Anthony Trollope apologizes

Now that audiences on both sides of the Atlantic have seen Masterpiece Theater's version of Anthony Trollope's version of the British clergy in ``The Barchester Chronicles,'' the time may be ripe to sample the prose of this quintessential 19th-century novelist. In ``The Last Chronicle of Barset'' (1867) he offers an apology that some TV viewers might consider not wholly unnecessary. Before I take my leave of the diocese of Barchester for ever, which I purpose to do in the succeeding paragraph, I desire to be allowed to say one word of apology for myself, in answer to those who have accused me, -- always without bitterness, and generally with tenderness, -- of having forgotten, in writing of clergymen, the first and most prominent characteristic of the ordinary English clergyman's life. I have described many clergymen, they say, but have spoken of them all as though their professional duties, their high calling, their daily workings for the good of those around them, were matters of no moment, either to me, or in my opinion, to themselves. I would plead, in answer to this, that my object has been to paint the social and not the professional lives of clergymen; and that I have been led to do so, firstly, by a feeling that as no men affect more strongly, by their own character, the society of those around than do country clergymen, so, therefore, their social habits have been worth the labour necessary for painting them; and secondly, by a feeling that though I, as a novelist, may feel myself entitled to write of clergymen out of their pulpits, as I may also write of lawyers and doctors, I have no such liberty to write of them in their pulpits. When I have done so, if I have done so, I have so far transgressed. There are those who have told me that I have made all my clergymen bad, and none good. I must venture to hint to such judges that they have taught their eyes to love a colouring higher than nature justifies. We are, most of us, apt to love Raphael's madonnas better than Rembrandt's matrons. But, though we do so, we know that Rembrandt's matrons existed; but we have a strong belief that no such woman as Raphael painted ever did exist. In that he painted, as he may be surmised to have done, for pious purposes, -- at least for Church purposes, -- Raphael was justified; but had he painted so for family portraiture he would have been false. Had I written an epic about clergymen, I would have taken St. Paul for my model; but describing, as I have endeavoured to do, such clergymen as I see around me, I could not venture to be transcendental. For myself I can only say that I shall always be happy to sit, when allowed to do so, at the table of Archdeacon Grantly, to walk through the High Street of Barchester arm in arm with Mr. Robarts of Framley, and to stand alone and shed a tear beneath the modest black stone in the north transept of the cathedral on which is inscribed the name of Septimus Harding.

And now, if the reader will allow me to seize him affectionately by the arm, we will together take our last farewell of Barset and of the towers of Barchester.

``The loose-leaf library'' is a Tuesday feature bringing together writings by authors from all ages -- Homer's to Hemingway's. They are printed to fit a small loose-leaf notebook for readers who choose to collect them, perhaps along with selections from other sources. Please let us know of authors and/or particular writings you would like considered. Thanks to Betty Yarnell of El Toro, Calif., for suggesting Anthony Trollope.

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