#weekly rant | Explore Tumblr posts and blogs

can-of-w0rmz · 1 year ago

Text

This is not an attack on you at ALL I’m sorry for moving this to it’s own post I just have Opinions™️ and I need be weird about this book rq I’ll tag you anyway in case you’re interested like at all in my dumb little opinion @adrianfridge-main

I just woke up but DISAGREED Victor’s complaining was completely and utterly justified tbh (bro fucked up astronomically big time and as a result his entire family is dead, I think he’s earned the right to be in despair), Victor’s biggest flaw was the fact he stitched together a mass of corpses and brought it to life and then told nobody, Victor’s biggest flaw is avoidance – and part of that is understandable, it’s a common trauma response, but Victor should have been open about how he felt about Elizabeth, he should have worked through his feelings about his family and expressed them, he should have confronted what he did with the creature and told someone, told Clerval, Victor’s biggest flaw isn’t that he’s in despair, it’s that he rarely explains that despair to others – and it’s understandable why he doesn’t, but it’s still wrong, because that’s how he hurts people.

He keeps parts of himself hidden – as arguably represented by the creature himself. He begins to isolate himself for really the first time, he has a lot of space away from people he’s been around his entire life for really the first time, and it’s fairly safe to say that psychological things begin to build up, as he builds the creature, almost represented by him – whatever interpretation you have of these knew-found realisations can greatly vary depending on the reading of the book you have, but personally I think it’s mostly how he feels about himself and his family.

I don’t think Victor wanted to marry Elizabeth at all – and I’ll probably make a whole catch-all rant on that point soon enough, but I think once he actually begins to get some time in isolation to think about things, he starts thinking about his mother, he starts thinking about Elizabeth, he starts considering all these complicated feelings, that he genuinely does love his mother, but that she’s effectively forcing him into something he doesn’t want to do at all, surely she’d understand if he just explained – but she’s dead, he can’t explain, it’s too late for that. Would she have accepted his explanations in the first place, or would he have disappointed her? This was his mother’s only dying wish, the last thing she left to him, the last thing he had to remember her by – and I do believe Victor genuinely loved his mother, even if I’m also absolutely of the opinion that she was a terrible person. Instead of coming to a conclusion about this, Victor spirals, it builds up, he tells no-one – I don’t believe he would’ve told Henry – and this coincides with the creation of the creature. His dead mother’s final wish being the definitive thing haunting him, and the representation of his spiral and all of his emotions about that being a mass of sentient corpses – seems accurate.

Following this argument, Victor sees Clerval again after all those years, and he collapses from the weight of it all – he rants about it vaguely, but he hides it, and he continues to do so, ignoring it, and that’s when it slowly begins to become harmful, purposefully picking off the people he loves and hurting them.

It’s important to remember still, of course, that the monster isn’t metaphorical, he is real – it’s just that a lot of heights of Victor’s despair and tendency to spiral into his own thoughts coincide well with the “building” of the creature, or with him becoming more vocally demanding of Victor or harmful to his loved ones, so he tends to be a pretty good approximation for a physical representation of Frankenstein’s mental state and guilt. And effectively, Frankenstein desperately trying to hide the creature, fumbling with promises to make further mistakes to push him away only to come to the realisation that they’re wrong, but still having to deal with the consequences of them, instead of just from the start being open and honest, even if that honestly was “I need some time to think, and I don’t know how I feel right now.” – that’s his biggest flaw. And the people Victor hurts is really best represented through Elizabeth herself – I hold the very very strong opinion that Victor and Elizabeth are both victims of what was pretty basically just grooming, and again, avoidance is a very common trauma response, but Elizabeth tried to confront Victor on multiple occasions, sending that letter asking about how he feels about the marriage, saying it doesn’t need to happen if he doesn’t want it to – instead he misinterprets this as his poor dear cousin in despair second-guessing his affections for her, (very likely because of things his mother probably told him as a child), and decides to “put her mind at ease” by telling her that he will marry her, despite his actions saying completely otherwise and Elizabeth herself pretty openly not really wanting to marry him.

He’s gone through so much at this point, feels himself responsible for so many deaths, and decides the final thing he needs to do before he dies is not to be a disgrace to his parents as well, or any more of a disgrace than he already is, in his eyes.

And I also definitely have a queer reading of the novel – I genuinely do really hold to the interpretation of Frankenstein and Clerval’s relationship being romantic, and from there and concerning the creation of the bride, Henry really is effectively murdered as a punishment for Victor doubting the role given to him – almost like his doubts and guilt, as embodied by the creature, overwhelm him in that way. “Ah! my father, do not remain in this wretched country; take me where I may forget myself, my existence, and all the world.” He’s pushing away the memory of Clerval’s death, repressing it, avoiding it, and that is extremely important for how he shifts his tone with Elizabeth and puts up that fake demeanour of wanting to marry her, because he thinks it’ll make her happy even though both of them describe dreading the wedding, even given the context for Victor and even by Elizabeth, who doesn’t know what he dreads – in order to forget Clerval, he assigns himself to the role given to him as a child by marrying Elizabeth and gives up whatever he hope he had.

All possibly discouraged from Clerval being murdered as a response to Victor refusing to finish the Bride and subject her to the same fate as him and Elizabeth to the Creature, a pact made without her knowledge or consent, an arranged marriage. Where has spiting that tradition led him? Where has him standing up to the shroud of his mother’s dying wishes, hanging over him the entire novel thus far, led him, by refusing to force the Bride into an arranged marriage with the Creature, as he was with Elizabeth? To the death of the one man he truly loved. So, can at least “make his dear cousin happy” and not die spiting the one thing he was meant to do – make his mother proud from beyond the grave by marrying Elizabeth.

And even then, adding to my argument of the creature being a physical embodiment of Frankenstein‘s guilt and dread – that building tension approaching the wedding, Victor being convinced the creature is going to kill him, but he kills Elizabeth – that’s a metaphor if I’ve ever seen it.

Even on the subject of grieving Clerval, Victor won’t sort his feelings, he spirals and tries so desperately to avoid them. “We had resolved not to go to London, but to cross the country to Portsmouth, and thence to embark for Havre. I preferred this plan principally because I dreaded to see again those places in which I had enjoyed a few moments of tranquillity with my beloved Clerval. I thought with horror of seeing again those persons whom we had been accustomed to visit together, and who might make inquiries concerning an event.”

I wonder what would happen if he did go through London, if he did meet those people again. Would things have turned out differently? Would he finally have been given a sense of comfort and clarity through mutual grief, as nobody so far since Henry’s death and for the rest of the book, except the creature, ironically, has grieved for Clerval except for Frankenstein. If he met people who took as fondly to Clerval as he did, at least on meeting him briefly, who would have sympathy towards Victor – would he finally have that space to grieve for him in a healthy way, to be comforted by people who at least vaguely understand a fraction of his anguish?

But he doesn’t, and instead he avoids the subject – confining himself to his union with Elizabeth, and hurting her because of that.

And even to his grave, Frankenstein doesn’t stop to consider his feelings properly, and by that I mean he doesn’t sort them with anyone, he doesn’t admit the dread he feels surrounding his family and his late wife, he doesn’t stay with Ernest and talk through things with him, bonding to his last remaining family member in his grief – instead he spirals again, chasing the monster and telling no one, except for Walton. And even then, he doesn’t discuss, he monologues – he doesn’t talk through his emotions with a trusted friend, he “tells his story” to an eager man who is mostly overwhelmingly curious, rather than genuinely concerned.

Victor Frankenstein’s biggest flaw is not that he complains. It isn’t that he’s in despair – it’s that he won’t articulate that despair properly. It’s that he avoids it and keeps it hidden out of pain, but he shouldn’t. Because the subject of that despair actively effects the people around him, and by extension, his despair actively effects the people around him. Elizabeth is left hanging by a man who doesn’t truly love her and won’t talk to her, forcing her into a marriage she doesn’t really want out of duty. The creature is cast aside and abandoned, viewed mostly by Victor as a representation of his guilt and shame, of his worst mistakes, although he expresses feeling pity for it fairly often, he still hides and shuns it, fearing it. Clerval is murdered as a representation of that hope for a better future, the one man who ever truly loved him being snatched away, and instead of standing his ground, coming to the conclusion that he won’t abide by his mother’s wishes, that he was right in his destruction of the bride, grieving Clerval with those people in London and using his death as a catalyst to not let it happen again, perhaps then meeting Walton at a later date if he chose to stay in England or otherwise by chance under different circumstances, writing to Elizabeth telling her his true feelings and confronting the creature properly, pulling a Christine Daaé there except like. Parentally instead of romantically. and showing his creation sympathy and compassion rather than just feeling it, and being open about everything; instead of that, Victor spirals, and Victor hurts everyone left.

And it’s understandable why he does – it’s realistic. The hero doesn’t always know exactly what to do and magically save the day by making all the right decisions – people don’t know what do do or how to make all the right decisions. Victor isn’t just complaining “woe-is-me” style, Victor is in genuine severe psychological torment and distress, and his actions reflect that. He is, to an extent, a victim of circumstance – and his circumstances haven’t made things easy for him. In his grief over Clerval, he’s led back to Geneva by his father instead of through London, and follows easily. He’s forced into a situation where he has to marry his cousin by his mother, since young childhood. When he tries to be assertive in what he wants, he’s punished for it every time. In real life, people don’t fix their situation easily like a superhero and pull themselves on their feet like that. They don’t get over everything that’s ever happened to them easily. They need space – and Frankenstein did not have space. If he wanted to fix his life, he would have had to actively fight for it. And he didn’t have any fight left. He didn’t want to live. He didn’t have any idea of what to do next. He didn’t see a future. Any time he tried to fight against what was expected of him, he was punished for it, so now that his life was effectively over, all he wanted to do was assign himself to the roles he was “meant” to perform, and not disappoint his family.

But it’s still a flaw, and it still hurts people. Victor was still in the wrong for what he did. For avoiding everything, for building the creature to begin with, that was Victor’s fault. But it’s understandable why he does what he does, and he’s a very sympathetic character because of that.

Me waking up to immediately write an entire Frankenstein essay I shit you not I’m still in bed finishing this I literally just woke up and started typing half asleep until I finished it (haha funny Nosferatu reference):

#rant #gothic lit #classic literature #gothic literature #frankenstein #goth lit #classic lit #frankenstein weekly #frankenstein or the modern prometheus #clervalstein #Victor Frankenstein #frankenstein the modern prometheus #the modern Prometheus

135 notes · View notes

serial-serializednovelreader · 6 months ago

Text

Nova's Notes - North and South - Chapter 3

Last time we saw our heroine Margaret, she had just received word that Henry Lennox had come to call on her. Let's see how it goes!

So, she is excited to see Henry, as she has just been thinking about him and his promise. Margaret is a little surprised though, since he's supposed to be off with Edith and his brother on their honeymoon.

*record scratch* Hold up, he was accompanying them on their honeymoon??? I know right! And not just him, but his uncle as well? What kind of monster is he?

Well, five seconds ago, I would've agreed with you, but I was able to find this article that points to this being a fairly common practice in order to ease the woman into the marriage (not exactly an academic source, but the first one I found). So, he's not intruding or third-wheeling, but instead helping grow the marriage. What a nice guy, right? Well...avid readers of this will know I'm not Henry's biggest fan, and in the first few sentences he -- again -- says something that raises my hackles a bit.

“'Oh!' said he, more lightly, 'our young couple were playing such foolish pranks, running all sorts of risks, climbing this mountain, sailing on that lake, that I really thought they needed a Mentor to take care of them. And indeed they did: they were quite beyond my uncle’s management, and kept the old gentleman in a panic for sixteen hours out of the twenty-four. Indeed, when I once saw how unfit they were to be trusted alone, I thought it my duty not to leave them till I had seen them safely embarked at Plymouth.'”

Oh no, our couple has done the horrible problem of -- *checks notes* -- having fun on their honeymoon...? If their version of a "prank" is ditching their relatives to get some alone time -- uh, yeah, I would too!!! I mean, I guess I can see where he's coming from on some of these points if they truly are taking dangerous risks, but it honestly sounds like they're trying to sneak in some alone time here and doing fun couple activities together. It's not good that the uncle is panicking, but his brother is in the army. Surely he's prepared for things like mountain climbing and saying they're "unfit to be alone" is quite ridiculous. If he's worried about them doing...other kinds of activities while alone...I hate to tell him, but they're already married so that ship has sailed (literally). If he's truly worried about "danger," how is he -- a lawyer -- more prepared to face it than his brother who's in the army? (Not that lawyers can't face danger, considering Jonathan from Dracula is a lawyer and he just climbed a castle wall not too long ago, but that's a different book/genre lol). Also presenting himself as a "Mentor" (capital M) is HILARIOUS to me considering a) he's younger than at least one of them and b) mentor to what? Being married??? Henry???? He probably means climbing or sailing, but my version is funnier -- just saying.

I guess he might also be kidding about some of this, which is something I should have considered but didn't because I don't pick up well on social cues (I'm like Margaret in that way: we'll get there :D). So if he is kidding, sorry about that, but if I'm to take what he's saying at face value here, he just sounds like a nuisance to the couple. He says he's now "relieved of many responsibilities" but it just sounds like he put those responsibilities on himself.

He then gives her a note from Edith and she doesn't want to read it in front of him because she "half wish[ed] to read it alone and unwatched". I find this interesting that she has to make up an excuse to get away from him here, just to do so! Is it because Margaret doesn't feel comfortable reading letters in front of people in general, or because Henry specifically causes the discomfort? Gaskell doesn't elaborate, but I'll keep an eye out for if she feels comfortable enough to read a letter in front of anyone else in a future chapter, because either could be valid.

Henry begins to look around the room in "his scrutinizing way" and notices how "poor" the place looks, even when the light is hitting it, which should make it looks its best. Then he says this (with a sigh):

"'The living is evidently as small as she said. It seems strange, for the Beresfords belong to a good family.'”

Oh, no! You've just activated a red flag!!! This whole reply is a red flag, but I want to highlight the main problem area (in my opinion) -- the "as she said". What's the problem with this?

To me, this indicates he didn't listen to her when she told him how small her living was the first time around. He assumed she was downplaying it and would come back to find something more like Harley Street. I suppose that was the fashion back then -- to act of more humble means than you were -- but here's the thing: Margaret isn't like that. She says thing as they are and if he knew her as well as he thinks, he would've taken her words at face value. I know that just from three chapters of reading about her!! If he doesn't believe this one thing she says now, how is that going to work later if they foster a relationship (again, we're getting there)? I also just don't like that Henry is pulling a surprised Pikachu face here!!! And while I know good family = wealthy in this time period, still not a great thing to say. Like, hmm her family is poor that's weird :/. He's acting like he didn't get what he wanted for Christmas or something. Definitely not the reaction I would want from a potential partner.

Margaret, meanwhile, is dealing with a problemTM. Namely, her mother. Apparently she gets into moods where everything is an Issue and Henry is considered an Issue -- so, she refuses to see him. This is a dilemma, because Margaret had told Henry that her mamma would LOVE to meet him and will meet with him shortly. I may not know much about etiquette, but I know this is a snub if she refuses to meet with him now. Plus, her dad can't help because he was already in a bad mood (seems like something we'll unravel later) and Mrs. Hale made it worse by commenting *once again* on moving, which caused him to ask her to please stop speaking against the place. So yeah, this isn't going well!

Margaret "listen[s] patiently", but she has to figure things out somehow, so she pulls a problem-solving move. She proposes that after a quick meetup with Henry and her mom (as for it not to look weird), she and Henry can go out sketching, which will mean less interaction for her mother to worry about. Then, even though they only have cold meat for lunch, they can still make that work for the meal, since light food was usually expected at the midday meal (from what I could find -- correct me if I'm wrong) and Henry will expect it that way. That's when Mr. Hale will join them, having had enough time between 10:30 and 2:00 to compose himself.

I love seeing this side of her! We've already seen glimpses, but I think it's the first time we've truly seen her go into what I would call a "problem-solving mode". I would definitely add that to her list of qualities!

"He evidently expected to be asked to spend the day, and accepted the invitation with a glad readiness that made Mrs. Hale wish she could add something to the cold beef. He was pleased with everything; delighted with Margaret’s idea of going out sketching together; would not have Mr. Hale disturbed for the world, with the prospect of so soon meeting him at dinner."

I wonder if it's apparent to everyone involved Henry wants to be asked to stay the whole day, or if it's just Mrs. Hale? It makes sense that he wants to since he said he would be checking up on what Margaret does all day. I don't know much about calling hours or social etiquette in the Victorian era, but from what I could find, he's making a "morning call". Usually a man in this situation should leave after 20 minutes. However, he's family, so I believe this allots for staying a few hours, including dinner (again, correct me if I'm wrong -- I tried to find sources for this, but there wasn't much available for a morning call from family). Does it seem interesting how eager it is how "pleased" he is by everything just after he thought about how poor the family is? Yep! But we don't have time to unpack all of that just yet.

"'Now, please, just stop here for a minute or two,' said Margaret. 'These are the cottages that haunted me so during the rainy fortnight, reproaching me for not having sketched them.' 'Before they tumbled down and were no more seen. Truly, if they are to be sketched—and they are very picturesque—we had better not put it off till next year. But where shall we sit?' 'Oh! You might have come straight from chambers in the Temple, instead of having been two months in the Highlands! Look at this beautiful trunk of a tree, which the woodcutters have left just in the right place for the light. I will put my plaid over it, and it will be a regular forest throne.' 'With your feet in that puddle for a regal footstool! Stay, I will move, and then you can come nearer this way. Who lives in these cottages?'”

I feel like this conversation parallels their awkward interaction from chapter one, though now the shoe is on the other foot. And by "shoe", I mean the whole "shutting down the conversation" thing. To be fair, this is probably Henry joking and being lighthearted, but again -- I'm having trouble reading it that way. She's trying to sketch two cottages that she thinks are pretty, but he's kind of mocking them for how decrepit they look. Fair, I guess, but the fact that she chooses to mock him by saying he's "come staight from chambers in the Temple" (which I believe is a reference to the Temple in Jerusalem and to me, signals she's mocking his loftiness) says she's not entirely happy with this either. Plus, yeah, he just spent time in the Highlands, shouldn't he be used to forest by now? And when she wants to make a "throne" out of a tree stump, he comments on the puddle on the ground. Chivalrous to ask her to get out of the way, but he's not playing along with her game of pretend like he seemed to want her to in chapter 1. I wonder what's up with that? Or maybe I'm reading this all wrong and they're both enjoying this banter -- I don't know, it's really hard for me to tell!! Keep in mind, I'm biased and don't really like Henry, so everything he says annoys me. It's a problem I'll try to work on 😂😂

She goes to talk to one of the men at the cottages, and Henry quickly takes his opportunity to add her to his sketch. Afterwards, she notices and comments on it. He replies:

“'It was irresistible. You can’t know how strong a temptation it was. I hardly dare tell you how much I shall like this sketch.' He was not quite sure whether she heard this latter sentence before she went to the brook to wash her palette. She came back rather flushed, but looking perfectly innocent and unconscious. He was glad of it, for the speech had slipped from him unawares—a rare thing in the case of a man who premeditated his actions so much as Henry Lennox."

I will admit, this is rather cute: him taking the opportunity to sketch her and then saying something without thought! It's a sweet moment and I think I would like the two of them together if they had more moments like this.

When they return back, both Mr. and Mrs. Hale are in much better spirits. Margaret sees her father and while she stresses that he's put aside his worries (they're not taken care of), she can't hide her pride at seeing him because he's always able to impress other people! What a sweetheart, love her for that.

Mr. Hale sees their sketches and when Mr. Hale sees the one Henry drew, Henry comments this:

“'I should say that a likeness you very much wish to take you would always succeed in,' said Mr. Lennox. 'I have great faith in the power of will. I think myself I have succeeded pretty well in yours.'”

I may not read social cues well, but this one I do get: I like you and want to draw you well. However, I know that because I've picked up on it after seeing Henry's inner thoughts. I'm not so surprised she doesn't get it because, as we'll see later in the chapter, she doesn't see him that way. So this compliment -- while nice -- wouldn't mean to her what he's trying to communicate. Why is this important for me to emphasize? Well, listen to what this guy says next:

“"A regular London girl would understand the implied meaning of that speech,' thought Mr. Lennox. 'She would be up to looking through every speech that a young man made her for the arrière-pensée of a compliment. But I don’t believe Margaret,'"

Lol, lmao even. HENRY, buddy, we've been over this -- you should know her better than this by now. I'm not trying to pull a "she's not like other girls" thing, but you started it. She doesn't have the same communication style as the "regular London girl[s]" you're thinking of! If you want to communicate something, you're going to have to be more blunt.

Also, if we continue with my thread of Margaret being neurodivergent-coded (and Henry being neurotypical-coded), this comment is something a lot of NTs often get frustrated by: that NDs don't pick up on the nuances of their interactions. This comment right here really cements this dynamic for me.

To me, it’s understandable she wouldn't pick up on this being flirting because it's subtle to begin with and ND people often have trouble picking up on social cues like this. I do find it interesting how he also expects her to be picking apart his speeches for compliments. Also "arrière-pensée" means "a concealed thought" or "ulterior motive", by the way!

Quick note: the quote is cut off deliberately like that for a reason, he doesn't finish his thought.

Luckily (or unluckily, depending on your view), he decides to try a different tactic. She has been gathering roses to "adorn her morning gown for dinner" and he takes this opportunity to help her with some she can't reach (relatable!) and puts a couple in his button-hole. While this isn't exactly a declaration of love, I do think this is another sweet moment. This could almost be a better show of affection than words for some.

Dinner is a very nice affair, with everyone talking very agreeably, enough so to make Henry forget his feeling of "disappointment" of Margaret's living being so small. Like she had told him. Ugh.

However, there comes a bit of a hitch when dessert comes around. Mr. Hale becomes fixated on the idea of dessert -- which must be pears from the garden. However, they already have dessert served behind him: biscuits with marmalade. Mrs. Hale worries that this pear idea will make their life seem "impromptu" and dessert "unusual" (which will not shine a good light on their living situation, I imagine).

Henry actually steps up with a solution this time: they should eat pears in the garden in order to give them the full experience. Though Mrs. Hale doesn't quite like this idea (she wants to end dinner the ceremonious way), Mr. Hale doesn't give her time to argue: he simply gets up. This shows me that Mr. Hale is probably still not in the best of moods, and likely put out with her as well for what she said in the morning. Either that, or he's so absorbed by his own worries that he isn't thinking of hers. Eep, not good.

So Mr. Hale, Henry and Margaret go out into the garden to enjoy some pears. While Mr. Hale grabs the ripest pear (to get over his anxieties -- relatable), Henry makes eyes at Margaret 👁️👁️. He then takes her to stroll while Mr. Hale sits on the garden bench. Oh no! What can this mean? Well, for Margaret, she just thinks this is a friendly chat. Hmm....

He immediately starts by idealizing her country life and scorning his "city life" (comparing himself to a Cockney), ending with insinuating he would want to live here as his "reward" for all of his hard lawyer work.

She replies by shutting down the fantasy (lol), that the beauty he sees isn't always there and besides, didn't he mock her village before and call it out of a tale? Once she makes it clear she saw it as disrespectful, he "warmly" states he'll never do it again.

I do like that she's comfortable enough with him to feel able to tell him she felt disrespected by his words: that's a good sign, at least. And while he doesn't exactly apologize, he does back down once he realizes this was genuinely negative to her. Gotta take our wins where we can!

""I could almost wish, Margaret——' he stopped and hesitated. It was so unusual for the fluent lawyer to hesitate that Margaret looked up at him, in a little state of questioning wonder; but in an instant—from what about him she could not tell—she wished herself back with her mother—her father—anywhere away from him, for she was sure he was going to say something to which she should not know what to reply. In another moment the strong pride that was in her came to conquer her sudden agitation, which she hoped he had not perceived. Of course she could answer, and answer the right thing; and it was poor and despicable of her to shrink from hearing any speech, as if she had not power to put an end to it with her high maidenly dignity."

I love this passage for so many reasons. For one thing, it has that relatable feeling one gets when you have that one guy friend who hits you with the "I have to tell you something..." and even when you don't know what they're going to say, you also know what's happening...

But I love that she has that scared moment and then she's like -- wait a minute? This is me -- Margaret Hale -- we're talking about and I will say what I want and it will be right because I make it so. I will not shrink from any speech coming my way and if I have to, will put an end to it with my high 👏 maidenly 👏 dignity 👏 . What an ABSOLUTE QUEEN FOR THAT!!!!! I aspire to be like her; why wasn't I told what an absolute girl boss of a role model this fictional character was? And I don't just mean like before I read this (I was given some notice), I mean like why isn't she given more love in pop culture just for this passage alone? (I could speculate why, but I don't want to get sad about that lol). If I didn't already love her, this right here would've made me love her. This passage is definitely something I will be remembering when I feel anxious about difficult conversations! Just, WOW, chef's kiss.

Forgive me, it's going to be a lot of passages from here on out, but I really want to analyze the exact wording here.

"'Margaret,' said he, taking her by surprise, and getting sudden possession of her hand, so that she was forced to stand still and listen, despising herself for the fluttering at her heart all the time; 'Margaret, I wish you did not like Helstone so much—did not seem so perfectly calm and happy here. I have been hoping for these three months past to find you regretting London—and London friends, a little—enough to make you listen more kindly' (for she was quietly, but firmly, striving to extricate her hand from his grasp) 'to one who has not much to offer, it is true—nothing but prospects in the future—but who does love you, Margaret, almost in spite of himself. Margaret, have I startled you too much? Speak!' For he saw her lips quivering almost as if she were going to cry."

Okaaaaaay, that escalated VERY quickly -- Margaret didn't even get time to put a stop to it!!! I can't blame her, he's not giving her the chance to speak. So, the fact that he grabs her hand so she's "forced to stand still and listen"? Yikes. Her heart is "fluttering" and she hates herself for it? Also yikes because I doubt it's fluttering from liking him. I could be wrong, but I'm like 99.9% sure her heart is like that out of nerves.

Not to mention his speech: Henry starts off by being upset she likes Helstone and seems happy there -- you know, the place where her parents are??? Her hometown???? The place he just yapped on and on about being the best place ever and seemed like a reward to him? What happened to that? Swift 180 turn to me. Oh, and let's not forget he doesn't like seeing her calm and happy -- uhhhh...ok?

Now I know what he's trying to say here: he doesn't like seeing her happy here in Helstone because he wants her to be so miserable that she'll want to come back to London (and be with him). If she's miserable, it'll show she cares for him. Here's the problems I have with that logic:

Who's to say she doesn't miss her friends and she's just hiding it? Some people are better at hiding their grief than others.

Margaret is a very "live in the present" type of person; it's not that she doesn't miss Harley Street, but tends to just kind of live in the moment. Him not realizing that -- or wanting her to be miserable despite knowing that -- shows that he probably doesn't know her or care for her as much as he says he does a couple of sentences later.

She hasn't lived with her parents for years and spent most of her childhood without them being a large part of her life (I'm assuming from the limited text we have). Why doesn't she have the right to be calm and happy while living with them? It's pretty understandable she would be more happy with them because if anything *they're* the ones she was probably "more miserable" without. I'm sure she was fine at Harley Street, but she really seems to love her parents and her first night at Harley Street as a child seemed difficult: I'm not surprised she's happy at Helstone! This guy has some audacity to be like "aren't you miserable without me though 🥺" when like -- SHE'S VISITING HER PARENTS???!!?!?! It's been three months, calm down dude.

Let's imagine a world where Henry's completely right (a world I'm glad we don't live in, personally) and she's totally miserable because -- oh, Henry's not at Helstone 🥺💔. Even so, when you visit your friends/crush/whatever that you've missed and you haven't seen for a while, do you act miserable and talk constantly about how much you miss them? I mean, I don't! I usually try to keep up appearances if I am sad, but I actually almost always brighten up around the person I'm with because they make my day better. I get excited and in my element; to the outside person, you'd never know I'd be totally upset when they left because that's how happy I am! Of course, I'd say I miss them or whatever, but I wouldn't make a scene like he seems to want her to.

Going off of that, if you truly cared for someone, wouldn't you want them to be happy? Like he tells her he loves her but starts off his whole speech before he gets to that point with "I wish you were less happy and more miserable because that means you'd miss me and give me a chance" and that's...I don't even know what to say to that. I didn't think you could get worse than Mr. Collins or Mr. Darcy's failed proposals, but I think that beats it. In Mr. Collins's case, at least he starts off with compliments (though they're backhanded and he doesn't really mean them, lol) and at least with Mr. Darcy, he starts off with "I love you" and lists the reasons before he starts insulting her family!!! I guess it's a "pick your poison" thing, but seriously, what a way to start off a love confession speech/proposal.

Then -- and this is what really gets me here -- he notices her trying to get him to release her arm: another sign she's not enjoying this. Now, she's doing this in a quiet but firm way, not wanting to make a scene -- but not backing down, either. Instead of doing the decent person thing and letting her hand go, he keeps his grip and tells her to listen more "kindly". He takes this as yet another sign she didn't "miss him enough" and WOW. Um...I don't have much to say to this; I think it speaks for itself. I will say, everytime I read it I'm filled with an immeasurable amount of rage, if that tells you anything.

He also ends his very touching and heartfelt speech (/s) with saying that he loves her "almost in spite of himself". Aaaaand we're back to Mr. Darcy with his whole "yeah your family is below me and an insult to the human race and I actually wish I could stop thinking about you but in spite of all of that I love you whoops". I think he means this in more of a "I'm not a feelings person, so for me to be in love with you is a big deal" (we'll get to that speech of his soon), but it still comes across wrong to me. If you're going to say that, please clarify what you mean!!!

And THEN -- as if that's not bad enough -- he sees her lips quivering as if she's going to cry and after asking if she's startled (not the emotion I'd be asking after, but ok), he commands her to speak. As someone who gets overwhelmed easily, I would actually hate someone doing that to me!

And if we continue the thread of Margaret being ND, what if she's not able to speak because she's too overstimulated from whatever the heck that just was? I know she just hyped herself up -- and that's amazing, don't get me wrong -- but it could very well be difficult for her to communicate using spoken language and the fact that he wants her to speak right now is a bit reminiscent of how NTs will often force NDs to "act neurotypical" in difficult situations (e.g. "make eye contact, speak on this" etc.) and it's heartbreaking to read using this lens.

Even if we don't read it in that vein, who sees someone about to cry and goes "Speak!"? Get a grip, man.

"She made a strong effort to be calm; she would not speak till she had succeeded in mastering her voice, and then she said: 'I was startled. I did not know that you cared for me in that way. I have always thought of you as a friend; and, please, I would rather go on thinking of you so. I don’t like to be spoken to as you have been doing. I cannot answer you as you want me to do, and yet I should feel so sorry if I vexed you.'”

I feel for her here: I’m glad she takes a moment to be calm, but I imagine it must cost a lot of emotional effort to do so. If I were in her shoes, I don’t even know if I could manage it!

Also, her speech itself is a masteclass in kind — but firm — rejection, in my opinion. Notice how she answers his last question first: that yes, she was startled. That is easiest to answer, so she focuses on it. Then, she expounds on it by letting him know she wasn’t aware of his deep feelings, which caused her to be startled.

That’s when the boundary-setting starts! She sets two of them: in order to “keep thinking of him as a friend”, he will need to discontinue his advances and then she states she doesn’t like the way he has been speaking to her — aka, all of the ways he just offended her in that last paragraph? Stop it immediately.

She ends it by affirming that she cannot give him the answers he desires, but does not want to “vex” him. Just to be sure I was reading her meaning correctly, I looked up the meaning of vexed:

“to bring trouble, distress, or agitation to”

So, she’s worried about troubling him. Yes, distress is in there too, but I think it’s interesting she uses that word to describe how he will take her not returning his feelings. Historically, women do have to worry about how men will react to them not returning feelings -- sometimes to an extreme degree -- and it can feel as if it’s more of a case of them being troubled/agitated rather than distressed. I can’t speak for everyone of course, but it sucks that women have to feel so responsible for men’s happiness to the point of saying “sorry for the trouble” if the feelings aren’t returned! (And yes, I know this issue can happen regardless of gender, but I’m focusing on this dynamic since that’s how it appears here.)

So, how does Henry react? Does he reassure her that he isn’t entitled to her feelings? Asks for space to deal with his own emotions, perhaps? Nope!

“‘Margaret,’ said he, looking into her eyes, which met his with their open, straight look, expressive of the utmost good faith and reluctance to give pain, ‘Do you’—he was going to say—‘love any one else?’ But it seemed as if this question would be an insult to the pure serenity of those eyes. ‘Forgive me! I have been too abrupt. I am punished. Only let me hope. Give me the poor comfort of telling me you have never seen any one whom you could——‘ Again a pause. He could not end his sentence. Margaret reproached herself acutely as the cause of his distress.’”

It’s interesting to me that Henry decides not to ask if she loves anyone else because he doesn’t want to insult “pure serenity” of her eyes. Some may call this nice, I call this asking for a punch in the face. It rides a bit too close to the “purity culture” line for me and I don’t like it. It seems as if Henry thinks she has too much good faith to ever be “unfaithful” to him by even entertaining the thought of someone else. Perhaps I’m wrong, but this is how it reads to me.

Then he asks for forgiveness and says he’s been too abrupt (ok, good start) but says he’s punished. Punished how? Punished for what? If you mean she’s punishing you for speaking to her a certain way by not returning feelings — just NO. That’s not what’s happening here!!!! She doesn’t return your feelings because she doesn’t like you, just accept it.

That’s when Henry really drops the hammer of “can you give me hope and return my feelings one day 🥺” which — oh, boy. On one hand, I can feel for him here, but it’s strange to me that he also wants her to promise that she’s never seen anyone that has caught her fancy. It’s a very “if I can’t have you, no one can” mentality. It even causes Margaret to get mad at herself for “causing” him to be so upset — which, again, he is not entitled to her feelings and she is not responsible for his happiness.

“‘Ah! if you had but never got this fancy into your head! It was such a pleasure to think of you as a friend.’

‘But I may hope, may I not, Margaret, that some time you will think of me as a lover? Not yet, I see—there is no hurry—but some time——‘

She was silent for a minute or two, trying to discover the truth as it was in her own heart, before replying, then she said:

‘I have never thought of��you, but as a friend. I like to think of you so; but I am sure I could never think of you as anything else. Pray let us both forget that all this” (“disagreeable,” she was going to say, but stopped short) ‘conversation has taken place.’”

Ok, so I’m going to take Henry’s side for just a second on this — hear me out. I think it’s a little mean for her to call his feelings just a “fancy” as if he thought of it one day and, on a lark, decided to confess his feelings. I don’t think that’s fair of her to say to him. You can’t help your feelings and it’s not entirely fair of her to expect him to keep it bottled up inside. While his confession speech has been pretty abysmal (sorry it’s true), I don’t blame him for having those feelings, just the way they’re expressed.

On the other hand, I’ve been in Margaret's exact same situation and have almost wanted to say the exact same thing! Like “we had such a good thing going and this came out of nowhere; what’s up with that?” I didn’t though, because I realize that’s kind of invalidating to hear. I also think that’s her being blunt and not filtering her thoughts, which is understandable given the heightened emotions (and even more so, if we read it in the lens of her being ND).

Henry insists on the point of her being able to love him romantically sometime in the future, to which she has to think about. I’m glad she actually takes the time to examine her own feelings before answering. She already knows the answer, but it’s good to be sure and honestly give it some thought.

That’s when she drops a hammer of her own: she has only thought of him as a friend, does so now, and is certain she can only do so in the future. She also wants to set this conversation behind them — almost calling it disagreeable in the process. She stops herself short, but I believe she makes a face or something in her demeanor registers it as such, because Henry picks up on it. Again, she’s being blunt, but this time she’s able to catch herself and spare his feelings a little.

“He paused before he replied. Then, in his habitual coldness of tone, he answered:

‘Of course, as your feelings are so decided, and as this conversation has been so evidently unpleasant to you, it had better not be remembered. That is all very fine in theory, that plan of forgetting whatever is painful, but it will be somewhat difficult for me, at least, to carry it into execution.’”

It’s telling that he becomes cold once he realizes she’s serious about staying friends forever. It’s sad that this 180 degree turn from Henry is still so relatable in today’s age! He does agree to her wishes, albeit reluctantly due to it being difficult for him. This I can understand; once you confess your feelings for someone and are subsequently rejected, it's a bit hard to just "forget" the entire conversation and go back to normal. Unfortunately, that's the consequence you have to face if you're going to confess to your friend like that; I think he was just so confident she'd return his feelings, he assumed this wouldn't happen.

“'You are vexed,' said she, sadly; “yet how can I help it?' She looked so truly grieved as she said this, that he struggled for a moment with his real disappointment, and then answered more cheerfully, but still with a little hardness in his tone: 'You should make allowances for the mortification, not only of a lover, Margaret, but of a man not given to romance in general—prudent, worldly, as some people call me—who has been carried out of his usual habits by the force of a passion—well, we will say no more of that; but in the one outlet which he has formed for the deeper and better feelings of his nature, he meets with rejection and repulse. I shall have to console myself with scorning my own folly. A struggling barrister to think of matrimony!'”

Her grief does cause him to realize that he needs to stop making her feel bad about this -- or, at least, broadcast a facade of good cheer -- if they're going to have any hope of keeping the friendship. After all, they're still in Helstone's garden with Margaret's dad not too far off!!!

However, he's not able to cover up his "disappointment" entirely and it shows as "hardness in his tone". He doesn't apologize for giving her grief, but instead asks her to make "allowances" for him. I don't like this for a lot of reasons (why does she have to make allowances for you when you don't seem to give the same respect back?), but what's even worse is that he says one of those allowances should be "for the mortification...of a lover..." UM??? If I’m reading this right, he wants her to allow for him feeling like he was her lover and now having to deal with her rejection of romance. Henry, let me break it down for you: you were never her lover -- ever. If you felt like her lover, that is your issue, not hers, to deal with. The fact that you're admitting that aloud is appalling and the fact you want her to allow for that problem is even worse. It’s almost like he kept up a pretense of friendship and all the while imagining they were lovers. That’s so weird!!! And again, remains relatable (unfortunately).

The other allowance, which I mentioned earlier, is that he’s not a big “feelings” person and since he got carried away by his passions, she should understand why he feels crushed that the one time he’s swept off his feet by romance, the feelings are not returned. I hate to tell you, Henry, but just because you’re more “worldly” than the rest of us doesn’t mean you’re going to get a girlfriend faster: just a pro tip!

Both of these allowances are quite silly, in my opinion. Yeah, so you have a crush for the first time and you thought of her as your girlfriend and the feelings weren’t mutual. What is she supposed to do, give you a cookie? I’m being facetious, of course, I know what he’s actually hoping is for her to change her mind and be like “I had no idea I was your first crush 🥺 wow, since I’m so special to you, of course I’ll court you!!! 😍❤️” which — ugh. I want to say he doesn’t understand how women work, but I’m hard-pressed to see how this would work on anyone!! Maybe in his head it would work on one of those “regular London girls” (which I’m beginning to think is just a made up notion in his head of women anyway), but I’ve said that Margaret is not one of those women (if they do exist) and never will be. The fact that he thinks he can make her be one or she will become one in time is concerning: what would he be like if they did court? Would she be expected to change for him? Or even if he does like her as is, would she be expected to “act differently” in front of his friends and other relatives? Again, reading this in a NT/ND lens really adds another layer of meaning to how this would affect Margaret’s mental health in the long term.

He ends this by saying he’ll have to “console himself by scorning his own folly” and scoffing at the idea of a struggling man in his job thinking of marriage. First of all, she has literally said nothing about your profession — you brought that up briefly before in your confession (I didn’t mention it because I didn’t have anything to say on it) — but she never said “I’m not going to court you because you’re a lawyer struggling to make ends meet”. Of course, you’re going to think that because it’s easier to think of her as shallow (only after men for their current money) and the “problem” as something you can fix (he can fix a money issue, can’t fix her thoughts of him being a friend), but really: how in denial can you be?

Secondly, this is the first time he’s brought up marriage. Of course, in the Victorian age that’s where courtships were supposed to lead, but still. It’s interesting that he waited until now to drop that last bit in; it almost seems like a last-ditch lament to be like “woe is me! How could I think anyone would ever marry me 🥺💔” which would pull at the heartstrings. Of course, I’m likely reading too much into this because I’m reading it in the tone of him doing anything to try to get her to court/marry him, even using manipulation and guilt tactics to do so. Is it likely he’s just upset and saying whatever comes to mind? Sure. But some people will do anything to get their way and so far he hasn’t shown himself to be very graceful in dealing with rejection.

“Margaret could not answer this. The whole tone of it annoyed her. It seemed to touch on and call out all the points of difference which had often repelled her in him; while yet he was the pleasantest man, the most sympathising friend, the person of all others who understood her best in Harley Street. She felt a tinge of contempt mingle itself with her pain at having refused him. Her beautiful lip curled in a slight disdain.”

I suppose I’m not the only one getting bad vibes from this last speech. Margaret sees the worst parts of him — the little things that had always bothered her about him — and while she still feels bad about hurting him, she can’t help but visibly show “disdain” for the way he’s talking to her now.

Suddenly, they come upon Mr. Hale and Margaret feels as if she's had an out-of-body experience, comparing it to an Eastern tale of a king who went through an experience of a lifetime just by dipping his head in a magical basin of water. In other words, she is not the same as she was when she last saw her father!

Of course, due to the amount of emotions with everything that has just taken place, she is quite unable to speak and lets Henry and her father do most of the talking. Henry notices her quiet and morose look and:

“"I am not so indifferent to her as she believes,' thought he to himself. 'I do not give up hope."”

Oh...oh no. Henry, literally just accept the no. She told you no -- JUST ACCEPT THE -- ok, I need to calm down. This man is fictional. The problem is there are men -- nay, people -- who think like this. Who will hear a "no" and then see the person's face and have such a cognitive dissonance IN THEIR BRAIN that they're like "nah, they actually totally want me, THEY just can't see the truth yet." As if they know better.

It's really hilarious Henry thinks he knows Margaret's thoughts and feelings better than *she* does considering he doesn't even know how to talk to her without her shutting him down because he accidentally disrespected her small town (rhyme not intended but a pleasant surprise). How does he think a relationship with a foundation like that? I realize they are good friends and get along in other ways, but it is sooooo telling to me that the *second* he flirts, she either becomes uncomfortable or straight up doesn't get it (or pretends not to, depending on how you read it). How could they be married like that??

So yeah, unfortunately, Margaret is not even allowed to look sad without Henry jumping on the chance that she'll want him someday. I'm almost 100% sure this would've happened regardless of the facial expression she had. Happy (from trying to keep up a cheerful facade)? "Oh, she's actually super happy I confessed my feelings and will love me soon, just watch." Mad? "She's actually mad at herself for refusing me." Confused? "She doesn't know what she wants, she'll choose me eventually." That's just the kind of person we're dealing with here.

"Before a quarter of an hour was over, he had fallen into a way of conversing with quiet sarcasm; speaking of life in London and life in the country, as if he were conscious of his second mocking self, and afraid of his own satire."

Ok, so this passage is really hard to decipher for me and I might need some help figuring ot out! From what I'm able to gather, he's mainly mocking both the country and London, but maybe in also a self-depricating way as well (this is the main part I'm stuck on)? What I do understand is why he's doing this; Henry is a man who's default is to mock and be sarcastic. It's his coping mechanism for when things get too "real". We haven't seen him be as such yet because he hasn't needed to be around Margaret. However, now that he's been thrown off by her rejection, his way of dealing with it is to slip back into empty sarcasm.

Mr. Hale notices this change and is quite put off by it, even being relieved when he has to leave. He notes the change from the "lighter, clever, more worldly man" he saw earlier and at the wedding breakfast. It's interesting how a lot of people tend to use sarcasm to seem more clever and worldy, but Gaskell sees through this and contrasts them as opposites in this chapter! What a callout! She's so real for that.

At the last moment, Henry Lennox’s real self broke through the crust. “Margaret, don’t despise me; I have a heart, notwithstanding all this good-for-nothing way of talking. As a proof of it, I believe I love you more than ever—if I do not hate you—for the disdain with which you have listened to me during this last half-hour. Good-bye, Margaret—Margaret!”

First of all, describing the weird sarcasm thing he was doing as a "crust" is funny and interesting to me -- I didn't know that could mean "harsh" or "surly": the more you know! Secondly, love that he calls out his own coping mechanism while still having done it -- progress, I guess? And third -- best of all -- Henry, my guy, my dude, why on earth would you tell her you love her while also saying you might hate her because she hasn't been happy with you for the past 30 minutes???? I am truly baffled. Has this man ever wooed a woman in his life? For the sake of the female population, I truly hope not because if THIS is how he does it -- YIKES!!!! Luckily, he probably hasn't considering his whole "i'M a lAwYeR wHo dOeSnT hAvE bIg rOmAnCe fEeLiNgS" speech.

And that's the way the chapter ends, so I'll end with a couple of points I want to make clear.

I know I've been super hard on Henry and -- to be fair -- I think he's deserved some of it. But I don't think he's a bad person. So far, Gaskell has written all of her characters with a complexity and depth that shows you're supposed to root for these characters (more or less), while also understanding their flaws. There were times I pointed out when Margaret wasn't at her best either; while she isn't entitled to return Henry's feelings, she was sort of trivializing them and I wouldn't like that either. I think the problem with Henry is that he's used to getting what he wants and when he doesn't get it, he gets upset and lashes out the way he did with Margaret. I do honestly think he needs to work on himself and not think of romance right now because it sounds like he has deeper problems going on; if Margaret's rejection causes him to act like this, it's not just her rejection that's bothering him. I noticed that he talked about how he's currently struggling in his job and I think that can also account for him getting upset -- perhaps he had hoped for this to be a "good thing" to focus on instead of his work that isn't going well. I'm glad Margaret didn't return his feelings in that case because having one person the sole source of your happiness is never healthy and running away from your problems won't fix them! So yes, while I'm hard on him I do still think he has good moments and can be better: we're just seeing him at his worst. Still, that doesn't excuse his behavior, just explains it.

I also want to clarify for those who think I'm being too harsh on Henry and am doing so because I "don't understand what it's like to be rejected romantically". As a quick personal aside: I've been on his side of a romantic confession and was also rejected by someone who was my friend. And it hurt -- badly. Especially because there were many "signs" I read too much into as romantic (flirting, holding hands, etc.) so said rejection was not what I saw coming, much like Henry. However, when I realized that this person only saw me as a friend and wanted to keep it that way, I immediately told them "ok, I understand" and then took some time to myself to sort through my feelings. These were mainly embarrasment, shame, sorrow, and anger -- not at the person, but at myself for potentially ruining the friendship over this.

My main problem with Henry is that he reacts to Margaret's rejection with disappointment, anger, frustration, and hurt. These don't seem like the kind of emotions that come with an unselfish love, I hate to say it. I know there is likely more feelings bubbling beneath the surface, but if he's going to react that way and realizes he's hurting her in the process (which he does), he should ask for space while he sorts himself out. I get that wasn't "the thing" back then so I guess it's a bit harder for me to say "oh, Henry should've just left!" when no, he can't just abruptly leave like that and "oh, Henry should just work on his mental health" when that was very much not talked of. I'm just trying to think of ways he could've better handled this situation; he can't help his feelings, but he can help how he acts on those feelings. And it's not fair to Margaret to continually pressure her into a relationship she so obviously does not want. Additionally, the way he makes his confession/proposal frustrates me too because he mainly makes it about himself and his feelings. He wishes she wasn't happy at Helstone, he loves her, he's not a romantic person so it's a big deal for him. I mean, he doesn't even talk about her good qualities or what he likes about her: even Mr. "and what excellent boiled potatoes" Collins did that!!!!!

As a final note, if you're reading Dracula Daily at the same time as North and South Weekly, you may have noticed a few parallels between this failed proposal and Jack Seward's failed proposal. I want to dive into them and why I respect Seward's more than Lennox's, but I don't want to do it here because this post might be my longest to date and I'd rather make it a separate post anyway!

So yeah, another great chapter, excited to see what happens next week!

#sorry this took so long #it was a lot and life got in the way #also sorry if some of this sounds more like a rant #but Henry Lennox brings that out in me I suppose #long post #north and south #north and south weekly #margaret hale #henry lennox #novas notes #cw ableism mention #more implied but tagging in case

26 notes · View notes