While not considered among Charles Reade’s major works, Christie Johnstone provides a delightful insight into his sense of humor. Not only does the novel’s subject matter entertain, but its format also proves of interest, as Reade designed some chapters as dramatic scripts, complete with dialogue. The format grew from one of his dozen plays, titled Masks and Faces. A writer celebrated equally as novelist and playwright, he found a way to combine his talents.

Generally described simply as a novel about a Scottish fishing village, the story focuses on Viscount Ipsden, a wealthy, effete, but unhappy young aristocrat. Reade opens conceding that some might be surprised by Ipsden’s state of mind, then explaining “[T]here are certain blessings the non-possession of which makes more people discontented than their possession renders happy.” Those aware that Reade was born at Ipsden House, Oxfordshire, where he matured as the spoiled seventh son and 10th child of a Tory squire, will appreciate the irony and Reade’s self-deprecatory rendition of the viscount. Additional autobiographical elements exist in Reade’s knowledge of the fishing life through his own Scottish herring business, as well as in a possible love affair between Reade and one of the local fisherwomen.

Ipsden is bored; pleasure has ceased to please and amusement to amuse. He is trapped in unrequited love for Lady Barbara Sinclair, a woman with a mind “somewhat original, full of fire and faith, and empty of experience,” greatly affected by writers of romance and on the lookout for a hero of sorts. She informs Ipsden, “[T]he man I marry must have two things, virtues and vices—you have neither; you do nothing, and never will do anything but sketch and hum tunes, and dance and dangle.” Her pronouncement throws Ipsden into despair.

Charles Reade

When Ipsden’s butler, Saunders, becomes concerned about his master’s ennui, he contacts a physician who informs Ipsden, “You have the maladies of idle minds,” and he prescribes “acquaintance with all the people of low estate,” directing his patient to “learn their ways, their minds, and above all, their troubles.” Ipsden fears such an occupation will bore him, but he perseveres, and Saunders brings two female members of the lower class to meet him. One of the women is Christie Johnstone, and the fun of the novel begins.

Reade’s description of the two unfortunates spares no detail, including each item of clothing and concluding with a description that would interest feminist critics: “These women had a grand corporeal tract; they had never known a corset! so they were straight as javelins; they could lift their hands above their heads!—actually!” Reade establishes the lower class, probably too romantically, as refreshingly natural and free from the concerns that burden their wealthy counterparts. A healthy dose of their various philosophies and several adventures in a world Ipsden had never known fill the prescription to return him to health.

Reade enjoys playing off stereotypes. In addition to those of the upper and lower classes, he also takes on nationalities, writing, “The Scotch are icebergs, with volcanoes underneath; thaw the Scotch ice, which is very cold, and you shall get to the Scotch fire, warmer than any sun of Italy or Spain.” Johnstone represents that fire. Her passion, and that of her community, will help arouse Ipsden’s own.

When Lady Barbara arrives on the scene, she learns of Ipsden’s good deed in offering his entire fortune to bribe fishermen to save an endangered ship. She deems it “a noble action,” deciding that her lover is “browner and charitabler” than he had previously been. She also observes the “perilous adventure” she had longed to see, as Christie effects a dramatic rescue of her love, Charles, and Ipsden tells Barbara, “You have seen something great done at last; and by a woman, too!” Ipsden marries Barbara, as Christie does Charles, and both couples enjoy long happy lives, but it is Christie upon whom Reade expounds in his last several pages.

Reade may have attempted a comic parody that dissolved too often into melodrama, but Christie Johnstone contains enough humor to entertain those who appreciate his style and intelligence.

Bibliography
Vitanza, Diana. Charles Reade: A Revaluation. Dekalb, Ill.: Northern Illinois University Press, 1977.

Categories: British Literature, Literature, Novel Analysis

Tags: 19th century novels, Analysis of Charles Reade’s Christie Johnstone, aristocracy in fiction, british fiction, charles reade, charles reade novels, Charles Reade’s Christie Johnstone, christie johnstone, class and society in literature, Feminist literary criticism, lady barbara sinclair, literary parody, literature of social reform, masks and faces, melodrama and humor, reade autobiographical elements, reade playwright and novelist, romantic fiction, scottish fishing village, victorian gender roles, Victorian Literature, viscount ipsden