Review: Phineas Finn, by Anthony Trollope

Review: Phineas Finn, by Anthony Trollope

by Rich Horton

(In the belief that some people coming to this post might be interested in Victoriana, I will note that I have posted a quiz about Victorian Fiction that I recently wrote for an online trivia league. The quiz is here: Victorian Fiction Quiz.)

Phineas Finn (sometimes subtitled The Irish Member) is the second novel in Trollope's Palliser, or Parliamentary, series of novels. The series comprises six novels. I read the first, Can You Forgive Her?, about a year ago. It seems, however, that Phineas Finn begins what might be considered the main story arc of the books, which is continued in the final three volumes: Phineas Redux, The Prime Minister, and The Duke's Children. (The Eustace Diamonds is book three.) All six books share many characters, most of whom are significant players in the political world, and some of whom are evidently based on the actual Parliamentary leaders of the time, people like Disraeli and Gladstone. It should also be noted that these books are also connected to an extent with the Barsetshire novels -- for example, Plantagenet Palliser, probably the most important character in the series, is introduced in the fifth Barsetshire novel, The Small House at Allington, and his father, the Duke of Omnium, is an important minor character in the Barsetshire books, and is also a very important minor character in Phineas Finn. It does appear to me that the four Palliser books of the main arc should probably be read in the order of publication, but the other two books needn't be. (Though there is a key subplot in Can You Forgive Her? that sets up the future of Plantagent Palliser and his wife, Lady Glencora, in ways that do impact Phineas Finn.)

OK, that's just introductory blather. What about this novel? Phineas Finn is a young Irishman -- 25 at the opening of the book, 30 at its conclusion -- the son of a doctor in County Clare. He studied at Trinity, and has spent the previous few years in London, studying for the Bar. He is ready for his professional life, and suddenly the opportunity arises for him to take a seat in Parliament: the seat for Loughshire, near his father's home, is controlled by one of his father's patients, Lord Tulla. Lord Tulla has quarreled with his brother, who holds the seat, and is looking for another man to take over. Soon Phineas is back in London as the MP for Loughshire. As MPs are not paid, he must still live on the small amount his father can afford. But his life's ambition is to be in politics. 

That sets up the political plot of the novel, which concerns the first five years of Phineas Finn's career. He must navigate a course between his Liberal principles and various expediencies, such as keeping his seat (Lord Tulla is a Tory) and even keeping his borough in existence, as the Reform Bills which are the main controversy of the day will significantly redistribute the boroughs, to more fairly equalize representation. Even within the Liberal Party, he has issues of conscience -- must he do what the Party leaders wish, even if they differ from his own beliefs? All these elements reverberate through the novel, as for example he gains a (paid, crucially) Cabinet position, but if he bucks the Party leaders at any point, he must resign. This might seem dry, but it is not, in Trollope's telling. Part of this is Trollope's voice. Part is Trollope's knowledge -- which included a run for Parliament (though that was after writing Phineas Finn.) Part is that he uses these issues both for delineation of character, and discussion of governing theory, etc.

The other key plot is about Phineas Finn's personal life -- which is to say, mostly, his love life. There are four women in the book whom he calls lovers (or who, in one case, thinks of him as a potential lover.) These are Lady Laura Standish, who is intensely interested in politics and strongly supports Phineas' career. Then Violet Effingham, Lady Laura's friend, whom Laura wishes will marry her rackety brother. Violet is beautiful and intelligent and very independent in spirit. And there is Marie, Madame Max Goesler, a beautiful widow just a few years older than Phineas. Madame Max is very wealthy, very intelligent -- and, possibly, Jewish and of lower class origins. Finally, there is Mary Flood Jones, a good friend of Phineas' sister. Phineas has enjoyed her company while in Ireland, and probably has given her reason to believe he might marry her. She is pretty, and affectionate, and loyal -- and it seems not nearly as intelligent and interesting as the other women. 

There are ups and down, dramatic (even shocking) events in both threads, and the two intersect interestingly and effectively. There are extensive parts which don't directly involve Phineas -- one truly terrible marriage is closely examined, the behind the scenes influence of powerful women on the political world they are technically barred from is depicted, the attitudes and actions of ordinary people (that is to say, neither politicians nor aristocrats) are given voice. There are comic interludes, and tragic ones. Two of my favorite chapters are in essence almost entirely in the voice of other characters -- the one is called "Violet Effingham", and lets her discuss at length her attitudes about marriage; the other is called "Mr Monk Upon Reform", and is primarily a letter from Mr Monk (one of Phineas' political mentors) detailing his beliefs on the reform of the electoral system in the UK, and on the reasons it is desirable, and the shape of the best outcome. 

I'm trying not to detail much at all about the actual plot. Phineas's career, both political and personal, has high points and low points, and ends mostly happily, though with some ambiguity and a lot of stress -- and, of course, there will be further changes ahead, elaborated mostly, I assume, in Phineas Redux. Phineas himself is a fine character, a good man with flaws, a rather lucky man whose successes are partly due to his abilities, but also to his good looks, and to sheer good fortune. The three English women he is involved with -- Lady Laura, Violet, and Madame Max -- are wonderful characters. There is a host of minor characters who are intriguing: Phineas' fellow Irish MP Laurence Fitzgibbon; the journalist Quintus Slide; Mr. Low, the barrister who teaches Phineas the law; Mr and Mrs Bunce, Phineas' landlords; Plantagenet Palliser's wife, Lady Glencora; Lady Laura's unstable but oddly likeable brother Lord Chiltern; and many more. 

I have now read seven of Trollope's novels, all with at least some enjoyment, and most with immense enjoyment, but I think Phineas Finn is (so far!) my favorite. I said recently somewhere that, while Dickens and Eliot are undoubtedly greater novelists than Trollope, Trollope is more enjoyable. Does Trollope's hand on the scales sometimes noticeably influence the outcome? Sure (but so does Dickens' hand.) Is Eliot's moral and philosophical view of the world more complex than Trollope's? Yes, though Trollope's ideas are by no means negligible. Is Trollope's prose less energetic and surprising than Dickens', and less elegant than Eliot's? Definitely, though Trollope is never less than readable. What can I say? Trollope is a wonderful writer who deserves to be read, and will reward the reader.