It is worth noting how some couples affect the future. Lucy and Stuart die childless and seem to fall into plentiful quies in the country, through no brother since Rion has an issue with this radio silence. Just as Stuart, less eligible bachelor, caused very few maiden’s hearts to flutter in youth, in old-age, the media had little interest in the eldest Costello and his wife.
Benjamin and Aimee’s union was consistently joined in love, though no child followed young Cassandra, perhaps due to the material constraints of having to be evenly split. With Dr. Costello on edge about Benjamin’s knowledge, he would have kept him from his fortune until death.
But after the doctor’s death – and after Stuart fell out of the condition for inheritance (offspring, preferably multiple, at death) – the role of inheritance fell to Benjamin and his family. Andrew had, at first, been given the property of Costello Mansion – Benjamin fell out of appeal for the inheritance because he already owned a large country house.
Nevertheless, the theme of couples comes into effect. Because of Andrew’s traditional bachelor status, he affected the future by giving up Costello Mansion after he passed away, and he did so unfortunately quickly. After that – with Rion himself deceased and the last two brothers against the heavy track of Costello Mansion – Benjamin was the logical last inheritor. And he accepted the property immediately. After all, his growing family needed such space.
The Costello children did not fair so well from such a happening. This may be because they comprised the middle generation, turbulent as the Second Continent faced capture.
Eldest child Freidrich fared worst; in line for the Costello throne, he was corrupted by power, just as his Uncle Rion was. Youngest daughter Cassandra suffered a divorce for her childhood troubles, and she had an idea of money for her piece. The middle child, Elyse, suffered nothing for being moneyed, but she simply fell to ‘middle child syndrome’, and herself became an unmarried spinster, due to anxiety.
In this way, it is likely that couples will continue to be more than parting themes, but deep catalysts to the future of the future. Although these things are still uncertain as a fourth generation is born, perhaps there will be reform with the two children of Freidrich – perhaps not.
Of course, happier couples sprung from the Costello line. Of the six brothers, only Phillip and Benjamin bore children. This is certainly odd of such a high-calibre family of Traditional Generation – though this suggests signals of the New Times, where, though class is still firmly enforced, population growth has decreased, with some families having only two or three offspring.
In a way, this is mimicked in Zara’s own family; though there are four of them, the twins would have been conceived in one decision, thus making the births three and confirming the statistics.
Certainly, romantic couples in the novel are very significant, as are friendship-couples and scene pairings.