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The Penguin English Library Edition of Wives and Daughters by Elizabeth Gaskell "Eh, miss, but that be a rare young lady! She do have such pretty coaxing ways ..." Seventeen-year-old Molly Gibson worships her widowed father. But when he decides to remarry, Molly's life is thrown off course by the arrival of her vain, shallow and selfish stepmother. There is some solace in the shape of her new stepsister Cynthia, who is beautiful, sophisticated and irresistible to every man she meets. Soon the girls become close, and Molly finds herself cajoled into becoming a go-between in Cynthia's love affairs. But in doing so, Molly risks ruining her reputation in the gossiping village of Hollingford - and jeopardizing everything with the man she is secretly in love with. The Penguin English Library - 100 editions of the best fiction in English, from the eighteenth century and the very first novels to the beginning of the First World War.

Brought to you by Penguin. Set in English society before the 1832 Reform Bill, Wives and Daughters centres on the story of youthful Molly Gibson, brought up from childhood by her father. When he remarries, a new stepsister, Cynthia, enters Molly's quiet life. Loveable but worldly and troubling, Cynthia's arrival alters Molly's daily life. The narrative traces the development of the two girls into womanhood within the gossiping and watchful society of Hollingford. Wives and Daughters is far more than a nostalgic evocation of village life; it offers an ironic critique of mid-Victorian society.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Elizabeth Gaskell’s “Wives and Daughters” was originally published serially in “Cornhill Magazine” between August 1864 and January 1866. And, Widely believed to be her masterpiece. The novel follows the fortunes of two families in nineteenth century rural England. At its core are family relationships father, daughter and step-mother, father and sons, father and step-daughter all tested and strained by the romantic entanglements that ensue. Gaskell vividly portrays the world of the late 1820s and the forces of change within it, and her vision is always humane and progressive. This novel is a subtle representation of historical change explored in human terms.

Molly Gibson is a young girl who has been raised by her widowed father. During a visit to the local aristocratic "great house" of Lord and Lady Cumnor, she loses her way in the estate and falls asleep under a tree. When she wakes up, she gets distressed at the thought of spending the night at the mansion, but to her relief, her father arrives to collect her. Seven years later, Molly is an attractive and rather unworldly young woman, which arouses the interest of one of her father's apprentices. Mr. Gibson discovers the young man's secret affection and sends Molly to stay with the Hamleys of Hamley Hall. Molly falls in love with Roger, the younger son of Mrs. Hamley, but it appears that he is more interested in Cynthia, Molly's new stepsister from her father's second marriage.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

A BBC Radio 4 full-cast dramatization of Elizabeth Gaskell's classic novel of everyday provincial life in the 1820s, ‘Wives and Daughters’, first broadcast in the ‘Woman’s Hour Drama’ slots from 29 November 2010 - 10 December 2010. ‘Wives and Daughters’ was written in the 1860s and serialised in the Cornhill Magazine. It is set in the 1820s and deals to a large extent with the position of women in society. Elizabeth Gaskell left it unfinished, so any dramatizer of the novel is faced with guessing the intended outcome of the story. This BBC Radio 4 adaptation by Theresa Heskins stars Deborah McAndrew as Lily Gaskell, Emerald O'Hanrahan as Molly Gibson and Jamie Newall as Dr Gibson. Also included amongst the cast are Julia Hills, Claire Neilson, Marian Kemmer, Susan Jeffrey, Kate Layden and Henry Devas. Produced and directed by Peter Leslie Wild.

Wives and Daughters CHAPTER I. THE DAWN OF A GALA DAY. To begin with the old rigmarole of childhood. In a country there was a shire, and in that shire there was a town, and in that town there was a house, and in that house there was a room, and in that room there was a bed, and in that bed there lay a little girl; wide awake and longing to get up, but not daring to do so for fear of the unseen power in the next room--a certain Betty, whose slumbers must not be disturbed until six o'clock struck, when she wakened of herself "as sure as clockwork," and left the household very little peace afterwards. It was a June morning, and early as it was, the room was full of sunny warmth and light. On the drawers opposite to the little white dimity bed in which Molly Gibson lay, was a primitive kind of bonnet-stand on which was hung a bonnet, carefully covered over from any chance of dust with a large cotton handkerchief, of so heavy and serviceable a texture that if the thing underneath it had been a flimsy fabric of gauze and lace and flowers, it would have been altogether "scomfished" (again to quote from Betty's vocabulary). But the bonnet was made of solid straw, and its only trimming was a plain white ribbon put over the crown, and forming the strings. Still, there was a neat little quilling inside, every plait of which Molly knew, for had she not made it herself the evening before, with infinite pains? and was there not a little blue bow in this quilling, the very first bit of such finery Molly had ever had the prospect of wearing?