North and South

by Elizabeth Gaskell

North and South: Allusions 10 key examples

Definition of Allusion

In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals, historical events, or philosophical ideas... read full definition
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals... read full definition
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to... read full definition
Allusions
Explanation and Analysis—Tennyson's Poems:

When Margaret describes her home village of Helstone to her friend Henry Lennox, she makes an allusion to the poems of Alfred, Lord Tennyson. 

Allusions
Explanation and Analysis—Beasts and Humans:

While Thornton uses the metaphor of "beasts" to refer to his angry workers, Margaret insists that he look at them as human beings.

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Chapter 2
Explanation and Analysis—Butchers & Bakers:

Early in the novel, when the Hales are still living in Helstone, Margaret expresses a dislike of “shoppy people," or people who've made money in trade, while talking with her mother. To show her disdain, she alludes to a children's nursery rhyme:

I think we are far better off, knowing only cottagers and labourers, and people without pretence [...]. I’m sure you don’t want me to admire butchers and bakers, and candlestick-makers, do you, mamma?

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Chapter 11
Explanation and Analysis—Bessy's Faith:

As Margaret gets to know her new friend Bessy Higgins, she's taken aback by very different expressions of Christianity than she's been used to in her more privileged upbringing. Bessy's faith is typically expressed through allusions to the Bible and popular religious literature, and often, she alludes longingly to death and heaven.

One day when Bessy is feeling especially weak and ill, she admits to Margaret:

I’m weary and tired o’ Milton, and longing to get away to the land o’ Beulah; and when I think I’m farther and farther off, my heart sinks, and I’m no better; I’m worse.

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Chapter 19
Explanation and Analysis—The Rich Man and Lazarus:

When Margaret feels guilty about attending the Thorntons' fancy dinner-party while many in Milton go hungry, Bessy attempts to reassure Margaret, using a  rather confused allusion to a biblical parable.

Some’s pre-elected to sumptuous feasts, and purple and fine linen,—may be yo’re one on ’em. Others toil and moil all their lives long—and the very dogs are not pitiful in our days, as they were in the days of Lazarus. But if yo’ ask me to cool yo’r tongue wi’ th’ tip of my finger, I’ll come across the great gulf to yo’ just for th’ thought o’ what yo’ve been to me here.

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Chapter 28
Explanation and Analysis—Mr. Higgins's Critique:

After Bessy Higgins's death, her father—who denies having conventional Christian beliefs—argues with Mr. Hale about the role that religion holds in most Milton people's lives:

“I reckon you’d not ha’ much belief in yo’ if yo’ lived here… Lord, sir, d’ye think their first cry i’ the morning is, ‘What shall I do to get hold on eternal life?’ or ‘What shall I do to fill my purse this blessed day?’”

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Chapter 30
Explanation and Analysis—Margaret as Priest:

After Margaret's mother dies, Margaret not only takes on the role of comforter and sustainer of the entire family, but essentially does so through the expected actions of a clergyman—her father's former role. Because Mr. Hale's former position as Church of England priest was such a major part of his identity, and his abandonment of the priesthood is the primary driver of the Hales' move to Milton, it's ironic when Margaret suddenly and unexpectedly assumes aspects of that role herself. She does this while her father whimpers and her brother weeps over Mrs. Hale's body, instinctively reciting scripture and ministering to the grieving family:

The night was wearing away, and the day was at hand, when, without a word of preparation, Margaret’s voice broke upon the stillness of the room, with a clearness of sound that startled even herself: ‘Let not your heart be troubled,’ it said; and she went steadily on through all that chapter of unspeakable consolation.

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Explanation and Analysis—The Roman Daughter:

As Mrs. Hale nears death, Margaret has to be strong for her grieving father. The novel makes an allusion to the ancient figure of the "Roman daughter" to describe her role in the family, particularly her father's utter dependence on her:

Poor Margaret! All that afternoon she had to act the part of a Roman daughter, and give strength out of her own scanty stock to her father.

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Chapter 49
Explanation and Analysis—Zenobia and Cleopatra:

With Margaret living in London again, Edith has been teasing her brother-in-law Henry Lennox about her hopes that he will marry Margaret one day soon. Henry responds by warning her not to meddle, alluding to ancient queens to describe Margaret's aloof behavior. 

She has been very farouche with me for a long time; and is only just beginning to thaw a little from her Zenobia ways. She has the making of a Cleopatra in her, if only she were a little more pagan.

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Chapter 50
Explanation and Analysis—Individuals vs. Crowds:

The novel uses the motif of individuals versus crowds to suggest that as long as people see each other primarily as groups or classes, they'll tend to be wary or even antagonistic toward one another; it's only through individual, personal connections, the novel suggests, that genuine regard, much less social progress, becomes thinkable.

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Chapter 51
Explanation and Analysis—Individuals vs. Crowds:

The novel uses the motif of individuals versus crowds to suggest that as long as people see each other primarily as groups or classes, they'll tend to be wary or even antagonistic toward one another; it's only through individual, personal connections, the novel suggests, that genuine regard, much less social progress, becomes thinkable.

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