , Vo l . 1 o f T h e W o r k s o f M r s G a s k e l l , 8 v o l s ( N e w Yo r k : A M S P r e s s , 1 9 7 2 ) , p . l x v ) .

2

Letters, p. 70. C o m m e n ts i n f a v o u r o f J o h n a r e f o u n d i n W. A . C r a i k ( E l i z a b e t h G a s -

kell and the English Provincial Novel (London: Methuen, 1975), p. 35), M o n i c a C o r r e a F r y c k s t e d t ( E l i z a b e t h G a s k e l l s M a r y B a r t o n a n d R u t h : A C h a l l e n g e t o C h r i s t i a n E n g l a n d ( St o c k h o l m : A l m q v i s t & W i k s e l l I n t e r n a tional, 1982), p. 98, p.102), Margaret Ganz (Elizabeth Gaskell: The Artist i n C o n f l i c t ( N e w Yo r k : Tw a y n e , 1 9 6 9 ) , p . 6 3 ) , W i n i f r e d G r i n ( E l i z a b e t h Gaskell: A Biography (Oxford: Oxford University Press, 1980), pp. 87-88), A . B H o p k i n s ( E l i z a b e t h G a s k e l l : H e r L i f e a n d Wo r k ( L o n d o n : J o h n L e h mann, 1952), pp. 76-77), Margaret Lane (Introduction, Mary Barton: A Ta l e o f M a n c h e s t e r L i f e , b y E l i z a b e t h G a s k e l l ( L o n d o n : D e n t , 1 9 7 7 ) , p . vii), Arthur Pollard (Mrs Gaskell: Novelist and Biographer (Cambridge,

19

M A : H a r v a r d U P, 1 9 6 7 ) , p p . 1 0 9 - 1 0 ) , T h o m a s E . R e c c h i o ( T h e P r o b l e m o f F o r m i n M r s G a s k e l l s M a r y B a r t o n : A St u d y o f M y t h i c P a t t e r n i n g i n R e a l i s t i c F i c t i o n , St u d i e s i n E n g l i s h L i t e r a t u r e : E n g l i s h N u m b e r ( 1 9 8 5 ) , p . 3 0 ) , A i n a R u b e n i u s ( T h e Wo m a n Q u e s t i o n i n M r s G a s k e l l s L i f e a n d Wo r k s ( U ps a l a : A . - B . L u n d e q u i s t s k a B o k h a n d e l n , 1 9 5 0 ) , p . 2 3 0 ) , J o h n G e o ff r e y S h a r ps ( M r s G a s k e l l s O b s e r v a t i o n a n d I n v e n t i o n : A St u d y o f H e r N o n - B i o g r a p h i c Wo r k s ( F r o n t w e l l , S u s s e x : L i n d e n P r e s s , 1 9 7 0 ) , p . 5 7 , p . 5 9 , p p . 6 7 - 6 8 ) , K a t h l e e n Ti l l o t s o n ( N o v e l s o f t h e E i g h t e e n - F o r t i e s (London: Oxford University Press, 1962), p. 2 11 ) , Anna Unsworth

( E l i z a b e t h G a s k e l l : A n I n d e p e n d e n t Wo m a n ( L o n d o n : M i n e r v a P r e s s , 1 9 9 6 ) , p p . 4 2 - 4 3 ) , a n d E d g a r Wr i g h t ( M r s G a s k e l l : T h e B a s i s f o r R e a s s e s s m e n t ( L o n d o n : O U P, 1 9 6 5 ) p . 3 1 , p . 3 5 , p . 2 3 3 ; I n t r o d u c t i o n , M a r y B a r t o n : A Ta l e o f M a n c h e s t e r L i f e , b y E l i z a b e t h G a s k e l l ( O x f o r d : O U P, 1 9 8 7 ) , p . x v ) . M e a n w h i l e , t h o s e f o r M a r y i n Te s s a B r o d e t s k y ( E l i z a b e t h G a s k e l l ( L e a m i n g t o n Sp a : B e r g , 1 9 8 6 ) p . 1 6 ) , R o b i n B . C o l b y ( S o m e A p p o i n t e d Wo r k t o D o : Wo m e n a n d Vo c a t i o n i n t h e F i c t i o n o f E l i z a b e t h G a s k e l l ( We s t p o r t , C T: G r e e n w o o d P r e s s , 1 9 9 5 ) , p . 3 6 , p . 4 0 , p p . 4 4 - 4 5 ) , D e i r d r e d A l b e r t i s ( D i s s e m b l i n g F i c t i o n s : E l i z a b e t h G a s k e l l a n d t h e Vi c t o r i a n S o c i a l Te x t ( N e w Yo r k : St M a r t i n s P r e s s , 1 9 9 7 ) p . 5 0 ) , A n g u s Easson (Elizabeth Gaskell (London: Routledge & Kegan Paul, 1979), p. 7 3 , p . 7 8 ; I n t r o d u c t i o n , M a r y B a r t o n : A Ta l e o f M a n c h e s t e r L i f e ( K r u m l i n , Halifax: Ryburn Publishing, 1993), pp. 15-16), Coral Lansbury (Elizab e t h G a s k e l l ( B o s t o n : Tw a y n e , 1 9 8 4 ) , p . 1 7 ) , H i l a r y M . S c h o r ( S c h e h e r e z a d e i n t h e M a r k e t p l a c e : E l i z a b e t h G a s k e l l a n d t h e Vi c t o r i a n N o v e l

20

( N e w Yo r k : O x f o r d U n i v e r s i t y P r e s s , 1 9 9 2 ) , p . 1 8 , p . 3 8 ) , A l a n S h e l s t o n ( I n t r o d u c t i o n , M a r y B a r t o n : A Ta l e o f M a n c h e s t e r L i f e , b y E l i z a b e t h G a s k e l l ( N e w Yo r k : D e n t , 1 9 9 6 ) , p . x x i v ) , U g l o w ( E l i z a b e t h G a s k e l l , p . 2 0 0 ) , a n d Wa r d ( I n t r o d u c t i o n , p . l x x i v ) .
4

For detailed explanation of the chronology construction process, see

m y a r t i c l e : M a r y B a r t o n s C h r o n o l o g y . G a s k e l l St u d i e s , Vo l . 9 ( 1 9 9 9 ) , pp. 1-13.
5

E l i z a b e t h G a s k e l l , M a r y B a r t o n : A Ta l e o f M a n c h e s t e r L i f e , e d . A n g u s

Easson (Oxford: Oxford University Press, 1987), pp. 4-8, p. 10. Subsequent references to this novel are to this edition.
6

This aspect is also noted by Craik: [T]he novel as it stands spends

less time on him [John] than on Mary (Elizabeth Gaskell, p. 32).

7

T h u s , D o n a l d D . St o n e s a s s e r t i o n t h a t A l i c e W i l s o n i s t h e t h i r d s i g -

n i f i c a n t c h a r a c t e r ( T h e R o m a n t i c I m p u l s e i n Vi c t o r i a n F i c t i o n ( C a m b r i d g e , MA: Harvard University Press, 1980), p. 149) contradicts the result of o u r e x a m i n a t i o n . J e m i s r e g a r d e d b y s o m e r e a d e r s a s t h e n o v e l s h e r o ( J . G. S h a r p s , M r s G a s k e l l s O b s e r v a t i o n a n d I n v e n t i o n , p . 5 7 ) .

8

That the death of Harry Carson marks the beginning of the second

p a r t i s a g r e e d b y E a s s o n ( E l i z a b e t h G a s k e l l , p . 7 9 ; I n t r o d u c t i o n , p . 11 ) , Catherine Gallagher (The Industrial Reformation of English Fiction

1832-1867 (Chicago: The University of Chicago Press, 1985), p. 67), Ti l l o ts o n ( N o v e l s o f t h e E i g h t e e n - F o r t i e s , p . 2 1 3 ) , a n d E d g a r Wr i g h t ( I n troduction, p. xvii).
9

T h e s e c o n d p a r t s b a ff l i n g l e n g t h i s a l s o n o t e d b y C o l b y : T h i s s e c -

21

tion is given a significant amount of space in the novel, spanning several c h a p t e r s . I t i s c l e a r t h a t G a s k e l l v i e w e d t h e s e e v e n ts a s a c r u c i a l e x p r e s s i o n o f M a r y s i d e n t i t y ( S o m e A p p o i n t e d Wo r k t o D o , p . 4 1 ) , a n d b y E d g a r Wr i g h t ( M r s G a s k e l l , p . 2 3 3 ) .

10

P a r t i c u l a r l y b y C h r i s B a l d i c k ( I n F r a n k e n s t e i n s S h a d o w : M y t h , M o n and Nineteenth-Century Wr i t i n g (Oxford: Clarendon Press,

s t r o s i t y,

1987), p. 84), Craik (Elizabeth Gaskell, p. 5, p. 31), dAlbertis (Dissembling Fictions, p. 50), Kate Flint (Elizab eth Gaskell , Writer s and Th eir Work (Plymouth: Northcote House, 1995), p. 15, p. 17), Gallagher (The Industrial Reformation, p. 67, pp. 75-78, pp. 81-82, p. 280), Ganz ( E l i z a b e t h G a s k e l l , p . 6 9 , p . 7 3 ) , St e p h e n G i l l ( I n t r o d u c t i o n , M a r y B a r t o n : A Ta l e o f M a n c h e s t e r L i f e , b y E l i z a b e t h G a s k e l l ( H a r m o n d s w o r t h : Penguin Books, 1976), pp. 21-22), Hopkins (Elizabeth Gaskell, p. 76), Lansbury (Elizabeth Gaskell, p. 10, p. 17), Recchio (The Problem of Form, p. 20, p. 29), Schor (Scheherezade in the Marketplace, pp. 14-15, p . 1 7 , p . 2 0 , p . 3 3 , p p . 3 7 - 3 8 ) , S h e l s t o n ( I n t r o d u c t i o n , p . x x v i ) , P a ts y St o n e m a n ( E l i z a b e t h G a s k e l l ( B r i g h t o n , S u s s e x : H a r v e s t e r P r e s s , l 9 8 7 ) , p . 8 4 ) , Ti l l o ts o n ( N o v e l s o f t h e E i g h t e e n - F o r t i e s , p p . 2 1 3 - 1 4 ) , U g l o w ( E l i z a b e t h G a s k e l l , p . 2 0 6 ) , M i c h a e l W h e e l e r ( T h e A r t o f A l l u s i o n i n Vi c torian Fiction (London: Macmillan, 1979), p. 46, pp. 59-60; English Fict i o n o f t h e Vi c t o r i a n P e r i o d 1 8 3 0 - 1 8 9 0 , 2 n d e d ( L o n d o n : L o n g m a n , 1 9 9 4 ) , p. 40), Raymond Williams (Culture and Society 1780-1950 (Harmondsw o r t h : P e n g u i n B o o k s , 1 9 7 9 ) , p p . 1 0 0 - 0 1 ) , a n d E d g a r Wr i g h t ( I n t r o d u c t i o n , p . x i v, p p . x v i i - x v i i i ) .

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Craik (Elizabeth Gaskell, p. 5) and Ganz (Elizabeth Gaskell, p. 69)

assert that two plots are too much for a single work, while Ganz (Elizabeth Gaskell p. 73), Gill (Introduction, pp. 20-21), Hopkins (Elizabeth G a s k e l l , p p . 7 6 - 7 7 ) , Ti l l o ts o n ( N o v e l s o f t h e E i g h t e e n - F o r t i e s , p . 2 1 3 ) , and Williams (Culture and Society, pp. 100-02) lament that the change of e m p h a s i s h a l f w a y t h r o u g h t h e n o v e l r e p r e s e n ts a f l a w i n i t s t h e m e a n d shape.
12

L a n s b u r y a r g u e s t h a t J o h n B a r t o n s d e c l i n e o ff e r s a v i v i d c o n t r a s t t o

h i s d a u g h t e r s r i s e ( E l i z a b e t h G a s k e l l , p . 1 7 ) ; S c h o r ( S c h e h e r e z a d e i n t h e M a r k e t p l a c e , p . 1 5 ) a n d St o n e m a n ( E l i z a b e t h G a s k e l l , p . 7 9 ) o b s e r v e t h a t M a r y s w h o l e s t o r y u n f o l d s t h e p r o c e s s o f h e r a c q u i r i n g t h e a b i l i t y t o speak for her own self.

13

E x c e p t i o n s a r e , i f a n y, F r y c k s t e dt ( J o h n B a r t o n i s a b s e n t f r o m t h e

moment he murders Henry Carson until he returns at the end (Elizabeth G a s k e l l s M a r y B a r t o n a n d R u t h , p . 9 8 ) ) , G a l l a g h e r ( T h e c o n c l u d i n g chapters of Mary Barton return us to the story of John (The Industrial Reformation, p. 83)), and Schor ([T]he workers plot [is] revealed again a t t h e n o v e l s e n d ( S c h e h e r e z a d e i n t h e M a r k e t p l a c e , p . 1 6 ) ) .
14

Hopkins, Elizabeth Gaskell, p. 77. Lane, Introduction, p. viii. Maria Edgeworth qtd. in Easson, Critical Heritage, p. 90. Unmiti-

15

16

g a t e d p r a i s e i s b e s t o w e d u p o n t h e a u t h o r s p o r t r a y a l o f M a r y s b r e a t h ta k i n g e x p e d i t i o n e s p e c i a l l y b y E l l i s H . C h a d w i c k ( M r s G a s k e l l : H a u n t s , H o m e s , a n d St o r i e s ( L o n d o n : S i r I s s a c P i t m a n & S o n s , 1 9 1 3 ) , p . 1 6 6 )

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a n d E d g a r Wr i g h t ( M r s G a s k e l l , p . 2 6 8 ) .
17

The plot interrelation in Part II is discussed by Craik (Elizabeth

Gaskell, p. 31, p. 35), Gallagher (The Industrial Reformation, p. 83), Ganz (Elizabeth Gaskell, p. 69), Hopkins (Elizabeth Gaskell, p. 76), E. H o l l y P i k e ( F a m i l y a n d S o c i e t y i n t h e Wo r k s o f E l i z a b e t h G a s k e l l ( N e w Yo r k : P e t e r L a n g , 1 9 5 5 ) , p . 4 1 ) , S c h o r ( S c h e h e r e z a d e i n t h e M a r k e t p l a c e , p . 4 0 ) , a n d W h e e l e r ( E n g l i s h F i c t i o n , p . 4 0 ) . B e s i d e s , i ts o c c u r r e n c e even in Parts I and III is suggested by Craik (Elizabeth Gaskell, p. 35), Gallagher (The Industrial Reformation, p. 82), Shelston (Introduction, p. xxvi), Uglow (Elizabeth Gaskell, p. 206), Wheeler (The Art of Illusion, p. 5 9 ) , a n d E d g a r Wr i g h t ( I n t r o d u c t i o n , p . x i v ) .
18

Craik, Elizabeth Gaskell, p. 35. Easson, Introduction, p. 16. St r i c t l y s p e a k i n g , C h a p t e r 5 i s t h e l o n g e s t , b u t i t i s c o m p o s e d o f t w o

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20

scenes.
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Craik, Elizabeth Gaskell, p. 35. G e r a l d D e w i t t S a n d e r s , E l i z a b e t h G a s k e l l ( 1 9 2 9 ; N e w Yo r k : R u s s e l l

22

& Russell, l971), p. 28.

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J . G. S h a r ps , M r s G a s k e l l s O b s e r v a t i o n a n d I n v e n t i o n , p . 6 8 . Elizabeth Gaskell, p. 76. I n t r o d u c t i o n , p . x x i v. S o m e A p p o i n t e d Wo r k t o D o , p . 3 6 . E l i z a b e t h G a s k e l l s M a r y B a r t o n a n d R u t h , p . 9 8 . Elizabeth Gaskell, p. 200.

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26

27

28

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E l i z a b e t h G a s k e l l , p . 7 8 . H e i s c h a m p i o n e d b y B r o d e ts k y : [ T ] h e

change of title was reasonable, and it was obviously considered a more attractive one (Elizabeth Gaskell, p. 16).
30

MB, p. xxxvi. I t e m N o s . 1 6 , 1 7 , 1 9 , a n d 2 3 i n E a s s o n s C r i t i c a l H e r i t a g e . I t e m N o . 2 3 o f E a s s o n s C r i t i c a l H e r i t a g e . H e i s d e p r e c a t e d b y J . G. S h a r p s : G r e g i s g u i l t y m i s r e a d i n g i n r e -

31

32

33

g a r d i n g J o h n B a r t o n s a t t i t u d e a s t h a t o f t h e a v e r a g e w o r k m a n ( M r s G a s k e l l s O b s e r v a t i o n a n d I n v e n t i o n , p . 6 5 ) .
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Ti l l o ts o n s a s s e r t i o n t h a t M a n c h e s t e r l i f e i s t h e k e y s t o n e w h i c h

gives the novel the unity (Novels of the Eighteen-Forties, p. 210, p. 214) i s c o n v i n c i n g e n o u g h ; s o a r e W i l l i a m s s a n d E d g a r Wr i g h t s : T h e r e a l l y i m p r e s s i v e t h i n g a b o u t t h e b o o k i s t h e i n t e n s i t y o f t h e e ff o r t t o r e c o r d , i n i ts o w n t e r m s , t h e f e e l o f e v e r y d a y l i f e i n t h e w o r k i n g - c l a s s h o m e s (Culture and Society, p. 99); [C]onstantly present as an essential setting for the characters and the complicated plot is Manchester (Mrs Gaskell, p. 32). Opinions which support these are found in Easson (Critical Heritage, p. 14; Introduction, p. 12), Hopkins (Elizabeth Gaskell, p. 71, p. 73), Lansbury (Elizabeth Gaskell, p. 12), Shelston (Introduction, p. xxii), Sheila M. Smith (The Other Nation: The Poor in English Novels of the 1840s and 1850s (Oxford: Clarendon Press, 1980), p. 84), Jane Sp e n c e r ( E l i z a b e t h G a s k e l l , Wo m e n Wr i t e r s ( L o n d o n : M a c m i l l a n , 1 9 9 3 ) , p . 3 4 , p . 4 0 ) , a n d E d g a r Wr i g h t ( I n t r o d u c t i o n , p . x v i i ) .
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L e t t e r s , p . 1 2 0 ; Va l e n t i n e C u n n i n g h a m , E v e r y w h e r e S p o k e n A g a i n s t :

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D i s s e n t i n t h e Vi c t o r i a n N o v e l ( O x f o r d : C l a r e n d o n P r e s s , 1 9 7 5 ) , p . 1 3 5 .
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Letters, p. 70. Letters, p. 58. G r i n , E l i z a b e t h G a s k e l l , p . 7 4 ; U g l o w, E l i z a b e t h G a s k e l l , p . 1 9 1 . Elizabeth Gaskell, p. 73.

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