Showing posts with label Elizabeth Inchbald. Show all posts
Showing posts with label Elizabeth Inchbald. Show all posts

Sunday, June 19, 2016

The Art of Self-Knowledge in Austen

Having recently re-read Jane Austen’s Mansfield Park (1814), I was struck towards the end by the parallels between that novel, and Elizabeth Inchbald’s 1791 novel A Simple Story. Outwardly, it may seem that the novels have very little in common. Austen’s novel tells the story of Fanny Price, a gentle, timid soul, sent to live with her well-to-do relations, yet never treated as quite equal to them. She falls in love with her cousin Edmund, and the novel’s central conflict arises when Edmund falls in love with Miss Mary Crawford, whose brother, Henry Crawford, after flirting egregiously with Edmund’s two sisters, Maria and Julia, finally decides to court Fanny.
By contrast, A Simple Story tells the somewhat tragic tale of Miss Milner, a headstrong young woman who ends up marrying her guardian, cheating on him while he is out of the country, and being banished to a dank cottage with their little daughter Matilda. The final volume of the novel reunites Matilda with her father, but not before we as readers see the full extent of Lord Elmwood’s tyranny and selfishness and the terrible, terrifying sense of dependence all his friends and family feel around him. The final words of A Simple Story are a somewhat cryptic message about female education:
“And Mr. Milner, Matilda’s grandfather, had better have given his fortune to a distant branch of his family—as Matilda’s father once meant to do—so he had bestowed upon his daughter A PROPER EDUCATION.”
Little is explicitly mentioned in Inchbald’s novel about female education, except that Miss Milner was sent to “a Protestant boarding-school” and had received “merely such sentiments of religion, as young ladies of fashion mostly imbibe. Her little heart employed in all the endless pursuits of personal accomplishments, had left her mind without one ornament.” Instead, it is her daughter who avoided the “pernicious effects of an improper education” through her education in “the school of prudence—though of adversity—in which [she] was bred.”

Many eighteenth-century novels consider the question
of what kind of education is best for young ladies.
Austen’s narrator in Mansfield Park echoes many of the same views at the end of that novel. Sir Thomas, for example, reflects on the lack of a proper education for his daughters Maria and Julia, the first of whom runs away with Henry Crawford after marrying a rich buffoon Mr. Rushworth, and the second of whom elopes to Gretna Green with a man the family barely knows. In considering his daughters, Sir Thomas experiences “the anguish arising from the conviction of his own errors in the education of his daughters [that] was never to be entirely done away.”
Still, despite the “grievous mismanagement” of Maria and Julia’s educations, “he gradually grew to feel that it had not been the most direful mistake in his plan of education. Something must have been wanting within, or time would have worn away much of its ill effects…they had never been properly taught to govern their inclinations and tempers by that sense of duty which can alone suffice. They had been instructed theoretically in their religion, but never required to bring it into daily practice…of the necessity of self-denial and humility he feared they had never heard from any lips that could profit them.”
More and more women learned to read
and write over the course of the 17th and 18th
centuries, allowing them to weigh in
on  philosophical questions regarding
the self and society.
The language of the two texts is remarkably similar: both Inchbald and Austen are reflecting, through their narrators and characters, on the notion that education must not only include the general project of gaining knowledge of the outside world, but that it must also encompass self-knowledge and self-management. One might have a dissipated character or certain harmful tendencies, but both novels (and many other eighteenth-century novels, including but not limited to the novels of Frances Burney, Maria Edgeworth, & Frances Sheridan) seem to suggest that bad habits must be corrected at an early age, that denial is a better teacher for children than indulgence, and that once the damage is done, it is extremely hard to undo.
In Mansfield Park, Fanny seems to be the only character who sees the Crawfords for who they really are. She is not blinded by desire like her cousins. Instead, she judges Mary and Henry by her first impressions, and Mary is immediately tainted by her pronouncements against the clergy (Edmund’s chosen vocation) and Henry by his dangerous flirtations with Julia and Maria (the latter of whom is already engaged to another man). At the end of the novel, the narrator suggests that if Henry and Mary had managed to ally themselves with Fanny and Edmund, respectively, they might have shed some of their bad habits. But by indulging their follies and vices and allowing themselves to be more influenced by their London friends and their whims and vanity, they cannot escape their own bad characters.
Many novels suggest that indulging in too much of a "party lifestyle," which included masquerade balls,
could throw one into "bad company", i.e. people whose lack of a moral compass could potentially
"ruin" a young lady's reputation--or soul--forever. Were they alarmist--or essentially right?

What strikes me the most when I read Austen’s novels, and indeed many works by her contemporaries, are the ideas about human character that are quite different from how we think of character today. I’m generalizing somewhat here, but it seems to me that for many people today, we consider that one’s character is not “fixed” throughout life. Instead, we see character and personality as something that develops over time, and most of us would shudder to think that we are the same person, at our core, with the same attitude towards life, the same goals, the same needs, as five, ten, or fifteen years ago. Yet, in eighteenth- and early nineteenth-century novels, I get the sense that people very strongly believed that character was fixed quite early on and very difficult to change.

While it may be true that certain qualities of our personalities may indeed be fixed from a young age (for example, whether one is more introverted or more extroverted), today’s ideology of “self-improvement” suggest that we can keep improving our selves interminably. Maybe this is a very American kind of attitude as well. And though I would never encourage anyone to stop trying to better themselves, we might learn just as much about ourselves—and our closest friends and family—if we stop to consider those parts of us that are “fixed”—for better or for worse. 

Tuesday, June 16, 2015

Other People's Lives: The Diaries of Elizabeth Inchbald

"The Muse" herself
I spent last week in the Folger Shakespeare Library’s reading room, doing some research on eighteenth-century actress/playwright/novelist Elizabeth Inchbald, known to her friends as “The Muse.”

Although I discussed her first novel A Simple Story in my dissertation, I had not done a lot of biographical research on Inchbald herself, so my trip to the Folger was enlightening. The Folger holds nearly all of Inchbald’s papers, including her pocketbook diaries, letters, and the many volumes of plays that she wrote remarks for, which established her as one of the first, if not the first female theater critic.

Lucky for me, all of Inchbald’s diaries have been transcribed by Ben P. Roberson and were published by Pickering and Chatto in 2007. I say that is lucky, because Inchbald’s handwriting is atrocious and her diaries were actually just datebooks that she used to keep track of expenditures and write down cryptic notes for herself.

A typical entry reads like this one from Monday, 3 June 1780:

My Cousin here Packing my great Box, she dined and drank tea with me and went with me to the House_Playd in Beggars opera at the hay Market. came home before the Pantomine with Mr. and Mrs. Edwin_Looked beautifully_Mr. Colman told me of some parts_was very happy.

One of her pocketbook diaries.
Photo by Ula Klein courtesy of
the Folger Shakespeare Library.
All of these notes would be squeezed into a tiny box approximately an inch high and three inches wide (see below). Although I used the printed version of her diary for my research, I did get my hands on the actual diaries while I was at the Folger. I’m glad I did, too, because the printed version doesn’t quite give you an idea of what these little pocketbooks looked like (<<<).

In the introduction to the diary, Roberson explains that Inchbald’s handwriting was quite messy, she often diluted her ink to save money, and she was indifferent to issues of capitalization and punctuation. It’s one thing to read those facts, and quite another to page (carefully!) through the diary yourself and admire Inchbald’s cramped handwriting and the life it reflects (and to reflect on the monumental achievement of Roberson as the transcriber of these diaries!).
A small fragment of the diary where Inchbald mentions her role as Bellario in the play Philaster.
It was the first role she played in London, and it was a travesty role (she was dressed "en homme").
Photo by Ula Klein by courtesy of the Folger Shakespeare Library.
Although I try not to treat the objects left behind by historical persons like saints' relics, it’s hard not to feel a thrill when you hold in your hands the little diary, 200+ years old, that this women from the past used to record her thoughts, feelings, meetings and even the weather. There is something fascinating about seeing how fastidious Inchbald was about recording the weather: “a fine day”; “a Wetesh day”; “a fine but Windy day,” etc. Nearly every day has a record of the weather.

Similarly, nearly every day has a record of how she felt (whether well or poorly or ill) and what she played or saw at the theater that day. Her journal is not just useful for those who would like to study her and her life; it is a brilliant, if undetailed, record of the London theater world of the late eighteenth century.

Of course, the diary is also a wonderful testament to Inchbald’s perseverance as a playwright and writer. The diaries from 1780 and 1781 often include mentions of her writing or working on specific plays. Unfortunately the diary from 1791, the year that A Simple Story was published, does not exist—or at least we don’t have it in a library. It was, however, fascinating to see her mention working on the first half of the novel in the fall of 1780.

I also quite enjoyed the fact that, it seems, it took Inchbald a decade to get through Richardson’s Clarissa(!). She mentions Sunday, March 19, 1780 that she “Read some of Clarissa Harlow in Bed.” It is not until Saturday, June 15, 1793, however, that she records in her diary, “finished reading Clarissa Harlowe.” 

Somehow, that is heartening.