Can You Forgive Her? — Key Ideas to Explore

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Trollope, Anthony, 1815-1882 Project Gutenberg 2006 Not confirmed
London (England) -- Fiction; Love stories; Great Britain -- Social life and customs -- 19th century -- Fiction; Political fiction; Palliser, Plantagenet (Fictitious character) -- Fiction Readers of public-domain and historical texts
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Words 322,229
Reading time 1401 min
Text sections 28

This digital edition of Can You Forgive Her? — Key Ideas to Explore is described by source-level measurements including 322,229 words, 23 hr 21 min estimated reading time, and 28 detected text sections.

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An editorial note on Anthony Trollope's novel, focusing on its layered structure of parallel plots, recurring imagery of balconies and bridges, and the movement between London, country estates, and Swiss landscapes, as seen in the chapter titles and excerpts.
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Mr. Vavasor and His Daughter.

Whether or no, she, whom you are to forgive, if you can, did or did not belong to the Upper Ten Thousand of this our English world, I am not prepared to say with any strength of affirmation. By blood she was connected with big people,--distantly connected with some very big people indeed, people who belonged to the Upper Ten Hundred if there be any such division; but of these very big relations she had known and seen little, and they had cared as little for her. Her grandfather, Squire Vavasor of Vavasor Hall, in Westmoreland, was a country gentleman, possessing some thousand a year at the outside, and he therefore never came up to London, and had no ambition to have himself numbered as one in any exclusive set. A hot-headed, ignorant, honest old gentleman, he lived ever at Vavasor Hall, declaring to any who would listen to him, that the country was going to the mischief, and congratulating himself that at any rate, in his county, parliamentary reform had been powerless to alter the old political arrangements. Alice Vavasor, whose offence against the world I am to tell you, and if possible to excuse, was the daughter of his younger son; and as her father, John Vavasor, had done nothing to raise the family name to eminence, Alice could not lay claim to any high position from her birth as a Vavasor. John Vavasor had come up to London early in life as a barrister, and had failed. He had failed at least in attaining either much wealth or much repute, though he had succeeded in earning, or perhaps I might better say, in obtaining, a livelihood. He had married a lady somewhat older than himself, who was in possession of four hundred a year, and who was related to those big people to whom I have alluded. Who these were and the special nature of the relationship, I shall be called upon to explain hereafter, but at present it will suffice to say that Alice Macleod gave great offence to all her friends by her marriage. She did not, however, give them much time for the indulgence of their anger. Having given birth to a daughter within twelve months of her marriage, she died, leaving in abeyance that question as to whether the fault of her marriage should or should not be pardoned by her family.

When a man marries an heiress for her money, if that money be within her own control, as was the case with Miss Macleod's fortune, it is generally well for the speculating lover that the lady's friends should quarrel with him and with her. She is thereby driven to throw herself entirely into the gentleman's arms, and he thus becomes possessed of the wife and the money without the abominable nuisance of stringent settlements. But the Macleods, though they quarrelled with Alice, did not quarrel with her _à l'outrance_. They snubbed herself and her chosen husband; but they did not so far separate themselves from her and her affairs as to give up the charge of her possessions. Her four hundred a year was settled very closely on herself and on her children, without even a life interest having been given to Mr. Vavasor, and therefore when she died the mother's fortune became the property of the little baby. But, under these circumstances, the big people did not refuse to interest themselves to some extent on behalf of the father. I do not suppose that any actual agreement or compact was made between Mr. Vavasor and the Macleods; but it came to be understood between them that if he made no demand upon them for his daughter's money, and allowed them to have charge of her education, they would do something for him. He was a practising barrister, though his practice had never amounted to much; and a practising barrister is always supposed to be capable of filling any situation which may come his way. Two years after his wife's death Mr. Vavasor was appointed assistant commissioner in some office which had to do with insolvents, and which was abolished three years after his appointment. It was at first thought that he would keep his eight hundred a year for life and be required to do nothing for it; but a wretched cheeseparing Whig government, as John Vavasor called it when describing the circumstances of the arrangement to his father, down in Westmoreland, would not permit this; it gave him the option of taking four hundred a year for doing nothing, or of keeping his whole income and attending three days a week for three hours a day during term time, at a miserable dingy little office near Chancery Lane, where his duty would consist in signing his name to accounts which he never read, and at which he was never supposed even to look. He had sulkily elected to keep the money, and this signing had been now for nearly twenty years the business of his life. Of course he considered himself to be a very hardly-used man. One Lord Chancellor after another he petitioned, begging that he might be relieved from the cruelty of his position, and allowed to take his salary without doing anything in return for it. The amount of work which he did perform was certainly a minimum of labour. Term time, as terms were counted in Mr. Vavasor's office, hardly comprised half the year, and the hours of weekly attendance did not do more than make one day's work a week for a working man; but Mr. Vavasor had been appointed an assistant commissioner, and with every Lord Chancellor he argued that all Westminster Hall, and Lincoln's Inn to boot, had no right to call upon him to degrade himself by signing his name to accounts. In answer to every memorial he was offered the alternative of freedom with half his income; and so the thing went on.

There can, however, be no doubt that Mr. Vavasor was better off and happier with his almost nominal employment than he would have been without it. He always argued that it kept him in London; but he would undoubtedly have lived in London with or without his official occupation. He had become so habituated to London life in a small way, before the choice of leaving London was open to him, that nothing would have kept him long away from it. After his wife's death he dined at his club every day on which a dinner was not given to him by some friend elsewhere, and was rarely happy except when so dining. They who have seen him scanning the steward's list of dishes, and giving the necessary orders for his own and his friend's dinner, at about half past four in the afternoon, have seen John Vavasor at the only moment of the day at which he is ever much in earnest. All other things are light and easy to him,--to be taken easily and to be dismissed easily. Even the eating of the dinner calls forth from him no special sign of energy. Sometimes a frown will gather on his brow as he tastes the first half glass from his bottle of claret; but as a rule that which he has prepared for himself with so much elaborate care, is consumed with only pleasant enjoyment. Now and again it will happen that the cook is treacherous even to him, and then he can hit hard; but in hitting he is quiet, and strikes with a smile on his face.

Such had been Mr. Vavasor's pursuits and pleasures in life up to the time at which my story commences. But I must not allow the reader to suppose that he was a man without good qualities. Had he when young possessed the gift of industry I think that he might have shone in his profession, and have been well spoken of and esteemed in the world. As it was he was a discontented man, but nevertheless he was popular, and to some extent esteemed. He was liberal as far as his means would permit; he was a man of his word; and he understood well that code of by-laws which was presumed to constitute the character of a gentleman in his circle. He knew how to carry himself well among men, and understood thoroughly what might be said, and what might not; what might be done among those with whom he lived, and what should be left undone. By nature, too, he was kindly disposed, loving many persons a little if he loved few or none passionately. Moreover, at the age of fifty, he was a handsome man, with a fine forehead, round which the hair and beard was only beginning to show itself to be grey. He stood well, with a large person, only now beginning to become corpulent. His eyes were bright and grey, and his mouth and chin were sharply cut, and told of gentle birth. Most men who knew John Vavasor well, declared it to be a pity that he should spend his time in signing accounts in Chancery Lane.

I have said that Alice Vavasor's big relatives cared but little for her in her early years; but I have also said that they were careful to undertake the charge of her education, and I must explain away this little discrepancy. The biggest of these big people had hardly heard of her; but there was a certain Lady Macleod, not very big herself, but, as it were, hanging on to the skirts of those who were so, who cared very much for Alice. She was the widow of a Sir Archibald Macleod, K.C.B., who had been a soldier, she herself having also been a Macleod by birth; and for very many years past--from a time previous to the birth of Alice Vavasor--she had lived at Cheltenham, making short sojourns in London during the spring, when the contents of her limited purse would admit of her doing so. Of old Lady Macleod I think I may say that she was a good woman;--that she was a good woman, though subject to two of the most serious drawbacks to goodness which can afflict a lady. She was a Calvinistic Sabbatarian in religion, and in worldly matters she was a devout believer in the high rank of her noble relatives. She could almost worship a youthful marquis, though he lived a life that would disgrace a heathen among heathens; and she could and did, in her own mind, condemn crowds of commonplace men and women to all eternal torments of which her imagination could conceive, because they listened to profane music in a park on Sunday. Yet she was a good woman. Out of her small means she gave much away. She owed no man anything. She strove to love her neighbours. She bore much pain with calm unspeaking endurance, and she lived in trust of a better world. Alice Vavasor, who was after all only her cousin, she loved with an exceeding love, and yet Alice had done very much to extinguish such love. Alice, in the years of her childhood, had been brought up by Lady Macleod; at the age of twelve she had been sent to a school at Aix-la-Chapelle,--a comitatus of her relatives having agreed that such was to be her fate, much in opposition to Lady Macleod's judgement; at nineteen she had returned to Cheltenham, and after remaining there for little more than a year, had expressed her unwillingness to remain longer with her cousin. She could sympathize neither with her relative's faults or virtues. She made an arrangement, therefore, with her father, that they two would keep house together in London, and so they had lived for the last five years;--for Alice Vavasor when she will be introduced to the reader had already passed her twenty-fourth birthday.

Their mode of life had been singular and certainly not in all respects satisfactory. Alice when she was twenty-one had the full command of her own fortune; and when she induced her father, who for the last fifteen years had lived in lodgings, to take a small house in Queen Anne Street, of course she offered to incur a portion of the expense. He had warned her that his habits were not those of a domestic man, but he had been content simply so to warn her. He had not felt it to be his duty to decline the arrangement because he knew himself to be unable to give to his child all that attention which a widowed father under such circumstances should pay to an only daughter. The house had been taken, and Alice and he had lived together, but their lives had been quite apart. For a short time, for a month or two, he had striven to dine at home and even to remain at home through the evening; but the work had been too hard for him and he had utterly broken down. He had said to her and to himself that his health would fail him under the effects of so great a change made so late in life, and I am not sure that he had not spoken truly. At any rate the effort had been abandoned, and Mr. Vavasor now never dined at home. Nor did he and his daughter ever dine out together. Their joint means did not admit of their giving dinners, and therefore they could not make their joint way in the same circle. It thus came to pass that they lived apart,--quite apart. They saw each other, probably daily; but they did little more than see each other. They did not even breakfast together, and after three o'clock in the day Mr. Vavasor was never to be found in his own house.

Miss Vavasor had made for herself a certain footing in society, though I am disposed to doubt her right to be considered as holding a place among the Upper Ten Thousand. Two classes of people she had chosen to avoid, having been driven to such avoidings by her aunt's preferences; marquises and such-like, whether wicked or otherwise, she had eschewed, and had eschewed likewise all Low Church tendencies. The eschewing of marquises is not generally very difficult. Young ladies living with their fathers on very moderate incomes in or about Queen Anne Street are not usually much troubled on that matter. Nor can I say that Miss Vavasor was so troubled. But with her there was a certain definite thing to be done towards such eschewal. Lady Macleod by no means avoided her noble relatives, nor did she at all avoid Alice Vavasor. When in London she was persevering in her visits to Queen Anne Street, though she considered herself, nobody knew why, not to be on speaking terms with Mr. Vavasor. And she strove hard to produce an intimacy between Alice and her noble relatives--such an intimacy as that which she herself enjoyed;--an intimacy which gave her a footing in their houses but no footing in their hearts, or even in their habits. But all this Alice declined with as much consistency as she did those other struggles which her old cousin made on her behalf,--strong, never-flagging, but ever-failing efforts to induce the girl to go to such places of worship as Lady Macleod herself frequented.

A few words must be said as to Alice Vavasor's person; one fact also must be told, and then, I believe, I may start upon my story. As regards her character, I will leave it to be read in the story itself. The reader already knows that she appears upon the scene at no very early age, and the mode of her life had perhaps given to her an appearance of more years than those which she really possessed. It was not that her face was old, but that there was nothing that was girlish in her manners. Her demeanour was as staid, and her voice as self-possessed as though she had already been ten years married. In person she was tall and well made, rather large in her neck and shoulders, as were all the Vavasors, but by no means fat. Her hair was brown, but very dark, and she wore it rather lower upon her forehead than is customary at the present day. Her eyes, too, were dark, though they were not black, and her complexion, though not quite that of a brunette, was far away from being fair. Her nose was somewhat broad, and _retroussé_ too, but to my thinking it was a charming nose, full of character, and giving to her face at times a look of pleasant humour, which it would otherwise have lacked. Her mouth was large, and full of character, and her chin oval, dimpled, and finely chiselled, like her father's. I beg you, in taking her for all in all, to admit that she was a fine, handsome, high-spirited young woman.

And now for my fact. At the time of which I am writing she was already engaged to be married.

I cannot say that the house in Queen Anne Street was a pleasant house. I am now speaking of the material house, made up of the walls and furniture, and not of any pleasantness or unpleasantness supplied by the inmates. It was a small house on the south side of the street, squeezed in between two large mansions which seemed to crush it, and by which its fair proportion of doorstep and area was in truth curtailed. The stairs were narrow; the dining-room was dark, and possessed none of those appearances of plenteous hospitality which a dining-room should have. But all this would have been as nothing if the drawing-room had been pretty as it is the bounden duty of all drawing-rooms to be. But Alice Vavasor's drawing-room was not pretty. Her father had had the care of furnishing the house, and he had intrusted the duty to a tradesman who had chosen green paper, a green carpet, green curtains, and green damask chairs. There was a green damask sofa, and two green arm-chairs opposite to each other at the two sides of the fireplace. The room was altogether green, and was not enticing. In shape it was nearly square, the very small back room on the same floor not having been, as is usual, added to it. This had been fitted up as a "study" for Mr. Vavasor, and was very rarely used for any purpose.

Most of us know when we enter a drawing-room whether it is a pretty room or no; but how few of us know how to make a drawing-room pretty! There has come up in London in these latter days a form of room so monstrously ugly that I will venture to say that no other people on earth but Londoners would put up with it. Londoners, as a rule, take their houses as they can get them, looking only to situation, size, and price. What Grecian, what Roman, what Turk, what Italian would endure, or would ever have endured, to use a room with a monstrous cantle in the form of a parallelogram cut sheerly out of one corner of it? This is the shape of room we have now adopted,--or rather which the builders have adopted for us,--in order to throw the whole first floor into one apartment which may be presumed to have noble dimensions,--with such drawback from it as the necessities of the staircase may require. A sharp unadorned corner projects itself into these would-be noble dimensions, and as ugly a form of chamber is produced as any upon which the eye can look. I would say more on the subject if I dared to do so here, but I am bound now to confine myself to Miss Vavasor's room. The monstrous deformity of which I have spoken was not known when that house in Queen Anne Street was built. There is to be found no such abomination of shape in the buildings of our ancestors,--not even in the days of George the Second. But yet the drawing-room of which I speak was ugly, and Alice knew that it was so. She knew that it was ugly, and she would greatly have liked to banish the green sofa, to have re-papered the wall, and to have hung up curtains with a dash of pink through them. With the green carpet she would have been contented. But her father was an extravagant man; and from the day on which she had come of age she had determined that it was her special duty to avoid extravagance.

"It's the ugliest room I ever saw in my life," her father once said to her.

"It is not very pretty," Alice replied.

The chapter titles of Can You Forgive Her? immediately signal a novel built on contrasts: “Mr. Vavasor and His Daughter,” “John Grey, the Worthy Man,” “George Vavasor, the Wild Man.” This pairing extends to settings—London clubs and country houses, Swiss balconies and Lake Lucerne—and to the three women at the story’s center: Alice Vavasor, her cousin Kate, and her aunt Mrs. Greenow. The excerpts show a narrative that moves briskly between these characters, often through letters and conversations that reveal conflicting loyalties.

The recurring image of the balcony at Basle, which gives a chapter its name, suggests a vantage point for observing choices and consequences. Bridges over the Rhine, walks on the fells, and the ruins of Matching Priory further emphasize thresholds and transitions. The structure, originally serialized in monthly installments, uses these spatial and symbolic markers to guide readers through a web of romantic and political entanglements.

Parallel Plots and Contrasting Characters

The novel interweaves three romantic storylines: Alice Vavasor torn between the steady John Grey and her volatile cousin George; Kate Vavasor’s devotion to her brother George; and the widow Mrs. Greenow courted by the farmer Cheesacre and the Captain Bellfield. The excerpts show how Trollope shifts between these threads, often within a single chapter. In the letter from Aunt Greenow, her blunt refusal to fund George’s election campaign reveals a pragmatic voice that contrasts with Kate’s emotional pleading. George’s scar, which “opened itself” when angered, becomes a physical marker of his dangerous temperament. The chapter titles themselves—such as “Passion versus Prudence” and “Which Shall It Be?”—announce the moral dilemmas that drive each plot.

Movement Between Settings

The geography of the novel is expansive: from London’s Queen Anne Street and the Roebury Club to country houses like Nethercoats and Matching Priory, and further to Swiss locales such as Basle, Lucerne, and the “rocks and valleys.” The excerpts show characters traveling frequently—John Grey goes to London twice, Alice leaves the Priory, George Vavasor visits his ancestral hall. These journeys often coincide with turning points in the narrative. The balcony at Basle and the bridge over the Rhine function as liminal spaces where decisions are contemplated or revealed. The movement is not merely scenic; it reflects the characters’ social and emotional mobility, as well as the constraints of Victorian propriety.

Recurring Imagery of Thresholds and Boundaries

Balconies, bridges, ruins, and fells appear repeatedly in the chapter titles and excerpts. The “Balcony at Basle” suggests a place of observation and separation; the “Bridge over the Rhine” implies crossing from one state to another. The “Priory Ruins” at Matching evoke decay and the passage of time, while the “Fells” offer a wild, open landscape for confrontations. These images are not merely decorative—they structure the narrative’s rhythm. For instance, the walk on the fells in chapters 31 and 56 frames key emotional exchanges. The “first kiss” and “last kiss” chapters further underscore the idea of boundaries crossed or closed. Trollope uses these spatial motifs to give physical form to the characters’ internal conflicts.

The Role of Letters and Conversations

The excerpts demonstrate how Trollope advances plot and character through letters and dialogue. Aunt Greenow’s letter is a model of directness: “I am not going to do what you ask me.” It reveals her independence and her disdain for family pride. The conversation between Kate and George about the money is equally revealing—George’s threat to cut off contact if she refuses shows his manipulative nature. The novel’s structure often alternates between private correspondence and public scenes, such as dinners at Matching Priory or political meetings. This interplay allows Trollope to contrast inner thoughts with social performance. The reader, like the characters, must weigh what is said against what is written, and both against what is left unsaid.

Readers attentive to the novel’s architecture will notice how Trollope uses recurring motifs—balconies, bridges, letters—to bind the three plots together. The serialized format rewards attention to chapter titles, which often foreshadow or comment on the action. As you read, consider how each setting and each piece of correspondence advances or complicates the central question posed by the title. The novel’s length invites immersion, but its structure offers clear signposts for navigating the intertwined fates of Alice, Kate, and Mrs. Greenow.

That afternoon, the rain against the window blurred the lines between Trollope’s London and the cool Swiss terraces, that recurring bridge feeling—always between one life and another—stayed with me. Later, pulling a random volume off the shelf, I found that same suspended loneliness echoed in The Monster and Other Stories — Reading Notes. It felt less like a discovery, more like a familiar hand touching mine. The rain kept falling.

Benjamin Martin
1 month ago

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    Misty Ellison - 1 month ago
    Despite its reputation, I found 'Can You Forgive Her' tedious and overlong. The central question of whether to forgive Alice's indecisiveness becomes tiresome, and the plot meanders. The writing is dense, and the constant moralizing feels dated. While Trollope is celebrated, this novel lacks the urgency and wit of his other works. For contemporary readers, the pacing is glacial and the payoff underwhelming. Not recommended unless you're a completist.

  • ...
    Michele Kim - 3 weeks ago
    Anthony Trollope's 'Can You Forgive Her' is a masterful exploration of love, duty, and the constraints of Victorian society. The complex heroine Alice Vavasor is brilliantly drawn, torn between security and passion. The subplots involving Lady Glencora and Alice's cousin George add depth and intrigue. Trollope's prose is witty and insightful, and his characters are so real you feel you know them. This is a must-read for fans of classic literature, offering both romance and social commentary in equal measure.

  • ...
    Katrina Mathews - 3 weeks ago
    'Can You Forgive Her' is a solid Victorian novel with a strong female protagonist and intricate plotting. Trollope excels at depicting the social pressures women face. However, the pacing can be slow, and the lengthy interior monologues might put off some modern readers. Still, for those who enjoy character-driven stories and period detail, it's a worthwhile read, though not Trollope's most exciting work.


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