George MacDonald's Far Above Rubies (1898) represents one of the Scottish author's lesser-known yet profoundly evocative later novels. As a work published near the end of his literary career, it bears many hallmarks of his mature theological, moral, and psychological concerns. The novel takes its title from Proverbs 31:10—"Who can find a virtuous woman? for her price is far above rubies"—and centers upon the exploration of female virtue, spiritual fortitude, and the redemptive possibilities of love grounded in truth.
At its core, the novel tells the story of Alexa Fordyce, a young woman of deep integrity and quiet strength, whose moral and spiritual character places her in sharp contrast with the superficial and materialistic society around her. Alexa's journey unfolds amidst domestic challenges and interpersonal trials that test her convictions, especially as she seeks to maintain fidelity to what she perceives as divine truth in the face of societal expectations, romantic entanglements, and economic uncertainty.
MacDonald crafts Alexa as an embodiment of what he calls "divine womanhood"—not the ideal of Victorian femininity marked by passivity and ornamental grace, but a fully human, intellectually and spiritually developed character whose virtue arises from courage, humility, and the capacity to forgive. Her characterization may be read as a response to and subversion of the prevailing 19th-century gender norms. Rather than focusing on her beauty or docility, MacDonald emphasizes her inner light, moral perception, and the silent influence she exerts on those around her.
The novel's moral universe is fundamentally shaped by MacDonald's Christian universalism, a theological perspective which asserts that divine love ultimately redeems all souls. This worldview informs the narrative's arcs of repentance and restoration, especially in characters who have wandered far from moral integrity but are nonetheless capable of redemption through grace and self-abandonment. MacDonald's fiction often serves as a vehicle for such theological speculation, and Far Above Rubies is no exception. Through the transformations of its characters, the book asserts the primacy of divine love over judgment, the importance of spiritual awakening, and the enduring value of forgiveness.
Structurally, Far Above Rubies moves at a meditative pace, with its plot often subordinated to dialogue, reflection, and ethical quandaries. MacDonald's narrative style, as elsewhere in his oeuvre, is characterized by a blend of realism and idealism: realistic in its depiction of domestic life, class dynamics, and human frailty, and idealistic in its assertion that love and truth can reshape even the most seemingly intractable situations. He also integrates his Scottish heritage through dialect, setting, and social texture, lending the novel a subtle yet distinct cultural specificity.
Another salient feature of the novel is its critique of wealth and social position. MacDonald was persistently critical of the materialism and moral complacency of the upper classes, and Far Above Rubies continues this tradition by examining the spiritual dangers posed by pride, vanity, and the idolatry of appearances. Alexa's resistance to worldly inducements reflects MacDonald's deeply held belief that true nobility is spiritual, not social or economic.
Thematically, the novel emphasizes the redemptive nature of suffering, the necessity of moral choice, and the transformative power of self-sacrificing love. In doing so, MacDonald draws readers into a moral landscape that is less concerned with outward success than with inward sanctity. While his tone is often didactic, it is tempered by a profound empathy for human weakness and a literary sensitivity that elevates the narrative above mere moral instruction.
Far Above Rubies may lack the broader mythopoeic sweep of MacDonald's more famous fantasy works, such as Phantastes or Lilith, but it is no less ambitious in its spiritual scope. It exemplifies MacDonald's belief in fiction as a form of spiritual guidance, a "sweet sermon" meant to nurture the reader's moral imagination. Though perhaps more quietly dramatic than some of his earlier novels, it achieves its effect through the steady illumination of character rather than through external action. Far Above Rubies is a deeply moralistic and spiritual novel that stands as a testament to George MacDonald's literary and theological vision. It encapsulates his enduring commitment to portraying spiritual truth through narrative and to challenging the cultural assumptions of his day. For readers willing to engage its slower tempo and didactic tone, it offers a rich meditation on virtue, grace, and the beauty of a soul aligned with the divine. As such, it remains a valuable—if underappreciated—contribution to Victorian religious fiction and the broader tradition of spiritually infused literature.
1100972357
At its core, the novel tells the story of Alexa Fordyce, a young woman of deep integrity and quiet strength, whose moral and spiritual character places her in sharp contrast with the superficial and materialistic society around her. Alexa's journey unfolds amidst domestic challenges and interpersonal trials that test her convictions, especially as she seeks to maintain fidelity to what she perceives as divine truth in the face of societal expectations, romantic entanglements, and economic uncertainty.
MacDonald crafts Alexa as an embodiment of what he calls "divine womanhood"—not the ideal of Victorian femininity marked by passivity and ornamental grace, but a fully human, intellectually and spiritually developed character whose virtue arises from courage, humility, and the capacity to forgive. Her characterization may be read as a response to and subversion of the prevailing 19th-century gender norms. Rather than focusing on her beauty or docility, MacDonald emphasizes her inner light, moral perception, and the silent influence she exerts on those around her.
The novel's moral universe is fundamentally shaped by MacDonald's Christian universalism, a theological perspective which asserts that divine love ultimately redeems all souls. This worldview informs the narrative's arcs of repentance and restoration, especially in characters who have wandered far from moral integrity but are nonetheless capable of redemption through grace and self-abandonment. MacDonald's fiction often serves as a vehicle for such theological speculation, and Far Above Rubies is no exception. Through the transformations of its characters, the book asserts the primacy of divine love over judgment, the importance of spiritual awakening, and the enduring value of forgiveness.
Structurally, Far Above Rubies moves at a meditative pace, with its plot often subordinated to dialogue, reflection, and ethical quandaries. MacDonald's narrative style, as elsewhere in his oeuvre, is characterized by a blend of realism and idealism: realistic in its depiction of domestic life, class dynamics, and human frailty, and idealistic in its assertion that love and truth can reshape even the most seemingly intractable situations. He also integrates his Scottish heritage through dialect, setting, and social texture, lending the novel a subtle yet distinct cultural specificity.
Another salient feature of the novel is its critique of wealth and social position. MacDonald was persistently critical of the materialism and moral complacency of the upper classes, and Far Above Rubies continues this tradition by examining the spiritual dangers posed by pride, vanity, and the idolatry of appearances. Alexa's resistance to worldly inducements reflects MacDonald's deeply held belief that true nobility is spiritual, not social or economic.
Thematically, the novel emphasizes the redemptive nature of suffering, the necessity of moral choice, and the transformative power of self-sacrificing love. In doing so, MacDonald draws readers into a moral landscape that is less concerned with outward success than with inward sanctity. While his tone is often didactic, it is tempered by a profound empathy for human weakness and a literary sensitivity that elevates the narrative above mere moral instruction.
Far Above Rubies may lack the broader mythopoeic sweep of MacDonald's more famous fantasy works, such as Phantastes or Lilith, but it is no less ambitious in its spiritual scope. It exemplifies MacDonald's belief in fiction as a form of spiritual guidance, a "sweet sermon" meant to nurture the reader's moral imagination. Though perhaps more quietly dramatic than some of his earlier novels, it achieves its effect through the steady illumination of character rather than through external action. Far Above Rubies is a deeply moralistic and spiritual novel that stands as a testament to George MacDonald's literary and theological vision. It encapsulates his enduring commitment to portraying spiritual truth through narrative and to challenging the cultural assumptions of his day. For readers willing to engage its slower tempo and didactic tone, it offers a rich meditation on virtue, grace, and the beauty of a soul aligned with the divine. As such, it remains a valuable—if underappreciated—contribution to Victorian religious fiction and the broader tradition of spiritually infused literature.
Far Above Rubies
George MacDonald's Far Above Rubies (1898) represents one of the Scottish author's lesser-known yet profoundly evocative later novels. As a work published near the end of his literary career, it bears many hallmarks of his mature theological, moral, and psychological concerns. The novel takes its title from Proverbs 31:10—"Who can find a virtuous woman? for her price is far above rubies"—and centers upon the exploration of female virtue, spiritual fortitude, and the redemptive possibilities of love grounded in truth.
At its core, the novel tells the story of Alexa Fordyce, a young woman of deep integrity and quiet strength, whose moral and spiritual character places her in sharp contrast with the superficial and materialistic society around her. Alexa's journey unfolds amidst domestic challenges and interpersonal trials that test her convictions, especially as she seeks to maintain fidelity to what she perceives as divine truth in the face of societal expectations, romantic entanglements, and economic uncertainty.
MacDonald crafts Alexa as an embodiment of what he calls "divine womanhood"—not the ideal of Victorian femininity marked by passivity and ornamental grace, but a fully human, intellectually and spiritually developed character whose virtue arises from courage, humility, and the capacity to forgive. Her characterization may be read as a response to and subversion of the prevailing 19th-century gender norms. Rather than focusing on her beauty or docility, MacDonald emphasizes her inner light, moral perception, and the silent influence she exerts on those around her.
The novel's moral universe is fundamentally shaped by MacDonald's Christian universalism, a theological perspective which asserts that divine love ultimately redeems all souls. This worldview informs the narrative's arcs of repentance and restoration, especially in characters who have wandered far from moral integrity but are nonetheless capable of redemption through grace and self-abandonment. MacDonald's fiction often serves as a vehicle for such theological speculation, and Far Above Rubies is no exception. Through the transformations of its characters, the book asserts the primacy of divine love over judgment, the importance of spiritual awakening, and the enduring value of forgiveness.
Structurally, Far Above Rubies moves at a meditative pace, with its plot often subordinated to dialogue, reflection, and ethical quandaries. MacDonald's narrative style, as elsewhere in his oeuvre, is characterized by a blend of realism and idealism: realistic in its depiction of domestic life, class dynamics, and human frailty, and idealistic in its assertion that love and truth can reshape even the most seemingly intractable situations. He also integrates his Scottish heritage through dialect, setting, and social texture, lending the novel a subtle yet distinct cultural specificity.
Another salient feature of the novel is its critique of wealth and social position. MacDonald was persistently critical of the materialism and moral complacency of the upper classes, and Far Above Rubies continues this tradition by examining the spiritual dangers posed by pride, vanity, and the idolatry of appearances. Alexa's resistance to worldly inducements reflects MacDonald's deeply held belief that true nobility is spiritual, not social or economic.
Thematically, the novel emphasizes the redemptive nature of suffering, the necessity of moral choice, and the transformative power of self-sacrificing love. In doing so, MacDonald draws readers into a moral landscape that is less concerned with outward success than with inward sanctity. While his tone is often didactic, it is tempered by a profound empathy for human weakness and a literary sensitivity that elevates the narrative above mere moral instruction.
Far Above Rubies may lack the broader mythopoeic sweep of MacDonald's more famous fantasy works, such as Phantastes or Lilith, but it is no less ambitious in its spiritual scope. It exemplifies MacDonald's belief in fiction as a form of spiritual guidance, a "sweet sermon" meant to nurture the reader's moral imagination. Though perhaps more quietly dramatic than some of his earlier novels, it achieves its effect through the steady illumination of character rather than through external action. Far Above Rubies is a deeply moralistic and spiritual novel that stands as a testament to George MacDonald's literary and theological vision. It encapsulates his enduring commitment to portraying spiritual truth through narrative and to challenging the cultural assumptions of his day. For readers willing to engage its slower tempo and didactic tone, it offers a rich meditation on virtue, grace, and the beauty of a soul aligned with the divine. As such, it remains a valuable—if underappreciated—contribution to Victorian religious fiction and the broader tradition of spiritually infused literature.
At its core, the novel tells the story of Alexa Fordyce, a young woman of deep integrity and quiet strength, whose moral and spiritual character places her in sharp contrast with the superficial and materialistic society around her. Alexa's journey unfolds amidst domestic challenges and interpersonal trials that test her convictions, especially as she seeks to maintain fidelity to what she perceives as divine truth in the face of societal expectations, romantic entanglements, and economic uncertainty.
MacDonald crafts Alexa as an embodiment of what he calls "divine womanhood"—not the ideal of Victorian femininity marked by passivity and ornamental grace, but a fully human, intellectually and spiritually developed character whose virtue arises from courage, humility, and the capacity to forgive. Her characterization may be read as a response to and subversion of the prevailing 19th-century gender norms. Rather than focusing on her beauty or docility, MacDonald emphasizes her inner light, moral perception, and the silent influence she exerts on those around her.
The novel's moral universe is fundamentally shaped by MacDonald's Christian universalism, a theological perspective which asserts that divine love ultimately redeems all souls. This worldview informs the narrative's arcs of repentance and restoration, especially in characters who have wandered far from moral integrity but are nonetheless capable of redemption through grace and self-abandonment. MacDonald's fiction often serves as a vehicle for such theological speculation, and Far Above Rubies is no exception. Through the transformations of its characters, the book asserts the primacy of divine love over judgment, the importance of spiritual awakening, and the enduring value of forgiveness.
Structurally, Far Above Rubies moves at a meditative pace, with its plot often subordinated to dialogue, reflection, and ethical quandaries. MacDonald's narrative style, as elsewhere in his oeuvre, is characterized by a blend of realism and idealism: realistic in its depiction of domestic life, class dynamics, and human frailty, and idealistic in its assertion that love and truth can reshape even the most seemingly intractable situations. He also integrates his Scottish heritage through dialect, setting, and social texture, lending the novel a subtle yet distinct cultural specificity.
Another salient feature of the novel is its critique of wealth and social position. MacDonald was persistently critical of the materialism and moral complacency of the upper classes, and Far Above Rubies continues this tradition by examining the spiritual dangers posed by pride, vanity, and the idolatry of appearances. Alexa's resistance to worldly inducements reflects MacDonald's deeply held belief that true nobility is spiritual, not social or economic.
Thematically, the novel emphasizes the redemptive nature of suffering, the necessity of moral choice, and the transformative power of self-sacrificing love. In doing so, MacDonald draws readers into a moral landscape that is less concerned with outward success than with inward sanctity. While his tone is often didactic, it is tempered by a profound empathy for human weakness and a literary sensitivity that elevates the narrative above mere moral instruction.
Far Above Rubies may lack the broader mythopoeic sweep of MacDonald's more famous fantasy works, such as Phantastes or Lilith, but it is no less ambitious in its spiritual scope. It exemplifies MacDonald's belief in fiction as a form of spiritual guidance, a "sweet sermon" meant to nurture the reader's moral imagination. Though perhaps more quietly dramatic than some of his earlier novels, it achieves its effect through the steady illumination of character rather than through external action. Far Above Rubies is a deeply moralistic and spiritual novel that stands as a testament to George MacDonald's literary and theological vision. It encapsulates his enduring commitment to portraying spiritual truth through narrative and to challenging the cultural assumptions of his day. For readers willing to engage its slower tempo and didactic tone, it offers a rich meditation on virtue, grace, and the beauty of a soul aligned with the divine. As such, it remains a valuable—if underappreciated—contribution to Victorian religious fiction and the broader tradition of spiritually infused literature.
4.99
In Stock
5
1
Far Above Rubies
Far Above Rubies
Related collections and offers
4.99
In Stock
Product Details
| BN ID: | 2940184314143 |
|---|---|
| Publisher: | George MacDonald |
| Publication date: | 05/07/2025 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| File size: | 385 KB |
About the Author
From the B&N Reads Blog