The novel follows two related story lines: the growth and development of Mary from spoiled and ambitious young girl to the domestic ideal of wife and mother, and John Barton’s tragic progress from political idealist to alienated murderer. Barton’s story is more prominent in the first half of the novel, while the focus on Mary’s actions at the time of the trial bring her story to prominence in the second half. This structure also serves to give the novel closure in the more stable resolution of Mary’s marriage—the conflict between the classes is subsumed by the happy ending of the romance. This structure fits with Gaskell’s general purpose, which is to find the solution to political unrest in the domestic sphere. Thus, the rift between Mr. Carson and John Barton is healed when both men recognize their “familial” relationship and realize that all men, rich and poor, are brothers.

Class issues are not, however, completely absorbed by the domestic/romantic story line. The final scene of wedded bliss cannot, for example, exist in the industrial world represented by the rest of the novel, but only in the far-removed pastoral setting of the New World. In addition, recognition of their brotherly relationship comes to Mr. Carson and John Barton only in their shared grief over the deaths of their sons—a death Carson can only come to experience once Barton commits murder.

Events from the rest of the novel contradict the Christian theme...

(The entire section is 534 words.)