By Thomas Hardy
The daughter of a filthy rich railway mogul, Paula strength inherits De Stancy citadel, an historic citadel 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 if, is not just romantic. Her ambiguity concerning faith, politics and social development is a mirrored image of the author's personal. This new Penguin Classics version of Hardy's textual content comprises an creation and notes that light up and make clear those topics, and attracts parallels among the textual content and the author's lifestyles and perspectives.
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Extra resources for A Laodicean (Penguin Classics)
72). Sands’s last act, however, is to write to Isobel afﬁrming his convictions ‘to be on the side of the oppressed, the weak and the misﬁts’, even though ‘we shall not see anything of what we wish come in our lifetime’ (p. 220). Despite his disillusionment, he retains (like his creator) the broad humanist stance that his reviewers praise, and this persisting faith in a kind of ‘long revolution’ forms the positive term in his ambivalent identity. This sense of indeterminacy, which may not fully answer the charge of ‘quietism’, is reinforced by the parallel with Socrates implied in the title.
85) The narrator leaves Esther’s more modest ambitions unmolested, but ironically undercuts the confused naivety of both Liz and Alix, in ways that preﬁgure their experiences. Liz, the successful psychotherapist with premises in Harley Street, has the most to lose at the outset, and indeed loses her husband, her stepchildren (technically), and her house. The circumstances of these losses provide an index of political change in a novel in which personal bonds and actions are inevitably conditioned by political afﬁliation and commitment.
In an article lamenting the dominance of the historical novel, and arguing that historical ﬁction inhibits the ﬁctive imagination through its appeal to factual authority, Gee suggests that in Grace she sought to keep fact and ﬁction quite separate. 37 Gee is also interested, however, in the kind of novel that combines fact and ﬁction, producing the hybrid sometimes described as ‘faction’. Paula is a writer trying to write a novel about Hilda Murrell, though doubting that her story is substantial enough for the purpose (p.
A Laodicean (Penguin Classics) by Thomas Hardy