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The big secret has been laid out, though not necessarily confirmed as yet. No matter to Harry. He ups and joins the Army and is off to Spain for whatever. The big world awaits and he is happy again. Rounding toward the home stretch now as the final section will be set in Virginia. One is the language, which I've spoken of already. Rather archaic Then there's all the political, military and cultural stuff.
No doubt that Thackeray's contemporary readers years ago now had a much easier time of it considering that they were living much closer to the history and culture that WT writes of. A further "problem" seems to the author's insistence to go into endless raptures of praise when talking about the two Castlewood babes, mother and daughter. Sheesh Henry, give it a rest, will ya?
We get it - you love BOTH of them! From the family tree that I've seen some of the "outcome drama" is a bit spoiled for me, but I still want to learn how things all came about in that area. Well, I was wrong, and Henry hasn't made it to the colonies yet.
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More big dramatic doings in England to be got through first. By now Henry has pretty much retired from the Army, or at least he's trying to retire. Wars keep breaking out along with the pretty much continuous political conflict between Whigs and Tories. The whole reading experience has picked up by the author's bringing Beatrix to the fore.
She'll get hers. Jonathan Swift makes an unpleasant appearance as well. Of the writer - yes, for the most part. Finished up with this one by staying up a bit later than normal last night. I remain conflicted about the rating as this seems to be a perfect 3.
Lots of interesting and fun stuff, but also some "issues," which I've mentioned already. Certainly, it's no "Vanity Fair," but then, what is? The weak spots? The central figure was not especially interesting. Parson Harry Beatrix comes on strong at the end and one gets the impression that WMT liked her the best, even though she was kind of a "bad" girl.
Anyway, tonight I'll go back to my paperback edition and re-read the introduction and probably the preface in my hardbound That'll wrap things up. I think that this is the first part of a trio of books so I may go back and read more in time. Mar 19, Peter rated it it was ok. I found The History of Henry Esmond to be a very challenging and difficult read. Ultimately, it became a frustrating read, and ended with apologies to T. Eliot a profound whimper and no bang at all. Perhaps it is because Thackeray's characters lack the presence of Dickens's creations, perhaps it is because Thackeray was unable, in my eyes, to create the intricate and incisive social commentary found in a Trollope novel.
Perhaps it was that while one could sense the evolution, and even the I found The History of Henry Esmond to be a very challenging and difficult read. Perhaps it was that while one could sense the evolution, and even the fate of the characters as one does with Thomas Hardy, there was only a whimper of climax with Thackeray. In The History of Henry Esmond I found little to intrigue me, less to interest me, and nothing else to say.
View all 7 comments. The History of Henry Esmond was widely considered the best historical novel of its day and often considered the best of Thackeray's novels as well; Trollope, who wrote a biography of his friend Thackeray, calls it his masterpiece. It's set just after the Glorious Revolution, during the reigns of William and Mary and then Queen Anne, and follows the life of Henry Esmond, gentleman and officer of the Duke of Marlborough's army, through his military career and his tangled family life.
The novel The History of Henry Esmond was widely considered the best historical novel of its day and often considered the best of Thackeray's novels as well; Trollope, who wrote a biography of his friend Thackeray, calls it his masterpiece.
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The novel begins with a preface by Esmond's daughter, before switching over to the third-person narration of Esmond himself, which itself contains footnotes by his daughter. Word of warning! Sutherland did mention that the preface probably should be read after the book, but not until the last note, by which time I was already thoroughly spoiled.
Esmond's voice is kept up beautifully, without breaking into the voice of the omniscient, ironic narrator more familiar to readers of Vanity Fair; my only confusion here was that occasionally Esmond would slip into speaking in the first person rather than the third for a few sentences.
However, since I always thought of it as being Esmond slipping rather than Thackeray, I suppose that simply emphasizes how well the voice is sustained. Thackeray interweaves the story of Esmond and his family very cleverly with the history of the time, through Esmond's campaigns with the Duke of Marlborough and the family's intriguing for the Jacobites. The appearances of historical figures are nicely done also, never overwhelming, though Thackeray's negative portrayal of Marlborough did make me feel that in fairness I should also read Churchill's more positive biography of the duke.
As Sutherland nicely puts it in his introduction, "Esmond, the fictional character, is kept on the edge of historical events I can't say that I enjoyed Henry Esmond as much as Vanity Fair ; although I liked Esmond himself, I found several of the minor characters specifically Rachel Esmond and her daughter Beatrix less engaging.
As an example of Thackeray's craft as a novelist, though, it's very impressive. View all 5 comments.
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Jan 18, Carol Storm rated it liked it. This is a rich, complex, but ultimately unsatisfying novel about a young man of principle making his way in the corrupt and luxurious world of the 's English aristocracy. Henry Esmond narrates the story of his own life, and the thing that sinks the novel is that he's always just a little too aware of his own virtue. He shows how venal, corrupt, and selfish all the other characters are, while refusing to admit he's secretly very impressed with his own demure Victorian primness. He's really This is a rich, complex, but ultimately unsatisfying novel about a young man of principle making his way in the corrupt and luxurious world of the 's English aristocracy.
He's really Thackeray, the moralist with a guilty conscience, pretending to be shocked by the salacious 18th century, but all the time pandering to his own prurient desires. The other characters in this novel all exist merely as foils for Esmond's virtues. His cousin Beatrice, as witty and seductive as Becky Sharp, is never given a fair break. Thackeray's man Esmond, while pretending to sing her praisies, actually hits her with every cliche known to man. Because she's clever, she must be evil. Because she's beautiful, she must be vain, and because she's vain she must be cruel. Because she has ambitions, she must be selfish.
Never once does Esmond say anything good about her -- but supposedly he's heart broken when she rejects him time and again. It's more like, he hates her guts and revels in snitching her out behind her back. Esmond is supposed to be like loyal and loving Gatsby, and Trixie is his unattainable Daisy. But he writes about her like he's Nick Carraway sneering at Myrtle Wilson.
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It's not pretty. Meanwhile, Esmond is debating whether to remain loyal to his family's heritage, and support the claim of exiled prince James Stuart to the English throne, or choose the winning side and support King George I. It would be a good dilemna, but Thackeray cops out by presenting the doomed and royal Stuart prince who in real life was brave, generous, religious, and fair-minded as some sort of creepy sexual pervert.
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Again, the Victorian Thackeray thinks he's being heroic by finding dirtiness in everyone and everything. This book would have been so much better if it had been written by Sir Walter Scott fifty years before. Then Trixie would have been a real damsel, Esmond would have been a noble knight, and James Stuart would have been doomed but noble and good. Thackeray subverts the romance of Sir Walter Scott's historical fictions, but only in the meanest, most cynical way. View 1 comment. You know what? This book isn't all that great. Sorry, William Makepeace Thackeray.
Jan 20, Timothy Taylor rated it really liked it. Structurally, there are flaws and problems: the mixture of real history and invented characters is frequently confusing and there are numerous slips and inconsistencies which make an annotated critical edition absolutely necessary. But the history is really a conventional vehicle for a discussion of social and emotional themes such as the effect of secrecy within families and the damage caused by aggressive macho competition alcohol, gambling, duelling.
The most breathtaking passages deal with the emotional development of children and young people, and how their expectations, emergent self-images, and quests for different kinds of love and acceptance are often brutally altered by thoughtlessness, accident, misapprehension, abreactions to half-grasped situations and so on. Read as a historical novel, the book is fairly impressive, but it is much more importantly a vehicle for meditations on human intergenerational behaviour that bear the stamp of real genius.
Thackeray was one of Dickens' rivals Every Dickensian sentence is a shining jewel of the craft.