The cover page is adapted from Mary Cadwalader Rawle, a painting completed in 1868 by William Oliver Stone. The cover and title pages feature the League Spartan and Sorts Mill Goudy typefaces created in 2014 and 2009 by The League of Moveable Type. en.wikipedia.org/wiki/William_Oliver_Stonewww.theleagueofmoveabletype.com/
Rachel Ray
章节(30)
- I: The Ray Family 0:00
- II: The Young Man from the Brewery 30:31
- III: The Arm in the Clouds 53:33
- IV: What Shall Be Done About It? 1:32:36
- V: Mr. Comfort Gives His Advice 2:00:20
- VI: Preparations for Mrs. Tappitt’s Party 2:28:31
- VII: An Account of Mrs. Tappitt’s Ball—Commenced 2:59:55
- VIII: An Account of Mrs. Tappitt’s Ball—Concluded 3:29:26
- IX: Mr. Prong at Home 4:01:08
- X: Luke Rowan Declares His Plans as to the Brewery 4:30:03
- XI: Luke Rowan Takes His Tea Quite Like a Steady Young Man 4:56:13
- XII: Rachel Ray Thinks “She Does Like Him” 5:24:05
- XIII: Mr. Tappitt in His Countinghouse 5:51:00
- XIV: Luke Rowan Pays a Second Visit to Bragg’s End 6:21:36
- XV: Maternal Eloquence 6:53:36
- XVI: Rachel Ray’s First Love-Letter 7:22:39
- XVII: Electioneering 7:41:19
- XVIII: Dr. Harford 8:16:14
- XIX: Mr. Comfort Calls at the Cottage 8:45:26
- XX: Showing What Rachel Ray Thought When She Sat on the Stile, and How She Wrote Her Letter Afterwards 9:15:21
- XXI: Mrs. Ray Goes to Exeter, and Meets a Friend 9:49:53
- XXII: Domestic Politics at the Brewery 10:24:14
- XXIII: Mrs. Ray’s Penitence 10:53:01
- XXIV: The Election at Baslehurst 11:26:13
- XXV: The Baslehurst Gazette 11:59:46
- XXVI: Cornbury Grange 12:17:14
- XXVII: In Which the Question of the Brewery Is Settled 12:45:58
- XXVIII: What Took Place at Bragg’s End Farm 13:22:46
- XXIX: Mrs. Prime Reads Her Recantation 13:53:38
- XXX: Conclusion 14:16:56
Both Rachel Ray’s mother and elder sister are widows. They live a quiet life in their rural village, under the shadow of the nearby town of Baslehurst. When Rachel’s attractions catch the eye of Luke Rowan—a young man recently arrived in town to develop a brewery in which he has a commercial interest—reactions are varied. Her friends are jealous, her pious sister affronted; and Luke’s status in the town suffers a blow. While the nature of Rachel’s attachment to Mr. Rowan provokes speculation, the affairs of others in the town run their own course.
Rachel Ray is a tale of obstacles to the course of true love, told in Anthony Trollope’s gentle and well-observed style. Yet Trollope laces this otherwise unexacting narrative with probing explorations of personal morals, religious integrity, and even political prejudice.
It might now seem remarkable that this innocuous novel should have been the focus of controversy when it was serialized, but Trollope’s capacity to display the potentially hypocritical elements in Christian morality drew the ire of certain prominent ministers. If anything, the controversy only fueled its commercial success after it was published in a single volume. Since then, its charms have won for it a continuing readership, appreciative of the deft and delicate strokes with which Trollope depicts a few moments in the life of a Devonshire town.