Miriam May grabs an opportunity to criticize the state of the church
when the bishop of St. Ambrose dies (he does not feature in the novel otherwise).
Here the ecclesiastical theme of the novel is at its most explicit,
and the narrative highlights the division between the Low Church and the High Church factions
in the Church of England. The appointment of a bishop is a political matter:
"It is rumoured," said
Mr. Harcourt, as he passed on, "that Slie will get it; he has great
interest; his brother has not supported the administration for nothing. Lord
Foxmore, too, is said to be anxious that Slie should have it; and Kantwell, who
is notoriously the bishop-maker of the Cabinet, has written, I hear, to Mr.
Slie." (Miriam May, Chapter 15)
Lord Kantwell's letter to Slie
makes clear his hostility towards the High Church:
"I am determined to put down
Puseyism; and any one whom I on behalf of Lord Fripon can recommend to the
Queen, must very satisfactorily convince me that if, I may so say, he believes
the Thirty-nine Articles might well be less in scope and number." (Ibid.)
As a 'job interview' for Mr Slie,
Lord Kantwell list several questions that reflecting the division in the church:
"Do you believe, and to what
extent in Apostolic succession? Do you believe in Baptismal Regeneration and in
Absolution; and do you sanction in any way Confession? I do not desire to
influence you in this matter, of course, but are you favourably disposed
towards a moderate measure of liturgical revision? Would you sanction amongst
your clergy the surplice in the pulpit? Are you friendly to daily services and
weekly communions? What is the least and the most number of times in the year
that you would urge your clergy to preach against the Virgin Mary? ... Should you
be indisposed to look favourably on preaching in Exeter Hall? and I should take
it kindly if you would let me know whether your sympathies are with the
Propagation of the Gospel in Foreign Parts, or the Church Missionary
Society." (Ibid.)
Mr. Slie replies with his own lengthy letter, giving all these
questions the correct, Low Church answers. For example, he considers "the
exposition of the Gospel in Exeter Hall to be, of all things, a means for
hurrying on the Kingdom of God." (Ibid.)
Exeter Hall on The Strand in London was a
meeting place for several protestant organizations. And, writes Mr Slie, the strongly
evangelical "Church Missionary Society has, of the two societies your
lordship mentions, alone any place in my affections." (Ibid.) More importantly, from a doctrinal point of
view, Slie is in earnest "to put down Puseyism in its every form." (Ibid.) This was another name for
the Oxford movement, after Edward Bouverie Pusey (1800-1882) who remained its
leader after Newman converted to Catholicism. Pusey had a "long and almost
unbroken career of controversy" (Catholic Encyclopedia at http://www.newadvent.org/cathen/12582a.htm);
in 1843 his sermon on The Holy Eucharist
got him banned from preaching for two years. (http://www.puseyhouse.org.uk ) He
was also an excellent Arabic scholar.
All clergymen of the Church of England were obliged to subscribe to the Thirty-Nine Articles that are the foundation of faith in the Church of England. (See them all at http://www.churchofengland.org/prayer-worship/worship/book-of-common-prayer/articles-of-religion.aspx). Their significance was much debated in the church in the 1840s particularly, and the Oxford movement argued that they complied with the tenets of the Catholic Church. The narrative signals Slie's hypocrisy as a Church of England clergyman: "his argument against the Articles — to which he thought it faithful to subscribe whilst he held certain of them to be a menace to the faith he professed." (Ibid.). For more information on this whole matter, see Evangelicals in the Church of England 1734-1984 (1992) by Kenneth Hylson-Smith.
When Arthur's mother dies, he has to consider his own future. He is not sufficiently wealthy to lead the life of an independent gentleman. Mr Stoolman offers him a career in law. But Arthur does not want to be a "man of business," contributing only to himself, he wants to contribute to his country. He replies to Mr Stoolman: "I thought of going to Oxford for three years and then preparing myself for Parliament; as I feared the Church was out of the question." (Miriam May, Chapter 11)
Chapter 11 is entitled
"Shying at the Collar." This could be a reference to Arthur's assumed
general reluctance to get a job (the collar being the collar of a working
harness), but it can equally be taken to refer to a priest's collar. This has High Church relevance: the Oxford movement popularized the dog-collar or the clerical
collar. It is generally thought that this collar, which is little more than a
normal 19th-century, detachable collar starched and turned back-to-front, was
first 'invented' by Rev Dr Donald McLeod, as reported in the Glasgow Herald on December 6, 1894. It
seems to me that Rev McLeod had his tongue firmly in cheek when he claimed the
credit for it. The article in the Glasgow
Herald reports a meeting of the Glasgow Presbytery where the matter of
priests' vestments was discussed. It is in this context that Rev McLeod
declared:
"Personally he had only one
claim to immortality, and he was afraid it rested upon a fact known to no one
but himself, and that was, he was the first to introduce what was known as the
"dog collar." [Laughter.] In his youth, 39 years ago, he had
introduced it." This is followed, according to the report, by more
laughter.
(The article is available to view
at http://news.google.com, it is in the middle of the second page of the Glasgow Herald edition, under the
headline 'Ecclesiastical')
A career in the church, then, is
not Arthur's first choice. Instead, quite conveniently, on the third day after
gaining his degree from Oxford, Arthur sees a piece in the Morning Post announcing that the member for Great Glastonbury "had
been thrown many feet out of a tandem, and cast on to his head leaving whatever
brains he had - for the first time brought to light - about the road." (Miriam May, Chapter 12) The paper has
"an affectingly exact description of what amount of brains had been got
together by some intelligent constable; any amount being on the side of the
account that was new to Great Glastonbury." (Ibid.) The narrative combines gore and comedy in a disturbing way,
but moves on quickly to describe how parliamentary elections are fought and
won. Arthur stands at the elections against Lord Diskount and Mr Le Poer Bubb.
Lord Diskount, with his wealth and the help of a "parliamentary
agent" wins the seat. Arthur, in turn, loses a lot of money in fighting
the campaign and he has to reconsider his options: "I had not the capital
which would permit me to be honest, and yet enable me to be successful." (Miriam May, Chapter 13). Instead, he now
"turned my thoughts towards the Church." (Ibid.) Arthur enters priesthood, it seems, not as a result of a
religious calling, but because of convenience. There is no depiction of his
spiritual life or his religious convictions in the narrative, beyond his fond
memory of his dead mother teaching him his first prayer when he was a little
boy. (Miriam May, Chapter 6).
As a priest, Arthur Trevor is High Church - his
narrative should have made that clear by now. He soon establishes "daily
services to the utter unstringing of Mrs. Dubbelfaise's Protestant nerves."
(Miriam May, Chapter 15), he is
friends with a High Church clergyman Mr Harcourt. Both of them are not happy
about Slie's appointment as bishop:
"the Church may have too many of these men, why don't they keep to
their chapels?" (Ibid.) Although Arthur maintains that "Both Mr
Harcourt and I had good cause to know that Mr Slie was no man to be a
bishop" (Miriam May, Chapter
15), he accepts Slie as his superior - this respect for church hierarchy is another
trait of High Church thinking (Miriam May,
Chapter 18).
Miriam May gives
its author scope to express views on the Church of England and its divisions.
The portrayal of the Low Church preachers Slie and Wray and Slie's loyal
congregation of the Glastonbury ladies, the lengthy sections on the idea of
"faith without works" and Mr Slie's appointment as a bishop, the
references to Puseyism and the Thirty-Nine articles all make up a commentary
which disparages the Low Church and supports the High Church faction in the
Church of England.
Matters of the church in Miriam
May appear as both a source of comedy and (mildly) critical commentary.
Crucially, they do not provide any significant contribution to the plot of the
novel. The role of the church or religion in the individual characters' lives is
not explored in any meaningful way. Arthur's choice to become a priest, and his
religious convictions (or lack of them), are not analyzed. Mr Slie's apparently
strongly held ecclesiastical views have no impact on the events of the story. His
progression up in the church hierarchy is not of interest in the narrative.
H. L. Mansel identified the matter of High Church vs Low
Church as the key theme of Miriam May.
It is a theme that clearly runs through the novel, but what it adds to the
novel is some degree of entertainment value rather than drama, depth or serious
social commentary. The reason for this lack of impact is the fact that no one
in Miriam May really seems to care
about religious matters, despite the fact that both the narrator/hero
Arthur and the character that comes closest to being the villain of the piece Mr
Slie are priests in the Church of England. The place where the narrative
should most explicitly pass judgment on this matter is the treatment of Evelyn May, the
(possibly) un-wed mother and her (possibly) bastard daughter. In most simple
terms, the Low Church congregation of Mr Slie refuses the two women charity,
whereas the High Church Arthur Trevor support the women
throughout. But this distinction is not attributable to the ecclesiastical
leanings of the two sides, there are other motivations than religious ones. The
ladies of Glastonbury are driven as much by ideas of middle-class
respectability as evangelical principles. On the other side, as a gentleman,
Arthur is obliged to help Evelyn and Miriam, after Miriam has 'saved' him and
spent years as an 'adopted' sister in his household
Robins has sought to use the sensational,
melodramatic plot of Evelyn and Miriam May's tribulations as a vehicle in which
to insert comments on the theme of the church. This is why, first, you can read
Miriam May and ignore the sections
about the church, you will not miss anything in understanding the plot or the
characters; and secondly, Miriam May
is not a very good novel (there are other reasons, too, more about them later).
The controversy between the Low Church and the High Church, which was a
passionately fought issue that affected deeply those involved in it, is a
powerful theme for a sensation novel. Religious convictions, fundamentalism and
sectarianism are strong motives with sensational potential. Miriam May almost completely fails to take advantage of this.
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