The Claverings — Reading Notes
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The gardens of Clavering Park were removed some three hundred yards from the large, square, sombre-looking stone mansion which was the country-house of Sir Hugh Clavering, the eleventh baronet of that name; and in these gardens, which had but little of beauty to recommend them, I will introduce my readers to two of the personages with whom I wish to make them acquainted in the following story. It was now the end of August, and the parterres, beds, and bits of lawn were dry, disfigured, and almost ugly, from the effects of a long drought. In gardens to which care and labour are given abundantly, flower-beds will be pretty, and grass will be green, let the weather be what it may; but care and labour were but scantily bestowed on the Clavering Gardens, and everything was yellow, adust, harsh, and dry. Over the burnt turf towards a gate that led to the house, a lady was walking, and by her side there walked a gentleman.
"You are going in, then, Miss Brabazon," said the gentleman, and it was very manifest from his tone that he intended to convey some deep reproach in his words.
"Of course I am going in," said the lady. "You asked me to walk with you, and I refused. You have now waylaid me, and therefore I shall escape,--unless I am prevented by violence." As she spoke she stood still for a moment, and looked into his face with a smile which seemed to indicate that if such violence were used, within rational bounds, she would not feel herself driven to great anger.
But though she might be inclined to be playful, he was by no means in that mood. "And why did you refuse me when I asked you?" said he.
"For two reasons, partly because I thought it better to avoid any conversation with you."
"That is civil to an old friend."
"But chiefly,"--and now as she spoke she drew herself up, and dismissed the smile from her face, and allowed her eyes to fall upon the ground;--"but chiefly because I thought that Lord Ongar would prefer that I should not roam alone about Clavering Park with any young gentleman while I am down here; and that he might specially object to my roaming with you, were he to know that you and I were--old acquaintances. Now I have been very frank, Mr. Clavering, and I think that that ought to be enough."
"You are afraid of him already, then?"
"I am afraid of offending any one whom I love, and especially any one to whom I owe any duty."
"Enough! Indeed it is not. From what you know of me do you think it likely that that will be enough?" He was now standing in front of her, between her and the gate, and she made no effort to leave him.
"And what is it you want? I suppose you do not mean to fight Lord Ongar, and that if you did you would not come to me."
"Fight him! No; I have no quarrel with him. Fighting him would do no good."
"None in the least; and he would not fight if you were to ask him; and you could not ask him without being false to me."
"I should have had an example for that, at any rate."
"That's nonsense, Mr. Clavering. My falsehood, if you should choose to call me false, is of a very different nature, and is pardonable by all laws known to the world."
"You are a jilt,--that is all."
"Come, Harry, don't use hard words,"--and she put her hand kindly upon his arm. "Look at me, such as I am, and at yourself, and then say whether anything but misery could come of a match between you and me. Our ages by the register are the same, but I am ten years older than you by the world. I have two hundred a year, and I owe at this moment six hundred pounds. You have, perhaps, double as much, and would lose half of that if you married. You are an usher at a school."
"No, madam, I am not an usher at a school."
"Well, well, you know I don't mean to make you angry."
"At the present moment, I am a schoolmaster, and if I remained so, I might fairly look forward to a liberal income. But I am going to give that up."
"You will not be more fit for matrimony because you are going to give up your profession. Now Lord Ongar has--heaven knows what;--perhaps sixty thousand a year."
"In all my life I never heard such effrontery,--such barefaced, shameless worldliness!"
"Why should I not love a man with a large income?"
"He is old enough to be your father."
"He is thirty-six, and I am twenty-four."
"There is the Peerage for you to look at. But, my dear Harry, do you not know that you are perplexing me and yourself too, for nothing? I was fool enough when I came here from Nice, after papa's death, to let you talk nonsense to me for a month or two."
"Did you or did you not swear that you loved me?"
"Oh, Mr. Clavering, I did not imagine that your strength would have condescended to take such advantage over the weakness of a woman. I remember no oaths of any kind, and what foolish assertions I may have made, I am not going to repeat. It must have become manifest to you during these two years that all that was a romance. If it be a pleasure to you to look back to it, of that pleasure I cannot deprive you. Perhaps I also may sometimes look back. But I shall never speak of that time again; and you, if you are as noble as I take you to be, will not speak of it either. I know you would not wish to injure me."
"I would wish to save you from the misery you are bringing on yourself."
"In that you must allow me to look after myself. Lord Ongar certainly wants a wife, and I intend to be true to him,--and useful."
"And to love him, sir. Do you think that no man can win a woman's love, unless he is filled to the brim with poetry, and has a neck like Lord Byron, and is handsome like your worship? You are very handsome, Harry, and you, too, should go into the market and make the best of yourself. Why should you not learn to love some nice girl that has money to assist you?"
"No, sir; I will not be called Julia. If you do, I will be insulted, and leave you instantly. I may call you Harry, as being so much younger,--though we were born in the same month,--and as a sort of cousin. But I shall never do that after to-day."
"You have courage enough, then, to tell me that you have not ill-used me?"
"Certainly I have. Why, what a fool you would have me be! Look at me, and tell me whether I am fit to be the wife of such a one as you. By the time you are entering the world, I shall be an old woman, and shall have lived my life. Even if I were fit to be your mate when we were living here together, am I fit, after what I have done and seen during the last two years? Do you think it would really do any good to any one if I were to jilt, as you call it, Lord Ongar, and tell them all,--your cousin, Sir Hugh, and my sister, and your father,--that I was going to keep myself up, and marry you when you were ready for me?"
"You mean to say that the evil is done."
"No, indeed. At the present moment I owe six hundred pounds, and I don't know where to turn for it, so that my husband may not be dunned for my debts as soon as he has married me. What a wife I should have been for you;--should I not?"
"I could pay the six hundred pounds for you with money that I have earned myself,--though you do call me an usher;--and perhaps would ask fewer questions about it than Lord Ongar will do with all his thousands."
"Dear Harry, I beg your pardon about the usher. Of course, I know that you are a fellow of your college, and that St. Cuthbert's, where you teach the boys, is one of the grandest schools in England; and I hope you'll be a bishop; nay,--I think you will, if you make up your mind to try for it."
"I have given up all idea of going into the church."
"Then you'll be a judge. I know you'll be great and distinguished, and that you'll do it all yourself. You are distinguished already. If you could only know how infinitely I should prefer your lot to mine! Oh, Harry, I envy you! I do envy you! You have got the ball at your feet, and the world before you, and can win everything for yourself."
"But nothing is anything without your love."
"Psha! Love, indeed. What could I do for you but ruin you? You know it as well as I do; but you are selfish enough to wish to continue a romance which would be absolutely destructive to me, though for a while it might afford a pleasant relaxation to your graver studies. Harry, you can choose in the world. You have divinity, and law, and literature, and art. And if debarred from love now by the exigencies of labour, you will be as fit for love in ten years' time as you are at present."
"Be a man, then, and keep it to yourself. Love is not to be our master. You can choose, as I say; but I have had no choice,--no choice but to be married well, or to go out like a snuff of a candle. I don't like the snuff of a candle, and, therefore, I am going to be married well."
"It must suffice. And why should it not suffice? You are very uncivil, cousin, and very unlike the rest of the world. Everybody compliments me on my marriage. Lord Ongar is not only rich, but he is a man of fashion, and a man of talent."
"Are you fond of race-horses yourself?"
"And of that kind of life?"
"Very fond of it. I mean to be fond of everything that Lord Ongar likes. I know that I can't change him, and, therefore, I shall not try."
"You are right there, Miss Brabazon."
"You mean to be impertinent, sir; but I will not take it so. This is to be our last meeting in private, and I won't acknowledge that I am insulted. But it must be over now, Harry; and here I have been pacing round and round the garden with you, in spite of my refusal just now. It must not be repeated, or things will be said which I do not mean to have ever said of me. Good-by, Harry."
"Well, for that once let it pass. And remember this: I have told you all my hopes, and my one trouble. I have been thus open with you because I thought it might serve to make you look at things in a right light. I trust to your honour as a gentleman to repeat nothing that I have said to you."
"I am not given to repeat such things as those."
"I'm sure you are not. And I hope you will not misunderstand the spirit in which they have been spoken. I shall never regret what I have told you now, if it tends to make you perceive that we must both regard our past acquaintance as a romance, which must, from the stern necessity of things, be treated as a dream which we have dreamt, or a poem which we have read."
"You can treat it as you please."
"God bless you, Harry; and I will always hope for your welfare, and hear of your success with joy. Will you come up and shoot with them on Thursday?"
"What, with Hugh? No; Hugh and I do not hit it off together. If I shot at Clavering I should have to do it as a sort of head-keeper. It's a higher position, I know, than that of an usher, but it doesn't suit me."
"Oh, Harry! that is so cruel! But you will come up to the house. Lord Ongar will be there on the thirty-first; the day after to-morrow, you know."
"I must decline even that temptation. I never go into the house when Hugh is there, except about twice a year on solemn invitation--just to prevent there being a family quarrel."
"Good-by, then," and she offered him her hand.
"Good-by, if it must be so."
"I don't know whether you mean to grace my marriage?"
"Certainly not. I shall be away from Clavering, so that the marriage bells may not wound my ears. For the matter of that, I shall be at the school."
"I suppose we shall meet some day in town."
"Most probably not. My ways and Lord Ongar's will be altogether different, even if I should succeed in getting up to London. If you ever come to see Hermione here, I may chance to meet you in the house. But you will not do that often, the place is so dull and unattractive."
"It is the dearest old park."
"You won't care much for old parks as Lady Ongar."
"You don't know what I may care about as Lady Ongar; but as Julia Brabazon I will now say good-by for the last time." Then they parted, and the lady returned to the great house, while Harry Clavering made his way across the park towards the rectory.
Three years before this scene in the gardens at Clavering Park, Lord Brabazon had died at Nice, leaving one unmarried daughter, the lady to whom the reader has just been introduced. One other daughter he had, who was then already married to Sir Hugh Clavering, and Lady Clavering was the Hermione of whom mention has already been made. Lord Brabazon, whose peerage had descended to him in a direct line from the time of the Plantagenets, was one of those unfortunate nobles of whom England is burdened with but few, who have no means equal to their rank. He had married late in life, and had died without a male heir. The title which had come from the Plantagenets was now lapsed; and when the last lord died, about four hundred a year was divided between his two daughters. The elder had already made an excellent match, as regarded fortune, in marrying Sir Hugh Clavering; and the younger was now about to make a much more splendid match in her alliance with Lord Ongar. Of them I do not know that it is necessary to say much more at present.
And of Harry Clavering it perhaps may not be necessary to say much in the way of description. The attentive reader will have already gathered nearly all that should be known of him before he makes himself known by his own deeds. He was the only son of the Reverend Henry Clavering, rector of Clavering, uncle of the present Sir Hugh Clavering, and brother of the last Sir Hugh. The Reverend Henry Clavering, and Mrs. Clavering his wife, and his two daughters, Mary and Fanny Clavering, lived always at Clavering Rectory, on the outskirts of Clavering Park, at a full mile's distance from the house. The church stood in the park, about midway between the two residences. When I have named one more Clavering, Captain Clavering, Captain Archibald Clavering, Sir Hugh's brother, and when I shall have said also that both Sir Hugh and Captain Clavering were men fond of pleasure and fond of money, I shall have said all that I need now say about the Clavering family at large.
Julia Brabazon had indulged in some reminiscence of the romance of her past poetic life when she talked of cousinship between her and Harry Clavering. Her sister was the wife of Harry Clavering's first cousin, but between her and Harry there was no relationship whatever. When old Lord Brabazon had died at Nice she had come to Clavering Park, and had created some astonishment among those who knew Sir Hugh by making good her footing in his establishment. He was not the man to take up a wife's sister, and make his house her home, out of charity or from domestic love. Lady Clavering, who had been a handsome woman and fashionable withal, no doubt may have had some influence; but Sir Hugh was a man much prone to follow his own courses. It must be presumed that Julia Brabazon had made herself agreeable in the house, and also probably useful. She had been taken to London through two seasons, and had there held up her head among the bravest. And she had been taken abroad,--for Sir Hugh did not love Clavering Park, except during six weeks of partridge shooting; and she had been at Newmarket with them, and at the house of a certain fast hunting duke with whom Sir Hugh was intimate; and at Brighton with her sister, when it suited Sir Hugh to remain alone at the duke's; and then again up in London, where she finally arranged matters with Lord Ongar. It was acknowledged by all the friends of the two families, and indeed I may say of the three families now--among the Brabazon people, and the Clavering people, and the Courton people,--Lord Ongar's family name was Courton,--that Julia Brabazon had been very clever. Of her and Harry Clavering together no one had ever said a word. If any words had been spoken between her and Hermione on the subject, the two sisters had been discreet enough to manage that they should go no further. In those short months of Julia's romance Sir Hugh had been away from Clavering, and Hermione had been much occupied in giving birth to an heir. Julia had now lived past her one short spell of poetry, had written her one sonnet, and was prepared for the business of the world.
HARRY CLAVERING CHOOSES HIS PROFESSION.
Harry Clavering might not be an usher, but, nevertheless, he was home for the holidays. And who can say where the usher ends and the schoolmaster begins? He, perhaps, may properly be called an usher, who is hired by a private schoolmaster to assist himself in his private occupation, whereas Harry Clavering had been selected by a public body out of a hundred candidates, with much real or pretended reference to certificates of qualification. He was certainly not an usher, as he was paid three hundred a year for his work,--which is quite beyond the mark of ushers. So much was certain; but yet the word stuck in his throat and made him uncomfortable. He did not like to reflect that he was home for the holidays.
But he had determined that he would never come home for the holidays again. At Christmas he would leave the school at which he had won his appointment with so much trouble, and go into an open profession. Indeed he had chosen his profession, and his mode of entering it. He would become a civil engineer, and perhaps a land surveyor, and with this view he would enter himself as a pupil in the great house of Beilby and Burton. The terms even had been settled. He was to pay a premium of five hundred pounds and join Mr. Burton, who was settled in the town of Stratton, for twelve months before he placed himself in Mr. Beilby's office in London. Stratton was less than twenty miles from Clavering. It was a comfort to him to think that he could pay this five hundred pounds out of his own earnings, without troubling his father. It was a comfort, even though he had earned that money by "ushering" for the last two years.
From its first chapter, The Claverings establishes a pattern of movement between sharply contrasted physical spaces. Harry Clavering shuttles between the Burton family’s orderly rectory in Clavering parish, the fashionable London houses of Lady Ongar and her circle, and the coastal retreat of Freshwater Gate. Trollope uses these settings not merely as backdrops but as active forces that shape the characters’ moral and emotional states. The rectory represents domestic stability and honest affection; Lady Ongar’s drawing rooms are charged with dangerous glamour; the seaside offers temporary escape. This geography of desire and duty gives the novel a distinctive structural rhythm, as each shift of scene forces Harry to confront the competing claims of Florence Burton and Julia Brabazon.
The Architecture of Indecision
Trollope builds the novel around a series of carefully staged arrivals and departures. Harry’s movements are never casual: each journey to London or to the rectory is freighted with intention and self-deception. The narrator observes that Harry, after a moment of crisis, “reached Lady Ongar’s door without having arranged for himself any special line of conduct.” This pattern of motion without resolution mirrors his emotional paralysis. The chapter titles themselves trace a geography of hesitation: “Cumberly Lane Without the Mud,” “Freshwater Gate,” “The House in Onslow Crescent.” Even the Blue Posts tavern becomes a waypoint where decisions are deferred. Trollope’s structural choices—alternating between the Burton household’s quiet routines and the volatile atmosphere of Lady Ongar’s salon—create a rhythm of temptation and retreat that defines the novel’s central conflict.
Light, Heat, and the Moth’s Wing
A recurring cluster of images links Harry’s susceptibility to Lady Ongar with the dangers of brightness and heat. The narrator describes Harry’s attraction in explicitly physical terms: “the glare of the candle had been too bright for him and he had scorched his wings.” This metaphor of the moth drawn to flame recurs in the language of the text, where Lady Ongar’s presence is associated with light, fire, and consuming heat. The embrace that haunts Harry is remembered as both “sweet” and “bitter,” a sensory overload that leaves him morally singed. Trollope extends the image to other characters: Sophie Gordeloup, the Russian spy, operates in a world of calculated warmth and coldness, while Florence Burton is consistently associated with daylight and domestic hearths. The contrast is not merely decorative—it structures the reader’s understanding of which attachments are nourishing and which are destructive.
The Spy’s Information Network
Trollope weaves a secondary plot of surveillance and gossip that depends on the movement of information between households. Sophie Gordeloup, the “Russian spy,” extracts from Archie Clavering the fact of Harry’s engagement to Florence Burton—knowledge that Lady Ongar does not possess. The scene in Mount Street, where Archie freely reveals family secrets over fifty pounds, shows how easily private matters become currency in the novel’s social economy. Sophie’s reaction—“Her respect for Harry rose immeasurably”—underscores the ironic gap between her admiration for his audacity and the moral cost of his deception. This subplot of intelligence-gathering mirrors the larger structural pattern: characters are constantly observing one another across the boundaries of house and class, and Trollope uses these moments of overheard or extracted information to advance the plot without requiring direct confrontation.
The Weight of a Single Embrace
At the novel’s emotional center lies a single physical gesture: the embrace between Harry and Lady Ongar. Trollope returns to this moment repeatedly, treating it as a fixed point around which all subsequent action revolves. The narrator notes that the embrace “had simply been an accident,” yet its memory dominates Harry’s thoughts and drives the demand for truth that Lady Ongar later makes: “Harry, tell me the truth; tell me all the truth.” The scene is never described in full; instead, it exists as a remembered pressure, a touch that cannot be undone. This technique of withholding the climactic moment while dwelling on its aftermath gives the novel a distinctive psychological texture. The embrace functions less as a plot event than as a moral weight that Harry carries through every subsequent scene, from the rectory to the seaside, until he is finally forced to account for it.
Readers attentive to Trollope’s handling of space and recurrence will find The Claverings rewards careful attention to where scenes are set and how characters move between them. The novel’s moral drama is enacted not in grand declarations but in the accumulation of small, telling details: a hand not given, a door reached without a plan, a secret extracted over a loan. Trollope’s structural precision—the alternation of London and country, the return to certain rooms and roads—gives the story a coherence that belies its serial origins. The illustrations by Mary Ellen Edwards, included in this edition, further emphasize the importance of setting and gesture.
The Claverings’ hovering between houses recalls that summer I spent rereading it, indecision feeling less like drama than weather. Trollope’s wings and heat made me think of another quiet book where choices drift instead of crash, where sunlight seems to pause mid-air. The King of Arcadia — Themes and Context brought that same hush back, half-remembered, like a room I’d once left and found unchanged.
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