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Archive for the ‘18thc actresses’ Category

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Philip Glenister as Wm Stafford curtly asking Mary Boleyn to be his wife (The Other Boleyn Girl, 2003)

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Jim Sturgess as George Boleyn, in the tower, awaiting beheading (The Other Boleyn Girl 2008)

Dear friends and readers,

This week I’ve been listening to Simon Vance read Hilary Mantel’s Bring up the Bodies so effectively that I returned to re-watching the 2008 Other Boleyn Girl film and part of the 2015 mini-series Wolf Hall. And now after several Tudor films this year I’d not watched before, and a number of non-fiction as well as fiction books on the actors and/or milieus of this area, how the Renaissance era is seen from contemporary documents. I’ve also come up with with an fresh idea that might help explain the popularity of this era. For why after all should the murderous and sexually insecure impulses of a half-mad King Henry VIII deserve a moment’s attention.

It’s this: the appeal of this Tudor Matter comes from its unacknowledged freedom to present masculinity in ways that undermine norms for men either in costume, manners or sexual behavior since the later 19th century, and tell real truths about fluid sexual desire and what worldly ambition may necessitate. hese “Elizabethan” or “Renaissance dream-themes,” screenplays and films expose men caught up in situations where their masculine pride is directly hit. They kneel to strong women, and their swords are rendered irrelevant when it comes to the power of money, religion and the king. The origin of this is in the period: men were flamboyantly dressed, the poetry and plays of the era demonstrate how they defied sexual taboos by enacting enthrallment, abjection, and sensitivity; when aristocrats or courtiers or businessmen (lending money) or soldiers, they were at direct risk from monarchs with the power to execute them with impunity. There were a number of women who came to power and used it effectively: Catherine de Medici in France, Elizabeth I in England are only among the most famous and powerful; there are many minor levels of power and victimage. Historical fiction and gothics picked up on this strain beginning with later 18th century gothics (Sophia Lee’s The Recess, 1783) and Walter Scott (Kenilworth and The Abbot among many others), and have not let up since; films took this over in both the US and UK from The Prisoner of Zenda on, and especially in the Errol Flynn and Gainsborough movies. Stewart Grainger is with us still in Ross Poldark.

Gregory’s The Other Boleyn Girl (2001) has been credited with putting new characters into the familiar mapped territory: George and Mary Boleyn. In Wolf Hall and Bring Up the Bodies, Hilary Mantel has for a wider public transformed the character of Thomas Cromwell (it began in the scholarship of Geoffrey Elton and Marilyn Robertson, 1970s-89) from the monster of Bolt’s A Man for All Seasons into another kind of empathetic hero-monster, a fixer and businessman and intellectual coerced into cooperation, co-opted like many today feel they are. for myself I bond intensely with Mary Boleyn, and have ever wanted to read more about the so-called “minor” women of the court, from the French Jeanne d’Albret (mother of Henry IV who said Paris was worth a mass) to Katherine Parr. It’s the first age where we find numbers of women educated and writing letters and poetry and drama.

Beyond this I am just fascinated by bringing Elizabethan-set movies together, and looking to see what is their dramaturgy; what new did this movie contribute to the Tudor Matter, what new techniques did it use. I want to watch the older Elizabethan movies and trace the changes in movies about Elizabeth I, Mary Stuart, from Scott. I get the impression the 18th century was more stuck in frozen gender types than the age before or ours since. I find myself looking at the paintings of the Renaissance era to see where ideas and images came from for each decade of the 20th and 21st.

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Ana Torrent as Katharine of Aragon (Other Boleyn Girl, 2008)

The 2003 film is peculiarly fascinating for the way it also defies dramaturgical norms: Andrew Davies is credited as adviser and this script has the characters speak directly to us; the focus of the story is inward shattering of participants. Who are these: Anne and Mary Boleyn, with George around the edges of their talk .The 2008 film was a commercially successful costume extravaganza, whose historical adviser was Gregory herself, whose characters in this film strongly feminist film: beyond the Boleyn Girls, the remarkable Ana Torrent for Katherine of Aragon, Kristin Scott Thomas for Elizabeth Boleyn, the mother of the two beheaded children. The agonies of childbirth are presented repeatedly. I found these two women writhing under their lack of power yet so strong. The makers of Wolf Hall have had the daring to give us a new Elizabethan revenge play, with Anne Boleyn as a cool and transgressive stealth tragic heroine, and Cromwell a driven Hamlet.

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Clare Foy as Anne Boleyn, aggressively keen archer, POV Cromwell (2015 Wolf Hall)

Ellen

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Wm Hogarth, The March to Finley, a scene from the ’45’ Rebellion (1749) (click to enlarge)

A Syllabus

For a Study Group at the Oscher LifeLong Learning Institute at American University
Day: Ten Monday afternoons, 1:00 to 2:50 pm
St Sophia Greek Orthodox Church, 2815 36th Street, Northwest, Washington DC
Dates: Classes start Sept 28th; last class Nov 30th, 2015.
Dr Ellen Moody

Description of Course

For ten weeks the class will read and study Henry Fielding’s Tom Jones together.  We will read a few essays on Fielding in the context of his age and several careers (dramatist, attorney-magistrate, journalist, novelist). Why was the book was called “immoral” then and how does it emerge from and today belong to strong satiric and erotic schools of art (from Swift and Hogarth to Richardson and Sade). Why in the 20th century it was adapted into oddly innocent films first filled with wild hilarity and sexual salaciousness, when it’s a deeply subversive and disquieting book. We’ll focus on the slippery narrator, the evasive nature of the text, and discuss themes like where power, sex and commerce; and the masks of social and psychological life. Can you imagine a world without novels? This is one of the books that established the genre

Required Text: Henry Fielding, The History of Tom Jones, A Foundling, ed., introd., notes Thomas Keymer and Alice Wakely. London: Penguin, 2005 (975 pages). An alternative recommended edition: The History of Tom Jones, ed. R. P. C. Mutter. NY: Penguin, 1983 (911 pages)

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Tom’s Journey Across England (click for clear comprehension)

Format: Study group meetings will be a mix of informal lecture and group discussion.

Sept 21: No class but it’s asked that everyone start the book, and read for the first week: TJ, Bk 1, Ch 1 though Bk 3, Ch 4 (pp. 35-119). If possible, please also watch on your own one of the films and have come to the ending of either by Oct 5th.
Sept 28: First class: An introduction: Fielding’s life, learning & plays. Read for next time: Bk 3, Ch 5 through Bk 5, Ch 4 (pp. 119-201).
Oct 5: In class: the narrator, obstacles to enjoyment.  Read for next time: Bk 4, Ch 5 through Bk 7, Ch 2 (pp. 201-294) & Stevenson’s “Black George and the Gaming Laws” (chapter from his book or an essay).
Oct 12: In class: as a novel; crime (poaching, game laws), punishment, injustice, class in Tom Jones. Read for next time: Bk 7, Ch 3 through Bk 8, Ch 8 (pp. 295-383) & Simpson’s Popular Perceptions of Rape in 18th Century England: The Press and the trial of Francis Charteris in the Old Bailey, 1730,” and his “The Blackmail Myth and the Prosecution of Rape and Its Attempt in 18th Century London: the creation of a tradition.”
Oct 19: In class: Ethics & sex in 18th century life and art & TJ. For next time read Bk 8, Ch 9 through Bk 10, Ch 2 (pp. 383-466); Stevenson’s “Stuart Ghosts” (chapter from his book or an essay; Gene Koppel’s “Sexual Education and Sexual Values in Tom Jones,” Confusion at the Core,” Studies in the Novel, 12:1 (1980):1-11.
Oct 26: In class: the journey, sentimentality, gyspy kings in TJ. Read for next time Bk 10, Ch 3 through Bk 12, Ch 2 (pp. 466-550). Martin Battestin, Tom Jones and “His Eygptian Majesty, on the Gypsy King. PMLA, 82:1 (1967):68-77; J.Lee Green, “Fielding’s Gypsy Episode and Sancho Panza’s governorship,” Atlantic Bulletin, 39:2 (1974):117-21.
Nov 2: In class: history, politics, war in TJ; read for next time Bk 12, Ch 3 through Bk 13, Ch 8 (pp. 551-634). Thompson on Personal Property and Money in Tom Jones, Eighteenth Century Fiction, 3:1 (1990):21-42; Amanda Vickery’s “‘Mutton Dress’d as Lamb’: Fashioning Age in Georgian England,” Journal of British Studies, 52:4 (2013):858-886.
Nov 9: In class: Money, personal property, the London sections:  funny or nihilistic? Read for next time: Bk 13, Ch 9 through Bk 15, Ch 8 (pp. 634-719); a chapter from Laura Rosenthal’s Infamous Commerce: Prostitution in 18th century Literature and Culture (on Tom as prostitute). Also sent Terry Castle’s “Matters not fit to be mentioned: Fielding’s Female Husband,” ELH, 49:3 (1982):602-22; Fielding’s The Female Husband (first published 1746), and A Clear Statement of the Case of Elizabeth Canning (first published 1753).
Nov 16: In class: The masquerade, the theater in TJ: Read for next time: Bk 15, Ch 9 through Bk 17, Ch 8 (pp. 720-801). Earla Willaputte, “Women Buried:” Henry Fielding and Feminine Absence,” Modern Language Review, 95:2 (2000)324-35; & Simon Dickie’s “Fielding’s Rape Jokes.” Review of English Studies, new series 61:251 (2010):572-90.
Nov 23: In class: Tom Jones discussion continued: London and Tom Jones. Read for next time Bk 17, Ch 9 through Bk 18, Chapter the Last (pp. 801-875). John Richetti, “A review of Lance Bertelsen’s Henry Fielding At Work,Journal of English and Germanic Philology, 101:4 (2002):578-80; and Robert Erickson, “A review of James Turner’s “Libertines and Radicals in Early Modern London,” Eighteenth Century Fiction, 17 (2005):269-76.
Nov 30: Tom Jones and pornography; libertinism, sex and power, Partridge and Hamlet; as a conduct book too. How does the book speak to us today? Late Fielding, magistrate and journalist. Read Ira Konisberg, “Review of 1966 Richardson/Osborne Tom Jones,” Eighteenth-Century Fiction, 4:4 (1992):353-355; Martin Battestin, “Tom Jones: Fielding, the BBC, and Sister Arts,” Eighteenth-Century Fiction, 10:4 (1998):501-5.
Dec 7: Final class. Last two books of TJ. Class watches clips from MGM Tom Jones (Osborne/Richardson); from BBC/A&E Tom Jones (Burke/Harrison).

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A contemporary print of Ralph Allen’s Prior Park just outside Bath (click to enlarge)

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Photograph of the grounds open to tourists (2002)

The films, a website & selection of books (the articles all sent by attachment):

Bertelsen, Lance. Henry Fielding At Work: Magistrate, Business and Writer. NY: Palgave Macmillan, 2000. Full of real interest: he connects the real life legal cases Fielding worked on and how his career in the employment cases and reveals fresh and persuasive ethical ways of reading Fielding’s fiction in context.
Campbell, Jill. Natural Masques: Gender and Identity in Fielding’s Plays and Novels. Stanford: Stanford UP, 1995. Heavy-going but persuasive on Fielding’s sympathetic attitudes towards women across his work and life.
Hume, Robert D., “Fielding at 300: Elusive, Confusing, Misappropriated, or (Perhaps) Obvious?”, Modern Philology, 108:2 (2010):224-262
Mayer, Robert, ed. Eighteenth-Century Fiction on Screen. Cambridge: Cambridge UP, 2002. Dated but good for the era and films covered.
Thomas, Donald. Henry Fielding. NY: St Martin’s Press, 1990. Much better on the life and Fielding’s basic attitudes than the reviews have been willing to concede. Very readable.
Paulson, Ronald. The Life of Henry Fielding. NY: Wiley/Blackwell, 2000.
Smallwood, Angela. Fielding and the Woman Question: the Novels of Henry Fielding and the Feminist Debate. Hertfordshire: Harvester Wheatsheaf, 1989. Makes Fielding into an advanced feminist (!).
Stevenson, John Allen. The Real History of Tom Jones. London: Macmillan Palgrave, 2008 All the articles by him are chapters in this book; there is too much academic jargon but he’s rich in insight and information.
Tom Jones. Dr. Tony Richardson. Writer John Osborne. Perf. Albert Finney, Susannah York, Edith Evans. MGM/1963.
Tom Jones. Dr. Meteyin Husein. Writer Simon Burke. Perf. John Sessions, Max Besley, Samantha Morton, Ron Cook, Brian Blessed, Frances de la Tour, Benjamin Whitgrow, BBC/A&E/1997.
Wikipedia: life and works of Fielding, with links

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A bust of Fielding carved after his death (click to see beauty of the piece)

Relevant blogs on movies:

Stanley Kubrick’s Barry Lyndon & Tony Richardson’s Tom Jones: compared
Affectionately Dedicated to Mr Fielding: the 1997 BBC/A&E Tom Jones
Poldark books and films: Handy list (some on subjects found in TJ)
La Nuit de Varennes: serendipitous life, 18th century style

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Partridge kisses and hugs Tom upon learning who the stranger is (one of my favorite moments from the 1997 TJ)

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Frances Abingdon as Prude in Congreve’s Love for Love by Joshua Reynolds

Dear friends and readers,

This is the 2nd of 3 reports on the papers I heard at the Nov 6th – 8th conference of the Eastern Region division of ASECS at the University of Delaware. I hope it won’t seem utterly narcissistic if I concentrate on the two panels whose papers were sent in response to my Call for Papers, or placed on my panel as closely connected; as I went to both, and took good notes on both, if I ignore them I will not have much more to say about the conference’s papers. So, to begin with, here’s the call for papers (and early thinking on this topic). For the record, including my own, 7 proposals were sent in, 6 became papers.

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Charlotte Lennox, an engraving by Francesco Bartolozzi after a portrait by Joshua Reynolds

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Charlotte Turner Smith by George Romney

The first panel occurred mid-Friday afternoon. The first paper was Sue Howard’s “Chronicling the Liminal State: Fictional and Non-Fictional Expressions of Married but Separated 18th century Women’s Experience.” Hers was a tale of two Charlottes, Charlotte Lennox and Charlotte Smith, both married, both mothers, both badly treated by domineering husbands (Smith’s a lot worse); they both supported themselves and their children by writing and both separated from these husbands but could not escape the husband’s rights, say in Lennox’s case to determine what schooling her children would have, and in Smith’s, his right to come and take all the earnings she had from her and beat her with impunity. Lennox was 30 years older than Smith. In the 1770s Lennox wanted to live with a friend and was thwarted; she wanted to try for a theatrical career, again thwarted. In the 1790s she wrote begging letters to her husband on behalf of her son. He would not support them; he tyrannized over her and yet took her earnings; they did not sleep together. True, he was not violent and did not intrude himself into her presence without warning her first. Ms Howard felt that Lennox handled her situation well by not allowing this private situation to become widely known; she used her novels to express her happiness and show the the vulnerability of women indirectly. Her last novel, Euphemia, an epistolary one, which takes place partly in the US, is the most open: Euphemia’s husband takes their son into the wilderness and loses him; she gains financial control, a separation from her husband, US laws were more favorable for women. Charlotte Smith’s was a devastating experience: her husband ended in a debtor’s prison where she had (it seems) to join him; he inflicted 12 children on her, had mistresses, threatened her life. She was fiercely frank about the autobiographical sources of of the misery of the older married women in her novels (surrogates for herself), and aggressively angry in her sonnets over the way the courts, the lawyers, and society in general treated her complaints and demands. Smith was criticized severely for her radical political opinions and presentation of a rape in Desmond. Ms Howard suggested that over time Smith was forced to write more indirectly, and that when she became more elusive her novels improved (she instanced Old Manor House, and The Young Philosopher).

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Self-portrait of John Flaxman when young

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Ann Denman Flaxman, painted by Henry Howard in 1797

Marie McAllister’s subject was the real correspondence between John Flaxman (1755-1826) who became a successful sculptor, draughtsman and painter, and his eventually bethrothed, and later wife, Ann Denman. they left love letters they wrote before marriage, a journal of their tour together. The love letters tell the story of a young couple where the girl’s parents are fiercely opposed to the marriage, because they felt his status was low and he would not make enough money. The letters read like a novel of the era; the lovers see themselves as tormented people; there are incidents of misunderstanding and she breaks off with Flaxman at one point. An uncle and aunt intervene, the couple are permitted to court at a distance, and eventually they do marry. The letters are poignant, melodramatic, show intense reveries; the language used is that of novels partly because they had no other language with which to encompass their emotional extremes. Ms McAllister quoted these letters to great effect. One cannot say this paper was about women living alone but it showed the mores and economic circumstances and social realities of the era.

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Gemma Jones as Mrs Dashwood standing by the window of Barton Cottage (1995 S&S)

I have since revised my paper, “The Depiction of Widows and Widowers in the Jane Austen canon,” and sent it to Persuasions on-line to see if this Jane Austen periodical will publish another more detailed and somewhat differently focused version of the paper. I’ve also been encouraged to write a book proposal on the topic of The Anomaly and call for papers by someone at a well-respected academic press; at that time I will revise my paper so as to fit the topic more closely. What I wrote was a survey of the way widows and widowers are treated in the Austen canon: in her novels, in her letters, and what we see in the contemporary family documents. I have uploaded it to my space in academic.edu for anyone who wants to read it: The Depiction of Widows and Widowers in the Austen canon. A few snippets:

In a recent study of widowhood in the ancien régime, Bardet remarks the obstacle to understanding the condition of widowhood is what we have are sociological studies badly served by sources (7) … The Austen canon, her fiction, letters and contemporary family documents, mirrors these distortions and adds a few, but is valuable because of her strict adherence to social verisimilitude and the successful attempt of some later Austen relatives to save her relatives’ life-writing.4 Thus widowhood is as common as marriage in the novels: at least 19 widows , and nine widowers. …Her particular limitations must be noted. Her fiction depicts the genteel … she often refuses to believe people are ill and confronted with mental suffering she spits out mostly caustic and wry references … There is though a realistically enough rendered depiction of these circumstances and of the social mores and instinctive behavior shaping the reactions of the widowed to make visible probable conditions and their motives from the standpoint of how the afflicted characters cope and the social advantage or damage (and it is mostly damage) they or others close to them bring upon themselves and others. In her female characters, a fear of widowhood pervades the novels … while the widows we remember are well-heeled and menopausal, Austen has three widows in need of security, with children, in tenuous circumstances. Most of her widowers are an even eagerly marrying or marriageable bunch … a saturnine perspective contrasting or and confirming Austen’s unmarried and married women’s anxieties emerges: [three central widowers] are suggestively presented as having contributed to the early deaths of their wives … The fictions include central now widowed people who themselves make unwise remarriages, and the fiction’s plot-design hinges on how a new marriage is ruining the other central character’s lives (or so they feel)… Austen also pays attention to the relationship of the widowed with their children, and how the absence of a moderating parent influences the fate of these children …Several of Jane Austen’s wives and widows’ calamities parallel those of her great-great grandmother, Elizabeth Weller Austen who writes about the calamity she experienced and exposes the injustice of the primogeniture system … The letters of Jane around the time of Henry’s first wife’s death and for a year or so after need a thorough re-seeing to understand what is fully going on …The frequency of death in people’s lives from a young age in Austen’s era is not enough to account for her uses of widowhood or obsession with the deaths of women in childbed .. she delineates and attacks not just those who confront their disasters with strong sensibility to show the high price such people and their involved relatives pay for feeling and/or finding themselves in vulnerable places in the social and economic arrangements of the later 18th century.

See also Bereft: of Widows (in Austen), aging with poem on Jane Kenyon; widows as disabled.

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Clarissa (Saskia Wickham) and Anna Howe (Hermione Norris) talking of a single life (1991 Clarissa)

The second or continuing panel occurred on Saturday morning at 9. In her “The Protestant Nunnery: Richardson’s Take on a Proto-Feminist Term,” Dashielle Horn discussed Astell’s A Serious Proposal to the Ladies (to advance their education, opportunities, improve their lives), mentioned Sarah Scott’s Millenium Hall (there was not time to discuss it but its content is relevant), and went closely over Richardson’s proposal for a Protestant nunnery in Sir Charles Grandison. Astell was seeking to help women personally develop themselves; Richardson a solution to the problem of single supposed non-productive women. Astell thought a moral and practical education cold enable women to be fulfilled and useful. Sarah Scott develops a feminist Utopia. Richardson recognizes the plight of women: his Clarissa’s sees marriage bleakly and finds the single life preferable; the harsh severity and exploitation she meets with makes her want a refuge, but the presentation of a nunnery in Grandison seems in the service of controlling women, of serving society; the women are regarded as having failed in life.

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Elizabeth Kemble in Southerne’s Oronooko

Elizabeth Keenan Knauss’s paper, “Unbounded: The Many Empowered Women of Thomas Southerne’s Oroonoko” presents women characters living outside the traditional roles of wife and daughter, and given ususual positions of power. Marriage, it’s suggested, is a kind of slavery; in this colony where there is a slave rebellion, women experience agency, e.g., the Widow Lackett. Other women characters are hunters rather than hunted; they choose their husbands; they would rather be an anomaly than lose their liberty. She interestingly told how the many female characters broke with passive stereotypes; Imoinda takes control of her situation by killing herself. The fantasy empowerments reveal where in life women have no power.

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A young servant girl plucking a chicken (follower of Nicolas Bernard Lepicie, French, 1735-1784)

Lastly, Joanne Myers discussed Jane Barker’s vocation in her prose fiction. Only recently have Baker’s texts become available, and the interest has been her loyalty to the Jacobite cause. Ms Baker’s argument was that Baker achieved autonomy subjectively, from within by her commitment to her religion. The conversion experience is an assertion of selfhood and virginity the center of her strength. There is much ambivalence in the writing, suffering becoming beauty is pathological perhaps. Myers conceded that Toni Bowers has seen in this kind of intangible fidelity to self a pseudo-choice, a painful escape from life.

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Judy Parfitt as Lady Catherine de Bourgh bullying Elizabeth Garvey as Elizabeth Bennet (1979 P&P by Fay Weldon)

Before and after both sessions there was much talk about the status of women who were without men. It was suggested that women lived in groups or with another woman or that a lady’s maid was of paramount importance to her as a protection, essential helper, and to give her more status. People thought that there were more women living without men than we realize. The problem of violence (by implication) rape was brought up: a woman without a man was a target for thugs. People were (of course) interested in women who were able to exercise power. Older women and widows were thought to be powerful; but my research suggested the powerful widow was rarer even than widows left a good deal of money. Some did carry on the business they had exercised with or by their husbands, but many sought to remarry. Since there were no papers on actresses, as a group they didn’t come up, but they do fit into the anomaly and they exercised power in building a career, in moving about when they had to, in creating a reputation. The fantasy element in books dramatizing women’s communities was talked about, women dressed up as as men, in breeches’ parts on stage; how in many novels middle class women were represented. Institutions were usually set up to control women, not help the individual “find herself.” There was little talk about the stereotypes of the era which depicted women alone hostilely and cruelly, and hardly any talk about the real emotions of such women living alone (whether widowed, or never married by choice or as a result of the society’s response to her, or separated); we did discuss how women who were beaten terribly were often still expected to carry on living with a husband.

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Sad journey, by Raffaele Faccioli (1845-1916).
Italian painting of a widow forced to move with her child

Today I thought I’d read an essay on the legal status of single adult women, and found an essay whose title suggests the author was going to discuss the legal status of married and single women, but after a paragraph stating with that in theory the single woman had the same legal status as a man, and that this was not in practice true as women had no place in public law (they couldn’t hold office, couldn’t be on a jury, &c), the author said since marriage was the goal of the majority and most did marry, she would devote her essay to the legal status of married women. I judge that there were far more single unmarried adult women living alone, spinsters, divorced, separated, and widowed women than has been supposed. It was in their interest to keep themselves invisible: many may have lived quietly with other women; there has been startling little effort to discuss them as a group, which is going to be the start of my book proposal. This is fertile ground which could open up new areas of research and kinds of women’s lives.

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Patricia Rutledge as Mrs Peachum (Beggars’ Opera)

Ellen

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Giuseppi Grisoni: A Masquerade at Kings Theater, Haymarket

Dear friends and readers,

Just back from a splendidly rich ASECS at Williamsburg, which included a masquerade ball that led me (and a few people I talked to) to imagine what it might really be like to be at a masquerade, or to feel they were in Burney’s Cecilia. I enjoyed very much also just about all the sessions and lectures and musical events I went to, and thought I’d try to give some account of what I heard. This is series of summaries, the gists of papers I heard on Thursday and a couple of the social activities I participated in.

I began early in the morning, 8:00-9:30 am: “The Liminal and Unique: Redefining the 18th Century Canon. I arrived in the middle of Erin Makulsi Sandler’s “Amatory Anonymity: Redefining the Amatory Fiction Canon.” She demonstrated from several short fictions that in these novels the seduction narrative is secondary and the master narrative teaches lessons quite different from the presumed punitive one where rape, prostitution, and other sexually transgressive experiences lead necessarily to a wretched life. Some women thrive after recovering or growing rich from such experiences. Marilyn Francus was not able to come to the meeting so her paper, “A Major ‘minor’ writer: Frances Sheridan” was read aloud by someone else. The question Prof. Francus asked was, Why 60 years after a highly successful career with three remarkably original, powerful and original works (Sidney Biddulph, a poignant epistolary novel in the Richardson tradition; Discovery, a hit comedy; and Nourjahad, an oriental tale as effective as Johnson’s) was Francis Sheridan marginalized? her highly praised Biddulph reached a 5th edition in 1796, a sequel of two more volumes had appeared; it had been translated into French, German and Dutch, was adapted into a French play. Francus noted several features in the process, among these that from the very first biographies she is mentioned as the wife of Thomas and mother of Richard, and her place of birth mentioned because it was relevant to her husband’s theater life in Dublin. Second her novel was not included in the famous collections by Scott and Barbauld. Barbauld protested against the novel’s melancholy and mid-19th century critics called it “vexatious, unpleasant.” And she died young.

In her paper on Charlotte Lennox, Susan Carlile showed what a central and versatile writer Charlotte Lennox had been though today she is still known mostly for her satiric The Female Quixote: Carlile went over another novel by Lennox, Harriot Stuart, which exposes and critiques the social and psychological problems a female encounters in the world (including rape). Lennox’s Shakespeare Illustrated, translation, editions of letters, philosophical dialogues were described, with special attention to her poetry, especially one poem on botany found in a book on botany that Lennox wrote in part and put together. This last account was particularly original and detailed. Lastly Nicole Horslejsi meant to create interest in Sarah Fielding and Jane Collier’s part-satire, part fable, The Cry as a self-aware metatext of literary history. In the discussion afterward people still felt the term “amatory fiction” had its usefulness. I remembered how Austen’s novels many of whose themes have nothing to do with courtship or marriage are turned into romances in films and thought of that way by readers.

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Wm Birch, after Rowlandson (1756-1827), At Dover Castle a Balloon is set off headed for Calais (1785)

I attended both sessions on “Elizabeth Inchbald, Actress, Playwright, Editor, Novelist,” convened in honor of her biography, Annibel Jenkins, 9:45-1 pm. In the first, Angela Rehbein discussed the peculiar mix of progressive idealism and brutal imperialism thought and action in the Utopian socialist communities found in Inchbald’s didactic novel, Nature and Art. Misty Kreuger gave a lively account of how a group of her students went form dramatic reading to acting the roles in and staged Lovers’ Vows, how it taught them much about Austen’s attitudes in the novel. The experienced the parallels in the characters; they did tend to choose characters they had some emotional connection to. In condensing the play for a brief one-hour enactment she learned how erotic both this text and Austen’s are.

In the second session, Laura Engel described and discussed Inchbald’s Pocket Diaries: (printed into large readable type by Chatto and Windus). Inchbald got down details of her daily life (a record of her writing process), especially money spent, her work for the theater; other actors, managers, procedures, her hairdresser (her needs met); we see what she enjoys and what distresses her; how her complaints about not getting this or that part contrasts with the reality of the good parts she was assigned. Daniel Ennis’s account of the paraphernalia surrounding the production of Inchbald’s The Moghul’s Tale across a couple of centuries was supposed to accompany a second paper about a student production; the second speaker could not come, but Prof Ennis’s account as lucid enough to give the audience a real feel why this farce about ballooning and an acting company who find themselves taken prisoners in harem was so popular, how it changed over the years, how the characters (Johnny a cobber, and Fanny his long-suffering wife) in it related to the actors (e.g., John Barnes, 1761-1841) who played it. He described the different configurations of works The Moghul’s Tale appeared with, how gradually names were assigned to the Islamic characters.

A friend invited me to come to the Richardson Society luncheon, where conversation was stimulating and everyone so welcoming that the next morning I participated in a supposed closed session on Richardson (I was assured last year it had been “crashed” and this year was open to all despite the printed reservation) and since coming home have joined the Richardson Society through facebook.

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Philippe Mercier (1689-1763), The Sense of Sight (1744-47)

The last session of papers I attended was the first of the afternoon, “Jane Austen’s Geography.” James Thompson, the chair, had run the Jane Austen Summer Program last year and I had had a chance to talk with him again during a coffee break. Robert Clark’s paper on Mansfield Park, the East Indies and the British (im)moral empire offered a convincing account of the felt presence of the global economy which was (from Antigua) supporting the Bertram property; he suggested the pro-abolitionist theme of Austen’s work is there to offset and justify the ruthless and cruel exploitation of the native people’s imperialism inflicts. Prof Clark pointed out how involved George Austen was in Antigua, his sons in East India, with Henry’s banking business dependent on speculation. I was glad to find this man agreed with my view that Austen’s praise of Paisley and Buchanan in her letters show her to have been a fierce pro-imperialist. Elizabeth Kowalski-Wallace gave a recent consensus interpretation of Northanger Abbey (that we are to take Catherine’s intuituions about the gothic goings on at the Abbey seriously) based on the mentions of Italy and things Italian in the novel. John Leffel attempted to map and connect globally-apart places in Austen’s juvenilia, Catherine, or the Bower (India) and Sanditon. By the end of the session one felt like the one place Austen omitted from her books was England.

After this session, I hurried over to join a group of people at a dance workshop and for an hour and fifteen minutes was told about and danced pattern dances from the 17th through the early 18th century. These are such a pleasant somehow satisfying way to pass time with other people.

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Nicolas Lancret (1690-1743), Blindman’s Bluff (1728)

There was a reception between 6 and 7 where people drank and talked, and I then went with a good friend to dinner at the Tavern at the Williamsburg Lodge and had an evening meal and talk I’ll remember for a long time to come.

I regretted missing a paper by Alessa Johns on Anna Jameson as “An Enlightenment and Victorian Feminist” because I have so enjoyed Jameson’s travel writing; I wished I could have heard some of the Hogarth papers, the session on Pope’s Rape of the Lock; a session on the politics of mourning in 18th century poetry, gothic romance and real life; Rivka Swenson’s paper on Eliza Haywood’s Secret History of Mary Queen of Scots (I’d have liked to know if it at all connected to Sophia Lee’s Recess or Scott’s later Abbot; and the whole sessions on Mozart; global cities and gardens; and disability, war and violence. But one cannot be in two places at one time.

Ellen

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MPJulietStevenson

Dear friends and readers,

After shoverdosing on the MP movies, I followed up my intermittent preparation for the Montreal JASNA AGM, topic Mansfield Park, with debating with fellow readers what should be the topic for the student essay contest. The winner was:

Consider the role of silence in Mansfield Park. Sometimes silence is chosen, sometimes it is forced, and sometimes it just happens. The number of times the narrator remarks that people say nothing is quite surprising, yet the narrator too is silent on important points. And sometimes only the narrator fills the silence on equally important points, especially about Fanny. What do we learn from the silences of Mansfield Park?

One person had objected to the over-guided nature of most of the suggestions; I suggested one can argue that through silence one can possess one’s soul wholly and apart — as Elinor Dashwood argues (in effect) to Marianne (Chapter 17, Vol 1) in one of their disputes:

My doctrine has never aimed at the subjection of the understanding. All I have ever attempted to influence has been the behaviour. You must not confound my meaning. I am guilty, I confess, of having often wished you to treat our acquaintance in general with greater attention; but when have I advised you to adopt their sentiments or conform to their judgment in serious matters?”

Elinor keeps her views even if no one agrees and she never voices or even acts on them openly. One can keep a space for peace. But equally one can argue that silence is a weak weapon, indeed one that easily can be manipulated against you as in law and custom: silence assumes consent. Lucy could easily have taken Edward Ferrars: she preferred the new (false) eldest, Robert (made so by the mother’s will). (Shades of Mary Crawford at first, when she said she knew it was her way to prefer the eldest, and then at last, when she thought Tom lay dying, so Edmund would be the heir.) Which of Austen’s heroines is pro-active on her own behalf? Maybe Jane Fairfax with her clandestine engagement? Which speaks truth to power. Elizabeth Bennet to Lady Catherine de Bourgh comes firmly to mind. But then what if you have no opportunity, but can only possess your soul — Anne Elliot’s case for 8 years?

So, is silence a effective weapon or shield in lives where (as the narrator suggests at the close of MP) we are born to struggle and endure? Or is it counterproductive?

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Silence. What is it like to be without Jim. It’s silence. And more silence. It’s he’s not here and there is no one I can turn to as any kind of replacement for the function he had in my life. Or for himself. Silence. He is not palpably absent; there is no sense of him except in my mind.

As I listen to Juliet Stevenson read aloud MP, it comes to me Austen is such a comfort because of her style and restraint. Stevenson reads the book exquisitely right. No over-reading, but not mindless or toneless. This steady graceful rhythm that enters my soul. Austere hard ironies are contained in it (strong stuff), pathos quietly conveyed (moving), and it soothes my soul because I can hold firm onto those rhythms. I manage to still my beating heart by holding to them. My rib cage doesn’t strain so. And the calm is not false for the words Austen uses are true to nature and human life.

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Juliet Stevenson, a little about her

Still listening as of 11/7/13.

Ellen

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Ellen and Jim Moody as servants in Love’s Last Shift (1972-73 production at the Graduate Center, NYC)

Dear friends and readers,

You may not have heard of this kind: salacious comedy. Well Jeremy Collier certainly did. He called it smut — in the case of LLS probably unfairly. The play is about a rake who reforms, and is sometimes said to herald sentimentalism. The text is on-line in various forms. (Two dissertations; an intelligent older article: “Equivocation” by Paul Parnell.) Vanbrugh’s reply was to write The Relapse in which the hero does just that.

The play has been seen as a bellwether and there is on-line a surprising amount of commentary on it. Myself having read much better Cibber in later years, e.g., especially The Constant Husband which really centers on a brutal one whose brutality of stance and emotion escapes Cibber, I’d call LLS hard comedy in disguise. I read it through last night and the most interesting character is the theatrical novelty (at the time), Sir Novelty Fashion, presented as utter fop, but (I’ve always thought) a way of introducing transgressive sex, especially gay males as fops.

Tellingly — if you want to think about the mysteries of how the history of literature proceeds — this particular play did not last the century; that is to say, if you look at what plays were bound into collections and rented at circulating libraries, what reprinted, what played on stage, this one fell from the repertoire. The Relapse stayed a while, and other of Van Brugh and Cibber’s plays (often with Anne Oldfield in a leading role) remained until near the end of the century when sensibility and currents repressive of sex made them impossible to play. It affected the stage partly because of its crassness is my guess (it was “available” to all).

This is by way of remembering: I’ve just reread the play; for our mostly silent parts I had remembered only that we were a pair of promiscuous servants, amoral, had few lines and lots of stage business. Unless memory is fooling me (which she may) I realize we did not do the whole play; Byrne Fone, the director produced a cut-down text (rather like the Aural/Oral experience we have at our East Central Regional group of the American 18th century society). I remember as a climax of one of the acts, I fucked on the floor with was whoever he was (a kind of climax in the sub or lower plots); at another that Jim as servant was a successful sly cheat at cards. Jim is 24 there and his expression is an acted one: it’s put on as part of the character, and reminds me just now of Rob James-Cellier’s playing the footman Thomas (a similar faux hauteur put on) in Downton Abbey. I’m 26 there and trying to smile knowingly.

Ellen

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Hubert Robert (1733-1808), The Louvre

Dear friends and readers,

A final blog on this year’s ASECS meeting in Cleveland. Two plenary lectures, one by Felicity Nussbaum defending 18th century tragedy by way of the salacious mocking epilogues associated with key actresses of the age; the other by Julie Hayes on French women moralists and marriage. Then a miscellany: a session on later 18th to early 19th century drama & novels, one on women’s attitudes towards Rousseau. Sessions on music: I went to one on 18th century opera as performed, now, in the 21st century. Tourism and art. Finally, most delightful, a session where people read aloud their favorite poems and for once revealed why they enjoyed them so much.

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Elizabeth Pope Young (1735-9 – 1797), Countess Hortensia in Jephson’s Countess of Narbonne

Saturday, 11:30 to noon, In “Unaccountable Pleasures: the Subject of Tragedy,” Felicity Nussbaum began with the admission many of the plays of the era were poor; if tragedy is central to an era, how explain the aesthetic failure of tragedies when they were so popular. Radical shifts in ways of performing and the new central roles for women make for a different kind of drama: actresses made visible a new kind of bonding whose goal was to flatter and to enable their audiences to escape. She went over the careers of actresses, gave readings of several centrally popular 18th century tragic plays (not all today considered great masterpieces like Arthur Murphy’s The Grecian Daughter), read aloud numerous of the epilogues & and then explicated them and discussed how they were enacted to suggest they were meaningful as performed for their audiences.

One of the sessions, on Thursday, 9:45 am (18, “The 18th century repertoire) can be aligned with Nussbaum’s speech. All three papers were about the radical content of the plays of the 1790s; what unites them with the previous topic is on the face of it these have been seen as poor plays, rewrites of earlier plays or apparently naive recountings of earlier political events. Daniel Gustafson spoke of the rewriting of specific Restoration libertine plays (a revival where they were rewritten and famous Restoration historical figures brought before the public again, i.e, Rochester, Charles II); these manifest a preference for acting out contemporary (early 19th century) politicized ideals. Later plays have characters of lower rank; the earlier time of history is itself de-politicized. Daniell O’Quinn (quoting John Barrell) showed how plays got through the harsh repression and how performances through visuals, noise and a libretto yield comments on what is tyranny. Better plays — as Otway’s whose complexity was little appreciated — can tragically fail. Multiple complex intentions are mostly lost.

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From a 2013 production of Sheridan’s Rivals (Emily Bergl and Matt Letscher) at the Vivian Beaumont in NYC

Roz Ballaster explicated the text of Sheridan’s Rivals as a prologue to looking at the interactions (so to speak) of the novel and drama. She went over plays which reworked other plays (Inchbald’s Married Man reworked Destouche’s autobiographical play of the same name); George Colman writes a play that is like an obsessed novel where no conflicts are resolved. We must not read the plays too much as imitations either. She pointed to texts which were read and not staged. The novel heroine is generally more active, more aggressive, more complex, but we get novelistic treatments of heroine in the theater (Southerne’s Isabella).

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Madame du Chatelet at her work table by an unknown French artist

Julie Chandler Hayes first looked at the work of many 17th, 18th and 19th century women moralistsm then singled out 4 individual women and their works to treat in detail and then moved back to generalization. A mordant tradition of moralizing which differ from that of males which has little to say about childbirth or marriage, which women moralists discuss, often as a kind of slavery; they were given no or little choice. Women whose works she covered include: Gabrielle Suchon (1631-1703), Madame de Lafayette (1634-93); Anne-Therese de Marguenat de Courcelles, Marquise de Lambert (1647-1733); Madeleine de Puisieux (1720-98); Madame de Verzure (?1766); Marie-Jeanne de Châtillon Bontems (1718-1768) who translated Thomson’s Seasons; Marie-Geneviève-Charlotte d’Arlus (or Darlus), married to Louis-Lazare Thiroux d’Arconville (1720-1805), and wrote scientific works, translated, whose works have been attributed to Diderot; Emilie du Chatelet (1706-49).

While Prof Hayes discussed some themes as they appear in a few individual works or are of interest for one person, I’ve given just her heads of topic and what she discussed both separately and for the women as a group. SO: they discuss celibacy, companionate marriage, adultery (this was expected, people presented as taking a lover out of boredom, but then finding themselves in a morass of jealousy and resentment). The issue of parenthood is treated abstractly: before Rousseau motherhood is not a topic. More abstractly: unequal power relationships, egalitarian feminism; the necessity of submission, a pessimistic view of humanity, marriage as a perverted institution, hardly calculated to add to happiness of either person. Loss of liberty is central to the truth of marriage, especially for women.

Girls are victims raised with care in order that they submit to this life; boys are put into armies. The moralists say there are husbands who love their wives and wives who love their husbands, but it’s the husband who knows independence; for a wife to know liberty she must be a widow first. People shipwreck themselves for desire and ambition. Bleak depictions of social customs; she must obey him and his self-interest; he can make her unhappy with impunity. We see the interior of households, happiness not common among the lower class people either. Marriage not a natural state, an ideal of an unattached life. Some deeply poignant life stories hinted at: one woman lost her child at an early age and does not get over it. Some see a double movement between ambition (so you follow convenances) and personal identity.

There is little or no emotional refuge to be found in French women’s moralist writings. Novel took on further cultural analyses with its quest to understand human motivations and interactions. these are discourses of self-regulation. They have a profound sense the world they are allowed is not enough.

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Portrait of Sophie von La Roche (1730-1807), Georg Oswald May (1738-1816)

Again I attended a session that may be aligned with this general lecture: Rousseau’s Emile (Friday, 11:30 am, No. 113). There were four papers. There were no surprises: Mary Trouille showed Rousseau advised educating women to serve men’s needs absolutely; his novel, Julie, ou La Nouvelle Heloise shows the tragic results; Kristin Jennings went over how 18th century German women responded to Rousseau as seen in their writing, her specific example the work of Sophie Von La Roche whose famous novel she compared to that of another German woman writer; Karen Pagani explicated an unfinished text by Rousseau, Les Solitaires which seems to be about whether a man should forgive a woman who has transgressed. The question (to me) seemed inadequate as the women in question was probably raped. Questions include whether the person should react with personal feelings (which seemed to lead to forgiveness) or do his or her civic duty and set an example. A fourth paper came from another panel: Avi Lifschitz had to leave early so he gave his paper on Rousseau’s Essay on the Origin of Languages in this session. I thought most interesting was Rousseau’s idea that words have a natural link with reality through their signing function; that the visual holds us, that language has lost its ability to persuade as it becomes more abstract, that it’s most effective when people say less. Rousseau was frank enough to show his imagined teacher and pupil acting out some of his theories and failing.

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2013: Metropolitan Opera: Handel’s Giulio Cesare

A session I and Jim enjoyed but I probably won’t be able to convey much about was “Eighteenth Century Opera in Production” (Saturday, 9:45 am, No 169). All four presentations used power-point, computers, screens, music, DVDs. Majel A. Connery discussed a recent production of Mozart at Salzburg which appears to have been 3 plays, all intended to reflect his life, his imagination trajectory, his work: she called it “meta-theater Mozart.” The plays were controversial among other things for the way they characterized Mozart’s inner life: wild, nightmarish, when reflective sad. Money (the lack of it) tears the hero apart. Everyone in simple symbolic costumes; the stage a huge box. Annelies Andries discussed what happened when the traditional aria of an opera is replaced by anther aria part of the opera but often left out. This happened in a production of the Marriage of Figaro with Cecilia Bartoli; the audience was apparently disappointed instead of reinvigorated with the apparently new perspective.

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Danielle de Niese as Ariel (Enchanted Island)

Laurel E. Zeis’s’s “‘Persistent 18th century in two recent Metropolitan productions” was about elements of staging, kinds of voices, costumes, motifs, attitudes, practices, brought into the 21st century from the 18th century stage. I have a picture of some on this blog: the imitation of an 18th century stage in the recent Giulio Cesare. I wrote a blog about The Enchanted Island which was her central focus — and the use of boats on artificial water in the background appeared again in Giulio Cesare. Supernatural elements and computerized projection are found everywhere — though not Dryden and Davenant substituted for Shakespeare. Her suggestion that the “machine” for the Ring cycle was “very 18th century” because it changed the scenery in front of the audience, caused the players to come up front stage, & even dress in front of us was not all that persuasive, but her clips were fun. She talked of operas I’d not heard of (a Little Women), and pointed to unexpected 18th century elements in recently written operas like Nixon in China (a da capo aria).

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Giovanni Piranesi (1720-88), Carceri V

Similarly, the strong tourism element of the four papers given in “Anglo-Italian Cultural Relations in the 18th century” (Thursday, 4:15 pm, No 71) were dependent on slides, and clips and photos, and I took few notes, just looked at lot. Suffice to say I especially enjoyed T. Barton Thurber’s talk on lasting impressions of Giovanni Battista Piranesi and British artists in Italy” and the pictures of Roman Antiquities discussed by Carole Paul. I was not able to stay for Jamie Smith’s Lady Mary Montagu and the Masks of Venice,” and unfortunately David Kennerley did not make it with his “Italian Prima Donnas and British Female Singers, 1770-1840”.

A little more on a poetry reading session and I’ve done.

Ellen

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