Search Your Soul, Eustace

So valuable seem these novels as powerfully revealing searchlights focused upon the Victorian spiritual scene, and as sensitive seismographic recordings of the cracks and upheavals in the accepted religious tradition, that they deserve a better fate than the neglect accorded to them by the mid-twentieth century. For, despite the advance of modern scholarship towards a reinterpretation of Victorian literature, our rich and abundant heritage of religious novels remains largely untouched. Its very abundance is probably a drawback, for the reader is presented with such an overwhelming embarrass de richesse that he scarcely knows where to begin. Our own very different religious climate also puts these novels at a disadvantage; so many of the stories run counter to the trend of modern taste and may inspire the reader of today with little more than boredom, revulsion or irreverent amusement. But there are splendid treasures among the huge dust-heaps and even those novels most sadly lacking in literary talent or spiritual profundity still remain for us as precious clues to the understanding of the Victorian march of mind. They are worth at least a glance or two, and, using for the sake of clarity the denominational framework of Christian belief in Victorian England, this survey will attempt to give the modern reader a glimpse, swift and superficial though it may be, into some of the many religious novels that so affected his Victorian forefathers, shaking or strengthening them in their beliefs, moving them to tears or paroxysms of rage, filling them with doubt and despair or bringing them to repentance and conversion.

 

As this quote rightly points out, the Victorian religious novel is one of the most important but least studied subgenres of 19th century literature—probably less because of subsequent shifts in beliefs, attitudes and interests than (as this quote also suggests) the gruelling nature of the material to be worked through. Still—a few brave academics have made the journey. We have already considered Joseph Ellis Baker’s 1932 study, The Novel And The Oxford Movement; the next notable work in this area was Search Your Soul, Eustace: A Survey Of The Religious Novel In The Victorian Age by Margaret Maison, published in 1961.

This later study differs from its predecessor in three important ways. Firstly – or so it seems to me – Dr Maison has less of a personal axe to grind: whereas Joseph Baker both admitted a bias in his views, in that he was a practising Catholic, and consequently omitted any notice in his work of the pro- and anti-Catholic wrangling that forms a significant aspect of the Victorian religious novel, Maison displays no personal bent, but examines each branch of this subgenre with interest.

Secondly, as the title of her study indicates, Maison is detached enough to be fully alive to the inadvertent humour of this form of writing, which makes this a much easier work to read and enjoy. And thirdly, a related point, Maison understands (ii) that a bad novel is not necessarily an unentertaining novel, and (ii) that a bad novel can tell its reader just as much, if not more, about the society that produced it than a good one. She also has a keen eye for those works which are worth reading, as novels.

Maison begins by outlining the prevailing conditions at the time of the Oxford Movement, a period which saw the birth of the Victorian religious novel. It can be difficult these days to imagine the deadly seriousness of this conflict, and to grasp that it expressed itself not just in literary sniping, but in book-burning, attacks on churches, and violence in the streets:

    If England escaped the horrors of a revolution in the Victorian age her National Church did not. The history of the Church of England during this time is a stirring record of warfare, struggle, persecution, agonised secession and fiercest conflict, differences in religious belief causing hostilities not merely confined to verbal clashes, lawsuits and imprisonments but extending to the level of actual physical fighting…
    The Anglican Church had indeed awakened from her eighteenth century slumbers to become a real Church Militant. It was unfortunate, however, that so much of her war was internal, that the enemy was within as well as without, and that, in addition to the attacks of scientists and biblical critics, rationalists and agnostics, the hostilities of Dissent and the audacities of “papal aggression”, she had to contend with innumerable battles among her own ranks. The three principal groups in the Church of England, High, Low and Broad, were frequently at daggers drawn, and controversy raged throughout most of Victoria’s reign, the ritualism that marked the second phase of the Oxford Movement causing even greater uproars and the growth of religious liberalism provoking the increasing wrath of its opponents as the century progressed. High attacked Low and Broad, Low and Broad attacked High, Broad attacked Low, Low attacked Broad, confusions within the parties themselves making matters worse, for each group had its moderates, its extremists and various divergences, giving every appearance of a reign of anarchy within the one Church…

It was the Tractarians – in particular, William Gresley and Francis Paget – who first realised the potential of the novel as propaganda for their cause. However, it is important that we realise how much resistance there was at first to this form of writing: using religion as the basis of a novel, turning it into a form of mere entertainment, was considered by many people to be the height of disrespect. The early novelists were very mindful of this—with the result that you can search some of their works with the proverbial fine-tooth comb and not find anything that resembles “entertainment”:

    …”red-hot Puseyite stories” and “Oxford Movement tales”…flourished considerably in the eighteen-forties and fifties and were enthusiastically welcomed by keen Tractarians.
    Today, however, even the most devout High Anglican would survey these novels with a more critical eye. Their faults are glaring. Clumsy in technique, clumsy in construction, they are deficient in plot, characterisation and entertainment value. In general they conform to two set patterns and describe two imaginary types of lives—either the history of a chastened penitent or the life and opinions of a kind of propaganda prig.

Maison’s opening chapter proper, dealing with Tractarian fiction, is in fact entitled “Prigs, Pews And Penitents“: much to my delight, she tends to refer to the lead character of these tales not as “the hero”, but as “the prig”; a habit that almost leads me to forgive her for the fact that it was, almost certainly, as a result of my first reading of Search Your Soul, Eustace some years back that both the rabidly Tractarian Bernard Leslie; or, A Tale Of The Last Ten Years and its equally rabid factional enemy, Steepleton; or, High Church And Low Church, found their way onto The List.

But apparently I haven’t yet learned my lesson, because Maison’s comments about Gresley’s 1841 novel, Charles Lever; or, The Man Of The Nineteenth Century, really make me want to read it. After dismissing the “prig” novels as simply “monologue and disputation”, and noting with amusement the Tractarian fixation upon church restoration and pew-building – to which subjects, entire books were devoted – she moves onto the generally more interesting “penitent fiction”:

The lives of the penitents are slightly more colourful, and in describing the temptations into which the erring heroes are led the authors had more scope both for narrative and for imaginative writing, although they are somewhat hampered by early Victorian moral and literary conventions, as Gresley’s Charles Lever shows. Charles is the victim of Satanic influences, a Dissenting father and a Latitudinarian schoolmaster who teaches him “a sort of general religion”… Poor Charles inevitably becomes a Liberal, then a Socialist and then apparently something too dreadful to mention. “We must draw a veil over some portion of our hero’s life,” says the author discreetly.

Most of the early religious novels are painful, slogging affairs, dogmatic lectures thinly disguised as fiction. In their terror of being accused of denigrating religion, the novelists of this time – Tractarian or Evangelical, but exclusively male – shied away from including any recognised fiction conventions in their books, evincing a particular terror of the love-plot.

Ironically enough, we may say that it was the female novelists who “saved” the religious novel; or at least who, for better or worse, extended its lifespan for decades by showing how it should be written. On the whole women were very hesitant to get involved in this area: feeling that religious practice and church dogma were matters beyond their understanding, and that to speak of them was to step outside their proper sphere, they looked around for other ways of supporting and promoting their religious beliefs in their novels—and began to write stories of how religious faith impacted ordinary daily life. Nor did these women see any reason to avoid a love story, often describing marriages built upon a shared faith and practice (or the catastrophe of the reverse). Consequently, the religious novels written by women are real novels, with plots and characters as well as religious propaganda; and unsurprisingly, they are usually far easier to digest than those of their male counterparts.

However—this does not mean that they are not sometimes just as terrible…

One of the most misunderstood pieces of 19th century writing is George Eliot’s essay, Silly Novels By Scribbling Women, which far too many people interpret as a bit of arrogance on Eliot’s part, dismissive of all female writers but herself. This is because they haven’t read it. In fact, Eliot’s essay is chiefly focused upon the religious novel: it does not really address the authors in question – though she is very critical of those novels which went too far in the opposite direction, forcing a church-plot upon a conventional love story and then preening themselves upon being “religious” – but rather criticises the publishers who encouraged this sort of nonsense, and were thus, in her opinion, responsible for the very denigration of religion that the early novelists had feared. We should also note that is was the Evangelical novel that Eliot was particularly attacking.

The specific novel that provoked Eliot was The Old Grey Church by Caroline Lucy Scott (aka Lady Scott), from 1856:

…the heroine’s father, a banker, cannot resist temptation and commits the crime of forgery. This unfortunate man, the author tells us, “was by birth, education and manners quite what is termed a gentleman; but the horrid trade in which he was engaged—that of money-making—had by degrees hardened and even vulgarised both his mind and feelings.” This sinner, as we might expect, is hanged at Newgate, after a last minute repentance and conversion when, we are told, “his prison-house became to him a passage,—an entry into the gates of heaven.” This story also boasts a very coy heroine, always blushing and swooning, and a smug clerical hero…who sternly rejects anything savouring of worldliness, from opera tickets to frivolous fiancées, and ends up as a missionary in India (that country being the favourite missionary field for the Evangelicals).

Shortly afterwards, Eliot herself began writing fiction – Evangelical fiction, which is why she was so sensitive to bad writing in this area. Maison treats these writings with the proper respect, both for their moral and literary qualities, and most closely analyses Scenes From Clerical Life.

However, Eliot was not the only good female novelist in this area; and Maison highlights and praises three High Church ladies: Charlotte Yonge, Elizabeth Sewell and Felicia Skene. Yonge and Sewell can be a bit of a challenge these days, between the former’s rabid anti-feminism and the latter’s philosophy of complete female subjugation. The wild card here is Felicia Skene who, after an attempt to subjugate herself in the manner recommended by Sewell, broke free and began a new life as a social reformer, also boldly writing novels with daring subject matter such as prison conditions and prostitution.

On the other side of the fence, Eliot excepted, Maison struggles to find praiseworthy female authors, at least in the sense of quality:

    …from the eighteen-fifties onwards Evangelical writers busied themselves with sensational rather than psychological fiction and produced some very trashy tales of murders, hangings, elopements, shipwrecks, deathbeds full of unutterable agony, and dozens of wildly improbable conversions, all conveniently attributed to divine grace. In vain did the Pure Literature Society (founded in 1854 with three archbishops and sixteen bishops on the committee) rail against contemporary taste—the rising tide of sensationalism was too powerful to control. In 1863 the Religious Tract Society felt itself bound to lay down “the essential rules for healthful fiction”, insisting that it should be moral (not investing vice with interest), natural (not exaggerating its characters) and unexciting (not arousing the passions). But the rules were frequently broken by Evangelicals and although writers like Miss Fanny Mayne (a stalwart denouncer of sensationalism and champion of “a purified penny press”) kept within the prescribed limits and wrote about good working-class heroines who cooked their fathers’ dinners and did needlework for ladies and clung tenaciously to their Bibles, such stories did not please the public nearly as much as the more eventful and exciting ones.
    Hence the secret of Miss Worboise’s popularity. Emma Jane Worboise (Mrs Guyton) was a zealous Low Church writer who produced nearly fifty novels in which religious, domestic and sensational elements are all judiciously blended. She tells her stories well, and her portrayals of domestic life are not without psychological skill; indeed; she has left us several quite penetrating studies of the husband-wife relationship…

On the religious side, however:

Miss Worboise’s main interest…is in showing how people are brought to God… But her characters are always converted after some highly dramatic event, some bereavement or great shock or tragic calamity. It is no doubt a well-attested truth that God does draw many souls to Him through profoundly shattering experiences of this kind, but the frequency with which Miss Worboise employs this method of making conversions in her novels suggests that in her conception of the Divine Plan she attached an exaggerated importance to shock-tactics.

Before you ask—yes of course Miss Worboise is on The List; while I can’t leave this section of Search Your Soul, Eustace without quoting this passing observation from Dr Maison:

In minor Victorian fiction, governesses who are disguised wives are nearly as common as clergymen who are disguised Jesuits.

(We’ll get to the Jesuits in a minute…)

While the 19th century religious novel was thematically dominated by High Church / Low Church brawling, the Broad Church faction also weighed in on the conflict, in novels that appear to differ from their fellows chiefly in the occasional display of a sense of humour! Maison singles out F. W. Robinson in this respect, praising him for “satire without bitterness”. Furthermore:

Ridicule is indeed a weapon that Broad Church novelists use with considerable success, and it is not surprising that the most amusing religious novel of the century should come from a Liberal pen. The Reverend W. J. Conybeare’s Perversion (1856) is a neglected masterpiece of humorous fiction. (Lest the title might appear misleading, it should be noticed that the word “perversion” in popular Victorian usage had a religious and not a sexual significance, and to pervert or ‘vert meant to apostatise.) This book is written with the excellent purpose of showing how “the inconsistency, extravagance or hypocrisy of those who call themselves Christians” has the effect of driving the young into infidelity, and it tells the story of a young man’s quest for faith and his wanderings in the mazes of ecclesiastic conflict and labyrinths of scepticism that characterise the mid-Victorian spiritual scene… Conybeare’s clerical portraits, his descriptions of the free-thinkers’ club at Oxford, and, mirabile dictu, life among the Mormons in America, are some of the funniest pieces of writing in all religious fiction…

Having devoted approximately half her text to this mainstream in-fighting, Maison then looks outwards, devoting a chapter each to the minority religions, and to those novels dealing with the loss of, or lack of, religious faith.

Though Catholicism appears most frequently in the 19th century novel in the form of anti-Catholicism, Catholic novelists also had plenty to say. First and foremost amongst them, of course, was John Henry Newman, whose conversion to Roman Catholicism was to the Tractarians like a bomb going off in their midst. (While we can easily imagine the astonished glee of the Evangelicals: “We warned you! We warned you, but you wouldn’t listen!”) After the event, Newman provided an account of his experiences in Loss And Gain, one of the most important Catholic novels.

But as Maison points out, nearly all the Catholic novels dealt with a conversion, and many of them were written by converts: this branch of religious fiction seems almost entirely driven by the need to explain the irresistible pull of faith. A particularly interesting novelist is Lady Georgiana Fullerton, who began to write novels at a time when her she was questioning her own faith, and did so throughout the process of her conversion to Catholicism and beyond. We should also note the sad case of Elizabeth Harris, who converted to Catholicism and then regretted it. She stayed within her new church, however—and began writing novels that warned people off converting!

Most of the Catholic novels are serious and well-intentioned, whatever their literary qualities. The same cannot be said for the anti-Catholic novel, however, nor for its perpetual villain, The Wicked Jesuit (who was sometimes granted a side-kick in the form of The Wicked She-Jesuit):

    Few modern horror comics could equal in crudity, sadism, hysteria and blood-curdling violence the story of Jesuits in popular Victorian fiction. From the best-selling literature of the day we see that the Jesuit loomed large in Protestant imagination as a villain of the blackest dye, a spy, a secret agent, suave, supercilious and satanically unscrupulous, laying his cunning plots for the submission of England to “Jesuit-ocracy”, wheedling rich widows, forcing his converts to change their wills in favour of his Order, or kneel in penitence almost naked for hours through chilly winter nights and to leave their families for life at a minute’s notice. When frustrated in his knavish tricks he would frequently gnash his teeth, foam at the mouth and write frantic letters in cypher…
    For the Jesuits were, to the average Englishman, objects of suspicion, fear and hatred throughout Queen Victoria’s reign, and the disguised Jesuit (sometimes referred to as a “crypto-Jesuit”) occupied the same place in popular fiction of the nineteenth century as the Communist spy in the fiction of today. The Oxford Movement, of course, increased the fear and hatred enormously, Tractarianism being considered by many Protestants as part of a devilish Jesuit plot to convert England—Puseyism, Popery and Jesuitism being to many unenlightened minds synonymous terms…

After noting the hysterical anti-Catholic fictions of Mary Martha Sherwood (best known for her hair-raising Evangelical children’s tale, The History Of The Fairchild Family), Maison becomes one of several academics to single out Hawkstone by William Sewell (brother of Elizabeth Sewell) as the very worst of the bunch:

Intending to show the British public what a ghastly mistake Newman had made in embracing the Scarlet Woman earlier that year, Sewell paints an abominable picture of Catholicism and makes his Jesuit villain a most loathsome character who foams at the mouth even more horribly than Mrs Sherwood’s Jesuits, and meets his death by being eaten alive by rats (full details given).

This branch of fiction also threw up another example of the kind of thing that made George Eliot tear her hair, with a number of female writers producing novels that posed as “religious” but were really about the thwarted agonies of Jesuits in love:

…in Miss Worboise’s Father Fabian (1875), a novel permitted for Sunday reading in many Protestant households, the hero, who has “a noble nature, warped and vitiated, forced…into uncongenial basesness”, falls in love with the governess in the wealthy household into which he has insinuated himself. To him too is meted out an untimely and repentant deathbed. (He also has a female accomplice, a “Jesuitess” with false curls, a “horrid little laugh” and a habit of putting emetic in people’s cough-mixtures.)

Catholic writers tried to push back against these two tides of nonsense—Maison particularly notes Grace Kennedy’s Father Oswald, A Genuine Catholic Story—but only succeeded in resembling the boy with his finger in the dyke.

When they weren’t having a go at the Catholics, Protestant authors of this ilk might be found having a go at the Dissenters:

If the Jesuit was only too often a nasty piece of work in Victorian fiction, so also was the Dissenter. But whereas the Jesuit and his intrigues were at least clever, exotic and exciting, the Dissenter was usually shown as ignorant, drab, provincial and depressing…

And while the Catholics were able to fight their own battle in this respect, the Dissenters faced an almost insuperable barrier:

    We have scores of satirical and hostile sketches and unfortunately, to offset them, we have very few religious novels describing the inner life of characters who find true faith in Dissent or who deepen and enrich their belief in any of the Free Churches…
    One reason for this is clear—the novel was not, among avowed Free Churchmen, the accepted medium for describing the life of the spirit Like some of the stricter Evangelicals in the Church of England, they considered the novel to be the Devil’s Bible, and the puritan conscience classed novel-reading with theatre-going and card-playing as worldly amusements sent by Satan to ensnare the soul…

Though a few Dissenters did defy this tacit ban in defence of their faith—the Methodist Hocking family prominent amongst them—they were often held by their fellows to have done more harm than good. The Dissenting minister, George MacDonald, who lost his job after antagonising his flock, turned to the novel in place of his pulpit, and found success with the general public, if not his own people. Elizabeth Gaskell, a Unitarian, dared to make a Nonconformist minister the effective hero of her controversial novel, Ruth, and to contrast him with him with his distinctly un-Christian Anglican counterpart.

More outside views, such as those presented by George Eliot in Adam Bede and Margaret Oliphant in Salem Chapel, were popular, but the most successful pro-Dissent novels were, curiously, usually imports from America, where the ban does not seem to have been interpreted so strictly (or maybe it was a Presbyterian thing):

Heroines of tender years were popular too, and several little girls exemplifying Nonconformist virtue in America crossed the Atlantic to invade the Victorian nursery. The most famous of these was Ellen in The Wide, Wide World (1851), a best-seller by the Presbyterian writer Elizabeth Wetherell (Susan Warner). Victorian maidens lapped up the story of Ellen’s trials and temptations, but amongst little boys it was not quite so welcome. Lord Frederick Hamilton tells us that, “In my early youth I was given a book to read about a tiresome little girl called Ellen Montgomery, who apparently divided her time between reading her pocket Bible and indulging in paroxysms of tears.” This tale, with its lively scenes of American life and its continual exhortations to remember “our dear Saviour”, “our best Friend”, “our Physician”, was approved by thousands of Protestant mothers, and Ellen’s popularity has survived to the extent of having her story serialised on BBC Children’s Television a hundred years later…

But while all might have been serene in the average Victorian nursery, the greater world outside was gripped by an unprecedented upheaval. Consequently, in the second half of the 19th century the religious novel found itself sitting side-by-side by something equally powerful and for many people much more emotionally true and moving, the novel of doubt:

For, although scepticism and unbelief have always existed and found a voice in literature, the dethronement of orthodoxy in the Victorian age was a major event of far-reaching consequences, and the reverberations from this mighty crash were minutely and accurately recorded in contemporary writings. Never has any age in history produced such a detailed literature of lost faith…
The Oxford Movement, by not letting sleeping clergy lie, and by showing that simple faith was not as simple as the ordinary Anglican imagined, raised a spectre of doubt, and although it quickened the faith of some to a new birth it almost completely destroyed the faith of others, while the conflicts that arose between science and orthodoxy, geology and Genesis, evolutionary theories and accepted beliefs, caused those warriors whose shield of faith was not very stout to find themselves miserably defeated… It would be interesting to compile a list of eminent Victorians who lost their faith in the fray, or to enumerate well-known figures who, having contemplated or been destined for a career in the ministry, were forced by their changing convictions to renounce it. (This latter group would include men so diverse as Carlyle, Clough, Ruskin, Morris, Butler, Pater, Hardy, Burne-Jones, Alfred Tennyson and his brother Frederick, J. A. Froude, Hale White and even Charles Darwin himself.)

In the middle of the century, doubters and free-thinkers were invariably either converted or killed off. While such themes remained in the later decades of the century (conversion became the more popular option), there arose a significant body of work in which such men – almost always men – were being treated as heroes by the novels that described them, and were as likely to convert someone else as be converted themselves.

Nevertheless, the main reason that the novel of doubt so captured the popular imagination was that they did not hesitate to depict all the pain and uncertainty associated with a change in belief: as Newman had admitted in 1844, there was loss as well as gain; and a shift in faith that might alienate an individual from all they had previously held dear was something to be treated with respect. It was this emotional and spiritual environment that gave birth to the era’s overwhelming best-seller, Mary Humphry Ward’s Robert Elsmere, the story of a young minister who loses his faith, not in God, but in Christianity (this was a distinction often made). Ward was drawing upon her own crises of faith, and she returned to the same theme in her 1898 novel, Helbeck Of Bannisdale, which most unusually and daringly is the story of a female sceptic.

But in spite of the predominance of pain, there were those novelists who depicted a loss of faith as a new kind of freedom, a throwing off of weighty shackles. Those who felt that this in itself constituted sufficient material for a novel often made their central character a doctor: dedicated, hard-working, self-sacrificing—and faith-free. Other novelists, however, spoke for those who felt a void where their religion used to be, and sought to fill it with—well, what?

The fin-de-siècle aesthetes and decadents notoriously replaced it with the worship of beauty; others promoted what in an earlier time would have been called “good works”, and argued that religion had no monopoly on morality, charity and goodness; others again, though setting aside conventional worship, sought eagerly for what we might call “the historical Jesus”: trying, in effect, to wipe the slate and start over.

It is with a variation upon this final theme that Maison leaves us:

    …Marie Corelli saved the situation by rushing in where more learned novelists feared to tread. Not only did she popularise New Testament fiction in England, but she rescued the religious novel from the somewhat depressing rut of practical rationalism and pessimism into which it had fallen and exalted it into the glorious, miraculous and often very dizzy heights of a most vivid and extraordinary  Christocentric supernaturalism… No religious novel from this amazing pen is complete without a series of swoons, trances, psychic experiences, visitations of angels and aerial spirits, and generally an ecstatic vision of Christ himself to crown the day.
    In spite of the very glaring defects and limitations of Marie Corelli’s style it is an undeniable fact that she brought zest, vitality vision and imagination to the Victorian religious fiction at a time when it most needed them…

Religious novels, yes; novels of faith, certainly; but of a kind so bizarre and unique, readers of fifty years earlier would probably have added them to the bonfire, while even some contemporary readers were shocked and horrified:

    Thus the reign of Queen Victoria drew to its close, with Christianity being aestheticised, extroverted and even “electrified”, and Marie Corelli and Mrs Humphry Ward in undisputed sway as rulers of the religious novel, both commanding an enormous reading public and sales beyond the dreams of earlier novelists… Gresley and Paget, the fathers of Victorian theological fiction, would have been extremely shocked at the thought of such staggering influence allied to such staggering doctrines, for Miss Corelli’s eccentric revellings in supernatural fantasy and Mrs Ward’s earnest efforts on the other side to cope with “the crumbling of the Christian mythology” testify alike to the dissolution of traditional belief. The nemesis of a faith had at last received its popular recognition and acclamation, and the religious novel, the most influential ethical teacher of the time, fed the hungry sheep of late Victorian England with spiritual fare that differed considerably from the popular brands of nourishment offered fifty years earlier…
    The sixty or more years that separate us from the end of Queen Victoria’s reign have witnessed such great changes in literary taste and religious atmosphere that the majority of Victorian fictional sources of spiritual illumination, whether orthodox or unorthodox, Puseyite or Corellian, “infidel” or “perverted”, are now condemned to oblivion by the common reader of today, who neither understands nor appreciates the complicated theological traditions of his forefathers, and who generally finds crime more exciting than religion in fiction.
    But to the Victorian common reader, as we have seen, religion was an intensely exciting and absorbing affair. Even the religious novels least capable of communicating that excitement, three-deckers full of heavy didactic stodge with leading characters that are mere insipid “moral portraitures”, stiff, clumsy and lifeless (Paget’s pew was not the only “wooden hero” of a Victorian tale)—even these novels partly atone for their failure as fiction by demonstrating their authors’ deep concern with the Christian faith and by helping us to untangle some of the complex skeins of thought and belief in the Victorian age.

So I’m an “uncommon reader”? Cool!

One curious point about Search Your Soul, Eustace: Margaret Maison does not reveal within its pages the source of her title. (I should note that some territories found that title too facetious: this book was also published as The Victorian Vision: Studies in the Religious Novel.) But she does leave us a clue.

We have already met The Old Grey Church, the novel that provoked George Eliot. Allow me to reveal what was previously hidden under an ellipse:

This story also boasts a very coy heroine, always blushing and swooning, and a smug clerical hero named Eustace who sternly rejects anything savouring of worldliness…

Pamela’s Daughters

 
Thus for nearly two hundred years Pamela has been all things to all men: an innocent child, a case for the psychiatrist, a noble woman, a Shavian superman, the glory of her sex, a disgrace to womanhood, a saint, a pervert, a martyr, an entirely normal girl. In so far as she is human and normal, she is so because she has many traits and qualities, no one of which adequately represents her without the others. Her daughters, the heroines of later fiction, too often have to get along with one trait apiece—as if the heritage had to be divided among the heiresses. Hence come the type-form heroines who may be more or less safely classified according to the traits they inherit, and we have the Prude, the Weeper, the Fainter, “The Lass With The Delicate Air” , the “fallen” heroine and the poor working girl. One or two others there are who show relationship in collateral branches. Without defining here the exact degree of cousinship we may claim them as members of the family, include them in the sorority, and discuss them all as Pamela’s daughters.

 

 

 

 
I mentioned while reviewing Munster Abbey that it had been brought to my attention in the first place by a study of the English novel, which held it up as an example of the heights of absurdity reached by the 18th century sentimental novel—and which supported its argument by quoting the marvellous passage in which a character almost drowns because all the other characters are too busy demonstrating their “sensibility” by fainting to help her. I also mentioned that I had forgotten the title of the book in question, but expected, given my predilection for books-on-books, that I would sooner or later encounter it again.

I can now tell you that the book in question, to which I am deeply indebted, is Pamela’s Daughters by Robert Palfrey Utter and Gwendolyn Bridges Needham. The explanation for this work’s genesis is amusing, though its conclusion is very sad. This impressive work, over 500 pages in length, began life in 1920 as an idea for a magazine article—in fact, as an article for the Women’s Home Companion—on “Fashions in Heroines”. Almost immediately, however, the project got out of hand. Robert Utter, an academic at the University of California, worked at it on and off for the next eight years, at which point he began collaborating with Gwendolyn Needham. The two of them carried on the enterprise for a further eight years, trying to mould their exponentially multiplying and unwieldy material into a coherent volume. Sixteen years after its conception, the manuscript of Pamela’s Daughters was handed to the publisher…and a month later, Robert Utter was killed in a freak accident.

It’s been mentioned before, but—you bite, Reality.

The 1930s was an interesting period in literary scholarship; quite a number of studies published during that time show an admirable willingness to get off the beaten path and to use “lesser” literature as a reflection of the times that produced it. (Sadly, over the three subsequent decades academic research focused upon anything other than a short list of canonical works was sternly discouraged.) Pamela’s Daughters is an excellent example of this variety of study. Unhindered by academic expectation, this examination of the development of the English heroine from the mid-18th century into the 1920s is solid and insightful, yet also freewheeling and good-humoured; though that said, Robert Utter’s 1930s-ish views with respect to “correct” female behaviour do occasionally intrude.

Pamela’s Daughters starts, of course, with Pamela herself, discussing the reception of Richardson’s novel and the widely varying reactions to the fifteen-year-old girl who would become the progenitor-figure of generations of sentimental heroines.

Utter and Needham then briefly outline the changing position of women over the course of the 18th century, during which time, due to increasing industrialisation and its consequent financial and social alterations, women were progressively stripped of their autonomy, rendered entirely financially dependent, and even relieved of their domestic duties—with the leisured woman becoming increasingly a status symbol, a reflection of the success of her husband or father. Financial dependency made marriage the only acceptable way of life for a woman, whose single imperative duty was to free her family of her support by securing a husband. At the same time, autonomy of thought and action were not merely discouraged but prevented by a relentless narrowing of the definition of proper conduct. The literature of the late 18th century illustrates the irreconcilable outcome of these pressures:

The Helpless Female was shaped by the forces that were shaping civilisation. Just as inevitably as selection and environment mould biological characteristics, so the forces we have been tracing moulded the legacy of Pamela to her daughters and granddaughters, the sentimental heroines of the eighteenth century, and the Victorian ones of the nineteenth. Certain physical, mental and moral traits become artificially female, others, more or less antithetical, are male. Delicacy, sensibility, chastity, these three (and the greatest of these is chastity), such are the canonical virtues of Pamela’s daughter for a century and a half after Pamela… Delicacy, physical, mental and moral, becomes so essentially female that it develops into feebleness in all three categories. Mental delicacy points to spelling and punctuation as intellectual achievement and dictates the concealment of any higher powers if they exist. Moral delicacy prevents a girl from receiving money if she has so far transgressed as to earn it. With this powerful equipment of feebleness she must defend her priceless chastity. If the villain tries to violate it, she must not violate her delicacy by slapping his face; if the villain pursues her, she must not show either speed or endurance in her flight. Delicacy holds her helpless; chastity must be defended. It is an unfailing dilemma, good for five volumes of sorrows in the hands of any delicate authoress…

In “The Importance Of Being A Prude”, Utter and Needham devote a chapter to a consideration of “delicacy”, its false twin, “prudery”, and all the shadings of behaviour in between, arguing that many of the behaviours usually summed up under the heading of “Victorianism” were in fact alive and thriving a hundred years earlier. In particular, authors (usually female, but not always) devoted pages to stressing that their heroines had not just delicacy, but true delicacy.

But if this heroine was born in the 18th century, she reached her apotheosis in the 19th:

Of all Pamela’s daughters, the one most moulded by prudery is the god-daughter of Victoria… In the beginning, before her lover comes, she is unawakened, virginal as virginity itself. She is at one and the same time as sexless as a china doll and as feminine as a practised coquette. Her innocence is really abysmal ignorance, but the effect of it is the same as that of the completest sophistication and circumspection. She is perpetually on guard against evils of which she cannot know anything, alertly sensitive to acts, words, implications which could not conceivably have any significance to her; their danger she is supposed to recognise by instinct… There is no evidence that she is anything but a head and a pair of hands attached to a costume… In her ball dress she may show us that her “bosom is faultlessly moulded”, but the rest is silence. We infer that she might nourish children, but know no possibility of her conceiving or bearing them. That she might have any sexual feeling is unthinkable. That even in married life she has any sexual experience is not hinted. It is true that between the last two chapters she has managed to produce three or four fine children, but no-one could guess how she did it…

Intriguingly, though the authors are discussing heroines rather than real women, what the find in the novels they are examining reflects the real-world pressures that we examined in Martha Vicinus’s Suffer And Be Still (rendered most vividly in Elizabeth Missing Sewell’s hair-raising contention that a truly “good” girl was one with the capacity to sense evil without recognising it):

Nothing illustrates this fact better than the history in the novel of the first principle of prudery, that where innocence is ignorance ’tis criminal to be wise, or what you don’t know won’t hurt you. When this was the guiding principle, the best armour for the protection of maiden purity was supposed to be a stout pair of stays and complete ignorance of the nature of chastity and its enemies. Virginity seemed no less of the mind than of the body. Its delicacy was such that if a girl so much as knew she had it, it was tarnished, and if she knew more, it was gone…

In “Liquid Sorrow”, Utter and Needham trace the rise of the cult of “sensibility” in the 18th century, examining its birth and evolution as a counter-force to the cool, emotionless tenets of the Age of Reason in the broader context of the historical significance of emotion in the development of European literature. They point out that tears have held an important place in literature since its very inception, and that for centuries it was male tears that directed the reader’s response; a man crying was a shorthand signifier of extreme circumstances. However, male crying went out of fashion during the pragmatic age that followed the Glorious Revolution. When tears returned as an important literary signifier, it was in an entirely different social context.

The evolution of the sentimental novel is then examined, from the earliest appearances of those definitive counterforces, corrupting civilisation and the untouched natural world populated by noble savages. By the 1740s, sentiment had taken root in the English novel, and the crying hero made a reappearance. For those who like to make a simple, masculine / feminine divide between the novels of Fielding and Richardson, it is pointed out that Fielding’s heroes are some of the most persistent criers of the era. Novels became less about the hero’s adventures, and more about his feelings, with Henry Brooke’s The Fool Of Quality and Henry Mackenzie’s The Man Of Feeling. It was at this time that the heroine came into her own: with the focus on feelings rather than events, a woman’s heart became sufficient subject matter for an entire novel. New ideas about “nature” also became an important aspect of literature. Eventually these various threads were melded into a new literary form called the Gothic novel.

The sentimental novel is treated fairly here. It is pointed out, for example, that these books were an important vehicle for concepts like sympathy, compassion, and charity, and played a part in instigating reforms in both prison conditions and the treatment of the mentally ill. However, in the long run this variety of novel became exaggerated beyond the point when anything about them could be taken seriously. What in the 1740s was an expression of honest emotion became, by the 1770s, a perverse variety of performance art, with crying, fainting and even dying of grief intended as a measure of an individual’s “sensibility”; while by the 1790s, expressing the appropriate emotion was all but a fulltime occupation.

The authors spend some considerable time gleefully attacking the absurdities of this literary era—and lo! – if the novel most held up for ridicule is not our old friend, Munster Abbey!!

AND—a second masterpiece of sentimentality is also brought to our attention:

In sentimental fiction, tears are by this time a bottomless ocean raging with storms of passion… On it we ship with Charlotte Palmer in Female Stability, 1780, five volumes of unmitigated misery whence comes the pearl of price which adorns the head of this chapter. (“She stopped and wiped her gentle eyes, that swam with liquid sorrow.”) We have met the heroine, Adeline, who exhibits female stability by a ceaseless flow of tears for a dead lover and unwavering refusal of a series of high-voltage suitors. The plot of this thanatopsis is contrived for the sole purpose of turning up tearful situations in rapid succession… [Tears] flow on and on, from page to page, from paroxysm to paroxysm, from volume to volume. At the end Adeline subsides into a middle-aged routine of weeping, a mere daily dozen at the tomb of the lost Augustus, which we may imagine keeps her happy for the rest of her life…

Naturally enough, this chapter on crying is followed by one on fainting (“Cut My Lace, Charmian”), which in turn yields to a consideration of evolving female fashion, and from there to a much more detailed examination of physical fashions—that is, of how woman were depicted in both word-pictures and visually, in novels and in art (“The Lass With The Delicate Air”). The traditional dichotomies are examined – blonde / brunette, Snow White / Rose Red – as are the seemingly limitless examples of stories featuring physically contrasting heroines, who meet contrasting fates apparently pre-determined by nature. Walter Scott, a leading exponent of this trope (Rebecca / Rowena, Rose Bradwardine / Flora MacIvor), is given a thorough airing—as is George Eliot’s passionate cry, courtesy of Maggie Tulliver, in defence of “the dark, unhappy ones”.

(My own observation here is to note the significance of Rebecca being invariably listed first—the only instance I know of in this context, of the brunette being given “billing”.)

A prime example of the kind of unexpected digressions that punctuate Pamela’s Daughters appears in “The Lass With The Delicate Air”, wherein the authors suddenly divert from the their consideration of the female body in art to give a brief history of depilation—offering such factoids as that the so-called “Brazilian” has a much longer history than we might imagine, and that leg-shaving was a consequence of a push-back against stockings, which in turn was linked to a greater emphasis on female exercise, and therefore upon clothing facilitating freedom of movement, and the rise of the “beach culture”. I was mildly disappointed that not much was said about underarm shaving; I often find myself, while watching period dramas, wondering to what degree modern fashions are incorrectly imposed upon the characters.

A consideration of women who never married (“Aunt Tabitha”) segues into one of those novels dealing with women who decided that marriage wasn’t necessary and the consequences (almost invariably disastrous) of that decision (“Some Do”); and from there into an examination of the endless depictions of young women staunchly defending their virtue against wicked men of all descriptions (“Some Don’t”). The shifting view of female virginity over the centuries, from a mere accident of nature not important in itself, to the be-all and end-all of female existence, is examined, as is the changing face of “the woman who did”. It is stressed that during the 18th century, virginity became a commodity to be sold—in marriage as well as in brothels; a woman who “did” on her own account, robbed not herself but her family or her pimp, and that in the crudest financial sense. By the 19th century, however, these bald economic facts had become obscured by a dense mist of sentimentality and pseudo-moral hand-wringing. By the end of the 19th century, although the burgeoning women’s rights movement was making all sorts of previously unthinkable suggestions, for the most part novels remained strictly conservative; it was a rare and brave novelist indeed who suggested that a girl’s loss of virginity might not be the end of the world.

Most novelists went to the other extreme, showing how it was absolutely the end of the world, or near enough. The 19th century’s prevailing view on the issue is illustrated via reference to its very first work on the subject: Amelia Opie’s Father And Daughter, published in 1800, which features in its opening paragraph the primal scene of the erring daughter, illegitimate baby in arms, fighting her way through a storm back to the parental home from which she was seduced:

If this is, as it seems to be, the first appearance of this famous necessary scene, Mrs Opie deserves a monument from the writers of melodrama of the nineteenth century. We who were brought up on it scarcely need, as Mrs Opie’s readers perhaps did, to read the next seventy pages in order to learn that “Agnes Fitzhenry was the only child of a respectable merchant in a country town…” and so on to page seventy where we read, “But to return to Agnes, who, when she beheld in her insane companion her injured father, the victim probably of her guilt, let fall her sleeping child, and, sinking on the ground, extended her arms towards Fitzhenry, articulating in a faint voice, “O God! My father!” then prostrating herself at his feet, she clasped his knees in an agony too great for utterance.” This tale is worth citing because it is true melodrama growing directly out of Puritan moralising… It is melodrama because the author is bold enough to impose a major catastrophe on her heroine, but not brave enough to enforce the full penalty. It shows the weakening of tragedy by sentimentality…

Conversely, girls defending their virginity until marriage remained a perennially popular novel-plot, and by the end of the century they were even defending it actively, and not passively through sheer ignorance. In fact, this plot became more popular as options for women opened up and they began to venture out into the world on their own account, into colleges and into the workforce. Very little had changed is essence, however: merely, marauding rakes had been replaced by marauding employers.

The highlight of this section of Pamela’s Daughters is its examination of “working girl” fiction. The heroines of these novels, Utter and Needham contend, were in truth “Pamela’s daughters”, since just like Pamela herself they were virtuous working girls clinging to a moral code in a world full of dangers and temptations. In most (again like Pamela), it was economic necessity rather than choice than launched the heroine into the world, and by the end of the novel she was relieved and happy to surrender all ideas of autonomy and make a conventional marriage. And most like Pamela of all, many of these heroines were truly working-class, not the “distressed gentlewomen” who populated the progenitor of this form of literature, the “governess novel”. In this branch of popular fiction, “mill girls” and “shop girls” abound; “office girls” came a little later. George Gissing’s Thyrza is the most serious and literary example of this sort of fiction, though the sub-genre is better represented by Geraldine Fleming’s Only A Working Girl. The danger of physical attractiveness in a working girl is a recurrent, even obsessive, theme:

Pamela’s father and mother feared lest Pamela’s beauty should lead to her downfall. So in the nineteenth century it is less often the heroine herself who thinks of beauty as a curse than her family and friends. The sister of “the little beauty of the Passaic Cotton Mills”, Hazel Easterbrook, had “one earnest prayer to Heaven”; it was that “little Gay’s rare beauty would not prove a curse to her, for no man ever looked twice at that saucy, roguish, irresistible face whose heart was not conquered by it She was only sixteen, yet she could count admirers by the score.” Only by the score? There must have been hundreds, then, who looked but once. The mother and sister of Elsie Brandon “prayed fervently that her beauty would not be a curse to her”. The idea is explicit in the title of The Curse Of Beauty; or, The Cloakmaker’s Model.

As early as the late 19th century there were books in which the heroine was allowed to enjoy her work, and even to display a degree of ambition. However, in most cases this ambition fulfilled itself via marriage to the boss. Alternatively, the working-class heroine improves herself through her aspirations to be “a lady”; although sometimes her efforts in this respect also pave the way for a rapid rise up the social ladder via marriage. In light of all this, a special mention should be given to The Typewriter Girl by Grant Allen (the progressive, not to say radical, author of the scandalous – and hugely popular – The Woman Who Did), which concludes with its Girton Girl heroine stepping out of a love triangle (involving, yup, her boss) and devoting herself to her career instead: she does so partly because her romantic rival, in stark contrast to her intelligent, competent self, is traditionally “feminine” to the point of being completely helpless. It is wryly noted that Juliet, Allen’s heroine, is a brunette, her romantic rival a blonde:

The authors of these novels think that their readers prefer blondes. A check of many working-girl novels of the nineteenth century indicates that in every hundred heroines we have eighty blondes, ten brunes, and ten red-heads. The authors have little skill [and] for the most part their heroines appear only through raptures and ravings… In general, too, these authors follow the age-old tradition of behaviour patterns, at least to the extent that the brunettes take a more active part in the action of the tale…

Though Pamela’s Daughters has by now wended its way well into the 20th century, at this point its authors step back to take a look at the changing face of the heroine across the 19th century (“New Girls For Old”). On the whole the trend is positive: “the lass with the delicate air” with her crying and fainting begins to give way to a more grounded type of girl; physical fragility is no longer so prized; and though there is still plenty of sentimentality around, displays of strong emotion are now indicative of a lack of well-bred self-control, and frowned upon accordingly. But alas, few novelists are capable of giving the reader a thoroughly nice, thoroughly believable heroine. We are not exactly surprised when Utter and Needham jump back across the century for a visit with Jane Austen:

It is this refusal of Jane Austen to go to extremes in either direction that brings her to her supreme achievement. The best of heroines before her time, Clarissa Harlowe, Sophia Western, Emilia Gauntlet, are fine upstanding girls of whom any age might be proud, but their main attraction is that of their sex; they are men’s women, created to express the charm that women have for men. They do not exhibit what Jane Austen seems to give us for the first time, the best of womanhood, as endearing to women as to men, shining through any and all colours of fashion and undimmed by the changes of time… Meredith shows this figure at its best. Dickens was not up to it. Scott and Thackeray show it, but not until Jane Austen had shown it to them. Trollope has it more often than any other.

Heroines, like the young women who inspired them, became more active over the 19th century—and here the chapter diverts into a consideration of the changing silhouette, in a discussion of the battles waged progressively over stays, corsets, and eventually bloomers and bathing-suits. From this distance it can be hard to grasp just how deadly seriously these matters were taken, and the degree of outrage that attempts to popularise women’s clothes that allowed for greater freedom of movement provoked: the battle raged both in the streets themselves, and even more so in the letters pages of the daily newspapers. Ludicrous as this fashion war now seems, make no mistake: the battle over women’s clothing was a hugely important aspect of female emancipation. In fact, as the authors point out, underwear in novels becomes a marker of passing time:

In the novel we see in retrospect a girl’s graduation from waists to girdles in Ruth Suckow’s Odyssey Of A Nice Girl, 1926, and in Una Hunt’s Young In The Nineties, 1927, though in the novels of the nineties underclothes were kept out of sight. In these books also we see the reaction toward lighter clothing on the part of women who were forced as girls to wear prickly flannels and starched drawers, heavy waterproofs and winter coats, rubbers and galoshes…

By now, we are well into the 20th century. Victoria is long gone, and so is much of what she represented (justly or otherwise). The final chapter of Pamela’s Daughters, “Victoria, Where Is Thy Victory?”, considers how novelists dealt with rapid shifts in social mores and the dreaded topic of S-E-X. I may say that I was quite startled to learn that during the 1920s there was a significant sub-genre of novels dealing bluntly with, ahem, “girls who did”; although we should note that these books were more common in the US than in Britain. Shedding both their corsets and the expectation of ignorance, the heroines of these novels were only too eager to experiment with sexual experience – and perhaps most surprisingly of all, this experimentation does not always end in death or even in pregnancy. Quite often, having found out what she wanted to know, and learned to give sex its proper weight, the heroine settles down with an equally advanced young man, who is sometimes her erstwhile lover, sometimes not, but who either way considers her neither “sinful” nor “damaged”.

It is, by the way, quite clear from the tone of Pamela’s Daughters at this point that Robert Utter (if not necessarily Gwendolyn Needham) did not entirely approve of this particular turn in the history of heroines—and of real girls—though the role of WWI in bringing about this drastic shift is given fair weight. Another swing of the pendulum was in progress, however, by the time Utter and Needham drew a line under their history of heroines; and they close with some reflections upon what they consider this particular era’s exemplar novel, Nalbro Bartley’s The Premeditated Virgin, and by comparing Bartley’s Mary Ann Plowden with her great-great-great-grandmother, Pamela:

Pamela and Mary Ann Plowden are both premeditated virgins, but they wear their premeditation with a difference, and we may gauge the difference as a measure of progress. Pamela’s choice was a narrow one; she was held pretty helpless by the society of her time. In her game against fate her scope is restricted, her moves are sharply limited. She wins not only because she moves shrewdly but because luck is with her. Hers is a sort of poker game in which all the skill and intelligence she can bring to bear are, when the game is legitimately played, subordinate to luck. Mary Ann Plowden plays a different game, one in which skill, intelligence, knowledge, wisdom, may have much more scope… Mary Ann does not lean on authority, on social order, or on God. She does not seek a verdict from society. She does not pray, or “invoke the protection of Heaven” for herself or her virginity. For any protection that she must have she invokes her own brain and summons her own powers. She “stands unshook” upon such truth as she can find, and she finds it in herself…

 

Speaking of evangelicalism…

I always enjoy it when my reading threads accidentally cross.

Having completed my post on Bernard Leslie, I relaxed with my current read, Vineta Colby’s Yesterday’s Woman: Domestic Realism In The English Novel. Although I have my problems with Colby’s style, I like the fact that she gets off the beaten track when examining the 19th century novel. In this particular study she examines the novel’s shift from romanticism to reality during the first half of the century.

After discussing “the fashionable novel” and “the novel of education”, Colby gives us a lengthy chapter on “the evangelical novel”, which in the context of Bernard Leslie and William Gresley’s use of “Evangelical” offers yet another way of thinking about this most fluid of terms. She uses it, most deliberately, with a small ‘e’ – “evangelical” – to indicate not a form of religious belief or practice, or even a religious party, but an attitude, an approach to religion:

The English church of the Victorian period was Protestant. Beyond that simple declarative statement it is impossible to make any generalisation about Victorian religion that cannot be seriously challenged. The stability, tranquillity, and homogeneity so often and so wrongly attributed to the Victorian age was nowhere more vulnerable and tenuous than in matters of religious belief. The half century from 1800 to 1850 that saw the passage of the Catholic Emancipation Act and the first Reform Bill, the flourishing of the Claphamite sect and the Oxford Movement, the evolution of Evangelicalism and Dissent from the status of radical fringe to solid respectability, the emergence of textual criticism and revisionism in biblical study, and open expression of scepticism and even atheism, was a period of religious ferment and turmoil less violent but no less dramatic than the Reformation…

The strongest religious force in nineteenth-century English life was evangelicalism. This term is to be understood in its broadest sense, referring not merely to that school of Protestantism which, by dictionary definition, maintains that “the essence of the Gospel consists in the doctrine of salvation by faith in the atoning work of Christ, and denies that either good works or the sacraments have any saving efficacy,” but to the many movements of religious enthusiasm and reform that swept through every Christian denomination. Victorian evangelicalism…was all but ecumenical in spirit if not in fact…

Evangelicalism embraced not only the entire spectrum of Protestant belief but also the widest social scene. It cut across class divisions and barriers that no political revolution could have trampled. Emphasising practical morality and philanthropy rather than theology, directed primarily to the emotions rather than to reason, it appealed to all ages and all classes…

The nineteenth century began with revolution in France, a tired and debauched monarchy in England, a starved and exploited working class both in the farms and in the industrial towns, massive drunkenness, prostitution, and crime. By the middle of the century, social and moral reform had swept England. No historian of the period underestimates the importance of evangelicalism in that reform movement…

Take THAT, William Gresley!

Of course, Gresley himself would no doubt argue that all this is quite irrelevant beside the Evangelical rejection of the sacraments; that all the people helped by reform and perhaps converted by Evangelical zeal are going to hell anyway, because they’re being taught the wrong doctrine. (I keep getting a mental image of an exasperated individual stamping his foot and saying crossly, “No, no, no! – that’s not how you do religion!”)

But as Vineta Colby makes clear in her introduction, we are talking here about emotional evangelicalism: a definition that allows her to classify together the novels of an amazingly disparate group of writers. Colby is uninterested in straight doctrinal “novels” like Bernard Leslie and Steepleton, whether they be for or against Evangelicalism, focusing instead upon the increasingly popular domestic-evangelical school of writing, a female dominated sub-genre of the religious novel:

We may therefore stretch the designation “evangelical novel” to embrace the extremes from Low Church to High, from Charlotte Elizabeth (Mrs Tonna), whose passionate anti-Catholicism made her positively regret her missed chance for Protestant martyrdom (as a child inspired by “that magic book” Foxe’s Acts And Monuments, she asked her father if she might someday hope to become a martyr; “Why, Charlotte,” he replied, “if the government ever gives power to the Papists again, as they talk of doing, you may probably live to be a martyr”), to Charlotte Yonge, whose Anglo-Catholicism inspired her to translate the intellectual issues of the Oxford Movement into romances of daily life that enchanted several generations of readers. In between we may include novelists of every variety and sect—Methodist, Presbyterian, Low-Broad-High Church. Even Roman Catholic converts like Lady Georgiana Fullerton and John Henry Newman wrote novels with the same zeal and fervour though for a different faith. And a Jewish novelist, Grace Aguilar, was evangelical, affirming in her Preface to Home Influence: A Tale For Mothers And Daughters that Christian readers need not fear: “…as a simple domestic story, the characters in which are all Christians, believing in and practising that religion, all doctrinal points have been most carefully avoided, the author seeking only to illustrate the spirit of true piety and the virtues always designated as the Christian virtues hence proceeding. Her sole aim with regard to Religion has been to incite a train of serious and loving thought toward God and man, especially toward those with whom he has linked us in the precious ties of parent and child, brother and sister, master and pupil…”

Call me crazy, but right now a religious novel in which “all doctrinal points have been most carefully avoided” seems strangely attractive…

Haw, haw

I’ve been reading Alison Conway’s The Protestant Whore: Courtesan Narrative And Religious Controversy In England, 1680-1750. The book’s title comes, of course, from the famous anecdote about Nell Gwyn, which tells how she placated an angry mob that attacked her coach in mistake for that of Louise de Kéroualle by calling out, “Good people, pray be civil – I am the Protestant whore!” (We were given a version of this incident in The Power And The Passion.)

Conway’s study traces the history of “courtesan narrative” from the Restoration to the second Jacobite Rebellion, showing the many ways in which the word “whore” was employed in political and religious discourse in relation to the Stuarts. Conway believes the Nell Gwyn story to be apocryphal, because while it was widely repeated no-one ever provided (or has since identified) an original source for it. However, she argues, if the story is fictional, the disclaimer “Protestant” carries even greater weight.

The dismay and anger felt in the face of Charles’ perceived neglect of his duties while he dallied with his mistresses, or worse, the possibility of “petticoat government”, provoked an outpouring of writing that was deeply critical of the amorous monarch, and often frankly obscene. Perhaps the most striking feature of this particular form of literature is the almost invariable distinction drawn between Nell Gwyn and the other mistresses: there is full appreciation of the fact that she was the only one who was neither French nor Catholic; not just a whore, but a Protestant whore. As a consequence the criticism of her is rarely worse than unkind, and in fact most of what looks like an attack upon her is in reality an attack upon Charles.

Take, for example, this extract from Robert Lacy’s 1677 poem, Satyr (the contemporary spelling of “satire”, albeit with an entirely appropriate secondary meaning in context), a lengthy diatribe on Charles’ neglect of his duties and his prodigal sexuality, on which Lacy blames his failure to produce a legitimate heir:

    How poorly squander’st thou thy seed away,
    Which should get Kings for nations to obey;
    But thou, poor Prince, so uselessly hast sown it,
    That the Creation is ashamed to own it:
    Witness the Royal Line sprung from the Belly
    Of the Anointed Princess, Madam Nelly…

In sharp contrast, the attacks made upon the other mistresses are direct and deeply hostile – particularly those aimed at Louise de Kéroualle, who was not only French and Catholic, but widely believed to be a spy in the pay of Louis XIV. The following is from The Whore Of Babylon, a (not surprisingly) unattributed work from 1678:

    You treach’rous Whore of France, may Rabble’s rage
    Seize thee, & not till thou’rt destroy’d aswage.
    The People’s Cross, misfortune, constant Pest,
    The Milstone whelm’d upon this Nation’s breast;
    Brittain’s impairer of her honour & Fame,
    The Festring Soar of Majesty, the Shame
    Of English Councils; the Crowns costly load,
    And Prince’s thriving Infamy abroad;
    The Commons hater, & false France’s friend.
    Lord, from this Basilisk Loyalty defend!
    Permit a change, our ruins to confront,
    Let us be govern’d by an English C–t;
    The kingdom can’t by whoring suffer want
    If princes swives concubines that’s Protestant.

Charming. And yet by no means the nastiest of the anti-de Kéroualle works.

One of the strangest aspects of this period was the emergence in the literature of a wildly idealised Nell Gwyn, who was portrayed of standing up for England’s rights and liberties while Charles was falling down on the job, and who became, perversely enough, a symbol of monarchical and religious loyalty. There is a whole subset of writing that has Nell telling off the other mistresses, usually Louise de Kéroualle, sometimes Barbara de Villiers, in conversations that are really between England and France, Protestantism and Catholicism. And beyond that, there is at least one example of Nell telling off Monmouth, berating him for his disloyalty and ingratitude.

Anyway—

It was my original intention to write a full review of The Protestant Whore, but circumstances have intervened: I have a ‘community borrower’ card at an academic library, one of the conditions of which is that if anyone attached to the university wants a book I have on loan, I have to return it regardless of loan date. So perhaps I’ll return to it at a later date, when my journey meets up with the later subject matter of the book, which includes chapters on Love-Letters Between A Nobleman And His Sister (though I don’t think I need to say any more on that subject!), the literature dealing with the relationship between Queen Anne and her “favourites”, Sarah Churchill and Mrs Masham, Defoe’s Roxana, and finally Clarissa and Tom Jones. I may say that it warmed my heart to find Alison Conway including Tom Jones in her list of Protestant whores.

Otherwise, I’m not entirely sure that Conway has done me any favours, inasmuch as she has me reconsidering my intention  to skip over the rest of the romans à clef that appeared in the post-James era. I’ve been puzzled by the fact that this period saw yet another set of attacks on Louise de Kéroualle, who by this time, having had much of the property bestowed upon her by Charles confiscated, had returned to France. However, I’ve found a source (emphasis on found: do think I can find it again?) which contends that, in the wake of the Rye House Plot, the formerly easy-going Charles finally did crack down on the print market, and that a great deal of what was written in 1683 and 1684 consequently went unpublished, finally seeing the light of day across 1689 / 1690, when it sat comfortably amongst the various pro-Williamite writing and served to remind people what England had rid itself of, even if the specifics were no longer so relevant.

So I’m currently resigning myself to taking a look at The Court Secret by Peter Belon (who we have met here before, as one of the translators of Agnes de Castro: Nouvelle Portugaise), and The Amours Of The Sultana Of Barbary, by that most prolific of authors, “Anonymous”, both of which are Louise de Kéroualle-focused romans à clef. The latter, in addition, is suggested to have had some influence upon the writings of Delariviere Manley, so it may assume greater importance going forward.

If  I ever get to go forward.

And indeed, James is still clutching at my skirts with exasperating tenacity. (If only he’d held onto the throne that tightly – !) Recently, for instance, I randomly picked up Alicia Deane, by the Australian writer E. V. Timms, only to discover that it is an historical novel dealing with characters caught up in the consequences of the Monmouth Rebellion. The central romantic conflict is between the eponymous heroine, who is a passionate believer in Monmouth (not too bright, in other words), and her would-be lover, who is anti-James, but anti-Monmouth too, remarking presciently that, “‘Tis not Monmouth Englishmen want—’tis William of Orange who be, with Mary his Queen, the King and Queen for us.”

The novel opens in the immediate aftermath of Charles’ death, when England is adjusting itself to James:

The glittering palace of Whitehall was now a house of gloom; no merry, uncaring, pleasure-loving monarch now filled its halls, rooms, and galleries with the laughter of licence and the flippant freedom of unrestrained sensuality. Charles was dead, and dead also was the love, the life, and the laughter that he and his brilliant court had made synonymous with the name of Whitehall. James was King, and over London the dark clouds of distrust and suspicion  were already casting their sable shadows. James! James the stern, the gloomy, the bigot, the cruel! The man whose heart was stony ground, and whose lips were strangers to laughter.

It’s almost enough to make you feel sorry for the guy. Almost.

And in fact, I did once feel sorry for him, not while reading this novel (in which his relationship with George Jeffreys is given full weight), but when I stumbled over the following in my internet wanderings. And since I started this post with a probably-apocryphal anecdote, it seems appropriate to close with another one.

Charles, or so the story goes, was in the habit of going for walks in St James’s Park with what his retinue considered grossly inadequate protection, until James was moved to remonstrate with him for placing himself in danger.

To which Charles responded:

“No man in England will raise a hand to me as long as you are my heir.”

Madam Nelly, by Sir Peter Lely

Related ramblings

A while ago, in the comments thread for The Adventures Of Sir Bartholomew Sapskull, we were discussing the short fictions published posthumously under Aphra Behn’s name, and whether they were in fact written by her. I’ve finally managed to track down a copy of A Genius For Letters: Booksellers And Bookselling From The 16th To The 20th Century, edited by Robin Myers and Michael Harris, which contains an essay by Germaine Greer which touches upon this subject.

Greer’s essay, ironically titled Honest Sam. Briscoe, opens by saying:

Among the many problems confronting the student of women’s literature the sheer difficulty of establishing the provenance, authenticity and reliability of the texts has not been sufficiently emphasised. The shakiness of the Aphra Behn canon, to cite the best-known example, is in a large measure due to the role played by the mysterious collapsing bookseller, Samuel Briscoe.

Greer’s tracing of the ups and downs – mostly down – of Honest Sam’s publishing career concerns us only as far as he played a part in the posthumous career of Aphra Behn.

In 1696, Charles Gildon edited and provided a dedication for a compilation work that Briscoe released under the title The Histories And Novels of the Late Ingenious Mrs. Behn. This volume contained Oroonoko, The Fair Jilt, Agnes de Castro, The Lover’s Watch, The Ladies Looking-Glass and The Lucky Mistake, works all written or translated and previously published before Behn’s death. In addition, it offered Love Letters To A Gentleman: Never Before Printed, written to “Lycidas” from “Astrea” (Behn’s well-known code-name), and purporting to be genuine letters from Behn to John Hoyle, who according to gossip was at one time her lover and possibly her “keeper”. (That Hoyle was bisexual at least, and at one time stood trial accused of homosexual acts, seems to have had no impact upon this particular rumour.)

By 1696, letters, and the more salacious the better, were Sam Briscoe’s stock-in-trade. One of his early publishing successes was Letters Of Love And Gallantry And Several Other Subjects. All Written By Ladies by “Olinda” (Catherine Trotter), and from that time Briscoe persistently advertised for correspondence to publish—writing it himself, or hiring others to do so, if none was forthcoming. He became notorious for the bait-and-switch, promising the public the full correspondence of a celebrity and then padding out a handful of previously published letters with new ones by no-one in particular. The authenticity of the Lycidas / Astrea correspondence is therefore doubtful; although a number of scholars have been beguiled into analysing them as if their authorship was certain. Furthermore, whatever its significance, several analysts have pointed out the similarity in tone between these letters and The Love-Letters Of A Portuguese Nun.

Like Letters Of Love And Gallantry, Histories And Novels was a financial success for Sam Briscoe; and again, we find him following up with a second release of far more dubious provenance. In 1698, he published All The Histories And Novels Written By The Late Ingenious Mrs Behn, also edited by Charles Gildon. This volume reproduced the earlier collection but added to it three more, previously unpublished short fictions: Memoirs Of The Court Of The King Of Bantam, The Nun and The Adventure Of The Black Lady. Then, in 1700, Briscoe issued a second volume called Histories, Novels And Translations, which bragged “the greatest part never before printed“, and added three more translations and five more pieces of short fiction: The Blind Lady A Beauty, The Dumb Virgin, The Unhappy Fortunate Lady, The Wand’ring Beauty and The Unhappy Mistake.

The authenticity of these posthumous works have been challenged since the time of their publication, although no-one has a definitive answer one way or another. Sam Briscoe himself seems to have been aware that people were likely to be sceptical: to the 1698 volume he appended an “Advertisement to the Reader”, which declared:

The stile of the Court of the King of Bantam being so very different from Mrs. Behn’s usual way of Writing it may perhaps call its being genuine into Question; to obviate which Objection, I must inform the Reader, That it was a Trial of Skill, upon a Wager, to shew that she was able to write in the Style of the celebrated Scarron, in imitation of whom ’tis writ, tho’ the Story be true. I need not say anything of the other Two, they evidently confessing their admirable Author.

Unfortunately, though she makes her own scepticism clear in her essay in A Genius For Letters, Germaine Greer has no more solid information for us touching the authenticity or otherwise of these posthumous works. She does, however, give more credence to The Court Of The King Of Bantam than to the other works, on the grounds that if it were a forgery, it would certainly be more in Behn’s usual style. Her main objection to the claim of Behn’s authorship is a purely pragmatic one: if two eternally cash-strapped individuals like Sam Briscoe and Charles Gildon had possession of Aphra’s Behn’s unpublished writings, why did it take them eight, ten and even twelve years to publish them?

Then, of course, there’s the question of how they would have come into possession. Charles Gildon, who we’ve met before at this blog (albeit playing the unlikely role of the denouncer of dishonesty), is another of the anomalous literary figures that proliferated in the late 17th and early 18th centuries, working variously as an editor, a publisher and a hack-for hire, his name cropping up again and again with reference to scams and cheats of all kinds. (He was also another of the coffee-house crowd, which is where Briscoe met him.) He was a friend of Behn’s, and is often referred to vaguely as her ” literary executor”, which really does nothing to answer the overriding questions. Over the decades that followed, Gildon made a steady income re-issuing Behn’s works – and “works” – at regular intervals.

Gildon’s most important historical role is not as Behn’s executor, nor even as her editor, but as her biographer. In 1696 (there’s that year again!), Gildon staged a previously unperformed play of Behn’s, The Younger Brother. It was not a success. Nevertheless, Gildon published the text – “with some alterations” – and prefixed to it a short memoir of Behn, An Account Of The Brief Life Of The Incomparable Mrs. Behn, in which he gives her maiden name as Johnson, her birth-place as Canterbury, asserts that her husband was “an eminent merchant” and makes mention of both the journey to Surinam and the spying in Flanders.

The 1696 release of Histories And Novels carries, in addition to the works purportedly by Behn, a biographical sketch called The History Of The Life And Memoirs Of Mrs. Behn, Written By One Of The Fair Sex. This elaborates but essentially repeats the earlier information, and it is generally believed that Gildon wrote it himself. So far the underlying details are only what a friend of Behn’s might have known; but it is presented here like one of Behn’s own tales, while exaggeration and misinformation are rife. The emphasis is very much upon Oroonoko, here reissued for the first time since its initial publication: Aphra is given a gentleman-father who was “governor of Surinam”, and Oroonoko is asserted to be a true story. There are even hints of a scandalous relationship between Behn and her slave-hero, with the author indignantly refuting “some unjust aspersions” that have allegedly been made—which of course had the effect of establishing the relationship as fact in many readers’ minds. There are many allusions to Behn’s beauty and charm, and the section dealing with her visit to Antwerp suggests amorous adventures rather than espionage. This “biography” was reissued with each reissuing of Behn’s works, undergoing expansion and elaboration until it became quite a lengthy tale; although it is noticeable that it gains most details at those points where Behn’s fiction and her life are supposed to be in parallel.

Whatever his motive, Gildon’s biographical accounts of Behn’s life did her no favours in the long run. Firstly, as Gildon’s own reputation sank, the association dragged Behn down, too. Secondly, these sketches are the origin of Behn as “the passionate Astrea”, a woman dominated by her emotions, who wrote purely to express them. In the various responses to her memoirs we see Behn’s reputation as a writer being overtaken by her reputation as a scandalous woman: the first stirrings of the moral condemnation that was to bury her for literally centuries, and remove her from the literary timeline. And finally, when it was belatedly realised that certain “biographical” details of Behn’s life and various narrative assertions in Behn’s fiction were virtually indistinguishable, it had the peculiar effect of seeing Behn condemned as a shameless liar. As a result, they effectively threw out the baby with the bath-water, with both the journey to Surinam and the mission to Flanders for many years dismissed as just more fiction; and it is only recent scholarship that has managed to extract the real Aphra from behind the fictionalised “Astrea”.

Which is a great deal more than I intended to say upon this subject. Just for a change.

Another essay in A Genius For Letters that caught my eye was From the warehouse to the counting-house: booksellers and bookshops in late 17th-century London by Giles Mandelbrote. Not only does this piece obviously deal with matters pertinent to this blog’s pursuit of the rise of the novel, but we find within its pages a couple of old friends:

Contemporary satire was not kind to shopkeepers. Some of the most lively descriptions of bookselling in the later 17th century come from the pens of two writers who themselves had chequered careers as booksellers. Richard Head (1637? – 1686?), after apprenticeship in the book trade, set up as a bookseller in his own right in the 1660s, but was soon ruined by gambling debts and earned a living thereafter as a hack writer. Francis Kirkman (1632 – 1683?), who was a member of the Blacksmiths’ Company, had a bookshop in various parts of London between about 1657 and 1680, was an active publisher of plays and light literature, and published his own fictionalised memoirs, The Unlucky Citizen, in 1673. Kirkman is usually credited with writing, as well as publishing, the continuation to Head’s The English Rogue (1668), which includes several chapters where the narrator is a bookseller’s apprentice.

Several lengthy quotes of the relevant passages of The English Rogue and The Unlucky Citizen then follow. Hilariously, however, even while using Francis Kirkman so extensively as a source, Mandelbrote adds a footnote in which the reader is warned to treat the veracity of anything said by Kirkman with “extreme caution”.

The other relevant essay in A Genius For Letters is Simon Elliot’s Bookselling by the backdoor: circulating libraries, booksellers and book clubs 1876 – 1966, which traces the history of the book trade during the demise of the circulating libraries in the late 19th century and the rise of various new entities that competed with the full-time booksellers during the early 20th century, including public libraries and book clubs. While the essay is wide-ranging, the section most relevant here deals with the collapse of the “three-volume novel” and of the two great competitive circulating libraries, Mudie’s and W. H. Smith, towards the end of the 19th century. 

Before this time, the libraries were already struggling, under threat from inexpensive reissues of novels too close to the original release date of the first edition (a situation comparable to the cinema / DVD release dichotomy for new movies today). Consequently, on 27th June 1894, Mudie’s and Smith issued a joint declaration, in which they demanded that the price of three-volume novels be reduced to no more than four shillings per volume, and that there be a gap of at least a year between the publishing of first editions and the appearance of cheaper reprints. The publishing houses’ response was effectively to stop issuing multi-volume novels at all, experimenting instead with single-volume editions that cost less than the combined-volume prices of the multi-volume works. They also began to rely less upon the circulating libraries as an outlet for their books, and more upon advertising directly to the public, who at the new, reduced priced were willing to buy rather than borrow first editions. Effectively, the long-standing publishing approach of small editions at high prices had been replaced by large editions at low prices; while from an artistic viewpoint, authors were no longer constrained to produce works of a pre-defined length, and the circulating libraries’ long-standing threat of censorship was gone for good.

Finally—yes, finally, I promise—I have yet again stumbled over those blasted Stuarts in my off-blog reading, and the same person is to blame. Following on from the part played by a portrait of James II in R. Austin Freeman’s short story, The Great Portrait Mystery, his 1923 novel The Cat’s Eye features an extensive subplot about a boy who has been excluded from the inheritance of the family property because the marriage of a direct ancestor cannot be proved. Certain documents from the 18th century dealing with the situation are still extant, however, from which we learn the following:

Like his father, Percival Blake was an ardent supporter of the Stuarts, and it is believed that he took an active part in the various Jacobite plots that were heard of about this time; and when, in 1745, the great rising took place, Percival was one of those who hastened to join the forces of the young Pretender, a disastrous act, to which all the subsequent misfortunes of the family are due…

Sounds about right.

Later in the novel, John Thorndyke and his sidekick-narrator du jour, the lawyer Robert Anstey, pay a visit to the ancestral halls of the Blake family, and find in the local village an ancient pub:

    But the most singular feature of the house was the sign, which swung at the top of a tall post by a horse-trough in the little forecourt, on which was the head of a gentleman wearing a crown and a full-bottomed wig, apparently suspended in mid-air over a brown stone pitcher.
    “It seems to me,” said I, as we approached the inn, “that the sign needs an explanatory inscription. The association of a king and a brown jug may be natural enough, but it is unusual as an inn-sign.”
    “Now, Anstey,” Thorndyke exclaimed protestingly, “don’t tell me that that ancient joke has missed its mark on your superlative intellect. The inscription on the parlour window tells us that the sign is the King’s Head, and the pitcher under the portrait explains that the king is James the Second or Third—His Majesty over the water.”

I have no idea whether this recurrence of Stuart themes in Freeman’s writing indicates a particular historical interest or political sympathy (as the reference to “James the Third” might suggest), or whether it is simply that the machinations and conflicts of the era provide a delightfully wide scope for stories involving long-standing family secrets, hidden documents, and houses full of concealed passage-ways and priest-holes.

Critic on the couch

So few people are really acquainted with the whole range of Romance (even in English), or with any large part of it, that one may without undue presumption set down in part, if not in whole, to ignorance, a doctrine and position which we must now attack. This is that romance and novel are widely separated from each other; and that the historian of the novel is really straying out of his ground if he meddles with Romance. These are they who would make our subject proper begin with Marivaux and Richardson, or at earliest with Madame de La Fayette, who exclude Bunyan altogether, and sometimes go so far as to question the right of entry to Defoe. But the counter-arguments are numerous; and any one of them would amost suffice by itself. In the first place the idea of the novel arising so late is unnatural and unhistorical. In the second place a pedantic insistence on the exclusive definition of the novel involves one practical inconvenience which no one, even among those who believe in it, has yet dared to face. You must carry your wall of partition along the road as well as across it; and write separate histories of the Novel and the Romance.

I spent some considerable time pondering the best way to attack The English Novel by George Saintsbury for this blog – and must finally confess that the word “attack” may be more apt than I’m quite comfortable with. There is, to be fair, a great deal to enjoy in this 1913 study of that much-cherished subject, “the rise of the novel”, and at first I thought that I was going to get along with Professor Saintsbury almost as well as I did with James R. Foster. And why not?—after all, he refuses to separate “the novel” and “the romance”; he doesn’t think the novel started with Daniel Defoe; and he despises Richard Head.

But finally there was a point where Professor Saintsbury and I parted company—and I need to be very clear about the nature of that point, so as not to end up being guilty of doing exactly what I’m about to criticise Saintsbury for doing.

Fairly late in his text, Professor Saintsbury confesses to being a political conservative—in fact, he prefers to call himself a Tory. I may say that by the time of this admission, it was entirely unnecessary, since the bent of his beliefs had been quite evident for some time. Now—those of you who have been regular visitors to this blog would not, I imagine, need telling that my own tendencies (I prefer not to regard them as “political”) lie in the other direction. Nevertheless, I do try not to let ideological differences intrude upon my assessment of the works I examine here, although obviously I’m going to end up more in sympathy with some than with others.

My objection to the tenor of The English Novel is that George Saintsbury does let his ideology intrude upon his literary analysis—and he’s not shy about it, either. The clearest illustration of this comes, not surprisingly, when Saintsbury considers the radical novelists of the late 18th century, to whom, since he disapproves of them as radicals, he gives extremely short shrift as novelists—refusing to look past the politics to the writing.

And this becomes increasingly Saintsbury’s approach to his criticism as he moves through the literature of the 19th century and into the publications of his own lifetime, to an extent that is both exasperating and disappointing; disappointing in particular, since the early stages of this study, dealing with times in the safely distant past, are both informative and entertaining; while Saintsbury’s idiosyncratic writing style, with its bizarre mix of the chatty and the lofty, and its habit of slipping into the first person, is an entertainment unto itself.

Here are a couple of early quotes, just to give you a taste. That passage quoted up above, arguing the impossibility of dividing the romance and the novel, concludes as follows:

The present writer can only say that, although he has dared some tough adventures in literary history, he would altogether decline this. Without the help of the ants that succoured Psyche against Venus, that heap would indeed be ill to sort.

Still more typical is an early statement bringing the argument into more modern times (and, by the way, giving an example of Saintsbury’s tendency to literary jingoism):

The separation of romance and novel—of the story of incident and the story of character and motive—is a mistake logically and psychologically. It is a very old mistake, and it has deceived some of the elect: but a mistake it is. It made even Dr Johnson think Fielding shallower than Richardson; and it has made people very different from Dr Johnson think that Count Tolstoi is a greater analyst and master of a more developed humanity than Fielding. As a matter of fact, when you have excogitated two or more human beings out of your own head and have set them to work in the narrative (not the dramatic) way, you have made the novel in posse, if not in esse, from its apparently simplest development, such as Daphne And Chloe, to its apparently most complex, such as the Kreutzer Sonata or the triumphs of Mr Meredith. You have started the “Imitation”—the “fiction”—and tout est là.

Yet for all its ability to amuse – and to bewilder – it must be said that George Saintsbury’s writing style has a tendency to distract from and even to overwhelm his content, to the point where I finally came away from this study feeling that I had learned infinitely more about “George Saintsbury” than I had about “the English novel”.

At the outset, The English Novel seems like the rise-of-the-novel study to beat all rise-of-the-novel studies. Most of these works, as we have seen, open with a debate over where to draw their line in the sand—Richardson? Defoe? Behn? Not for George Saintsbury such timid stuff: his study plunges straight back into antiquity:

One of the best known, and one of the least intelligible, facts of literary history is the lateness, in Western European Literature at any rate, of prose fiction, and the comparative absence, in the two grwat classical languages, of what we call by that name. It might be an accident, though a rather improbable one, that we have no Greek prose fiction to a time long subsequent to the Christian era, and nothing in Latin at all except the fragments of Petronius and the romance of Apuleisus. But it can be no accident, and it is a very momentous fact, that, from the foundation of Greek criticism, “Imitation”, that is to say “Fiction” (for it is neither more nor less), was regarded as not merely the inseparable but the constituent property of poetry, even though those who held this were doubtful whether poetry must necessarily be in verse. It is another fact of the greatest importance that the ancients who, in other forms than deliberate prose fiction, try to “tell a story”, do not seem to know very well how to do it.

From here Saintsbury jumps from Apollonius Of Tye to The Vision Of St. Paul, and from there makes a series of leaps that take in Beowulf, Anglo-Saxon poetry, medieval tales, the Arthurian legends and Malory’s choices, the rise of prose in Italy and Spain, and finally the Elizabethan romances of Philip Sidney and his ilk, and their 17th century descendents—eventually running up against the eternal question of where and when, exactly, “the novel” may be said to have begun. Saintsbury digresses here slightly in order to mention Henry Neville, and be nice to Aphra Behn and rude to Richard Head, then makes a strong case for John Bunyan’s place in the novel’s timeline, while classing him with Swift and Cervantes as an allegorist rather than a novelist per se. The most unexpected stroke here, however, is the introduction of a new player into the age-old debate, as he argues for the influence of the early 18th century periodicals, and the writing of Steele and Addison, over the subsequent development of English prose.

Saintsbury’s study of the novel proper starts with a consideration of Defoe (and he gets irritated with those who pass him over in the timeline and start with Richardson in exactly the same way that I get irritated with those who start with Defoe and pass over Aphra Behn [and, ahem, Francis Kirkman]). He concedes the ongoing difficulty of deciding how much of Defoe’s fiction actually is “fiction”; finally concluding that it doesn’t matter—and in my opinion, making a stronger case for Defoe than many of those who have written entire books on the subject:

But, apart from all these things, there abides the fact that you can read the books—read them again and again—enjoy them most keenly at first and hardly less keenly afterwards, however often you repeat the reading.

It is this re-readability that inclines Saintsbury to position Defoe as, sigh, “the father of the novel”; arguing that the art of the novel lies very much in its capacity to yield repeated pleasure, in spite of the reader’s familiarity with the text; that is, its ability to entertain in more than one way.

From here The English Novel plays out in a conventional manner, if not always a conventional style—though we must of course acknowledge that what we recognise here as “conventional” is a measure of how far Saintsbury’s approach was later copied. He was certainly the model for those critics who later chose to select a “Big Four” amongst the English novelists – in tandem with paying scant heed to those who didn’t make the cut; an approach to literary criticism that would dominate the field until late in the 20th century. For the rest, Saintsbury starts with The Usual Suspects – Fielding, Richardson, Smollet, Sterne – and also divvies them up in the usual way, tagging Fielding and Smollet as “masculine” and Richardson and Sterne as “feminine”, or at least “feminised”, and offering the latter two as the models for the later hordes of “scribbling women”. A note that will recur through much of the rest of this book begins to emerge here, which is something I shall return to shortly.

I’ve said before that my interest these days in the history of the novel lies in its black holes – the writers before Defoe, and those that lie between Defoe and Richardson, and between Sterne and Austen. Not surprisingly, then, I began to part company with George Saintsbury at this point in his study, as he gives a quick overview of quite a number of writers of the second half of the 18th century, but very much in the spirit of, I’m telling you this so you don’t have to bother with them. It is in this stretch that the radicals get their comprehensive dismissal, with Saintsbury obviously feeling than he has said all that needs to be said to turn us away from the works of Robert Bage and Thomas Holcroft when he tells us that they were not gentlemen. (So they weren’t; but on the other hand, they weren’t snobs, either.)

It soon becomes evident that Saintsbury’s eagerness to get out of the 18th century lies in the fact that two of the writers he considers the all-time greatest belong to the early 19th. We are probably not surprised to find Jane Austen on Saintsbury’s personal “Big Four” list, nor do I have the least inclination to argue with his analysis of her myriad perfections as a novelist:

It is the absolute triumph of that reliance on the strictly ordinary which has been indicated as Miss Austen’s title to pre-eminence in the history of the novel. Not an event, not a circumstance, not a detail, is carried out of “the daily round, the common task” of average English middle-class humanity, upper and lower. Yet every event, every circumstance, every detail, is put sub specie eternitatis by the sorcery of art. Few things could be more terrible—nothing more tiresome—than to hear the garrulous Miss Bates talk in actual life; few things are more delightful than to read her speeches as they occur here. An aspiring soul might feel disposed to “take and drown itself in a pail” (as one of Dickens’s characters says) if it had to live the life which the inhabitants of Highbury are represented as living; to read about that life—to read about it over and over—has been and is always likely to be one of the chosen delights of some of the best wits of our race. This is one of the paradoxes or art: and perhaps it is the most wonderful of them…

But the problem with this positioning of Jane is that it sets the tone for the next sixty or seventy years of English literary criticism—during which time the majority of critics seem to have concluded that, having said nice things about Austen, there was no need for them, and certainly no obligation upon them, to admire or even acknowledge any other female writer.

And indeed, Saintsbury himself finds precious little of merit in the works of Austen’s literary sisters either before her or after her – not even in those whom she admitted as an influence. He is extremely and, in my opinion, unjustly harsh about Frances Burney, who is dismissed as a mere mimic rather than a novelist, and not a very good one. He manages some tepid praise for Maria Edgeworth and Mary Brunton, while dwelling on their faults, and is kind to Ann Radcliffe (while misspelling her name) because she was obviously “a lady”. More typical of this section are his comments on popular novelists like Regina Maria Roche, second in success only to Radcliffe herself as a Gothic novelist, whose novels, “Should probably be read …in late childhood or early youth. Even then an intelligent boy or girl would perceive some of their absurdity…” Likewise, of Sydney Owenson (later Lady Morgan), we hear that, “Nothing she wrote can really be ranked as literature, save on the most indiscriminate and uncritical estimate“, while the works of Harriet and Sophia Lee, “Are not exactly bad; but also as far from possible from consummateness.” Furthermore, while explaining to us exactly what was wrong with novel-writing during the second half of the 18th century, he repeatedly illustrates his argument with reference to female writers, finally bookending this unsatisfactory era as running from, “The Female Quixote to Discipline” – or to put it another way, from Charlotte Lennox to Mary Brunton. Admittedly, Saintsbury does find plenty to criticise in most of the male writers of this era, too, but he doesn’t dwell in the same way, and generally the note of contempt is missing.

(I suppose I should be grateful that Saintsbury seems never to have come across Catherine Cuthbertson.)

But it is when Saintsbury begins to deal with women writers post-Austen that he really makes us open our eyes. First of all, he dismisses the Brontes collectively as just too weird; he struggles with Elizabeth Gaskell, and clearly thinks she should have stuck to domestic themes rather than venturing into social reform (although he doesn’t much care for her work even when she does); and then, in what from a modern perspective is probably this study’s most startling moment, he reveals an entire lack of enthusiasm for George Eliot—who he criticises roundly for, of all things, taking novel-writing too seriously. Indeed, Saintsbury passes over Eliot so swiftly that he offers little chance to come to grips with any specific objections to her writing – and finally we’re left with the uncomfortable sense that his personal conservatism may again have been intruding upon his literary judgement. For one thing, Saintsbury insists on using inverted commas all the way through this brief section – “George Eliot” – and at one point he refers to her as Mrs Cross, which is just spiteful. My impression here is that while Saintsbury may have been able to treat the misbehaviour of, say, Aphra Behn with indulgence, as being a safe two hundred and fifty years in the past, he was unable to overlook the transgressions of Mary Ann Evans, which must have been ongoing in his lifetime.

Anyway—you can probably appreciate that by this point in The English Novel, I was starting to feel a slow burn creeping up the back of my neck. This is not to say I ever lost interest in it, though, since its very iconclasm keeps you hanging on—and shows itself again in Saintsbury’s revelation of Fielding and Austen’s companions in his Big Four: Walter Scott and William Makepeace Thackeray, neither of whom have figured very prominently in any of these “ranking” contests since Saintsbury put pen to paper. Of Scott, indeed, Saintsbury is almost unstinting in his praise, and he has very little time for those who find fault with him:

    Not here, unfortunately, can we allow ourselves even a space proportionate to that given above in Miss Austen’s case to the criticism of the individual novels… The brilliant overture of Waverley as such, with its entirely novel combination of the historical and the “national” elements upon the still more novel background of Highland scenery; the equally vivid and vigorous narrative and more interesting personages of Old Mortality and Rob Roy; the domestic tragedy, with the historical element for little more than a framework, of The Heart Of Midlothian and The  Bride Of Lammermoor; the little Masterpiece of A Legend Of Montrose; the fresh departure, with purely English subject, of Ivanhoe and its triumphant sequels in Kenilworth, Quentin Durward, and others; the striking utilisation of literary assistance in The Fortunes Of Nigel; and the wonderful blending of autobiographic, historical, and romantic interest in Redgauntlet…
    That he knew what he was doing and what he had to do is thus certain; that he did it to an astounding extent is still more certain; but it would not skill much to deny that he did not always give himself time to do it perfectly in every respect, though it is perhaps not mere paradox or mere partisanship to suggest that if he had given himself more time, he would hardly have done better, and might have done worse. The accusation of superficiality has already been glanced at: and it is pretty certain that it argues superficiality, of a much more hopeless kind, in those who make it…

Between Scott and Thackeray, Saintsbury spends a little time with the likes of Benjamin Disraeli and Edward Bulwer-Lytton, before offering up a peculiar analysis of Charles Dickens, in which he seems unable to make up his mind whether he considers Dickens a genius or a mountebank. (Both, would be the short answer.) The overriding sense here, however, is that it is not Dickens himself who is the problem, but rather that Saintsbury grew up having Dickens’ genius dinned into his ears until he was sick and tired of it. But there may have been another factor in his dislike:

The remarkable originality and idiosyncrasy of Dickens have perhaps, to some extent and from not a few persons, concealed the fact that he was not, any more than other people, an earth-born wonder… There is probably no author of whom really critical estimates are so rare. He has given so much pleasure to so many people…that to mention any faults in him is upbraided as a sort of personal and detestable ingratitude and treachery. If you say he cannot draw a gentleman, you are told you are a parrot and a snob, who repeats what other snobs have told you; that gentlemen are not worth drawing; that he can draw them; and so forth… If you intimate small affection for Little Nell and Little Paul, you are a brute; if you hint that his social crusades were quite often irrational, and sometimes at least as michievous as they were beneficial, you are a parasite of aristocracy and a foe of “the people”…

We have, of course, learned enough of George Saintsbury by this time to suspect that his views on “gentlemen” and “the people” may indeed have coloured his opinion of Dickens; although that said, I confess I’m in sympathy with his stance on “Little Paul and Little Nell”…

However, Saintsbury’s consideration of the “unrealistic” Dickens is merely his way of paving the way for his section on Thackeray, who he considers the true heir of Fielding, a novelist in whose works:

…the problem of “reality, the whole reality, and nothing but reality” is faced and grasped and solved—with, of course, the addition to the “nothing but” of “except art”… [It is] the scheme of the realist novel in the best sense of the term—the novel rebuilt and refashioned on the lines of Fielding, but with modern manners, relying on the variety of life, and relying on these only. There is thus something of similarity (though with attendant differences, of the most important kind) between the joint position of Dickens and Thackeray… Both wrote historical novels: it is indeed Thackeray’s unique distinction that he was equally master of the historical novel and of the novel of pure modern society… Thackeray takes sixteen years of experimentation before he trusts his genius, boldly and on the great scale, to reveal itself in its own way, and in the straight way of the novel.

In the last section of his study, Saintsbury focuses on the mid- and late-Victorian novel. It is here that George Eliot – sorry, “George Eliot” – receives her congé, although on the whole Saintsbury is more indulgent with the writers of this period, perhaps because he is dealing with the books that were so important in his own formative years. Anthony Trollope is kindly treated (though generally viewed as a Thackeray wannabe), and Elizabeth Missing Sewell and Charlotte Yonge are actually the recipients of a few kind words, although chiefly the latter (probably because her conservatism makes Saintsbury look like a radical). 

A plethora of minor novelists then flit past our consciousness before  Saintsbury steps back to consider the changing world of writing and publishing in the late 19th century, and indeed the changing face of literary criticism, prior to wrapping things up with a look at the two most determinedly original novelists of the time—George Meredith and Thomas Hardy:

The chorus of praise, ever since it made itself heard, has not been quite quite unchequered. It has been objected both to Mr Meredith and Mr Hardy that there is in them a note, perhaps to be detected also generally in the later fiction which they have so powerfully influenced—the note of a certain perversity—of an endeavour to be peculiar in thought, in style, in choice of subject, in handling of it; in short in general attitude… There is truth in this, but it damages neither Mr Meredith nor Mr Hardy on the whole; though it may supply a not altogether wholesome temptation to some readers to admire them for the wrong things…

Translation: they both wrote about sex.

George Meredith, whom Saintsbury obviously admired greatly in spite of, or because of, his “peculiarities”, died while this book was being prepared for publication; and here Saintsbury segues into an odd sort of obituary in which praise and exasperation struggle for supremacy.

(Since our mutual opinion of George Meredith is one of those rare points at which Saintsbury and I are in agreement, I’d like to be able to say that this is a typical reaction to Meredith, but the truth is that these days, exasperation tends to reign unchallenged. I regret it, but I’m hardly surprised.)

Saintsbury is unwontedly gentle during this stretch of his writing. However, he recovers his spirits at the end, when he reflects on what he views as the inverse relationship between novel quality and novel sales:

Yet whatever faults there might be in the supply there could be no doubt about the demand when it was once started. It was indeed almost entirely independent of the goodness or badness of the average supply itself. Allowing for the smaller population and the much smaller proportion of the population who were likely to—or indeed could—read, and for the inferior means of distribution, it may be doubted whether the largest sales of novels recorded in the last century have surpassed those of the most trumpery trash of the “Minerva Press” period—the last decade of the eighteenth century and the first of the nineteenth century. For the main novel-public is quite omnivorous, and absolutely uncritical of what it devours. The admirable though certainly fortunate Scot who “could never remember drinking bad whisky” might be echoed, if they had the wit, by not a few persons who never seem to read a bad novel, or at least to be aware that they are reading one.

There’s more—but the tone of that is so entirely representative, I think we’ll leave things here.

One bird, two stones

 

The facts disclosed by our study of the Mary Carleton narratives contradict, if they do not wholly destroy, three cardinal doctrines about the origin of the modern novel,— (1) that the criminal biographies were as a class substantially true, (2) that the narrative methods of Defoe were acquired by “imitating truthful records,” and (3) that in seventeenth century fictitious literature there were no very close approaches to the work of “the father of the English novel.”

 

 

 

 

 

 

 

 

Mmm… You know, there’s nothing in the world I find more comforting than a big, steaming bowl of serendipity.

One of the stranger—and more unwelcome—side-effects of my tussle with The English Rogue is that I came away from it with a desire to read something else written by Francis Kirkman; something, that is, not produced under the influence of Richard Head and the shadow of his original work. The trouble was, Kirkman’s other fiction fell into only two categories: archaic romances copied after those he translated early in his career, and rogue’s biographies—of which I had had quite enough for the moment, thank you.

That said, the obvious choice amongst Kirkman’s solo works was The Unlucky Citizen. Published in 1673, on the back of some difficult financial times, this work is a “rogue’s biography” inasmuch as it is a thinly disguised autobiography. This book would, doubtless, have told me everything I wanted to know about Francis Kirkman but was afraid to ask; but in spite of this—or because of this—it didn’t really appeal; although I was amused by the reflection that at a time when most writers were frantically trying to sell their fiction as fact, Kirkman (possibly for reasons of self-preservation) chose to sell fact as fiction.

I was still pondering the issue when I dropped into my academic library one day to do a little browsing amongst the works classified as DD823.400 and slightly upwards. These are those studies of early modern literature that don’t really fit in anywhere else – and which are, for the most part, works decades old and usually considered superseded. Strange and wonderful things lurk on those shelves, which (or so I gather from the dust, the puzzled looks from the librarians, and occasional absence of a barcode) are rarely accessed by anyone but me. I was trolling the shelves with no particular purpose when one book jumped out at me, a slender maroon volume with an unreadable title sticker on the spine, which was quite visually distinct from all the others around it.

This turned out to be The Mary Carleton Narratives 1663 – 1673: A Missing Chapter In The History Of The English Novel, published in 1914 by Ernest Bernbaum, then Instructor in English at Harvard: a book whose importance to the aims of this blog can hardly be overrated, as we shall see; yet a book so obscure and unaccessed that, as I subsequently discovered, it was not listed in the library’s catalogue.

Mary Carleton was a notorious 17th century con-woman. Briefly, she was born and grew up near Canterbury, where she married one husband, possibly two, and fled with everything that wasn’t nailed down. She spent some time in Europe, chiefly around Cologne, and returned to England in possession of a reasonable sum of money and posing as a titled German lady, Maria van Wolway; her alleged position escalating over subsequent events until she became known as “the German Princess”.

Hoping to trap a rich prize through this pose, Mary got more—or rather, less—than she bargained for when she attracted the relatives of a young man called John Carleton, who by way of making him seem an attractive prospect, talked up his birth, fortune and holdings and began referring to him as “his lordship”. In a state of mutual deceit, the two married. The Carletons waited, slavering, for “the Princess”‘s fortune to be forthcoming, while Mary waited likewise for “his lordship”‘s promised shower of riches. Needless to say, they were both doomed to disappointment.

(I seem to be seeing Dickens forerunners everywhere these days. These two remind me of the Lammles from Our Mutual Friend.)

At some point during the ensuing stand-off, John Carleton’s father received a letter from a man who claimed that he knew Mary from Canterbury; that she was the daughter of a church organist, and had two “husbands” still living in the area. According to some accounts, the furious Carleton senior led a family charge to Mary’s rooms, where they literally stripped her of the expensive wedding-clothes they had given her and all of her own jewellery (most of which turned out to be fake), before having her arrested and charged with bigamy.

Mary’s trial was the cause célèbre of 1663. While some people believed her absolutely to be Maria van Wolway, it soon became evident that her guilt or innocence was less important to the gathered crowd generally – and to the jury – than who they preferred, and Mary was soon the popular favourite. The Carletons made the mistake of producing only an eyewitness to Mary’s previous marriage(s) instead of any documentary evidence, and this gave the court the excuse it was looking for to acquit her.

Mary’s triumph was short-lived. The dismissal of the bigamy charge meant that she was in law John Carleton’s wife, and that he was within his legal rights to take everything she owned and then desert her. Mary subsequently made overtures of reconciliation to her estranged husband, but the Carletons weren’t having any. Thrown back on her own resources, Mary was next seen in public starring as “herself” in a play first called A Witty Combat: or, The Female Victor but which soon adopted the title The German Princess; a tacit admission of fraud that must of galled Mary’s genuine supporters. The play, if not very good, had novelty value and for a while drew crowds; although a number of critics commented that Mary was more convincing in the courtroom than on stage.

From here, it was downhill all the way for Mary Carleton. For some time she supported herself through relationships with men, at one point “marrying” again under yet another identity, at others posing as a woman of means in order to attract suitors, but always with the ultimate goal of obtaining what she could by gift or theft before fleeing. Finally, she turned to confidence tricks and robbery. In 1671, she was arrested and tried for theft, found guilty and initially condemned, but had her sentence reduced and was transported to Jamaica. Some years later she managed to make her way back to England and resumed her old way of life, attracting and defrauding more men and stealing the silverware wherever she could insinuate herself. At last she went to the well once too often, and by this time the court’s patience was exhausted. Early in 1673, Mary Carleton was found guilty of robbery, condemned and executed.

Criminal biography, as we have seen, was hugely popular in the second half of the 17th century, and Mary activities were accompanied by two flourishes of related publications, one after her initial acquittal in 1663, the other after her execution in 1673—all told, more than twenty individual works.

The first wave included two accounts of the trial, The Great Trial And Arraignment Of The Late Distressed Lady, Otherwise Called The German Princess and The Arraignment, Trial And Examination Of Mary Moders, Otherwise Stedman, now Carleton, Styled The German Princess, as well as duelling vindications supposedly by John and Mary Carleton, but clearly ghostwritten: An Historical Narrative Of The German Princess and The Ultimum Vale Of John Carleton Of The Middle Temple, London, Gent.

Of the second wave, two publications, both substantial works, stand out: The Memories Of Mary Carleton, Commonly Styled The German Princess by someone calling himself only “J.G.”; and The Counterfeit Lady Unveiled, published in 1673 by—Francis Kirkman.

You were wondering if I was ever going to get to the point, weren’t you?

The truth is, I’ve felt uncomfortable about ignoring Mary Carleton who, whatever she was in life, was certainly a significant literary figure of the late 17th century, with the post-execution flourish of publications landing squarely within my target dates for this blog. So my discovery of Ernest Bernbaum’s study seemed to offer a useful shortcut: reading The Counterfeit Lady Unveiled would simultaneously satisfy my perverse Francis Kirkman fetish and sooth my conscience with regard to the Mary Carleton literature, while through The Mary Carleton Narratives I would get a sufficient overview of the remaining twenty-plus works on the subject. 

Remarkably enough, The Counterfeit Lady Unveiled is in print, as the lead example in a 1961 anthology called The Counterfeit Lady Unveiled And Other Criminal Fiction Of Seventeenth-Century England, edited by Spiro Peterson. My academic library holding a copy, I walked over there one day about a week before last Christmas to pick it up, only to discover to my horror that the library had closed down for the Christmas-New Year break a week early, to facilitate renovations. 

Cue, if you will, a humiliating mental image of me pounding unavailingly on the front doors and wailing, “But I have to have my Francis Kirkman!!”

So, temporarily thwarted, I read The Mary Carleton Narratives first. To my surprise and delight, far from being merely a summation of the life of “the German Princess” and the writings she inspired, Bernbaum’s study is yet another slant upon “the rise of the English novel”, and one which has some startling things to say on the subject of Francis Kirkman’s work.

Ernest Bernbaum begins his study with a clear declaration of his intent to kick against the prevailing dogma on the rise of the novel, which as you might imagine does him no harm in my estimation; although given his date of publication, it’s the law as laid down by Walter Raleigh and his ilk that he’s arguing against, rather than that of Ian Watt and his descendents, as I like to do. And as so many of these arguments do, it begins with the positioning of Daniel Defoe – and includes the usual distinction:

In fact, most historians of literature, finding the Elizabethan attempts uninfluential, hold that realistic fiction begins with Daniel Defoe. It is Defoe with whom, according to Professor Raleigh, the novel (as distinguished from the romance) arises. It is Defoe who writes, in the opinion of Mr Edmund Grosse, “the earliest great English novel”; and who deserves, in that of Mr George A. Aitken, the proud title “the father of the English novel”… Before his time, we are told, “the promise of the novel dissolved like a mirage.” He remains “the founder of the novel,” in the sense of being the first after the Elizabethans to write a long fictitious prose narrative that is not an allegory, and that realistically and seriously recounts the actions of personages of the lower and middle classes. Such novels, scholars assure us with remarkable unanimity, were before not attempted…

One thing that Bernbaum and his opposition do agree on is that Defoe’s writing grew out of the “criminal biographies” of the previous century, which in turn grew out of the journalism of the day. As Bernbaum points out, journalism was born during the Civil War and, far from being an exercise in factual reporting, its function was to create lies and propaganda in support of one political viewpoint or the other. (Plus ça change.) While this aspect of journalism did not entirely recede following the Restoration, when greater or lesser danger attached to pushing a barrow, the reporting of facts with regard to day-to-day events became an increasingly important aspect of the journalist’s job. However, distances were great and facts sometimes hard to come by; and it was an accepted practice for journalists to fill the gaps in their stories by exercising their powers of invention. The line between “journalism” and “fiction” was often very thin indeed.

The jokes just write themselves, don’t they? Bernbaum digresses at this point to offer a personal observation that, as you might imagine, surprised a laugh out of me:

The very productive and prosperous Henry Walker concocted, among many other fabrications, a wholly imaginary account of the flight of Charles II; and falsified the death-bed sayings of Oliver Cromwell, professedly recorded by “one who was a groom of his chamber”. Walker was indignantly called by the saintly George Fox “a liar, and forger of lies,”—terms which accurately describe the other prominent journalists of the period, John Harris, George Wharton, and Marchmont Nedham. They were indeed fit predecessors of Titus Oates, who may well be regarded as their monstrous scion, and who in 1678 unabashed perpetrated the most outrageous hoax that has ever misled the British public.

Defoe himself was a journalist, of course – and a political propagandist – and a liar; qualities, if that’s the right word, that spill over into his fiction. We’ve seen before how Defoe’s supporters tend to dance around these uncomfortable facts, with some even claiming that his greatness is demonstrated by our inability to tell when he’s lying. Bernbaum, like certain others, takes it all in his stride:

As everybody knows, not all of Defoe’s supposedly fictitious narratives can be confidently deniminated either absolute fact or absolute fiction. The Memoirs Of A Cavalier, Duncan Campbell, Captain Avery, Robinson Crusoe itself, have a groundwork of fact… On the assumption that The Apparition Of Mrs Veal was fictitious, critics long used it as a favorite illustration of Defoe’s marvelous power to make the purely imaginary seem plausibly real,—until Mr Aitken’s valuable researches confounded their speculations with the discovery that the story was substantially true. The easy method of disbelieving in each and every case the solemn protestations of Defoe that he is not romancing, will evidently not do. Sometimes he lies, sometimes he tells the truth; the real difficulty is to ascertain his moments of veracity. Add to that problem a legitimate suspicion that the amount of fictitious matter in the seventeenth century criminal biographies is perhaps larger than supposed, and you have a Gordian knot which may not be lightly sundered but must be patiently untied.

(“Moments of veracity” – heh! “Mr Aiken” is George Atherton Aitken, editor of a late 19th century release of Robinson Crusoe and various academic papers on Defoe.)

The positioning of Defoe as the immediate inheritor of the 17th century journalistic tradition of mixing lies and truth to tell a convincing story, rather than as the “father of fiction”, puts a new slant on where we should be looking for the origins of the English novel. It is precisely this viewpoint that, in Ernest Bernbaum’s estimation, makes the “Mary Carleton narratives” so historically important—because amongst this collection of literature, we find every kind of late 17th century writing, from newspaper reports, to burlesque “advertisements”, to satirical poems, to pamphlets, to novellas; the similarities and differences between these forms in their accounts of Mary Carleton offering a fascinating illustration of the sliding scale of fact and fiction, with each example throwing light on all the others.

As far as the truth of the first batch of the narratives go, Bernbaum is quick to make the amusing point that the two that made the loudest claim to be considered true, that is, the duelling post-bigamy trial publications of Mary and John Carleton, are probably the furthest from it. We are, he further contends, closest to the truth in The Arraignment, Trial, and Examination of Mary Moders, otherwise Stedman, now Carleton, styled the German Princess: this account of the trial is an example of 17th century court reporting, meaning that it offers a reasonably accurate recapitulation of the proceedings, although one embellished with the observatons, interpretations and opinions of its anonymous author.

But it is amongst the seven publications that appeared in the wake of Mary’s execution in 1673 that Bernbaum finds real historical value, singling out four of these seven as particularly informative. By this late date, Mary’s own account of her romantic youth had, of course, been entirely discredited; these publications offer in its place alternative histories that involve her earlier, bigamous marriages and her first forays into fraud and theft. All of them claim to be true; how remarkable, then, as Bernbaum comments wryly, that none of the “facts” contained therein emerged at the time of Mary’s trial for bigamy:

If we are to trust [Memories of the Life of the Famous Madam Mary Charlton, commonly styled the German Princess‘s] author, therefore, we must credit him with the remarkable feat of securing in 1673 specific details concerning many of Mary’s youthful crimes, only one of which her prosecutors in 1663, aided by the full light of the publicity of a scandalous trial, had been able to find.

Of all the Mary Carleton narratives, The Counterfeit Lady Unveiled, being a full Account of the Birth, Life, most remarkable Actions, and untimely Death of that famous Cheat Mary Carleton, known by the Name of the German Princess is not only the last, but the longest—the culmination of all the narratives, if you like. It is not a mere pamphlet, but a genuine novella, if not indeed a novel. As Bernbaum points out, to put things into perspective, Francis Kirkman’s contribution is twenty thousand words in length, fully four times longer than any other of the narratives, and almost the same length as Aphra Behn’s Oroonoko, which generally is accepted as “a novel”. Its significance, however, lies not in its length, but in its content—something perhaps best illustrated by the fact that Ernest Bernbaum’s own examination of this text occupies more than half of his entire book upon the subject of Mary Carleton.

The first thing we notice about Francis Kirkman’s—oh, hell, let’s just call it “a novel”, shall we?—his novel, is that he did not write all of it himself: the text contains numerous excerpts of the earlier Mary Carleton works, in particular her (ghost-written) autobiography from 1663, and the other significant releases of 1673, The Memories… and The Life and Character of Mrs Mary Moders, alias Mary Stedman, alias Mary Carleton, alias Mary —– the famous German Princess, which is actually the second part of Mary’s own autobiography, The Case Of Madam Mary Carleton, with an appendix attached repudiating her own version of the story and adding an alternative account of her youth, plus her supposed confession that she was indeed the bigamous Mary Moders.

What matters here, however, is what Kirkman does with these appropriations. While all of the earlier narratives, as we have already observed with respect to a number of the rogue’s biographies we have studied, including The English Rogue, are content with a superficial, “this happened, then that happened” style of marration, in The Counterfeit Lady Unveiled that isn’t good enough for Francis Kirkman. Instead, after lifting passages from the earlier works, he proceeds to weave them together into a credible story, in which, in addition to continually embellishing the tale with convincing details, he adds passages where Mary Carleton’s motives, actions and thoughts are explained to us and analysed, while including on his own account various pieces of editorialisation in which he gives his opinion of actions that he himself invented.

Ernest Bernbaum devotes some pages to identifying passages that Kirkman lifted out of the earlier works, and then placing them side by side with Kirkman’s interpretation of them. Here is one example:

From the Appendix to The Case:

The landlady readily granted the use of her best chamber, whither the corpse was brought, and a topping undertaker in Leadenhall Street laid hold of the job, who, having received an unlimited commission to perform the funeral, resolved that nothing should be wanting to make the bill as complete as possible.

From The Counterfeit Lady Unveiled:

The landlady, hearing of profit, soon consented; and that evening the corpse in a very handsome coffin was brought in a coach and placed in the chamber, which was the room one pair of stairs next the street, and had a balcony. The coffin being covered only with an ordinary black cloth, our Counterfeit seems much to dislike it. The landlady tells her that for twenty shillings she might have the use of a pall of velvet, and for as much more some scutcheons of the gentleman’s arms. Our lady was well pleased with the pall, but for the scutcheons she said they would be useless in regard the deceased gentleman was unknown.

In the earlier works, it is simply a matter of “Mary fooled this person, then she fooled that person”; but Francis Kirkman repeatedly shows us how, with descriptions of Mary’s ingenuity. We are shown her skill in manipulation. Here, Bernbaum points out the touch about, The landlady, hearing of profit…, and also the mention of the balcony: the funeral is, of course, a fake; Mary robs the household of its silver and some of its furniture, as well as appropriating the velvet pall, lowering the loot over the balcony to some confederates in the street before making her own, unladen way out of the house—leaving behind a coffin filled with “brickbats and hay”.

This is a minor example. Again and again, Francis Kirkman takes the bald statements of Mary’s actions from the earlier accounts and turns them into lengthy, vivid, and often suspenseful descriptions of the manoeuvring between herself and her potential marks; while even the minor characters are given credible motives for their actions, and for their falling victim to Mary’s wiles. The result is a surprisingly gripping and coherent narrative that offers something that none of its competitors does—that very few 17th century narratives do—a glimpse into the psychology of of its central character.

Yet the importance of The Counterfeit Lady Unveiled goes beyond its literary credibility. One of the most remarkable things about it is the lengths to which Kirkman goes to win the trust of the reader. For one thing, he bookends his work with a pair of moral disclaimers:

He begins: Let nature be never so liberal to us in the complete forming of our bodies after the most exact copies of perfection, and let us be never so well accomplished in all our outward qualities, so that we may imagine ourselves to be complete; yet if grace be not implanted in our hearts, whereby to guide us in all our actions, we are like a fair vessel at sea which is sufficiently furnished with all her sails and tackling but yet wants the only thing to guide and steer her by, her rudder…

And, likewise, concludes: But if we give ourselves over to ill company, or our own wicked inclinations, we are infallibly led to the practice of those crimes which, although they may be pleasing at the present, yet they have a sting behind. And we shall be sensible thereof when we shall be hurried to an untimely end, as you have seen in the vicious life and untimely death of this our Counterfeit Lady.

We’ve seen this sort of thing before, of course; and while we may not sneer at these passages as we do when we find them coming from the pen of Richard Head, nor do we necessarily take them at face value.

However, Kirkman follows up on his moral premising by assuring us of his trustworthiness as a narrator—going so far as to tell us that not only did he interview Mary before her execution (and he certainly may have seen her in prison, since visiting the condemned was an accepted pastime), but that he tracked down John Carleton, also; while two of Mary’s late career victims were both relatives of his own, and hence he knows details that others do not. He therefore insists upon the reliability of his information—most amusingly, when he rewrites Mary’s own account of being “Maria van Wolway”, while simultaneously puncturing this version of events by stating, in effect, well, that’s what she says, but I don’t believe it:

…but although I shall contradict the opinion of many and what she declared of herself, yet I tell you that according to my best intelligence, which I think is sufficiently authentic, she was no German, but an absolute (I will not say true) Englishwoman…

In addition to these reassurances—and in context, most intriguingly of all—Kirkman makes a point of telling us what he does not know. There are gaps in his narrative where he admits ignorance, and other points where he offers two alternative possibilities before adding, But how it might have been, I know not.

Significantly, as Ernest Bernbaum highlights, these comments die away over the course of the narrative, as if Kirkman felt that he had said enough to convince the reader of his trustworthiness, so that his later assertions would be accepted unsupported. And in fact, between its detail, its offered motivations and its careful disclaimers, the whole of the narrative of The Counterfeit Lady Unveiled is constructed with the clear aim of luring the reader into accepting Francis Kirkman’s veracity even when he is lying.

Eat your heart out, Daniel Defoe.

The weaknesses and limitations of The Counterfeit Lady are obvious. Its diction is faulty, its style slipshod, and its construction without subtle refinements. Measured by the standard of a good modern novel, it is a crude performance. Those elementary principles of good narration which today a mere tyro, taught by great examples, may practice with facility, Kirkman applied with conscious and painful effort. He was doing no conventional thing, yet he succeeded surprisingly well in making both the action and the characterization in his story clear, lively, and so plausible as to compel belief. The Counterfeit Lady, ethically an indefensible fabrication, is to the historian of literature, considering that it was published in 1673, an admirable work; for it treats a story of common life in a serious tone, and makes the imaginary seem real.

I know that it must sometimes seem that I have a set against Daniel Defore. I don’t; truly I don’t. I dispute neither his importance in the time-line, nor that he was a far better writer than almost anyone who came before him; but when people try to tell me that he was, in any capacity, “the first”—well, then we’ve got a fight on our hands; a fight in which, in my very wildest imaginings, I never once envisaged being able to call Francis Kirkman—FRANCIS KIRKMAN!!??—as a witness for the prosecution.

But let’s leave the final word to Ernest Bernbaum, on the back of a consideration of several works, potential “early novels”, that preceded this one:

&nsp;   …undoubtedly each of these works contributed something to the coming novel; but of none of them can we say, what is precisely true of The Counterfeit Lady, that it closely resembles the novels of Daniel Defoe in both subject matter and composition.
&nsp;   What The Counterfeit Lady exhibits is, of course, an early phase of the realistic novel, and not the full development. It is considerably shorter than the average length of the novels of Defoe. Perhaps it contains a proportionally larger amount of true incident than they do, though this cannot be confidently asserted until they have been more thoroughly studied. Undoubtedly it is inferior to those admirably written works in style. Even making due allowance for the remarkable and general improvement in prose style that took place after 1673, we must judge the author of The Counterfeit Lady a writer whose diction is crude and whose interminable sentences are often incorrect. Such short-comings will, however, not surprise anyone who understands how slowly, as a rule, a literary type develops. What to him will seem really astonishing is that Kirkman managed to anticipate in so many particulars the ways of his great successor.
 

 

Isn’t it romantic?

 
    There are faults in the sentimental novel other than the lack of variety and depth in characterization. The poorer sort of author catered to the tastes of the circulating-library reader and to hold her attention he pandered to her yearning for excitement by providing material that grew more and more stimulating, and so ran the scale from the pathetic through the journalistic, the bizarre, the pathological, and finally, after jettisoning almost all intellectual cargo, arrived at melodrama. And he used stock themes and situations, such as the prodigal’s return, the benevolent tableau, the call of the blood, the tearful farewell, the fainting fit, and tear tracking.
    However, not all of the sentimental novelists were mediocre. Some had remarkable ability, and nearly all of them are still interesting. Their novels picture the life of the eighteenth century as seen from the point of view of writers whose estimate of man was generous—too generous, as it proved—and are significant because in them there was a notable development of the sensitiveness which is essential to progress in narrative fiction.

 

 

 

From the open-mindedness and willingness to engage with minor novelists expressed in his introduction, I was prepared to enjoy James R. Foster’s work, History Of The Pre-Romantic Novel In England – but I was not necessarily expecting to find it perhaps the most unusual “rise of the novel” study I’ve ever encountered. Almost all such studies go to immense pains to draw distinctions between the English “novel” and the European “romance”, and are predicated upon the assumption that it is possible – indeed, necessary – to define the former in terms of its difference from the latter. James Foster, on the other hand, begins with the assumption that far from being separate forms with nothing in common, the novel and the romance were inexorably linked, and that the influence of each upon the other zig-zagged back and forth for some 150 years.

It is in this context that Foster takes his study far beyond the narrow bounds of those novels and novelists generally taken these days to properly represent the 18th century. The usual suspects – Richardson, Fielding, Sterne, Smollet, Burney – are given their due here, but are presented as standing shoulder to shoulder with now-forgotten writers whose works did not outlive their day. Foster contends that, during the second half of the 18th century in particular, sentimental novels dominated the English literary scene, and that the few, more realist works now accepted as “classics” give a skewed impression of what people were reading. While the more romantic works have not survived the way their realistic brethren have, in Foster’s opinion they nevertheless better reflect the contradictory and warring attitudes of their time.

Another unusual and interesting thing about this book is the way that Foster organises his study. After a background section (to which we will frequently refer) discussing sentimentality as a backlash against the perceived coldness and calculation of the Age of Reason, and related factors such as the rise of Deism, Foster works chronologically through the 18th century, nominating what he considers to be the most influential work of each time and type, and then discussing the novels they influenced. Writing in the dim, distant, pre-electronic access days of 1949, Foster not only assumes that his readers will not have read most of the works he is analysing, but that they will never have a chance to do so. Consequently, he pauses frequently in this book to provide lengthy summaries of various novels so that the reader can follow his analyses. Personally, I chose to skip over most of these synopses, because of course I’m eventually going to read EVERY SINGLE NOVEL discussed in this book—right??

Although we have already discussed the pros and cons of the sentimental novel at this blog, and will doubtless do so again, Deism as such is not something we’ve yet encountered. Briefly (I hope not too inaccurately), Deism is a form of religion that finds its faith through a combination of reason and appreciation of the natural world, and which rejects the idea of man as inherently corrupt; believing, rather, than man is corrupted by society and its institutions. It can be imagined how in the 18th century Deism stood in opposition to many of the tenets of the Age of Reason, and that it attracted scorn and criticism as a consequence. Furthermore, since the established church was one of the institutions considering corrupt and corrupting by Deists, denouncing from the pulpit was common. While the principles of Deism were increasingly disseminated during the 18th century, it was never an accepted viewpoint, but rather one to be espoused with caution. James Foster makes the amusing point here that many novels of the time derided Deism, even while their characters were clearly embracing its beliefs.

Foster begins his study of the novel with a brief overview of pre-18th century literature, which he designates likewise “pre-sentimental”. The focus here is upon the French romances of the time, those by Mademoiselle de Scudéry, Madame de La Fayette, and others, and their influence upon English writers – the most important of whom he considers to be Aphra Behn. Although in Foster’s opinion Behn was not herself a sentimentalist (he’s right!!), he shows both how her Love Letters Between A Nobleman And His Sister paved the way for the sentimentalists’ main vehicle, the epistolary novel, and how in Oroonoko she crystalised the idea of what would become one of the sentimentalists’ most cherished icons, the “noble savage”.

When I reviewed History And The Early English Novel, I objected to Robert Mayer’s attempt to position Daniel Defoe as the ur-figure in the history of the English novel on the grounds that, among other things, he failed to demonstrate Defoe’s influence upon subsequent novelists. But perhaps there was a reason for that failure; not that it didn’t happen, but that it took an unfortunate form. Here, James Foster wraps up the introductory phase of his work by nominating two authors who clearly were influenced by Defoe: Penelope Aubin in England, and the Abbé Prévost in France – neither one of whom showed the slightest interest in copying Defoe’s harsh realism, but instead lifted a variety of incidents from his works, chiefly the shipwrecks, and wove around them extravagant romances.

In time, as Foster demonstrates, Prévost’s tales circled back and influenced a number of English novelists including Samuel Richardson, Fanny Burney, Frances Sheridan, Frances Brooke and, perhaps above all, Henry Mackenzie, whose The Man Of Feeling represents the ne plus ultra of the sentimentalism movement. Hardly the effect Defoe was striving for, one imagines. Foster suggests that the overriding sense of inescapable destiny in Prévost’s tales appealed to the English sentimentalists, particularly those fond of an unhappy ending.

However, it is another writer upon whom Prévost  modelled his writing that Foster tags as the most critical influence upon the early English sentimental novel: Pierre Carlet de Chamblain de Marivaux, author of the unfinished novels, La Vie de Marianne and Le Paysan Parvenu:

    …he was not much of a philosopher. In Marianne he wrote that the intellect was too much of a fanciful dreamer to be depended on in learning about ourselves. The real clue to human nature was sentiment. His point of view was conditioned by deistic ideas, yet in his novels these were pushed into the background by the all-absorbing interest which he took in human conduct. Doubtless his insistent disapproval of authoritarian ethics and religion derived from deistic anti-clericalism, as did also the large number of false devotees and selfish and stupid spiritual directors in his novels. But there was no bitter hate…
    He was interested in the common people; his sympathy for them was genuine. Because all men are interdependent, he thought the rich under an obligation to relieve the poor. The rich man or the aristocrat who had nothing to recommend him but power or rank disgusted him. Marianne is partly an attack on the privileges of birth. Portions of this novel reveal a surprising interest in domestic life and its problems… In Marianne he gave realistic pictures of the social conditions of the poor and studies of the mentalities of the common people…

La Vie de Marianne, known in its English translation as The Virtuous Orphan, was published in eleven volumes across eleven years, 1731 – 1741, and in fact was never officially “finished”. The story of an orphan of uncertain birth, whose nobility therefore lies in her conduct rather than her family, Marianne embraces two of the sentimentalists’ most cherished beliefs, the lack of connection between “virtue” and “rank”, and the moral superiority of the country over the city. However, the most significant aspect of this novel, which came over time to be referred to (not always with kindly intention) as “marivaudage” was the characters’ tendency to analyse in the most minute detail their thoughts, feelings and motivations. Marivaux displays similar attention to detail in his presentation of domestic, chiefly middle-class, life.

An argument begun in 1740 and still flaring up from time to time in academic circles to this day is the influence of Marivaux upon Richardson—something that Richardson himself always denied, and a number of critics have likewise disputed. However, it is hard not to see something of Marianne in Richardson’s virtuous servant, Pamela, and more than a little of his style in the circumstantial accounts of themselves given by the characters of Sir Charles Grandison and Clarissa.

But whether we consider them one influence or two, Marivaux and Richardson were  largely responsible for the direction subsequently taken by one significant stream of English novel-writing. While many of the important English writers of the time, chiefly Fielding and Smollet, were turning the picaresque tale to their own purposes, others were drawing upon the detailed accounts of day-to-day life of the two arch-sentimentalists to give new power and interest to the female-focused, domestic novel. Fanny Burney, whose Evelina and Cecilia, in particular, won new respectability and admiration for this brand of writing and paved the way for both Maria Edgeworth and Jane Austen, did not hesitate to acknowledge her profound indebtedness to Marivaux; a fact that highlights the fundamental difficulty of trying to separate (surgically, as it were) the English realist novel and the French romance.

James Foster’s main interest, however, lies less with these these well-known, acceptable writers, as with the second tier that flourished during the second half of the 18th century, when the novel came into its own as England’s dominant literary form. In a chapter rather charmingly titled “Some Early English Sentimentalists And Some Odd Ones”, Foster takes a running look at the works of Sarah Fielding, Charlotte Lennox, and Mary Collyer, who “wrote the first out-and-out deistic novel in the English language”.

Collyer in fact published one of the first English translation of Marianne, a free adaptation in which, according to Foster, “She omitted some of the marivaudage, added reflections of her own which are an interesting blend of Richardsonian and deistic moralizing, and furnished a happy ending.” Collyer’s deistic work is Letters From Felicia To Charlotte, an epistolary novel published in 1744. Collyer herself draws a distinction between “romances” and her work, emphasising her devotion to “truth and nature”; and this would be the line of argument used by most subsequent writers and critics. The subtitle of the novel declares: Containing a series of the most interesting events, interspersed with moral reflections: chiefly tending to prove that the seeds of virtue are implanted in the mind of every reasonable being. The moral reflections, observes Foster, which are:

…usually put in the mouth of the hero Lucius, constitute a complete handbook of deism. Indeed, the discussion of ideas often weighs down the story part of the novel…The Letters From Felicia is notable chiefly for its oriiginality, yet it should also be remembered for its unassuming modesty and its keeping within the bounds of ordinary life… Her novel demonstrates how the head and the heart function in perfect harmony. The villain, as is usual in a deistic novel, is a religious hypocrite. The praise of Nature, “equally lovely in all her works,” disquisitions on the moral sense, tolerance, providence and similar topics, interest in the child and education, and a belief in the dignity and essential goodness of man—all these are deistic.

Foster’s “odd ones”, by the way, are John Shebbeare, Thomas Amory and William Dodd, “the macaroni parson”, all of whom deserve more space than I can give them here.

In “The Great And Near-Great”, Foster considers Richardson – Grandison and Clarissa, rather than Pamela – Fielding, Goldsmith, Smollet and Sterne. On a personal note, I don’t thank him at all for this chapter, which has almost persuaded me that I need to take another look at Smollet, who I hated with a passion during my first sweep through “the history of the English novel” some twenty-odd years ago. (Here I will pause to make the exception that everyone always makes about Smollet—except for Humphry Clinker.) Foster makes a persuasive case here for the influence of Smollet upon a range of interesting second-tier novelists—although seeing his virtues requires the reader to look past his misanthropy and tendency to wallow in nastiness, no easy task, as Foster admits. (These days, I tend to look upon Smollet as a descendent of Richard Head.)

In respect of Sterne, it his not his Tristram Shandy that Foster highlights here, although he draws attention to the influence of its generous humanism, but rather A Sentimental Journey. The former was inimitable, but the latter provoked an explosion of imitations, and was indirectly responsible for the tear-soaked school of sentimental writing headed by The Man Of Feeling. Sterne, says Foster:

 …wished to make his audience cry and then laugh, for he thought life without the spirit of humour intolerable, just as without feeling it was cold and empty… The man without a sense of the ridiculous is to be pitied as much as the man without a feeling heart. 

Unfortunately, most of Sterne’s imitators disagreed with his opinion of the importance of humour, or perhaps lacked the necessary literary skills. During the following decades, even the better writers tended towards unhappy tales of afflicted heroines; while less talented one produced tales so exaggeratedly lachrymous and full of death and disaster that they very often became inadvertently funny. Of the more respectable imitators of Sterne, Foster highlights Frances Sheridan, Frances Brooke, Susannah and Margaret Minifie, Elizabeth Griffith, Hugh Kelly, Edward Bancroft, Arthur Young and Henry Brooke, before paying some reluctant but necessary attention to Henry Mackenzie:

…he was all for seemliness, propriety, verbal delicacy, piety, and decorum. But he did not have a tenth part of Sterne’s sprightliness or a sign of his wit. He was a solemn, stuffy person, precisely the type Sterne most detested. He allowed but one indulgence—luxuriating in tears and the damp atmosphere of lachrymous effusion… In The Man Of Feeling the author asks the reader to pity a hero whose feelings are so intense and delicate that they devitalize his will… He really prefers having the odds against himself heavy, for then his self-esteem will suffer less if he loses. His are not the pleasures of success but of resignation…

Foster describes The Man Of Feeling‘s infamous closing scene, in which the emotion of finding out that the woman he loves returns his affections kills the delicate Harley, as:

…the apotheosis of sentimental passivity and so forced that it seems almost farcial to the modern reader. Sentimentalists of that day, however, revelled in its semi-morbid emotionalism.

Indeed. The Man Of Feeling ran through no less than forty-six editions (!?). Foster goes on to point out a number of novels inspired by Harley and his determination to finish last at every possible opportunity:  John Chater’s The History Of Tom Rigby, John Heriot’s Sorrows Of The Heart, William Hutchinson’s The Doubtful Marriage, Edward Davies’ Elisa Powell; or, The Trials Of Sensibility and the anonymous Wanley Penson; or, The Melancholy Man and The Amiable Quixote. And while no-one, to my knowledge, had ever made a claim for these books in terms of their literary merit, I must say that I find it fascinating that this particular sub-branch of the sentimental novel, in which the most extreme and exaggerated emotionalism is lauded, is almost exclusively the work of men.

In parallel with these nakedly emotional works, another important form of the sentimental novel was beginning to develop, in response to startling world events and the increasing demands of the reading public for fuel for their imaginations as well as their emotions:

In the seventeen-eighties there appeared still more signs indicating how far the drift away from Augustan serenity, restraint, and disposition to preserve what was established had borne the minds of man. As classical ideals receded, emotional temperatures rose and imaginations soared. The atmosphere was charged with the expectation of great ansd sweeping changes soon to come. The hopes of the deists and other liberals in sympathy with French reform movements were raised by the train of exciting events climaxed by the fall of the Bastille. This decade and the next marked the heyday of the ultra-sentimental novel and the romain noir or “Gothic” romance…

Here, in contrast to what we might call the “realist” sentimental novel, we find the ladies almost entirely in charge – at least in England. Here again the French romance intrudes, in the shape of the influential works of Baculard D’Arnaud, “the French Mackenzie”. Foster quotes the European Magazine, which described D’Arnaud’s works as, Characterized by their moral tendency as well as for the energy and beauty of his diction. His colouring is frequently tinged with melancholy; a melancholy, however, that makes the deepest impression on the reader’s feelings. Foster follows this by giving an overview of those English writers who he believes were most strongly influenced by D’Arnaud—our old friend Clara Reeve, Sophia and Harriet Lee, Anna Maria Mackenzie, and Elizabeth Blower, whose novels constitute a sliding-scale from genuine historical novels, to heavily romanticised works in which “history” is merely an excuse, to the Gothic novels set in an entirely imaginary past.

The third significant branch of late 18th century novels come under the simple chapter heading, “Liberal Opinions”—the works of the so-called “radicals”. Of course, like most labels, the term “radical” ending up embracing a wide spectrum of beliefs, from a forthright embrace of revolutionary principles to a patient conviction of the eventual triumph of the better side of man. What these works do have in common, however, is that they are works of ideas—sometimes to the detriment of their ability to entertain. Invariably, they express a philosophy of the interconnectedness of man, and man’s responsibility to man, while scorning the notion that virtue is a function of birth or wealth. There is often a generosity of spirit about these works that is unexpected and appealing, particularly in their expression of views that were perceived at the time as genuinely radical and dangerous, such as the equality of the sexes. While they rarely espouse mainstream Christianity, these novels do evince a deistic view of God in nature; their leading belief is “benevolence”.

These “radical” novels were, as you might imagine, not always well received. Three writers who did find literary success, or at least notoriety, are considered here: Robert Bage, Charlotte Smith, and Thomas Holcroft—all of whom, I am happy to admit, I enjoy very much; call me a revolutionary. What the three had most in common was not their specific beliefs, but their appropriation of the sentimental novel as a vehicle for their political views.

Thomas Holcroft’s novels suffer from his inability successfully to translate his theories into convincing stories, but his Anna St Ives is a curiously compelling work in which the upper-class heroine prefers a well-educated farmer’s son to the local rake-aristocrat, who takes the situation as an unforgiveable personal affront.

(What I always remember most about Anna St Ives, however, is that it is the only—and I mean the ONLY—English novel I have ever read that has its hero refuse to fight a duel on principle, and then stand firm in the face of scorn and ostracism. Most of them – including Sir Charles Grandison – chicken out of taking a moral stand on the subject, out of fear of their hero looking “unmanly”: “Duelling is wrong! – but if you insist…” )  

Robert Bage’s novels, on the other hand, although wordy and rambling and over-reliant on coincidence, are readable and often startlingly progressive. Moreover, Bage clearly liked women, and his heroines are flesh-and-blood people, not mere moral constucts. Though he disapproved of many aspects of society, Bage was a peaceful man who also disapproved of violence. His tales often involve a self-contained community operating on principles of equality and mutual support.

The one genuine radical to be found in this crowd is Charlotte Smith, who despised the English class system and imperialism, and openly supported the American and French Revolutions. Smith got away with her extreme views chiefly because most of the time she was forced to subsume them in novels written almost entirely for financial gain: she was a victim of the 18th century marriage laws, who took up novel-writing to support herself and her twelve children after she was deserted by her husband – who nevertheless turned up from time to time to demand she hand over her earnings, as he was legally entitled to do. (Smith’s first publication, a volume of poetry, was written while she and Benjamin Smith were confined in a debtor’s prison.) While Smith’s larger beliefs are on display more openly that you might anticipate, given her need to appeal to a broad public, her novels most often deal with what Fanny Burney called “female difficulties”—the struggle of women to maintain themselves and their self-respect in a harsh and predatory world.

Smith’s novels were also a way for her to channel her “unwomanly” anger with her husband and his family, against whom she fought for countless years a lawsuit over a property that she believed hers by marriage settlement, and which would have given her both a home for her children and an income. Says Foster with wry sympathy:

Perhaps Charlotte Smith…could have borne in decent silence the burden of bringing up her dozen children under the untoward conditions caused by their father’s proclivities for squandering his money, getting into debtor’s prison, or flying to France to escape prosecution, had it not been for lawyers. Very likely the lawyers received some of the blows she would gladly have bestowed on her husband and his relatives could she have done so without stepping out of her role of the exemplary wife. Yet she did not spare her spouse entirely as she put him in many of her novels as the hare-brained, selfish husband of a long-suffering, clever, sweet and saintly wife—that is, herself. To her mind lawyers were legalized ruffians who deprived her of what was rightfully hers—vampires who sucked the blood of her children. There is no fury like a woman trying to collect, and she was that woman during most of her writing years.

Lawyers do NOT fare well in Charlotte Smith’s novels.

The final novelist considered in this study, who gets a chapter all to herself—and rightly so—is Ann Radcliffe, who across the 1790s made the Gothic novel her own. Foster spends some time analysing the Gothic as a uniquely exaggerated offshoot of the sentimental novel:

    Of course, one can find moral instruction in Mrs Radcliffe’s pages, but she dared to give up pretending that each page was written for edification. Although she did not wish to encourage superstition, she played such a convincing game of “Wolf-Wolf” that she made the hair stand on end and the goose pimples come out. And citing Burke’s Inquiry, she pretended to believe that the effects of such strenuous emotional exercises were beneficial because they expanded the soul and stimulated all the faculties… But she was not really much of a philosopher. Her forte was the imagination. She was the inventor of melodrama in technicolor, the great impresario of beauty, wonder, and terror.
    Her novel stems from the line of Richardson, Prévost, D’Arnaud, Mackenzie, Clara Reeve, the Lee sisters, and Charlotte Smith. It is a special development of the sentimental novel and retains its main features… The atmosphere of her novel is more melodramatic and “wondrous strange” than in the regular type of sentimental narrative. Her heroine, instead of dwelling in a modest cottage in Surrey or Dorset, spends nights of insomnia and nightmare in a Gothic castle in the Apennines or Pyrenees. Strange lands and unfamiliar things take the place of the old familiar surroundings of London and Bath. The heroine who used to have desperate trouble with obdurate papas and mammas whose worst threats were to send her to a convent or to confine her to her room and take away all her writing materials now finds herself menaced by dangers so terrible that the mere thought of them brings on fainting fits. Instead of macaronis and young men about town, sinister villains with sin and despair written on their faces plot her undoing… It is a world of the romantic imagination and one that is most effective at twilight and after dark…

Radcliffe, too, had her copyists, of course; and Foster concludes his study with a brief look at the most successful of them: Elizabeth Helme and Regina Maria Roche.

The French Revolution, which began with such high hopes and ended in a bloody nightmare, was a shattering blow to the sentimentalists and their desire to think well of all mankind. Most of them retreated, mortally wounded, and so left the field clear for the cynics and the misanthropes. Yet the sentimental novel did not entirely go away, even as satirical portraits of a corrupt society grew in popularity. Many domestic novelists still embraced elevated principles and high-flown emotions, although they tended to integrate them into tales of young ladies fording the shoals of London society, rather than living in isolation in “Surrey or Dorset”. The Victorian era preached self-control and restraint, but it also embraced the extravagances of Charles Dickens, who managed to turn the sentimental novel into a weapon. “Sentiment”, as a genre, may have died under the guillotine, but “sentiment”, as an abstract, continued to be cherished throughout the 19th century—

—at least until Oscar Wilde had the final word on Little Nell.

 

Be still, my heart

Last year I obtained a copy of James R. Foster’s 1949 work, History Of The Pre-Romantic Novel In England (a library discard – shame on you, Ohio University!); and, while I did go through it, it would be too much to say that I read it: the book is a dizzying compendium of forgotten novelists and obscure novels, and what time I gave to it was spent transferring information from the printed page to The Wishlist.

This time around, however, I sat down to take it all in properly, and was immediately overcome by a case of the warm fuzzies. While there are few things so difficult as working through a non-fiction book whose viewpoint is at severe odds with your own, when the reverse is true – when you stumble over an unexpected kindred spirit – it’s like being given a hug.

So you can imagine how I felt when in his preface, James R. Foster stated his position thus:

    In general the attitude toward the bulk of pre-romantic novels has been rather depreciatory. Admittedly, they cannot compete with the wit and verve of the realistic novel, yet in their day they entertained and even charmed their readers. Besides, they helped shape the novelistic genre in its formative years. They preached the religion of the tender heart, stirred the emotions and the imaginations, and planted in many a breast the desire for higher ideals, tolerance, and benevolence.
    The scholar, who must admit the importance of minor works, cannot afford to ignore these pre-romantic novels, even though few of their authors were geniuses. Nor can he, like those Victorian critics who strongly disapproved of certain trends of the “Godless” eighteenth century, refuse to free himself from his own fashion of thinking and feeling and so measure by arbitrary standards. Without a sympathetic understanding of what the eighteenth-century novelists were trying to say, the critic cannot judge whether what they said was said well or not.

Amen, brother.

The only slightly worrying thing I’ve encountered in this book so far is a rather antagonistic reference to the early 20th century critic George Saintsbury, who, as you might remember, caught my attention a while back by simultaneously saying nice things about Aphra Behn and extremely rude things about Richard Head; and whose 1913 work, The English Novel, is next cab off my reading rank. Foster essentially accuses Saintsbury of elitism, which may mean (in spite of his apparent credentials) that he’s not a critic after my own heart after all. Not that I’m not an elitist, I just tend to be one in the opposite direction.

Anyway – as I always seem to end up saying at the end of these short pieces – we’ll see.

 

My man George

I seem to spend so much time – either mentally or here – arguing with the writers of non-fiction that it always comes as a most pleasant surprise when I come across someone I actually agree with (and no, I don’t mean, Who agrees with me…honestly). It’s happened twice, reasonably recently: the first instance, which I have mentioned previously, came in the form of James R. Foster’s History Of The Pre-Romantic Novel In England, from 1949, which I really must get around to writing a proper review of; and the second, which I stumbled across while reading around Richard Head, is George Saintsbury’s The English Novel from 1913.

I haven’t read this book in full yet, but these excerpts are enough to make me want to:

    [The English Rogue] is quite openly a picaresque novel: and imitated not merely from the Spanish originals but from Sorel’s Francion, which had appeared in France some forty years before. Yet, if we compare this latter curious book with Head’s we shall see how very far behind, even with forty years’ advantage in time, was the country which, in the next century, was practically to create the modern novel…
    Very few of the characters of The English Rogue have so much as a name to their backs: they are “a prentice,” “a master,” “a mistress,” “a servant,” “a daughter,” “a tapster,” etc. They are invested with hardly the slightest individuality: the very hero is a scoundrel as characterless as he is nameless. He is the mere thread which keeps the beads of the story together after a fashion. These beads themselves, moreover, are only the old anecdotes of ‘coney-catching,’ over-reaching, and worse, which had separately filled a thousand fabliaux, novelle, ‘jests,’ and so forth: and which are now flung together in gross, chiefly by the excessively clumsy and unimaginative expedient of making the personages tell long strings of them as their own experience.
    When anything more is wanted, accounts of the manners of foreign countries, taken from ‘voyage-and-travel’ books; of the tricks of particular trades (as here of piratical book-selling); of anything and everything that the writer’s dull fancy can think of, are foisted in. The thing is in four volumes, and it seems that a fifth was intended as a close: but there is no particular reason why it should not have extended to forty or fifty, nay to four or five hundred. It could have had no real end, just as it has no real beginning or middle. One other point deserves notice. The tone of the Spanish and French picaresque novel had never been high: but it is curiously degraded in this English example…
    Except in a dim sort of idea that a novel should have some bulk and substance, it is difficult to see any advance whatever in this muck-heap—which the present writer, having had to read it a second time for the present purpose, most heartily hopes to be able to leave henceforth undisturbed on his shelves…

That last bit made me keel over in sympathetic laughter. Oh, Georgie, my man, I know exactly how you feel!

But it doesn’t stop there. In this same section Saintsbury draws comparisons between Richard Head and another Restoration writer:

    The reign of Charles II…is properly represented in fiction by two writers, to whom, by those who like to make discoveries, considerable importance has sometimes been assigned in the history of the English Novel. These are Richard Head and Afra Behn, otherwise ‘the divine Astræa.’ It is, however, something of an injustice to class them together: for Afra was a woman of very great ability, with a suspicion of genius, while Head was at the very best a bookmaker of not quite the lowest order, though pretty near it…
    Not in this fashion must the illustrious Afra be spoken of… There is no doubt that The Royal Slave and even its companions are far above the dull, dirty, and never more than half alive stuff of The English Rogue. Oroonoko is a story, not a pamphlet or a mere ‘coney-catching’ jest. To say that it wants either contraction or expansion; less ‘talk about it’ and more actual conversation; a stronger projection of character and other things; is merely to say that it is an experiment in the infancy of the novel, not a following out of secrets already divulged. It certainly is the first prose story in English which can be ranked with things that already existed in foreign literatures…

The book which contains this admiring but thoughtful positioning of Oroonoko appeared slightly earlier than Montague Summers’ editing and reissuing of Behn’s works, which is generally considered the beginning of her “official” rehabilitation…although it was about another seventy years before her place in the timeline was secure (and some people still want to give us an argument).

The English Novel is available through Project Gutenberg, and I think I’ll have to put it on the reading list—particularly since it is clear that George Saintsbury isn’t one of those who thinks that the history of the novel began in England (and for the record, no, I don’t think that; I just came to the party late); still less does he think that the modern novel “began” with Richardson…or even with Defoe.

And as for myself— After that succinct yet comprehensive disposal of The English Rogue by My Man George, is there any real need to say any more? No, probably not—but of course I will anyway…