The main narrative thread is catalysed by the loss of a cheque which had been in the possession of the Reverend Josiah Crawley, and the subsequent reactions of his friends and enemies.

The novel then develops the attitudes and reactions of those around him, some of whom, not least Mrs Proudie, the virago wife of the Bishop of Barchester, conclude that Crawley stole the cheque.

One, which is continued from The Small House at Allington, involves Lily Dale and Johnny Eames and is tenuously connected to the main thread.

Initially he joins the accusatory group led by Mrs Proudie; the bishop does not agree, but succumbs to his wife's familiar dominance.

As with Lucy Robarts in Framley Parsonage, the objecting parent finally invites the young lady into the family; this new connection also inspires the dean and archdeacon to find a new, more prosperous, post for Grace's impoverished father.

American scholars like James Kincaid have stated that although Trollope's The Last Chronicle of Barset is a work of fiction, it provides an insight into the Victorian era.

The impoverished Reverend Crawley is targeted by the powerful Mrs. Proudie for an alleged theft while wealthy stockbrokers can manipulate their way through unfaithful dealings, taking their customers' money.

Scholars such as Geoffrey Harvey have interpreted Trollope's novel as a reflection of the prevailing social concerns of the late Victorian period, such as the loss of ethics as materialism began to emerge.

[7] Rogers states that Trollope's writing style was influenced by Roman orator Cicero and his concept of honestum in which he dictates "all that is manly, honourable, graceful, honest and decorus".

[5] Power is held by wealthy individuals and the church, reflecting Victorian society where there was a heavy emphasis placed on God and religion.

[7] Throughout the play, the lives of lower-class individuals such as the poverty-stricken Josiah Crawley are dictated by the Church and the wealthy who hold the power within society.

[13] She argues that the power of the rich is displayed through how the wealthy stockbrokers can constantly commit fraudulent actions and yet Crawley is regarded as suspicious for allegedly stealing £20.

[14] Perez argues that while Grantly and Crawley's characters contrast each other greatly, both possess some sort of power whether it be wealth or knowledge.

The Hirsch academics argue that Crawley constantly blames those surrounding him, unable to see his self-inflicted suffering due to the pride he holds for himself.

Instead, Lily's pride emerges when she chooses the path of an unmarried life despite her mother's pleas and Mrs. Thorne's criticism of her choice to not marry.

However, Moody disagrees with Kincaid's argument of Trollope inserting feminism in his novel, arguing that he is "profoundly against regarding women as having value individually".

Moreover, Moody concludes that Trollope had written Lily Dale as a character who found peace and comfort in a small house with her uncle and mother.

[13] Were Trollope a true feminist, Moody argues that Lily Dale would have been illustrated to have found happiness through traveling or finding a new job.

Moody takes note of Lily Dale's character development from The Small House at Allington (1864) to The Last Chronicle of Barset (1867).

However, in the last novel, Lily firmly states to Johnny Eames, upon the occasion of his final marriage proposal,[13] "I will not have myself planted out in the middle, for people to look at.

[13] Millias had provided multiple illustrations of The Crawley Family in Trollope's fourth novel in the series, Framley Parsonage.

Gordon Ray states that these illustrations serve to vividly complement the novel as they provide an understanding of Trollope's intentions with each character.