74 pages • 2-hour read
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Content Warning: This section of the guide mentions death by suicide and anti-gay bias.
The Armor of Light depicts the complexity of love across the social classes of 18th and 19th century Britain. In this society, dominated by a rigid class structure, etiquette and formality govern most aspects of people’s lives. The more class privilege people have, the more beholden they feel to social expectations. These rigid expectations frequently clash with the inherently unruly force of romantic love. For example, a complex love triangle exists between Jane, Amos, and Elsie: Amos is in love with Jane, but Jane is fixated on landing a wealthy, aristocratic husband rather than a man she truly loves. At the same time, Elsie is in love with Amos, but Amos’s love for Jane prevents him from noticing Elsie’s affection. All three allow their lives to be governed by circumstance, and at least until the end of the novel, they rarely have their love requited, even when they marry. Jane marries Northwood—whose name suggests his emotional coldness and lack of passion—and feels so despondent about the marriage that she has an affair with Amos, hoping to become pregnant with the child that Northwood will not give her. Amos feels ashamed of his lust for Jane, and he accepts a life of lonely bachelorhood rather than tempt himself further. To spite Amos, Elsie marries Kenelm even though she does not truly love him. Social pressures act as an impediment to love throughout the novel, with each character ploughing their own complicated, unsatisfying furrow until death and war drive them to the realization of what they should do. Amos and Elsie marry eventually, but the complexity of how they arrive at their realization illustrates just how much the characters allow appearances, manners, and social expectation to govern their experience of love.
At the same time, there are characters who act upon their passions despite the risks. Spade and Arabella embark on an affair that threatens to undermine both of their reputations. They cannot deny their love, so they hide it from the judgmental public until the widowed Arabella has completed her socially expected period of mourning. The affair between Amos and Jane, too, is the subject of much gossip in the town. The extent to which these characters feel the need to hide their affairs shows the extent to which the characters feel governed by social expectation, even as they choose to prioritize love. Love is not simply a matter of finding a partner. Instead, it is a complex process of navigating social and class expectations and, in some cases, dealing with secrecy and shame.
For the queer characters, love is even more complex. At the beginning of the novel, Spade has known about his sister’s relationship with Rebecca for many years. While Spade treats his sister’s relationship as essentially a marriage, not everyone in Kingsbridge is so accepting. Becca and Kate must hide their love, as gay relationships in British society during this time are subject to legal and social persecution. For upper-class characters like Roger, university offers a more permissive environment, though a degree of secrecy is still required. For the working-class Kit, there is no place in which he can explore his sexuality without serious risk. That Kit relies on Roger to teach him about love shows the extent to which sexuality is intertwined with class struggle. Love is complex, but even more so for working-class characters who lack the same opportunities.
British society in the 17th century was built on a rigid class structure. In the simplest terms, the novel portrays this class distinction as between the “masters” and the “hands.” The masters own the mills and profit from their operation. The hands work in the mills to earn a wage, but their jobs are threatened by the arrival of the new machines and technology. The conflict between the masters and the hands is a distillation of the capitalist system of the era, a system that relies on worker exploitation to enrich the owners. The hands are subjected to tough working conditions with few rights in exchange for a wage which is barely enough to feed their families. In contrast, the masters live in manors and mansions, spending lavishly on themselves to reinforce the distinction between the classes. The result is that the working-class characters seek to challenge this rigid social structure. Class conflict prompts the hands to call for social reform. They form trade unions and educational societies, and eventually they go on strike, withholding their labor to show the extent to which the masters rely on them. They even smash up the machines and set fire to the mills when they become desperate, as the class conflict seems such an unwinnable war that the hands are willing to try anything to bring about a fairer, more just society. For many of the hands, class conflict dominates their lives.
For the masters, however, social reform threatens their privilege. While the hands can form trade unions and organize strikes, the masters have control over almost every social institution in the country. The members of Parliament who set the laws rely on the votes of the masters for their political power, while many of the wealthy people who might accept social reform have their business dealings threatened when they speak out in favor of reform. The result is that the tools at the disposal of the hands are quickly outlawed. Trade unions are made illegal, and Sal is sentenced to two months of hard labor after Hornbeam accuses her of conspiring against him to call a strike. The charges are flimsy, but Hornbeam’s political influence is enough to convict her. Sal’s traumatic experience of hard labor is a bitter reminder that the masters have many more tools at their disposal, allowing them to police the boundaries of permissible economic action. There is little Sal can do to change the rules of a society dominated by the wealthy. Even when the hands band together, they lack the institutional power of the masters. Class conflict is fought at every level of society, the novel suggests, with even institutions such as the church used to reinforce and bolster the rigid social structure in favor of the masters.
The Napoleonic Wars erupt over the course of the novel. The wars have their roots in the French Revolution, a period in history which involved the drastic upheaval of French society and the attempted abolition of class differences in France. In effect, the French Revolution is exactly the kind of radical social reform which the English masters fear, and they turn to nationalism to motivate working-class English people to risk their lives fighting the French. The war drags on for many years, raising prices for the poor while enriching the masters through corrupt government contracts. At the same time, anti-French propaganda spreads through Britain to discourage any kind of social reform. At least to some degree, however, the reactionary aims of the war backfire: The war produces so much social upheaval that it allows some individuals to break class barriers. Kit is made an officer, for example, even though he is from a working-class background, while the upper-class Roger is ranked lower than Kit. Ironically, the military that polices class conflict abroad is more of a meritocracy than Kingsbridge society. Joe Hornbeam returns from war with a more egalitarian outlook, fueled by Jarge’s heroism in sacrificing his life to save Joe’s. Joe’s experiences of war make him more sympathetic to social reform, as evidenced in his enlightening conversation with Spade before he agrees to take over the family business. The British may have defeated Napoleon but, in doing so, the military helps to spread many aspects of the same social reform so dreaded by the masters.
Love is complicated in The Armor of Light, but family relationships can be even more difficult. The sense of duty and obligation to family threatens to ruin the lives of characters at several points in the novel. Amos is one of the earliest examples of the burdens that come with family. For years, he has urged his father to give him more responsibility in the family business. Even though he is an intelligent and respected young man, Amos allows his father to curtail his opportunities, preventing him from going to university or starting his own business venture. This loyalty backfires when Amos’s father dies and Amos discovers that the family business is on the verge of bankruptcy. In a very literal sense, Amos’s father squanders his son’s investment of time and patience. Amos is nearly ruined because of his family loyalty. It is through his friends and his fellow Methodists that he manages to escape the weight of his father’s poor decisions.
Roger Riddick is another character for whom family loyalty is an obstacle that prevents him from living the life he wants. Roger is very unlike his imperious father, and even more unlike his callous, entitled brothers. Roger is sympathetic, charming, and introspective—qualities never exhibited by his brothers. Yet Roger cannot bring himself to criticize or disown his family completely. Even his own father regards Will as a lost cause and a shameful fool, but he rules in favor of Will against Sal, perpetuating social injustice and doing grave harm to Sal simply to preserve the family’s power. Like his father, Roger understands that his family is in the wrong, but he can never truly escape the weight of family bonds. For Roger and Amos, family loyalty is a burden that must be carried.
Some characters use their awareness of the importance of family loyalty to their advantage. Spade is loyal to his sister by covering up her gay relationship for many years. He feels obligated to help her as much as he can, but he turns this around by asking her to help hide his affair with the bishop’s wife, Arabella. This request puts Kate in an awkward social position; she feels obliged to help her brother, as he has helped her, but the reasoning is not the same. Her relationship must remain hidden due to social prejudice, while Spade is asking his sister to cover up an extramarital affair. He is also less cautious about the affair, which threatens to undermine his reputation (and, by extension, the reputation of the business he shares with Kate) because he cannot subdue his romantic passions. Spade takes advantage of his sister’s loyalty to recruit her help in hiding his affair. Jarge is even more explicit in his manipulation of Sal’s affections. Without her permission, he uses her as an alibi for his crimes. He destroys machines and then claims that Sal can attest that he was not in the mill on the night in question. To defend her husband, Sal must perjure herself in court, risking punishment. Jarge understands Sal’s sense of duty to her husband and uses it to put Sal in danger. Sal forgives him eventually, as shown by her willingness to follow him into war. But their lives are changed forever by Jarge’s one-sided decision making, and Sal bears the weight of her family responsibilities.
Hornbeam is the most haunted by his family. For years, he has ignored the hypocrisy of punishing poor people for the same crimes he committed to survive. He wages a class war against poor and working-class people in Kingsbridge with more venom than anyone else, even though few people understand better than he does how desperate poverty can be. Hornbeam has mixed feelings about his son, but he loves his grandson Joe deeply. Joe returns from the war and rebukes his grandfather’s vicious war against the working class when he reveals that Jarge saved his life by sacrificing his own. In doing so, Joe challenges his grandfather’s understanding of love. Hornbeam feels a different kind of heaviness, as Joe’s experiences rupture his fundamental understanding of the world in a way that he cannot tolerate. Hornbeam throws himself from the top of the cathedral because he has grown so far apart from his grandson. The weight of family bonds becomes so heavy that he feels the need to end his life.



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