By Thomas Hardy
The daughter of a filthy rich railway wealthy person, Paula strength inherits De Stancy fortress, an old fortress wanting modernization. She commissions George Somerset, a tender architect, to adopt the paintings. Somerset falls in love with Paula yet she, the Laodicean of the name, is torn among his admiration and that of Captain De Stancy, whose old-world romanticism contrasts with Somerset's forward-looking angle.
Paula's vacillation, even though, is not just romantic. Her ambiguity relating to faith, politics and social development is a mirrored image of the author's personal. This new Penguin Classics variation of Hardy's textual content comprises an advent and notes that remove darkness from and make clear those topics, and attracts parallels among the textual content and the author's lifestyles and perspectives.
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Additional resources for A Laodicean (Penguin Classics)
The pupils of a mechanics' 42 The sickroom in Victorian fiction institute, "of which he was the patron" (Prologue 6) conduct " strange experiments " on the grounds " so that sport / Went hand in hand with Science" (Prologue: 79, 80). The house and grounds present a graceful and harmonious combination of past eras and styles, and the objects on display there reach back to the "first bones of Time" (Prologue: 15) and extend to the rich spoils of present-day imperialism. The only dissonant note in this otherwise happy medley of diverse people and objects is the indignant protest voiced by Lilia, the daughter of the house, against her brother's assertion that no women of courage and nobility exist in the present era.
She could be conveniently considered sui generis. Still, Nightingale, in the popular representation of her as ministering angel to the troops, enduring incalculable hardship in a wholly masculine terrain to the acclaim of her nation and government, incarnated the shared fantasies and concrete aspirations of millions of women, who, like Dorothea Brooke in Middlemarch, wished for more than to have "lived faithfully a hidden life and [to] rest in unvisited tombs" (86). Like her fictional counterparts, Nightingale came home from her triumphs a patient.
50 Within the sickroom, however, intimacy of expression, like the appetites it threatens to unleash, is kept in check by the natural restraint of debility and at the same time made obligatory by it. The sickroom, writes Martineau, " is a natural confessional, where the spontaneous revelations are perhaps as ample as any enforced disclosures from disciple to priest, and without any of the mischiefs of enforcement... [I]t is scarcely possible that in any other circumstances we could have known so much " (LSR 211).
A Laodicean (Penguin Classics) by Thomas Hardy