The brevity of this review is based on the length of the work itself, often termed a short story, but I think it is more or less a novella due to its division into chapters.
“Lizzie Leigh,” like Mary Barton, involves a fallen woman who is, believe it or not, the title character. Like Esther (the fallen woman of Mary Barton), Lizzie is marginalized for most of her narrative and is referred to only in name. She makes her first appearance in the present in Chapter III, at which point she is referred to simply as “the shadow” and “the mother.” In Chapter IV, she experiences a slight gain in her social standing. In terms of the narrative, she enjoys being addressed in the exposition by her name while she is present rather than as a non-entity. She is “redeemed” by the tragic death of her child and allowed to live. Yes, that’s right… I said live. She neither dies nor marries but occupies a small secluded cottage praying for forgiveness and emerges when tragedy strikes others. (Dare I say she is a bit like the patron saint of sorrow?) So, I suppose she is also a little bit like Helen Huntingdon sans the death of the child and the reentry into society as a happily married woman, but I have already discussed her in a previous post.
This is a VAST improvement from the utterly tragic ending of Mary Barton, also discussed in a previous post. Lizzie demonstrates her duality in possessing two names (she is called “Bessy” by her coworkers). Otherwise, she is relatively singular. Still, the possession of an alias creates a double of sorts, and I think she will make it into the thesis.
Now, to begin an arduous journey through the 704-page beast that is Wives and Daughters. I noted on GoodReads.com that the novel’s average rating is somewhere around 4.10, so I’m hoping that the page length is worth it. Aside from Harry Potter and the Goblet of Fire and The Bible, it will be the longest book I have ever read (all my non-English major friends mocked me for it… I am ashamed…)