English literature

Here is a stupendous achievement: a narrative history of England which is both thorough and arresting. Very few writers could pull it off. Either they’d have an axe to grind, or they’d lose perspective, or they’d present a series of anecdotes, or they’d end up in a Casaubonish pursuit of other historians’ errors. In fact, to get it right, you’d ideally be a mature and accomplished author, steeped in the facts, who was nonetheless tackling English history for the first time. Which is more or less what Robert Tombs, a professor of French history at Cambridge, is. ‘A writer of history ought, in his writings, to be a foreigner, without country, living under his own law only,’ claimed Thomas Hobbes, adapting Lucian.

It’s a misleading title, because there is nothing unexpected about Professor Carey, in any sense. He doesn’t turn up to parties uninvited, like some of his less organised colleagues. As for his appointment, he was tailor-made for the job. Right class (middle); right school (grammar); right military service (guarding sand); right religion (books). An unsullied record of diligence as undergraduate, graduate, lecturer and tutor was combined with engaging resilience: ‘Teaching at St John’s was so enjoyable that I felt it was wrong to be paid for it.’ His outlook was just right for 1974; he was against ‘Old Oxford’, public schoolboys, compulsory Anglo-Saxon and all manifestations of waste, idleness and privilege.

The genesis of The Road to Middlemarch was a fine article in the New Yorker about  Rebecca Mead’s unsuccessful search for the origin of the remark, sometimes attributed to George Eliot, that ‘it’s never too late to become the person you might have been’. To Mead this seemed at variance with the concentration in Middlemarch on ‘the melancholy acknowledgment of limitation’. She sets her vain attempt to re-attribute that sentence in apposition to Eliot’s story of  Lydgate, the doctor whose scientific ambitions are dashed in the wake of his marriage to the implacable Rosamond Vincy: ‘I had aspired to make a link in the chain of discovery, and had failed.

The last time the general reader was inveigled into the domestic intensities of the Wordsworth circle was by Frances Wilson in The Ballad of Dorothy Wordsworth. She engaged delicately with Dorothy’s inordinate love for her younger brother William, and seemed to think her passionate attachment was romantic and sentimental rather than sexual — though there are 50 shades of grey between the one and the other, and honestly, it doesn’t matter. Katie Waldegrave, in her riveting family saga The Poets’ Daughters, is not much concerned with that anyway. Her focus is on what happened to Wordsworth’s daughter Dora, the second of his five children, and Coleridge’s youngest, Sara. There were 20 months between them and they were much together as children.