Unlike authors like Gustave Flaubert and Henry James, who meticulously controlled every element of their fiction, Blackmore allowed his stories to evolve as he wrote them. Consequently, most of his novels, including Lorna Doone, have a loose structure. He found endings particularly challenging and often confessed to friends that knowing when to stop writing was a constant struggle. In this way, he was similar to the verbose American writer Thomas Wolfe, although Wolfe benefited from skilled editorial help to trim his excesses. Editors during the mid-Victorian era were more accepting of what would now be considered overly lengthy novels, with the three-volume novel being a standard format. Most esteemed critics in the 1860s believed that novels should not leave readers feeling downcast, and Blackmore's own optimistic disposition ensured that his protagonists typically experienced happy endings.

Literary scholars, including Northrop Frye and Max Keith Sutton, interpret Lorna's near-death experience and miraculous recovery as a reenactment of the Persephone myth from Greek mythology. Persephone, the daughter of Zeus, the king of the gods, and Demeter, the goddess of agriculture and protector of marriage, was kidnapped by Pluto to become the queen of Hades but was allowed to spend six months each year above ground. Lorna's escape from captivity and death in the spring aligns her with Persephone as a goddess of the vernal season. Critics have also drawn parallels between John Ridd and mythological figures like Leander, who swam the Hellespont each night to meet his beloved Hero, and Hercules, known for his strength and heroic feats. With his extensive knowledge of the classics, Blackmore instinctively endowed his hero and heroine with the qualities and adventures of mythological characters.

Blackmore's prose is highly rhythmic and filled with vivid imagery, elevating some passages to near-poetry. He excelled in depicting the life and landscapes of the English countryside, celebrating the beauty of each season, from the industrious promise of spring planting to the elaborate rituals of the autumn harvest. In passages that garnered praise from Victorian writers Gerard Manley Hopkins and Thomas Hardy, Blackmore captures the stark beauty of a storm that deposits a mass of snow near the Ridds' home: "This great drift was rolling and curling beneath the violent blast, tufting and combing with rustling swirls, and carved (as in patterns of cornice) where the grooving chisel of the wind swept round." And later, when the storm subsides: "For when the sun burst forth at last upon that world of white, what he brought was neither warmth, nor cheer, nor hope of softening; only a clearer shaft of cold, from the violet depths of sky." Although he occasionally overindulged in descriptive passages, at his best, Blackmore achieved the desired effects with his strong rhythms, imagery, and near-rhymes. Among his peers, George Meredith comes closest to matching Blackmore's prose, and among twentieth-century American writers, similarities to Thomas Wolfe and William Faulkner are apparent.

Humor is a notable feature in Blackmore's writing. During Ridd's second visit to London, he leaves his accommodations with his face covered in bedbug bites. Despite this, his landlord urges him to stay, promising that, "in two days at the utmost, a very fresh young Irishman, for whom they would all forsake me," would arrive. John Fry, a cowardly and blatantly deceitful character, adds a comedic element to the story. While the humor might be too broad for more refined tastes, it often adds liveliness to the narrative.

Max Keith Sutton has observed that Lorna Doone resembles an American western novel. The hero and heroine are archetypes that frequently appear in the works of Owen Wister and Zane Grey,...

In John Ridd, Blackmore introduces a man of remarkable strength and a robust conscience. A devout Christian, Ridd feels deeply connected to the world God has created. He cherishes the Exmoor countryside and its people, who hold onto their traditional ways. As he humorously notes, "many of us still looked upon wheels (though mentioned in the Bible) as the invention of the evil one, and Pharoah's especial property." Firm in his belief that God has a purpose for everyone, he reflects on God's plans throughout the novel. Despite his exhaustion after his intense battle with Carver Doone, he attempts to help his defenseless opponent out of the Wizard's Slough. He has matured considerably since his teenage years, when revenge dominated his thoughts.

Some readers view Ridd as one of literature's prominent male chauvinists. He believes that all women, except for his beloved Lorna and his sister Anne, are deceitful. He has little patience for his bookish sister, Eliza, and wishes she possessed more traditionally feminine traits. Ridd becomes somewhat more tolerant of Eliza when she uses her knowledge to explain how to make snowshoes, enabling him to visit the Doone Valley and check on Lorna during a harsh winter. Nevertheless, Ridd generally expects little more from women than cooking skills and perpetual tears. Blackmore's female characters often weep; it never occurs to Ridd that seventeenth-century society offers them few outlets beyond tears and deception.

The Exmoor that Blackmore experienced as a child had changed little since the seventeenth century, the era in which his novel is set. However, by the late nineteenth century, it was undergoing changes, and not for the better. Out of nostalgia, Blackmore portrays country life in an overly idyllic manner, glossing over the fact that wages and living standards had always been low for English farm laborers. Nevertheless, Lorna Doone largely provides an authentic depiction of a way of life that has long since disappeared.

In the captivating world of Lorna Doone, the rugged terrain of Exmoor, nestled in southwestern England, serves as a vivid canvas for the novel's epic story of romance and intrigue. This landscape, both an enchanting and formidable presence, shapes the lives of its characters, providing a backdrop that is as rich and complex as the narrative itself. From the haunting Doone Glen to the serene Plover's Barrows, each setting weaves into the tale's fabric, creating a sense of place that is both integral and unforgettable.

The Enchanting Exmoor

Exmoor, with its sweeping moorlands, towering mountains, and dense forests, stands as a testament to nature's untamed beauty. This beguiling landscape, straddling the counties of Devonshire and Somersetshire, has long mesmerized those who venture into its depths. R.D. Blackmore skillfully imparts a mystical quality to Exmoor, making it almost a character within the novel. Critics may argue about the embellished portrayal of its grandeur, yet the allure remains potent, drawing readers and tourists alike to its storied terrain. The roads that wind across Exmoor, often deep with mud and shrouded in fog, transport visitors back in time, offering glimpses of a world that has changed little since the 17th century.

Plover’s Barrows: The Heart of Home

Plover’s Barrows, the farm where John Ridd, the protagonist, finds both refuge and challenge, lies in the East Lynn River valley. As the largest of the three farms in the valley, it is surrounded by outbuildings, orchards, and underground rooms designed for comfort in all seasons. From his attic room, John gazes upon a landscape that is both familiar and deeply cherished. To him, Exmoor is not only home but a place imbued with personal history and enduring connection, mirroring the novel's themes of loyalty and belonging.

Doone Glen: A Realm of Mystery and Danger

Doone Glen, a secluded and foreboding part of Exmoor, is shrouded in mystery and fear. It serves as the lair of the notorious Doone clan, casting a shadow over the surrounding area. The Glen, with its ominous cliffs and hidden approaches, underscores the tension that permeates the novel. It is within this haunting landscape that Lorna Doone, the ethereal heroine, finds both captivity and the stirrings of love. The valley's sinister allure is heightened by its strategic defenses, such as the Doone-gate with its lethal archways and the sentries guarding its entrance.

Bagworthy Water and Beyond

Flowing two miles below Plover’s Barrows is Bagworthy Water, a stream that leads through dense woodlands to the secluded Doone Valley. This stream is flanked by Bagworthy Wood, its depths concealing a pool crowned by a cascading waterfall. It is here, amidst nature's beauty, that John first encounters Lorna, setting the stage for their dramatic tale. The journey upstream reveals Lorna’s bower, a hidden sanctuary adorned with ferns and moss, where the boundaries between reality and imagination blur.

London: A Contrast of Worlds

In stark contrast to the wilds of Exmoor, London presents itself as a bustling, gritty metropolis. When John Ridd ventures to the capital, he finds a world filled with noise, movement, and the trappings of urban life. Despite its grandeur and the fine shops lining its streets, London lacks the deep, personal connection that John feels with Exmoor. Here, the hustle of coaches and the press of crowds stand in opposition to the solitude and serenity of his rural home, emphasizing the pull of Exmoor's untamed beauty.

The Mysterious Wizard’s Slough

Tucked away within the expanse of Exmoor is Wizard’s Slough, a forbidding mire that plays a crucial role in the novel's climax. This black, bubbling bog, ringed by reeds and hidden by watergrass, becomes the site where Carver Doone meets his end. The surrounding landscape, dotted with unique flora and devoid of birdlife, adds to the sense of isolation and trepidation that pervades this area. Its hidden paths and the presence of an old gold mine add layers of intrigue and danger to the narrative.

The setting of Lorna Doone is more than mere backdrop; it is an integral part of the story, reflecting and shaping the characters' journeys. From the pastoral Plover’s Barrows to the treacherous Doone Glen, each location enriches the narrative, inviting readers into a world where the past lingers in every shadow and whisper. As the characters navigate these landscapes, they are continually drawn back to the land that shapes their fates, echoing the timeless bond between people and place.

Among Blackmore's other novels, The Maid of Sker, Alice Lorraine, and Springhaven are arguably the finest. While Blackmore's plots and characters often echo those in Lorna Doone, his vivid depictions of nature and authentic portrayals of rural life make his later works compelling reads. Although these books can be hard to find, Springhaven has been reissued.

The Maid of Sker starts in a fishing village in Glamorganshire, Wales, but soon moves to Devonshire, where the sinister Parson Chowne holds sway over a small village. Similar to Lorna Doone, the novel's plot involves a kidnapping. Alice Lorraine explores another favorite theme of Blackmore's: the troubles of an old family. Springhaven is regarded by some critics as one of the better historical novels of the late 1880s. The story's young protagonist, driven from home by a domineering father, participates in the Battle of Waterloo. The novel's strength lies in its depiction of the Napoleonic Wars' impact on the lives of fishermen in an English Channel village.

Lorna Doone has been adapted into film three times: in 1922, 1934, and 1951. The silent film from 1922 is widely considered the best. Expertly directed by Maurice Tourneur, this version stays quite true to the novel. The leading roles—Marge Bellamy as Lorna, John Bowers as John Ridd, and Donald MacDonald as Carver Doone—are performed admirably. In contrast, neither the 1934 nor the 1951 versions stand out, with the low-budget, color 1951 version being particularly lackluster.

Baker, Ernest A. The History of the English Novel. Vol. 9, The Day Before Yesterday. 1936. Reprint. New York: Barnes and Noble, 1951. Baker asserts that Blackmore squandered his talent on romances, believing he had the potential to create superior novels.

Burns, Quincy Guy. Richard Doddridge Blackmore: His Life & Novels. 1930. Reprint. Westport, CT: Greenwood Press, 1973. This biography, one of the few dedicated to Blackmore, excels in examining his connections with other Victorian novelists and their works.

Ellis, S. M. Wilkie Collins, Le Fanu, and Others. 1931. Reprint. London: Constable, 1951. A chapter in this book is dedicated to Blackmore. Ellis contends that all of Blackmore's novels are outstanding.

Elwin, Malcolm. Victorian Wallflowers: A Panoramic Survey of the Literary Periodicals. Port Washington, NY: Kennikat Press, 1966. Elwin notes that Blackmore read a story called "The Doones of Exmoor" in the Leisure Hour, a popular magazine of the era, and used it as inspiration for Lorna Doone.

Graham, Kenneth. English Criticism of the Novel, 1860-1900. Oxford: Oxford University Press, 1965. Graham elucidates the criteria employed by critics of Blackmore's time, most of whom deemed Blackmore's work to be poorly structured.

Stevenson, Lionel. The English Novel. London: Constable, 1960. Stevenson explores Blackmore's contributions to the Victorian romance genre.

Sutton, Max Keith. R. D. Blackmore. Boston: Twayne, 1979. This comprehensive study of Blackmore's novels delves into the use of myths in Lorna Doone.