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- Published on: 1698
- Binding: Paperback
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By Mary Ann
Set in Whitby when it was a whaling town (many days before conservation!) during the Napoleonic wars, this is the story of the struggle between the two admirers of Sylvia Robson, daughter of smuggler-turned-farmer Daniel. She is loved by the serious minded Philip Hepburn and the dashing, lively 'Speksioneer' chief harpooner Charley Kinraid.Philip has adored Sylvia for years, much to her disgust. When Sylvia hears the story of Charley Kinraid's being shot trying to defend his shipmates from a raid by one of the hated press gangs, he becomes a hero to her. They soon start to fall in love. Unlike Philip, he is depicted as being handsome and charming.When Charley is forcibly impressed himself, he demands that Phllip deliver a message to Sylvia that he will be true. Philip, knowing Charley's reputation as a womaniser, decides not to pass on what he believes to be a worthless message. Soon, tragic circumstances force Sylvia to marry Philip.But then Charley Kinraid returns...The writing is lively, the descriptions vivid, and it is a compelling read overall, despite the notorious lapse into melodrama and improbable co-incidence in the third of the book.**Spoiler Alert in the following analysis**I was intrigued by the view of the critic T J Winnifrith that: 'Kinraid is eventually shown to be a shallow character, but the depiction of him is always so superficial that it is difficult to understand the depths of Sylvia's love for him'. I did find him very much a cardboard hero, devoid of the little human weaknesses that make a character endearing.Besides, the evidence of his former heartless treatment of trusting young girls (Annie Coulson, Bessy Corney) Kinraid is also a prize opportunist. This unscrupulousness is illustrated by his meteoric naval career. He starts off by defending his fellow whalers against the press gang by shooting dead press gang members. Then, after he is press ganged into the navy, Kinraid is happy to accept promotion to the rank of captain. As has been demonstrated in research for the 'Hornblower' series, during the French Revolutionary Wars a naval captain must inevitably use press gangs to have enough crew to leave port. Kinraid unhesitatingly makes this moral compromiseAgain, although it is true that Kinraid returns to Sylvia after three years, this is hardly evidence of a great devotion, given that as an impressed sailor and later in his years in a French prison, he would have no opportunity to find anyone else. Arriving back in England he does hurry to her, but on finding her unwilling to live with him outside marriage - he makes a vague promise that his admiral can somehow obtain a divorce for her - he leaves in a huff.After this, he is clearly meant to discover that with his new status he can make a more advantageous marriage. In six months he is married to an heiress who has none of the qualities of fiery independence that he so admired in Sylvia herself, whom he swore to marry 'or none else'. No wonder the poor girl is disillusioned when she hears how quickly he has found comfort elsewhere.This made me question whether Kinraid can be intended to be a truly admirable character, a 'hero' at all. Certainly, a minority of literary critics (Andrew Sanders, for instance) and general readers accept him uncritically as such. However, being familiar myself with Gaskell's highly moral stance. I was intrigued enough about this to read the available literary criticism on the topic. The majority of critics seem to consider that Kinraid is in fact meant to demonstrate that unscrupulousness, egotism, opportunism and emotional shallowness are frequent qualities in a dashing military hero of Kinraid's type, as for instance, argued by Graham Handley, Jane Spencer, Winifred Gerrin and others.It is also intriguing that the unscrupulous Kinraid's undeserved good fate could be bound up with Gaskell's continuing devotion to the memory of her lost sailor brother, who had been both charming and lively, so that she was unable to deal harshly with any naval character and even makes Kinraid's opportunistic marriage to a superficial heiress not seem doomed to failure.Hepburn would appear to be intended to be the (fatally flawed) hero of the novel who finally redeems himself from his former treachery by his selfless rescue of Kinraid at Acre and of his daughter from drowning. Still, given his self pity, his betrayal of Sylvia's trust and his unprepossessing characteristics, he is one it is hard to find sympathetic.At the climatic scene of the novel when Sylvia and Hepburn are reconciled, he admits that his sin has been to make an idol of Sylvia, which has lead to his duplicity. As Sylvia had similarly made an idol out of Kinraid, the moral would appear to be - in line with Gaskell's Christian beliefs - how wrong it is to worship a faulty human being rather than the divine.In this scene, when Hepburn begs for Sylvia's forgiveness for his lie, she berates herself for rejecting him in favour of the 'fickle and false' Kinraid. She blames herself bitterly and for her inability to forgive. She never recovers from her grief, dying before Bella is 'properly grown up'.I felt myself that Sylvia had been betrayed by both men in their different ways, the one by his obsessive constancy, the other by his lack of it. But I felt too, that the problem was really one of the lack of opportunities open to her as a young girl in that era. On first meeting Kinraid, as Patsy Stoneman notes, Sylvia dreams, not of him, but of the adventures at sea that he represents. If the lively Sylvia had been able to go to sea and have such adventures herself instead of having to stay at home as a dutiful daughter carrying out domestic tasks, she would never have been so obsessed by Kinraid and his aura of excitement, or be obliged to marry Hepburn.I go into this in more detail in my article on the book in the fword ezine - but it is against the rules to give a link here.
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