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love is "unpleasant" and makes her uncomfortable, and she feels "offended" and assaulted by John
Thornton's proposal. Margaret naively believes that the rioters can be negotiated with and is unaware that she and her brother, Frederick, resemble a loving couple on a train-station platform (O'Farrell, 1997, p. 68). Bodenheimer sees this "mistakenness" as purposeful: "In its every situation, whether industrial politics or emotional life, traditional views and stances break down into confusing new ones, which are rendered in all the pain of mistakenness and conflict that real human change entails". Perhaps this is why Margaret's blunders do not always have negative consequences; when she admits she is disappointed that Thornton has refused to hire Higgins, she is ashamed that he hears her remark. Thornton reconsiders, eventually offering Higgins a job. In the final chapter, she does not seem to realise that a "simple proposition" to bail out the factory (a business arrangement) could hurt Thornton's pride or be seen as shocking from a "lady". Bodenheimer interprets scenes like this as "deep confusion in a time of personal change and revision" which brings the lovers together.
678:(lacking in Mrs. Thornton) and strength (not possessed by Mrs. Hale) and dignity. Gaskell endows John Thornton with tenderness (a soft spot, according to Nicholas Higgins). Although Thornton's pride hides this capacity from public view, he shows it in his affection for his mother and his quiet attention to the Hales. He expresses it more obviously when he later develops relations with his workers beyond the usual cash-for-labour, builds a canteen for the workers, and sometimes shares meals with them. Margaret and Thornton's evolution eventually converges and, after learning humility, they are partially freed from the shackles of separate spheres; he develops friendly relations at the mill, and she asserts her independence from her cousin's life. Margaret initiates their business meeting, which he interprets as a declaration of love. In the final scene, she controls the financial situation and he reacts emotionally. They now meet as man and woman, no longer the manufacturer from the north and the lady from the south. The blurring of roles is also evident among the workers, many of whom (like Bessy) are women.
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Gaskell's depiction of "interiority" (the psychic process), expressed in dreams and trances such as
Thornton's dream of Margaret as a temptress or the rioters' "trance of passion". The phrase "as if" appears over 200 times, suggesting Gaskell's reluctance to appear too definitive in her narration: "Bessy, who had sat down on the first chair, as if completely tired out with her walk" and " spoke as if this consequence were so entirely logical". The phrase is primarily used when exploring the characters' sensations and feelings: "As if she felt his look, she turned to him"; "He had shaken off his emotion as if he was ashamed of ever giving way to it", and "She lifted up her head as if she took pride in any delicacy of feeling which Mr. Thornton had shown". Gaskell uses it when exploring the unconscious process that allows Thornton, whose suffering in love disturbs his composure and control of his feelings, to communicate with Higgins: " ... and then the conviction went in, as if by some spell, and touched the latent tenderness of his heart".
633:, shifting wealth and power to manufacturers who mass-produced goods in the north. Cities such as Manchester, on which Gaskell modelled her fictional Milton, were hastily developed to house workers who moved from the semi-feudal countryside to work in the new factories. The south represents the past (tradition): aristocratic landowners who inherited their property, collected rent from farmers and peasants and assumed an obligation for their tenants' welfare. The north represents the future (modernity): its leaders were self-made men like Gaskell's hero, John Thornton, who accumulated wealth as working, middle-class entrepreneurs. In their view, philanthropy or charity – giving something for nothing – was a dangerous imbalance of the relationship between employers and employees (which was based on the exchange of cash for labour).
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exile because the law would hang him for what he considered a just cause. His rebellion parallels the strike by workers who take up the cause to feed their children. Both are impotent and engaged in a struggle (a war, in the eyes of the workers) whose terms are dictated by those who maintain their power by force: the law and the mill masters. Margaret rebels in ways that express her liberty: ignoring social proprieties and challenging authority by lying to the police to protect her brother, from whom she learns that arbitrary, unjust, and cruel power can be defied not for oneself but on behalf of the unfortunate. Even Mrs. Hale rebels in her own way; she is "prouder of
Frederick standing up against injustice, than if he had been simply a good officer".
580:, gradually slipped into obscurity during the late 19th century; before 1950, she was dismissed as a minor author with "good judgment and feminine sensibilities". Archie Stanton Whitfield wrote that her work was "like a nosegay of violets, honeysuckle, lavender, mignonette and sweet briar" in 1929, and Cecil said that she lacked the "masculinity" necessary to properly deal with social problems. However, the tide began to turn in Gaskell's favour when, in the 1950s and 60s, socialist critics like
674:" because Mr. Hale is weak and irresolute. When Higgins slips away and her father trembles with horror at Boucher's death, Margaret goes to Mrs. Boucher, breaks the news of her husband's death, and cares for the family with dedication and efficiency. She summons her brother Frederick, a naval officer who is crushed with grief at the death of his mother. To protect her brother, Margaret later lies about their presence at the train station on the day of his departure.
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argue; Frederick pushes
Leonards away, and Leonards dies shortly afterwards. When the police question Margaret about the scuffle, she lies and says she was not present. Thornton knows that Margaret lied, but in his capacity as magistrate, declares the case closed to save her from possible perjury. Margaret is humbled by his deed on her behalf; she no longer merely looks down on Thornton as a hard master, but begins to recognise the depth of his character.
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and courage in the struggle for a better life by Milton's residents. Margaret demonstrates power in her verbal jousting with
Thornton, forcing him to reflect on the validity of his beliefs and eventually change his view of workers from mere providers of labour to individuals capable of intelligent thought. When she reaches age 21, Margaret takes control of her life, resolves to live as she chooses, and learns how to manage wealth inherited from Mr. Bell.
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Gaskell's relative silence on female factory workers may reflect her struggle with the "triumph of the domestic ideology" by the middle class of the mid-1800s. Gaskell hints at the difficulties families such as the Hales have keeping female domestic workers (like Dixon) in their proper – subordinate – place and becoming like members of the family (blurring class differences), a scenario facing industrial workers as well.
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974:. Jill L. Matus finds Gaskell's vocabulary "Gothicised" in its descriptions of the characters' agonised inner life—their responses to suffering and pain—which may appear melodramatic out of context. However, "the language of shock and horror is absorbed into the realist texture of the novel's narration" and is consistent with the extreme conditions of the novel's external world.
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1155:" by urging communication between masters and workers. If the holders of economic power agree to talk to their workers, to consider them as human beings (not tools of production), it may not eliminate social conflicts but will reduce their brutality. The protagonists experience personal transformations which unite them in the end, what Stoneman calls a "balanced emancipation".
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different social classes, education and cultural backgrounds (between Mr. Hale and
Thornton, Margaret and Bessy, and Thornton and Higgins) prefigure Gaskell's desired human relations which blur class distinctions. Margaret performs "lowly" tasks and Dixon becomes a confidante of Mrs. Hale, who develops a relationship of respect, affection, and understanding with the maid.
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which may be vulgar but which she finds expressive ("knobstick") and uses a local term ("redding up" – tidying) to
Boucher's small children: "redding up the slatternly room". Gaskell begins each chapter with a poetic quote to accentuate a relevant theme, such as interior conflicts ("My heart revolts within me, and two voices / Make themselves audible within my bosom"—
529:(2007), a collection of essays representing current Gaskell scholarship, Jill L. Matus stresses the author's growing stature in Victorian literary studies and how her innovative, versatile storytelling addressed the rapid changes during her lifetime. It was not always that way; her reputation from her death to the 1950s was dominated by
342:(London) first published the novel in 1855 as two volumes of 25 and 27 chapters each. Chapman & Hall issued a second edition in 1855 due to the presence of two paragraphs from Volume II, Chapter xix in Volume II, Chapter xxii. To align the pagination, the second edition adds an extra paragraph in Volume II, Chapter xxiii. That year,
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chapters added". She tried to evade the limitations of a serialised novel by elaborating on events after the death of Mr. Hale and adding four chapters: the first and last chapters and two chapters on the visits by Mr. Bell to London and by
Margaret and Mr. Bell to Helstone. This edition also adds chapter titles and
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Other characters fail to carry out important actions: Dixon does not tell
Margaret that Thornton attended her mother's funeral, and Mr. Bell dies before he can explain to Thornton why Margaret lied. Margaret feels misunderstood, unable to take control of her life and explain a world she does not understand.
670:. In Margaret Hale, the separation is blurred and she is forced by circumstances to assume a masculine role, organising the family's departure from Helstone and assuming much of the responsibility for the family in Milton (including encouraging her father). She carries the load alone, behaving like a "
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narrative may sometimes appear melodramatic and sentimental ("But, for all that—for all his savage words, he could have thrown himself at her feet, and kissed the hem of her garment" in chapter 29)—particularly in the riot scene—but she sees
Gaskell's best writing as "done with the unjudging openness
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is peppered with Margaret's blunders and problematic situations with other characters which create misunderstandings. Some of Margaret's blunders stem from ignoring customs, some from not understanding them and still others from rejecting Milton's social customs (such as a frank, familiar handshake).
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The theme of power is also central. Thornton represents three aspects of power and the authority of the ruling class: a manufacturer respected by his peers (economic power), a magistrate (judicial power) and someone who can summon the army (political power) to quell the strike. There is energy, power
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Thornton faces bankruptcy, due to market fluctuations and the strike. He learns the truth about Margaret's brother from Nicholas Higgins and comes to London to settle his business affairs with Margaret, who is his new landlord. When Margaret offers to lend Thornton some of her money, he realises that
414:, he settles with his wife and daughter in Milton-Northern (where Mr. Bell was born and owns property). The industrial town in Darkshire (a textile-producing region) manufactures cotton and is in the middle of the Industrial Revolution; masters and workers are clashing in the first organised strikes.
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Margaret's adaptation to the culture is demonstrated through language. When her mother reproaches her for using Milton's vulgar provincialisms (such as "slack of work"), Margaret replies that since she lives in an industrial city, she must speak its language when called on to do so. She cites a word
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Other gaffes are due to Margaret's ignorance; accustomed to London's chic salons, she is unaware that she is seen as wearing her shawl "as an empress wears her drapery" and serving tea with "the air of a proud reluctant slave". She receives marriage proposals awkwardly: Henry Lennox's declaration of
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accused Gaskell of making errors about Lancashire which a resident of Manchester would not make and said that a woman (or clergymen and women) could not "understand industrial problems", would "know too little about the cotton industry" and had no "right to add to the confusion by writing about it".
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about. Bodenheimer interprets the early chapters not as false starts but as demonstrating Gaskell's theme of societal and personal "permanent state(s) of change" and integral to the novel. The early chapters in different places have been interpreted as presenting a theme of mobility. In moving from
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encourages her to seek "the way of humility", despite Mr. Bell's attempts to minimise and rationalise her lie as told in a panic. Thornton, on the brink of ruin like Job, tries not to be outraged while his mother rebels against the injustice of his situation ("Not for you, John! God has seen fit to
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The novel has three beginnings, two of them illusory: the first is the wedding preparation in London, the second the heroine's return to Helstone and the third (often considered the real start of the story) narrates the departure for Milton in chapter seven. The first chapters, according to Martin
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is frequently noted. From plot points such as Margaret refusing Thornton's first proposal, to the protagonists' character traits, the parallels between the two novels are clear. Margaret and Elizabeth Bennet both share haughty, intelligent, but prejudiced natures, while Thornton is proud, reticent
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so simplistically that Margaret counters vigorously: "It won't be division enough, in that awful day, that some of us have been beggars here, and some of us have been rich—we shall not be judged by that poor accident, but by our faithful following of Christ". Margaret and Thornton follow a path of
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Mr. Hale visits his oldest friend, Mr Bell, in Oxford. He dies there, and Margaret returns to live in London with Aunt Shaw. She visits Helstone with Mr. Bell and asks him to tell Thornton about Frederick, but Mr Bell dies before he can do so. He leaves Margaret a legacy which includes Marlborough
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Margaret's brother Frederick (who lives in exile as he is wanted for his part in a naval mutiny) secretly visits their dying mother. Thornton sees Margaret and Frederick together and assumes that he is her lover. Leonards, Frederick's shipmate, later recognises Frederick at the train station. They
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Margaret initially finds the bustling, smoky town of Milton harsh and strange, and she is upset by its poverty. Mr. Hale (in reduced financial circumstances) works as a tutor; one of his pupils is the wealthy and influential manufacturer John Thornton, master of Marlborough Mills. From the outset,
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The text of the book, particularly the ending, differs significantly from that of the serialised episodes. Gaskell included a brief preface saying that due to the restrictive magazine format, she could not develop the story as she wished: "Various short passages have been inserted, and several new
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dominated Victorian beliefs about gender roles, assuming that the roles of men and women are clearly delineated. Public life (including work) is within the masculine domain, and private life (domesticity) is within the feminine. The expression of feelings is considered feminine, and aggression is
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Rebellion against an authority seen as unfair is woven throughout the story. Established institutions are seen as inhumane or selfish, and therefore fallible; Mr. Hale breaks with the church on a matter of conscience, and Frederick Hale participates in a mutiny against the navy and is forced into
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A workers' strike ensues. An outraged mob of workers breaks into Thornton's compound, where he has his home and his factory, after he imports Irish workers as replacements. Thornton sends for soldiers, but before they arrive, Margaret begs him to talk to the mob to try to avoid bloodshed. When he
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According to Catherine Barnes Stevenson, Gaskell may have found women doing factory work problematic; she often referred to "masters and men" and used one dying factory worker (Bessy) to represent women workers, who constituted more than half the factory workers at the time. Stevenson wrote that
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The first description of Marlborough Mills in Chapter XV is through Margaret's eyes and thoughts, and the omniscient narrator delves into the inner thoughts of her main characters and occasionally interjects her observations. Thornton "thought that he disliked seeing one who had mortified him so
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Clausson asserts that Austen created the prototypical romance which Gaskell "transposed to mid-Victorian Manchester" (3). Combining romance with the conflicting realism of the social problem novel, Gaskell updates and complicates the earlier plot, a point explored at length by Matthew Sussman in
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because "there are five dead, each beautifully consistent with the personality of the individual". This remark, although probably a joke, emphasises the importance of death in the story. Death affects Margaret profoundly, gradually encouraging her independence; this allows Gaskell to analyse the
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Nineteen-year-old Margaret Hale has lived for almost 10 years in London with her cousin Edith and her wealthy Aunt Shaw, but when Edith marries Captain Lennox, Margaret happily returns home to the southern village of Helstone. Margaret has refused an offer of marriage from the captain's brother
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and agricultural workers, and the industrial north, populated by capitalist manufacturers and poverty-stricken mill workers; the north–south division was cultural and geographical. The story centers on haughty Margaret Hale, who learns to overcome her prejudices against the North in general and
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Gaskell uses a cause of conflict between masters and workers (the installation of ventilators in the carding rooms) to illustrate the greed of one and the ignorance of the other, making social progress difficult, and calls attention to anti-Irish prejudice in a city where the Irish are a small
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Thornton and Higgins, while not denying their masculinity, demonstrate compassion. Higgins in particular, whom Thornton considers among "mere demagogues, lovers of power, at whatever costs to others", assumes the responsibility for raising the Boucher children and embodies maternal tenderness
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Bodenheimer believes that the narrator is interested in the psychology of her characters: their inner selves, how their contentious interactions with others subconsciously reveal their beliefs and how the changes they experience reflect their negotiation of the outside world. also focuses on
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for relations between employers and workers in Victorian literature. In chapter XV, "Men and Master", Margaret rejects this paternalistic view (expressed by Thornton) as infantilising the worker. She favours, instead, helping workers grow and become emancipated. Friendships between people of
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Certain family relationships are emphasised (Margaret and her father, Higgins and Bessy, Mrs. Hale and Frederick), all interrupted by death. The tie between Thornton and his mother is particularly deep and, on Mrs. Thornton's side, exclusive and boundless: "her son, her pride, her property".
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believed that it was only about the church and "the defence of those who in conscience, disagree with it and consider it their duty to leave". However, Brontë acknowledged that her friend "understands the genius of the North". Although Richard Holt acknowledged some interest in the novel in
464:: The protagonist, she is proud and spirited and very fond of her parents (especially her father). She is 18 years old at the start of the story, before she returns to Helstone, and has been living mainly with her aunt (Mrs. Shaw) and her cousin Edith in London since she was nine years old.
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Thornton proposes; Margaret declines, unprepared for his unexpected declaration of love and offended by assumptions that her action in front of the mob meant that she cares for him. Thornton's mother, wary of Margaret's haughty ways, is galled by Margaret's rejection of her son.
1099:) which analyse Victorian social realities, offering "first-hand detailed observations of industrialism, urbanism, class, and gender conflicts". It attempts to answer questions posed by contemporary changes positioning itself between the individual worker freedom championed by
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cotton-mill owner who is scornful of his workers. The novel traces her growing understanding of the complexity of labour relations and their influence on well-meaning mill owners and her conflicted relationship with John Thornton. Gaskell based her depiction of Milton on
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The strike is described in detail, with intelligent leaders like Higgins, the desperate violence and savagery of the rioters, and the reactions of both sides. Through the eyes of Margaret, a horrified, compassionate outsider, Gaskell illustrates the social misery of the
600:, one of the first industrial novels describing a conflict between employers and workers, is seen as depicting complex social conflicts and offering more satisfactory solutions through Margaret Hale: spokesperson for the author and Gaskell's most mature creation.
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model which infantilises workers and is defended by Thornton (who does not feel accountable to his workers for his actions or decisions). She advocates for an authority which takes into account the needs of workers, a social and economic contract as advocated by
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Margaret acquires stature and a public role, challenging the Victorian idea of separate spheres. She befriends Bessy Higgins (a young, working-class woman), gradually abandons her aversion to "shoppy people" and, recognising Thornton's qualities, crosses
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to consider herself "not good enough" for him. Although the novel ends in Harley Street (where it began), Margaret's estrangement from the vain, superficial world of her cousin Edith and Henry Lennox is emphasised by her choice of Thornton and Milton.
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presents a typical picture of Unitarian tolerance in one evening scene: "Margaret the Churchwoman, her father the Dissenter, Higgins the Infidel, knelt down together". The Thorntons do not invoke religion as the Hales do, although Mrs. Thornton reads
1125:, challenging the cutoff between public and private spheres, freedom and responsibility, workplace and family life, trying to define a balance in relations between employers and workers. Through Margaret and her father, Gaskell criticises the
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facilities, instigate strikes and foment riots. It can be criticised, as by Martin Dodsworth, for giving the love affair precedence over the industrial context and for dwelling on the emotional conflict between Margaret and Thornton. However,
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Mrs. Shaw: Margaret's aunt, Edith's mother, and Maria Hale's sister. The widow of General Shaw, she lives in Harley Street in London. Although she is well-off compared to Maria, she believes herself less fortunate since she did not marry for
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Gaskell, the daughter, and wife of a pastor, did not write a religious novel, although religion plays an important role in her work. Unitarians interpreted biblical texts symbolically, rather than literally. They did not believe in
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Margaret and Thornton are at odds with each other; she sees him as coarse and unfeeling, and he sees her as haughty. He is attracted to her beauty and self-assurance, however, and she begins to admire how he has risen from poverty.
279:. On 14 October 1854, after six weeks, sales dropped so much that Dickens complained about what he called Gaskell's "intractability" because she resisted his demands for concision. He found the story "wearisome to the last degree".
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Gaskell's novel of manners has the broader context of an industrial novel about the north-west of England, where young girls (like Bessy) die of "cotton consumption"; capitalists disregard legal obligations, and workers refuse
1151:: Thornton's hope for strikes, for instance, is that they no longer be "bitter and venomous". He and Higgins reach a level of understanding beyond a "cash nexus" through Margaret's "ongoing involvement in the process of
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has been interpreted by Roberto Dainotto as "a kind of apocalyptic journey into the inferno of the changing times—modern poverty, rage, desperation, militant trade unionism and class antagonism". The strike described in
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Edith: Margaret's pretty cousin, who is intellectually inferior to her, feeble-minded, innocent and spoiled like a child, but not malicious and sees Margaret as a beloved sister. She marries Captain Lennox early in the
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Henry Lennox: Young lawyer and the brother of Captain Lennox. Meticulous and intelligent, he loves Margaret and considers her "queenly". Margaret sees him as a friend, and rebuffs his romantic interest early in the
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Dixon: Servant of the Hales, who served Maria Hale before her marriage and is devoted to her. Dixon disapproves of Richard Hale (who is socially inferior to Maria), and regards her mistress's marriage as her social
267:) in a negative light, challenged Gaskell and made the writing of her own novel more difficult; she had to ascertain that Dickens would not write about a strike. Gaskell found the time and technical constraints of
300:), but Dickens prevailed. He wrote in a 26 July 1854 letter that "North South" seemed better, encompassing more and emphasising the opposition between people who are forced by circumstances to meet face-to-face.
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Gaskell lived during the period of upheaval which followed the Industrial Revolution, and was aware of the difficult conditions of daily life and the health problems suffered by the workers of Manchester.
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keenly, but he was mistaken. It was a stinging pleasure to be in the room with her ... But he was no great analyser of his own motives, and was mistaken as I have said". The narrative sometimes slips into
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in the style of Jane Austen, with preparations for the marriage in London of a silly bride and a lively, intelligent heroine; in the country village of Helstone (a fictional place in the English county of
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conversion which leads to reconciliation, acknowledging their "unworthiness". Margaret, who has the longest way to go, is crushed by guilt from her lie and by shame from being debased in Thornton's eyes.
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uses a protagonist from southern England to show and comment on the perspectives of mill owners and workers in an industrialising city. The novel is set in the fictional industrial town of Milton in the
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seen as masculine. Resolving conflict with words is feminine, and men are likely to resort to physical resolution (including war). The mistress of the home is the guardian of morality and religion and "
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between management and labor are part of modern life"; the strike, which ruined him, was "respectable" because the workers depend on him for money and he depends on them to manufacture his product.
174:(1853), it is one of her best-known novels and was adapted for television three times (1966, 1975 and 2004). At first, Gaskell wanted the novel to be titled after the heroine, Margaret Hale, but
1029:, chapter XVIII), duality ("On earth is known to none / The smile that is not sister to a tear." Elliott, chapter XXI), courtship, duty, suffering, steadfast courage, honesty, time and change.
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re-evaluated the description of social and industrial problems in her novels, and—realising that her vision went against the prevailing views of the time—saw it as preparing the way for vocal
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The Manufacturing Population of England: Its Moral, Social, and Physical Conditions, and the Changes which Have Arisen from the Use of Steam Machinery; with an Examination of Infant Labour
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of a Roman Catholic hierarchy in England was generally strongly condemned, Gaskell has an open mind about Catholicism and Frederick Hale converts to his Spanish wife's religion.
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663:". The public sphere is considered dangerously amoral and, in the work of authors such as Dickens, disasters ensue when characters do not conform to contemporary standards.
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Loreau and Mrs. H. of Lespine, "with the authorisation of the Author", translated the novel into French using the first revised edition. It was published in Paris by
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Maria Hale: Margaret's mother, from a respectable London family. At Milton she often complains that the air as too damp and "relaxing", and not good for her health.
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appears to be in danger, Margaret rushes out and shields him; she is struck by a stone. The mob disperses, and Thornton carries the unconscious Margaret indoors.
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Frederick Hale: Margaret's older brother, a fugitive living in Spain since his involvement in a mutiny while serving under a cruel officer in the British Navy.
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Nicholas, at Margaret's behest, approaches Thornton for a job and eventually obtains one. Thornton and Higgins learn to appreciate and understand each other.
888:(1981), suggests that Margaret's abandonment of London society indicates that she is out of place in the south and her adjustment to the north is plausible.
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During the 18 months she spends in Milton, Margaret gradually learns to appreciate the city and its hard-working people, especially Nicholas Higgins (a
1056:, which occurred the year before the novel was published. The strike's slogan was "ten per cent and no surrender", and it was led by George Cowell and
805:", the "same romance plot - a rich, proud man subdued by a strong-willed, independent and intelligent woman - reappears half a century later in
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and powerful like Darcy. According to Nils Clausson in "Romancing Manchester: Class, Gender, and the Conflicting Genres of Elizabeth Gaskell's
596:. In the early 21st century, with Gaskell's work "enlisted in contemporary negotiations of nationhood as well as gender and class identities",
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Ordinarily cold, she tells him: "Mother's love is Given by God, John. It holds fast for ever and ever". Parent-child relationships are often
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Jean-Pierre Navailles, La Famille ouvrière dans l'Angleterre victorienne: des regards aux mentalités, Editions Champ Vallon, 1983, 335 p. (
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Janine Barchas (2008). "Mrs. Gaskell's North and South: Austen's early legacy". In Persuasions The Jane Austen Journal, Chicago, 30: 53–66.
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one place to another Margaret better understands herself and the world, advancing Gaskell's intention to place her in the public sphere.
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212:. Sympathetic to the needy (whose courage and tenacity she admires and among whom she makes friends), she clashes with John Thornton: a
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Hannah Thornton: John Thornton's mother, who reveres her son and dislikes Margaret (especially after Margaret rejects his proposal).
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Clausson, Nils (2007). "Romancing Manchester: Class, Gender, and the Conflicting Genres of Elizabeth Gaskell's "North and South"".
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H. I. Dutton, John Edward King, 'Ten per cent and no surrender': the Preston strike, 1853–1854, Cambridge University Press, 1981 (
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Felber, Lynette (1988). "Gaskell's Industrial Idylls : Ideology and Formal Incongruence in Mary Barton and North and South".
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Dodsworth, are false leads of what the novel is about rather than the author's clumsiness; they tell the reader what the story is
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particularly trying. She had planned to write 22 episodes but was "compelled to desperate compression" to limit the story to 20.
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underscores its theme of modernity versus tradition. Until the end of the 18th century, power in England was in the hands of the
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The novel's title (imposed by Dickens) focuses on the difference in lifestyle between rural southern England, inhabited by the
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Julie Nash, Servants and paternalism in the works of Maria Edgeworth and Elizabeth Gaskell, Ashgate Publishing, 2007, 130 p. (
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As the chapter titles "First Impressions", "Mistakes", "Mistakes Cleared Up", "Mischances" and "Atonement" indicate that
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567:, he complained that its plot is disjointed and the characters change by leaps and bounds "in the manner of kangaroos".
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Brown, Pearl L. (2000). "From Elizabeth Gaskell's Mary Barton To Her North And South: Progress Or Decline For Women?".
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her feelings towards him have changed, and he again proposes marriage. Since she has learned to love him, she accepts.
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Stevenson, Catherine Barnes (March 1991). "'What Must Not Be Said': North and South and the Problem of Women's Work".
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537:(1934) that she was "all woman" and "makes a creditable effort to overcome her natural deficiencies but all in vain".
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Richard Hale: Margaret's father, a dissenter who leaves his vicarage in Helstone to work as a private tutor in Milton.
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in 1845) and developed by Thornton in Chapter 15 and the responsibility of employers to their employees promoted by
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191:(1848), focused on relations between employers and workers in Manchester from the perspective of the working poor;
1140:, where masters and workers are in solidarity. After the strike, Thornton finally acknowledges that "new forms of
1019:. She developed a reputation for the skilful use of dialect to indicate status, age or intimacy between speakers.
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Rosemarie Bodenheimer (1979). "North and South: A Permanent State of Change". Nineteenth-Century Fiction 34 (3).
854:, is transplanted in a place she conquers, and the novel is built on an opposition of places on a larger scale.
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Linker, Laura (2015). "Private Selves and Public Conflicts: Mastery and Gender Identity in Elizabeth Gaskell’s
1206:
1080:
minority. She exposes the beliefs and reasoning of manufacturers in Thornton's defence of a theory approaching
2725:
Winston, Robert P.; Marshall, Timothy (January 2002). "The Shadows of History: The 'Condition of England' in
467:
John Thornton: Owner of a local mill, a friend and student of Margaret's father and Margaret's love interest.
3535:
943:
581:
1867:"Car la Lettre tue mais l'Esprit vivifie : une relecture des textes bibliques selon Elizabeth Gaskell"
1482:
1191:, who played Mr. Hale in the 2004 adaptation, played Frederick (his son) in the 1975 version. In 2004, the
1147:
In the class struggle which victimises some (such as Boucher and Bessy), Gaskell does not offer definitive
3575:
3347:
884:), a bachelor in search of fortune (Henry Lennox) woos – and is rejected by – Margaret. Deirdre David, in
660:
3232:
320:
character's deep emotions and focus on the social system's harshness in the deaths of Boucher and Bessy.
2901:
2848:
2798:
1246:
359:
205:
3133:
Mary Kuhlman (1996). "Education Through Experience in North and South". The Gaskell Journal 10: 14–26.
1497:
768:
be very hard on you, very") and gives fervent thanks for the "great blessing" his existence gives her.
3183:
1898:
Toussaint-Thiriet, Benjamine (2008). "The Sense of Belonging in Elizabeth Gaskell's North and South".
1235:
485:
John Boucher: A worker and the father of six children, who has conflicted emotions during the strike.
470:
Nicholas Higgins: An industrial worker whom Margaret befriends. He has two daughters, Bessy and Mary.
374:
308:
292:
charismatic manufacturer John Thornton in particular. Gaskell would have preferred to call the novel
3121:
Arthur Pollard, Mrs. Gaskell: novelist and biographer, Manchester University Press ND, 1967, 268 p.
3371:
1148:
1095:
belongs to the canon of "condition of England" novels (also known as social-problem, industrial or
1073:
1060:. Lasting nearly seven months (from September 1853 to April 1854), it was ultimately unsuccessful.
819:
792:
559:
516:
Leonards: Frederick's fellow sailor, who did not mutiny and wants to turn Frederick in for a reward
343:
268:
164:
139:
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2394:
2065:
2015:
1674:
1666:
1202:
998:
264:
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1768:
828:
but sees in the "description of strong domestic qualities" and "social optimism" an industrial
17:
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3292:
3202:
3165:
3154:
3140:
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1069:
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759:
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399:
339:
333:
159:
99:
53:
2516:
818:(1988), Rosemarie Bodenheimer writes that she prefers to study the novel's relationship with
178:, the editor of Household Words, the magazine in which the novel was serialised, insisted on
3315:
2738:
2675:
2057:
2007:
1878:
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1188:
1109:
1100:
1081:
986:
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655:
589:
576:
530:
197:
170:
126:
257:(also a social novel), which was published in the same magazine from April to August 1854.
3497:
3188:
1998:
Sussman, Matthew (1 March 2022). "Austen, Gaskell, and the Politics of Domestic Fiction".
1184:
994:
990:
824:
630:
250:
245:
175:
2789:
Burton, Anna (2018). "Remarks on Forest Scenery: North and South and the 'Picturesque'".
2323:
1002:
997:. Gaskell, influenced by her husband's work, did not hesitate to give her Milton workers
2914:
571:
said that the novel could interest a gentleman while being accessible to a young woman.
479:
Bessy Higgins: Nicholas Higgins' daughter, who is fatally ill from working in the mills.
3449:
3407:
3399:
3383:
3363:
3339:
3122:
1214:
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971:
907:
846:
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2019:
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1173:
1152:
728:
671:
626:
585:
461:
288:
214:
209:
201:
2345:
204:
settles with her parents in Milton. She witnesses the ruthless world wreaked by the
3323:
2276:
Poussa, Patricia (1999). "Dickens as Sociolinguist: Dialect in David Copperfield".
1438:
1118:
1096:
893:
736:
707:
363:
224:
155:
81:
2501:
3052:
2974:
2905:
2852:
2811:
2802:
2769:
1979:
Barchas, Janine (2008). "Mrs. Gaskell's North and South: Austen's early legacy".
243:
originally appeared in 20 weekly episodes from September 1854 to January 1855 in
3307:
1210:
1141:
1122:
1114:
851:
787:
743:
622:
568:
422:
187:
2048:
Bodenheimer, Rosemarie (1979). "North and South: A Permanent State of Change".
1460:
406:
of Helstone as a matter of conscience; his intellectual honesty has made him a
398:. Her life is turned upside down when her father, the local pastor, leaves the
3015:
Servants and paternalism in the works of Maria Edgeworth and Elizabeth Gaskell
2742:
2679:
1662:
1131:
1126:
755:
719:
711:
426:
425:
representative) and his daughter Bessy, whom she befriends. Bessy is ill with
328:
312:
220:
39:
3034:
La famille ouvrière dans l'Angleterre victorienne: des regards aux mentalités
2011:
1230:
1006:
881:
715:
407:
395:
347:
304:
1769:"Separate Spheres: Victorian Constructions of Gender in Great Expectations"
710:
or that women were guiltier or weaker than men, and were more liberal than
629:
based in the south. The Industrial Revolution unsettled the centuries-old
3245:
3219:
2127:
Kuhlman, Mary (1996). "Education Through Experience in North and South".
1225:
1068:
Margaret visits, misery occasionally documented in parliamentary papers (
946:; Mrs. Thornton silently calls Margaret's embroidery of a small piece of
693:
545:
2844:
1670:
3054:
Telling complexions: the nineteenth-century English novel and the blush
2926:
The language of gender and class: transformation in the Victorian novel
2069:
978:
947:
403:
2517:"Thomas Carlyle and the Origin of the 'Condition of England Question'"
1883:
1866:
411:
3261:
3197:
2061:
754:. However, Gaskell cautions against misuse; Bessy Higgins reads the
350:
published the more-complete second edition in Leipzig as part of a
1065:
742:
Biblical references appear in several forms. Chapter VI cites the
327:
253:. During this period Charles Dickens dealt with the same theme in
1381:
Shuttleworth, Sally (1998). "Introduction and Additional Notes".
3253:
2346:"The Life of the Industrial Worker in Ninteenth-Century England"
1461:"The Churl and the Bird as printed by William Caxton about 1478"
1221:
renewed interest in the novel and attracted a wider readership.
362:. The preface concludes with a quotation from the conclusion of
3265:
2199:
2197:
2093:
2091:
1326:
498:
Mr. Bell: Old friend of Richard Hale and godfather of Margaret.
2110:
2108:
2106:
1285:
Ingham, Patricia (1995). "Introduction and Additional Notes".
1192:
1187:
played Mr. Thornton and Rosalind Shanks played Margaret Hale.
2694:"Love in a cold climate - Features - Films - the Independent"
2945:
Ten per cent and no surrender: the Preston strike, 1853–1854
814:"Austen, Gaskell, and the Politics of Domestic Fiction." In
746:, ii. 13); there is an allusion to the elder brother in the
1600:"Victorian Age Literature, Marxism, and the Labor Movement"
1485:. Librairie de L. Hachette et Cie – via Google Books.
977:
A number of 19th-century authors were interested in native
3110:
Angus Easson, Elizabeth Gaskell, Routledge, 1979, 278 p. (
3076:. Bloomington and Indianapolis: Indiana University Press.
354:. Many editions were published during Gaskell's lifetime.
303:
Working on the final chapters of the novel in December at
200:. Forced to leave her home in the unruffled, rural south,
758:
to cope with her condition and interprets the parable of
1545:
1543:
540:
Contemporary reviews were critical, similar to those of
3093:
Gender, power, and the Unitarians in England, 1760–1860
1308:
1306:
429:
from inhaling cotton dust, which eventually kills her.
1327:"The novel as cultural geography: Elizabeth Gaskell's
1072:) with suggestive illustrations which resulted in the
2544:
2542:
410:. At the suggestion of Mr. Bell, his old friend from
315:, Gaskell wrote that she would rather call her novel
208:, seeing employers and workers clashing in the first
3485:
3459:
3418:
3391:
3299:
2864:
Place in Literature: Regions, Cultures, Communities
1692:Stoneman, Patsy (2002) . "Introduction and Notes".
1001:expressions and vocabulary without going as far as
613:The change in title of Gaskell's fourth novel from
134:
121:
113:
105:
95:
87:
77:
69:
59:
49:
3229:– complete book in HTML one page for each chapter.
2861:
2445:"Conditions of the Working-Class in England Index"
950:"flimsy, useless work" when she visits the Hales.
482:Mary Higgins: Nicholas Higgins' youngest daughter.
377:in 1859, and reprinted at least twice: in 1860 as
2771:The Politics of Story in Victorian Social Fiction
886:Fictions of Resolution in Three Victorian Novels
1183:In the second television adaptation (in 1975),
2813:Elizabeth Gaskell: Mary Barton North and South
1865:Toussaint-Thiriet, Benjamine (December 2007).
1172:In the first television adaptation (in 1966),
3571:Works originally published in Household Words
3277:
2979:. Cambridge, UK: Cambridge University Press.
2227:
2203:
2188:
2114:
2097:
8:
3541:British novels adapted into television shows
2976:The Cambridge companion to Elizabeth Gaskell
2485:sfn error: no target: CITEREFNavailles1983 (
2466:sfn error: no target: CITEREFNavailles1983 (
1481:Gaskell, Elizabeth Cleghorn (16 July 1860).
970:to experience" which the author shares with
816:The Politics of Stories in Victorian Fiction
527:The Cambridge Companion to Elizabeth Gaskell
32:
3249:– a new musical based on E. Gaskell's novel
2593:
2379:sfn error: no target: CITEREFDianotto2000 (
1763:
1761:
3284:
3270:
3262:
2174:sfn error: no target: CITEREFPollard1967 (
1964:sfn error: no target: CITEREFPollard1967 (
1814:sfn error: no target: CITEREFPollard1967 (
1422:sfn error: no target: CITEREFPollard1967 (
44:Title page of the first edition, 1854–1855
38:
31:
2480:
2461:
2428:sfn error: no target: CITEREFDutton1981 (
1882:
1573:
735:. Although the re-institution in 1850 by
332:Cover of an 1867 edition, illustrated by
2653:
2641:
2629:
2581:
2374:
2157:
2043:
2041:
2039:
2037:
2035:
2033:
2031:
2029:
1921:sfn error: no target: CITEREFWatts2007 (
1828:
1797:
1785:
1740:
1728:
1716:
1624:
1534:
1522:
1280:
1278:
1276:
1274:
733:Exposition of the Old and New Testaments
574:Gaskell's novels, with the exception of
263:, which shows Manchester (the satirical
2362:
2169:
1959:
1809:
1585:
1561:
1549:
1417:
1405:
1335:Studia Romanica et Anglica Zagrabiensia
1312:
1265:
1258:
296:(as she had done in 1848 for her novel
158:published in 1854–55 by English author
3237:free ebook in PDF, PDB and LIT formats
3057:. Durham, NC : Duke University Press.
2947:. London: Cambridge University Press.
2617:
2423:
2302:
2290:
2263:
2082:
1752:
476:Fanny Thornton: John's younger sister.
3551:Novels first published in serial form
2527:from the original on 10 November 2016
2251:
2239:
2215:
1947:
1935:
1916:
1636:
1376:
1374:
1372:
1363:
1351:
850:for two reasons: Margaret Hale, like
7:
2605:
2548:
2145:
1900:Cahiers victoriens & Ă©douardiens
1852:
1840:
27:1854–1855 novel by Elizabeth Gaskell
2998:. Oxford: Oxford University Press.
2943:King, H. I.; Dutton, J. E. (1981).
223:, where she lived as the wife of a
3100:Whitfield, Archie Stanton (1929).
2405:from the original on 3 August 2016
1437:Richard Nordquist (2 April 2016).
687:Special and changing relationships
25:
1504:from the original on 16 June 2015
558:After reading the fifth episode,
3382:
3208:
3102:Mrs. Gaskell, Her Life and Works
2860:Dainotto, Roberto Maria (2000).
2668:Victorian Literature and Culture
1651:Victorian Literature and Culture
832:. Patricia Ingham also compares
752:First Epistle to the Corinthians
3032:Navailles, Jean-Pierre (1986).
2768:Bodenheimer, Rosemarie (1991).
1496:C. N. Trueman (31 March 2015).
1483:"Marguerite Hale (Nord et sud)"
311:'s family home near Matlock in
18:John Thornton (North and South)
3468:The Last Generation in England
2278:Writing in Nonstandard English
1247:adapted as a television series
448:Mills and the Thornton house.
1:
2502:"Condition-of-England Novels"
2395:"1853 Great Preston Lock Out"
1228:of Gaskell's work, the novel
1201:, a four-episode serial with
666:This notion is questioned in
379:Marguerite Hale (Nord et Sud)
352:Collection of English Writers
346:published it in New York and
3475:The Life of Charlotte Brontë
3247:North and South, the Musical
3051:O'Farrell, Mary Ann (1997).
2868:. Cornell University Press.
2774:. Cornell University Press.
901:is not simply an industrial
650:Feminine and masculine roles
3566:Novels about businesspeople
3546:Novels by Elizabeth Gaskell
3218:public domain audiobook at
2833:The Gaskell Society Journal
1385:. Oxford University Press.
1238:, was published in 1988. A
1137:Two Treatises of Government
748:Parable of the Prodigal Son
3592:
3427:Mr. Harrison's Confessions
3104:. G. Routledge & sons.
2320:Oxford Living Dictionaries
2050:Nineteenth-Century Fiction
1498:"Life in Industrial Towns"
1213:wrote the screenplay, and
1121:. It represents a certain
1009:pronunciation or Dickens'
962:According to Bodenheimer,
609:Modernity versus tradition
3380:
3257:2004 (unofficial) Website
3036:. Editions Champ Vallon.
2924:Ingham, Patricia (1996).
2743:10.1080/00111610209599933
2680:10.1017/S1060150300003624
2000:Modern Language Quarterly
1663:10.1017/S1060150300282065
1168:Television and literature
535:Early Victorian Novelists
366:'s Middle-English fable,
275:was less successful than
37:
3561:Novels set in Manchester
3531:Chapman & Hall books
3072:Stoneman, Patsy (1987).
2810:Chapman, Alison (1999).
2012:10.1215/00267929-9475004
1325:Knežević, Boris (2011).
1176:played Mr. Thornton and
1087:
871:The opening chapters of
840:. Ann Banfield compares
394:Henry, an up-and-coming
3556:Novels set in factories
3493:Elizabeth Gaskell house
3392:Short story collections
2994:Mullan, Robert (2006).
2973:Matus, Jill L. (2007).
2913:Gaskell, Peter (1833).
2816:. Duxford: Icon Books.
2148:, p. Introduction.
1981:The Jane Austen Journal
1696:. Wordsworth Classics.
944:free indirect discourse
637:Authority and rebellion
544:. A scathing, unsigned
525:In her introduction to
370:(spelling modernised).
185:Gaskell's first novel,
3017:. Aldershot: Ashgate.
2919:. Baldwin and Cradock.
2562:"The Claims of Labour"
1180:played Margaret Hale.
781:
661:The Angel in the House
617:to Dickens' suggested
368:The Churl and the Bird
336:
2928:. London: Routledge.
1598:Kristopher E. Moore.
875:indicate an apparent
331:
206:Industrial Revolution
3241:in Mobipocket format
3091:Watts, Ruth (1998).
3013:Nash, Julie (2007).
1289:. Penguin Classics.
1249:by the BBC in 1989.
1005:'s transcription of
937:Narrative techniques
903:Pride and Prejudice.
317:Death and Variations
309:Florence Nightingale
3526:1855 British novels
3372:Wives and Daughters
3348:A Dark Night's Work
3149:Read excerpt online
3123:Read excerpt online
2791:The Gaskell Journal
2584:, pp. 118–138.
2515:Diniejko, Andrzej.
2500:Diniejko, Andrzej.
2443:Engels, Frederick.
2129:The Gaskell Journal
1800:, pp. 137–138.
1743:, pp. 124–126.
1731:, pp. 122–126.
1209:in the lead roles.
1149:conflict resolution
1107:, published in the
1105:The Claims of Labor
1074:Factory Act of 1833
932:Style and narrative
830:Pride and Prejudice
793:Pride and Prejudice
565:The Critical Review
344:Harper and Brothers
165:Wives and Daughters
140:Wives and Daughters
34:
2266:, p. 131-132.
1203:Daniela Denby-Ashe
1088:Gaskell's position
958:Style and language
594:feminist movements
582:Kathleen Tillotson
521:Critical reception
340:Chapman & Hall
337:
269:serialised fiction
100:Chapman & Hall
60:Working title
3513:
3512:
3504:William Stevenson
3443:The Haunted House
3293:Elizabeth Gaskell
3203:Project Gutenberg
3074:Elizabeth Gaskell
3043:978-2-90-352821-8
3024:978-0-75-465639-5
3005:978-0-19-928178-7
2986:978-0-52-184676-9
2875:978-0-80-143683-3
2699:Independent.co.uk
1884:10.4000/lisa.1403
1703:978-1-85-326093-3
1392:978-0-19-283194-1
1296:978-0-14-043424-8
1198:North & South
1058:Mortimer Grimshaw
1033:Social conditions
1016:David Copperfield
786:The influence of
772:Literary analysis
760:Dives and Lazarus
701:Religious context
533:'s assessment in
400:Church of England
334:George du Maurier
160:Elizabeth Gaskell
147:
146:
106:Publication place
54:Elizabeth Gaskell
16:(Redirected from
3583:
3386:
3286:
3279:
3272:
3263:
3212:
3211:
3205:
3105:
3096:
3087:
3068:
3047:
3028:
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2990:
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2920:
2909:
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2856:
2827:
2806:
2785:
2755:
2754:
2722:
2716:
2715:
2713:
2711:
2706:on 30 March 2013
2702:. Archived from
2690:
2684:
2683:
2663:
2657:
2651:
2645:
2639:
2633:
2627:
2621:
2615:
2609:
2603:
2597:
2594:Bodenheimer 1991
2591:
2585:
2579:
2573:
2572:
2570:
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2558:
2552:
2546:
2537:
2536:
2534:
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2512:
2506:
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2440:
2434:
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2421:
2415:
2414:
2412:
2410:
2391:
2385:
2384:
2372:
2366:
2360:
2354:
2353:
2350:victorianweb.org
2342:
2336:
2335:
2333:
2331:
2322:. Archived from
2312:
2306:
2305:, p. 62-63.
2300:
2294:
2288:
2282:
2281:
2273:
2267:
2261:
2255:
2249:
2243:
2237:
2231:
2225:
2219:
2218:, p. 35–43.
2213:
2207:
2201:
2192:
2186:
2180:
2179:
2167:
2161:
2155:
2149:
2143:
2137:
2136:
2124:
2118:
2112:
2101:
2095:
2086:
2085:, p. 56–58.
2080:
2074:
2073:
2045:
2024:
2023:
1995:
1989:
1988:
1976:
1970:
1969:
1957:
1951:
1945:
1939:
1933:
1927:
1926:
1914:
1908:
1907:
1895:
1889:
1888:
1886:
1862:
1856:
1850:
1844:
1838:
1832:
1826:
1820:
1819:
1807:
1801:
1795:
1789:
1783:
1777:
1776:
1773:victorianweb.org
1765:
1756:
1750:
1744:
1738:
1732:
1726:
1720:
1714:
1708:
1707:
1689:
1683:
1682:
1646:
1640:
1634:
1628:
1622:
1616:
1615:
1613:
1611:
1602:. Archived from
1595:
1589:
1588:, p. 39–40.
1583:
1577:
1571:
1565:
1559:
1553:
1547:
1538:
1532:
1526:
1520:
1514:
1513:
1511:
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1471:
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1434:
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1355:
1349:
1343:
1342:
1322:
1316:
1310:
1301:
1300:
1282:
1269:
1263:
1243:Book of the Year
1207:Richard Armitage
1189:Tim Pigott-Smith
1110:Edinburgh Review
1101:John Stuart Mill
1082:social Darwinism
987:Sir Walter Scott
968:
877:novel of manners
820:Charlotte Brontë
807:North and South"
765:Francis de Sales
656:separate spheres
590:Raymond Williams
560:Charlotte Brontë
531:Lord David Cecil
198:north of England
135:Followed by
122:Preceded by
42:
35:
33:North and South
21:
3591:
3590:
3586:
3585:
3584:
3582:
3581:
3580:
3516:
3515:
3514:
3509:
3498:William Gaskell
3481:
3455:
3414:
3387:
3378:
3356:Sylvia's Lovers
3332:North and South
3295:
3290:
3255:North and South
3234:North and South
3226:North and South
3215:North and South
3209:
3198:North and South
3195:
3189:Standard Ebooks
3184:North and South
3179:
3099:
3090:
3084:
3071:
3065:
3050:
3044:
3031:
3025:
3012:
3006:
2996:How novels work
2993:
2987:
2972:
2963:North and South
2955:
2942:
2936:
2923:
2912:
2895:
2882:
2876:
2859:
2830:
2824:
2809:
2788:
2782:
2767:
2764:
2759:
2758:
2724:
2723:
2719:
2709:
2707:
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2691:
2687:
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2329:
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2316:"Provincialism"
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1694:North and South
1691:
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1324:
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1311:
1304:
1297:
1287:North and South
1284:
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1272:
1264:
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1255:
1245:winner, it was
1185:Patrick Stewart
1170:
1165:
1093:North and South
1090:
1050:North and South
1045:North and South
1040:
1035:
995:Maria Edgeworth
966:
964:North and South
960:
939:
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921:North and South
917:
899:North and South
873:North and South
860:
842:North and South
834:North and South
803:North and South
798:North and South
784:
782:Austen's legacy
779:
774:
724:North and South
703:
689:
684:
668:North and South
652:
639:
631:class structure
619:North and South
611:
606:
598:North and South
523:
458:
391:
381:and in 1865 as
326:
285:
273:North and South
251:Charles Dickens
246:Household Words
241:North and South
238:
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193:North and South
180:North and South
176:Charles Dickens
151:North and South
114:Media type
45:
28:
23:
22:
15:
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5:
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3536:English novels
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3495:
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3463:
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3457:
3456:
3454:
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3450:A House to Let
3446:
3439:
3435:The Poor Clare
3431:
3422:
3420:
3416:
3415:
3413:
3412:
3408:Lois the Witch
3404:
3400:Round the Sofa
3395:
3393:
3389:
3388:
3381:
3379:
3377:
3376:
3368:
3364:Cousin Phillis
3360:
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3340:My Lady Ludlow
3336:
3328:
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3297:
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3177:External links
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2608:, p. 107.
2598:
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2492:
2483:, p. 115.
2481:Navailles 1983
2473:
2464:, p. 135.
2462:Navailles 1983
2454:
2435:
2416:
2386:
2377:, p. 178.
2367:
2365:, p. 237.
2355:
2337:
2326:on 6 June 2011
2307:
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2283:
2268:
2256:
2244:
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2228:O'Farrell 1997
2220:
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2204:O'Farrell 1997
2193:
2189:O'Farrell 1997
2181:
2172:, p. 111.
2162:
2160:, p. 167.
2150:
2138:
2119:
2115:O'Farrell 1997
2102:
2100:, p. 161.
2098:O'Farrell 1997
2087:
2075:
2056:(3): 281–301.
2025:
1990:
1971:
1962:, p. 136.
1952:
1950:, p. 174.
1940:
1938:, p. 176.
1928:
1909:
1890:
1877:(4): 154–169.
1857:
1855:, p. 108.
1845:
1843:, p. 106.
1833:
1831:, p. 119.
1821:
1812:, p. 129.
1802:
1790:
1788:, p. 127.
1778:
1757:
1755:, p. 197.
1745:
1733:
1721:
1719:, p. 123.
1709:
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1657:(2): 345–358.
1641:
1629:
1627:, p. 118.
1617:
1606:on 1 June 2010
1590:
1578:
1576:, p. 258.
1574:Whitfield 1929
1566:
1554:
1539:
1537:, p. 235.
1527:
1515:
1488:
1473:
1451:
1429:
1420:, p. 109.
1410:
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1302:
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1256:
1254:
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1241:Sunday Express
1224:Intended as a
1217:directed. The
1215:Brian Percival
1178:Wendy Williams
1169:
1166:
1164:
1161:
1089:
1086:
1054:Preston strike
1052:resembles the
1039:
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972:D. H. Lawrence
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2654:Stoneman 1987
2650:
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2642:Stoneman 1987
2638:
2635:
2631:
2630:Stoneman 1987
2626:
2623:
2620:, p. 71.
2619:
2614:
2611:
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2602:
2599:
2596:, p. 61.
2595:
2590:
2587:
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2582:Stoneman 1987
2578:
2575:
2563:
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2554:
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2550:
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2375:Dianotto 2000
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2253:
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2229:
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2212:
2209:
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2200:
2198:
2194:
2191:, p. 67.
2190:
2185:
2182:
2177:
2171:
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2163:
2159:
2158:Stoneman 1987
2154:
2151:
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2134:
2130:
2123:
2120:
2117:, p. 58.
2116:
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1587:
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1563:
1558:
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1552:, p. 29.
1551:
1546:
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1540:
1536:
1535:Stoneman 1987
1531:
1528:
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1523:Stoneman 1987
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1407:
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1365:
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1318:
1315:, p. 28.
1314:
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1604:the original
1593:
1586:Chapman 1999
1581:
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1550:Chapman 1999
1530:
1525:, p. 3.
1518:
1506:. Retrieved
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1406:Chapman 1999
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82:Social novel
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3460:Non-fiction
3375:(1864–1866)
3367:(1863–1864)
3343:(1858–1859)
3335:(1854–1855)
3319:(1851–1853)
3308:Mary Barton
3135:Read online
2737:(1): 3–22.
2618:Ingham 1996
2424:Dutton 1981
2303:Ingham 1996
2291:Ingham 1996
2264:Mullan 2006
2083:Ingham 1996
2006:(1): 1–26.
1753:Ingham 1996
1236:David Lodge
1211:Sandy Welch
1163:Adaptations
1142:negotiation
1123:paternalism
1115:John Ruskin
1103:(author of
1026:Wallenstein
852:Fanny Price
788:Jane Austen
744:Book of Job
623:aristocracy
569:George Sand
542:Mary Barton
383:Nord et Sud
298:Mary Barton
231:Publication
188:Mary Barton
168:(1866) and
3520:Categories
3095:. Longman.
2935:0415082226
2906:1300295612
2853:1437526280
2803:2161250237
2781:0801499208
2252:Matus 2007
2240:Matus 2007
2216:Matus 2007
1948:Matus 2007
1936:Matus 2007
1917:Watts 2007
1871:Revue LISA
1637:Matus 2007
1466:15 January
1439:"Epigraph"
1364:Matus 2007
1352:Matus 2007
1253:References
1132:John Locke
1127:autocratic
1070:blue books
756:Apocalypse
720:Dissenters
712:Methodists
672:Roman girl
551:The Leader
456:Characters
427:byssinosis
313:Derbyshire
277:Hard Times
261:Hard Times
255:Hard Times
227:minister.
221:Manchester
3500:(husband)
2969:, no. 51.
2751:170726169
2727:Nice Work
2674:: 67–84.
2606:Nash 2007
2549:Nash 2007
2146:Nash 2007
2020:247141954
1853:Nash 2007
1841:Nash 2007
1679:162138944
1231:Nice Work
1007:Yorkshire
999:Mancunian
882:Hampshire
716:Anglicans
694:metaphors
495:downfall.
408:dissenter
396:barrister
360:epigraphs
348:Tauchnitz
305:Lea Hurst
225:Unitarian
96:Publisher
91:1854–1855
88:Published
3506:(father)
3470:" (1849)
3452:" (1858)
3445:" (1858)
3316:Cranford
3220:LibriVox
2902:ProQuest
2899:11798966
2849:ProQuest
2845:45185937
2839:: 1–20.
2799:ProQuest
2731:Critique
2525:Archived
2403:Archived
2280:: 27–44.
2135:: 14–26.
1987:: 53–66.
1671:25058523
1502:Archived
1341:: 45–70.
1226:pastiche
1011:Yarmouth
983:Scottish
979:dialects
915:Blunders
577:Cranford
546:critique
402:and the
375:Hachette
265:Coketown
171:Cranford
127:Cranford
70:Language
3486:Related
2710:13 June
2070:2933329
1610:14 June
1038:Context
948:cambric
838:Shirley
825:Shirley
404:rectory
210:strikes
162:. With
73:English
3478:(1857)
3438:(1856)
3430:(1851)
3411:(1861)
3403:(1859)
3359:(1863)
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2567:17 May
2531:17 May
2409:17 May
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2018:
1700:
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1508:14 May
1444:14 May
1389:
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1195:aired
967:'s
604:Themes
510:story.
506:story.
412:Oxford
142:
129:
50:Author
2893:INIST
2841:JSTOR
2747:S2CID
2066:JSTOR
2016:S2CID
1675:S2CID
1667:JSTOR
1066:slums
991:Irish
502:love.
423:union
283:Title
154:is a
117:Print
78:Genre
3324:Ruth
3166:ISBN
3155:ISBN
3141:ISBN
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3019:ISBN
3000:ISBN
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2949:ISBN
2930:ISBN
2885:Clio
2870:ISBN
2818:ISBN
2776:ISBN
2712:2012
2569:2017
2533:2017
2487:help
2468:help
2430:help
2411:2017
2381:help
2332:2017
2176:help
1966:help
1923:help
1816:help
1698:ISBN
1612:2012
1510:2017
1468:2019
1446:2017
1424:help
1387:ISBN
1291:ISBN
1205:and
1117:and
993:for
985:for
625:and
588:and
389:Plot
324:Book
3201:at
3187:at
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2739:doi
2729:".
2676:doi
2058:doi
2008:doi
1879:doi
1659:doi
1234:by
1193:BBC
1134:in
865:not
844:to
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