Central to all of the novels under discussion here is a story of love, courtship, and marriage. More particularly, for the central female character in each case, this central fable takes the form of an erotic or marital “double choice,” to use Franco Moretti's phrase; the woman is first attracted to the “right” partner, then distracted by one or more “wrong” partners before confirming - whether emotionally or formally - the “rightness” of the original choice. Also central to all three, though, is a perhaps less familiar story of class mobility and social allegiance, focused through the narrative structures of fluctuating economic fortunes, ownership of property, the accumulation of financial or social capital, trading, and inheritance. These two central points of concern are, of course, deeply interconnected, thematically and in narrative terms. The triangulated relationships of potential lovers represent marital choice as the primary mode of class transition for women; it is evident that, though Fancy, Bathsheba, and Grace have all received a good education, in each case it functions rather as a marital asset than as an alternative path for class mobility.