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The mistress of the home is the guardian of morality and religion and " The Angel in the House ".

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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. This notion is questioned in North and South. 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 " Roman girl " 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.

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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. Thornton and Higgins, while not denying their masculinity, demonstrate compassion.


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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 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.

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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. 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. 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". It holds fast for ever and ever". Parent-child relationships are often metaphors for relations between employers and workers in Victorian literature. She favours, instead, helping workers grow and become emancipated.

Hale and Thornton, Margaret and Bessy, and Thornton and Higgins prefigure Gaskell's desired human relations which blur class distinctions.

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Margaret performs "lowly" tasks and Dixon a confidante of Mrs. Hale, who develops a relationship of respect, affection, and understanding with the maid. Gaskell, the daughter and wife of a pastor, did not write a religious novel, although religion plays an important role in her work. Although the re-institution in by Pope Pius IX 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. Biblical references appear in several forms.

Chapter VI cites the Book of Job , ii. However, Gaskell cautions against misuse; Bessy Higgins reads the Apocalypse to cope with her condition and interprets the parable of Dives and Lazarus 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".

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Margaret and Thornton follow a path of conversion which leads to reconciliation, acknowledging their "unworthiness". Francis de Sales 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 be very hard on you, very" and gives fervent thanks for the "great blessing" his existence gives her. 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.

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 opening chapters of North and South indicate an apparent novel of manners in the style of Jane Austen, [48] 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 Hampshire , a bachelor in search of fortune Henry Lennox woos — and is rejected by — Margaret.

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 prophylactic facilities, instigate strikes and foment riots. However, North and South is not simply an industrial Pride and Prejudice Margaret acquires stature and a public role, challenging the Victorian idea of separate spheres.

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. As the chapter titles "First Impressions", "Mistakes", "Mistakes Cleared Up", "Mischances" and "Atonement" indicate that North and South 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. 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. 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 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, , p. 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".

Thornton reconsiders, eventually offering Higgins a job.


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    • In the final chapter, she does not seem to realize 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" [43] which brings the lovers together. 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.

    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 free indirect discourse ; Mrs. Thornton silently calls Margaret's embroidery of a small piece of cambric "flimsy, useless work" when she visits the Hales. 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.

    The phrase "as if" appears over 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 "[Thornton] spoke as if this consequence were so entirely logical". 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: " According to Bodenheimer, North and South 's 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 to experience" which the author shares with D.

    Matus finds Gaskell's vocabulary "Gothicized" 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. Margaret's adaptation to the culture is demonstrated through language. Gaskell lived during the period of upheaval which followed the Industrial Revolution, and was aware of the difficult conditions of daily life [62] and the health problems suffered by the workers of Manchester.

    Lasting nearly seven months from September to April , it was ultimately unsuccessful. 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 slums [67] Margaret visits, misery occasionally documented in parliamentary papers blue books with suggestive illustrations which resulted in the Factory Act of Although Milton Keynes has changed a bit, the essence remains fundamentally the same.

    What I do intend to do though, is use this anniversary year to explore food as a representation of culture in Milton Keynes. So do look out for me snooping around and for the outcomes of my discoveries.

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