Tales of the Woods and Fields (1836)

One of my fantastic readers asked me recently whether all early 19th century novels had happy endings. I answered yes, as up until this latest book I had always believed this to be the case!

The Tales of the Woods and Fields is a harrowing society novel by Anne Marsh-Caldwell. It was first published in 1836 in three volumes. Volume the first, and the first thirty six pages of volume the second contain ‘A Country Vicarage’. The remaining two volumes are taken up with the long poem ‘A Tale of an Oak Tree’ and a further novel called ‘Love and Duty’. I have decided to review only the first tale: ‘A Country Vicarage’.

The novel opens with a series of letters discussing the beautiful but young and naive Louisa Evelyn, who has received an invitation to a fashionable ball. There is concern in the vicarage about whether it would be good for Louisa to go. Charles, the son of Mr. Evelyn’s oldest friend, is secretly in love with Louisa, and worries that if she mingles with high society it might have a detrimental effect on her.

Louisa attends the dance. On her arrival at Dangerfield, she is scrutinised by the French maid who finding nothing suitable in Louisa’s trunk, dresses her in something fashionable from her mistresses wardrobe. The hostess Mrs. Carlton then presents her to the dining room and she is escorted to her place at the table. The author highlights the shallow and critical attitude of British upper class society by revealing the thoughts and conversations of the guests, including a Duke, many of the gentry, some army officers, and countless single ladies. Louisa is initially admired for her beauty, but is soon politely mocked when it gets out that she is only the parson’s daughter. Sir Harry’s recollection of her dressed in ‘a blue pinafore with torn bonnet’ is spread around the table by several Lady Marys who ‘happening to be within hearing, looked, I am sorry to say, rather ill-naturedly pleased at this description’. Louisa feels alienated during the dinner, and she is unable to add anything to the fatuous conversation. This continues the following morning at breakfast and at the races, and Mr. Evelyn’s experiment ‘seemed in a fair way of succeeding’.

At the ball, Lord William Melville solicits an introduction to Louisa and here she has her first experiences of love. Louisa spends the next few days languishing for Melville. Eventually they meet again at a play in the following chapter. There follows a brutal coach accident and Lord Melville runs to the crash to aid Louisa who is shocked and faint but not really hurt. Melville then escorts Louisa and Mrs. Carlton to her house, and Louisa who now feels decidedly worse, is carried into the dwelling by his Lordship. The author alludes to many classical literary references (especially to Greek mythology and to Shakespeare), which makes it a little difficult and a disjointed read if one needs to ‘refresh’ ones knowledge of the Classics (lovelier than Juliet… softer than Miss Haller … innocent as Perdita… more tender than Ophelia… more fatal than that of Circe, etc).

Louisa spends a vast amount of time with Lord Melville at Dangerfield, and she falls hopelessly in love with him. It is a mutual affection, but the naïve Louisa expects too much. Eventually she is summoned back to the country vicarage by Mrs. Digby, and there begins a gradual decline in her health. By degrees it is noticed by her sister and the maid, and indeed by Charles. One day he catches her crying while nursing her sister’s baby in the garden and becomes aware she is clearly in love with someone. This is later confirmed by one of his chums in a letter, as it has become widespread knowledge in society that the lucky Louisa has caught the eye of the wealthy, titled and most eligible bachelor, Lord Melville. Charles is heartbroken by the news, but is determined to throw himself into his studies and help Louisa the best he can.

Mr. Phillips (Mary’s husband) returns after a long period of absence in Ireland. He notices Louisa’s strange affliction, which is verified by Charles later in the evening. Without giving Louisa’s secret away, he explains her situation. Phillips forms a plan to send Louisa away with his wife and children for a change of scene.

One day while out walking in the copse, Louisa is surprised to see Lord Melville, and instantly hugs him. Realising her impropriety she shrieks and runs back to the house. Charles who happened to be nearby, confront Melville, and there is a haughty exchange of words. Charles convinces Melville it is imperative that he doesn’t delay formalities with Mr. Evelyn, and that he declares his intentions honestly, for her sake.

The next morning Mr. Evelyn receives a letter from Lord Melville requesting permission to present himself at the vicarage. At this point in the novel Charles takes permanent leave from the house. Louisa and Lord Melville are married in less than a month after his first appearance at the vicarage, and it appears their early married life is one of complete bliss. He rents a pretty cottage ‘of gentility’ in Wales and they spend the winter enjoying each other’s company and activities. Things take a turn when Louisa becomes pregnant and she cannot partake in all their usual entertainments. The selfish Melville sees Louisa solely as a great and beautiful prize, won to gratify his own needs.

They move to Melville’s London residence, and Louisa meets the dowager and his sisters. The author gives her readers another unflattering and detailed portrayal of upper class attitudes. Melville leaves Louisa with the women and goes to his local club. Louisa feels isolated and out of place in the house. When she goes to bed the young sisters and the dowager head off to the opera and Louisa is left feeling desolate.

The next morning Louisa is ill and fatigued, and the whole family, including the marchioness, take breakfast in Louisa’s chambers as she reclines on a couch. There is an interesting discussion. The family plainly state that it is out of the question that Louisa attends church, but they propose she will naturally be well enough for an afternoon display in the carriage around the park. ‘We will be the admiration of the whole world!’ Louisa argues that if she isn’t well enough for church, she won’t be well enough for a drive. It appears her new family are only pious when they are on display. This contrasts with Louisa’s father and Charles, who live genuine pious lifestyles back at the vicarage.

It is a long day and the family spends hours parading in their new carriage and conversing with their set. In the evening, Louisa is subjected to a long and tiresome formal meal with more aristocratic strangers. Louisa retires at a late hour, and feeling depressed she starts to worry that her life will continue like this – separated from the person her unschooled heart loves, and left to mix with the aristocratic sets which she feels alienated from. As the months go by, Louisa realises the gulph is insurmountable. Lord Melville leads his own life, and Louisa is constantly in the company of his family, who practically live with her, and she has nobody from her own/old peer group to relate to. Her poor health trapped her in Melville’s family and their set: ‘the empty fleeting bubbles of mere fashionable life’.

After the birth of her daughter, Louisa realises she cannot even control the nursery. The family hires their ‘own’ people for that role. A further unsettling realisation hits Louisa when her husband asks her what she is doing this summer! It transpires he is going to Norway for an expedition and will not be returning until the following spring around April. Louisa is told to enjoy herself as much as she can and spare no expense ‘there is the world before you’. She realises that any dreams she harboured of them being a normal couple are well and truly dashed.

Lord Melville goes to Norway and Louisa and her in-laws go to Babington Castle in the Midlands for a season. She also spends time with her sister, and they holiday on the coast. Louisa arrives in Park Lane for her husband’s expected arrival the following April – but he arrives only four months later. During the long absence Louisa’s natural vigour and health is restored. On Melville’s return there is an initial revival of their early intimacy and socialising, and Louisa naively assumes they will final become close. As can be imagined, Lord Melville soon returns to amusing and entertaining himself, while his wife is neglected. Matters finally come to a head when Louisa hears her husband is having an affair with an Italian actress ‘who has all the exciting traits she herself fails to entice in Melville’. Melville now becomes short tempered and even impatient with his wife. The family and servants follow suit and Louisa begins to feel friendless and frustrated. Melville begins to despise his own infant daughter and has no patience with Louisa and her tears.

At the start of the volume II the infant Miss Melville comes down with a fever, but she is neglected by all the servants and nurses. She calls for her mama, but the rooms are so far away she cannot be heard. When Louisa finally becomes aware her child is sick the rest of the family think it is nonsense and an excuse for Louisa not to leave Brighton and attend a party in London where the Royals will be present. Melville needs Louisa to attend with him to prove their marriage is fine. He is anxious to clear his reputation and to prove to society he is not having an affair. Of course, Melville gets his way, and the very sick child along with the family set off for London. On route, the child becomes dangerously sick, but the nurse and the selfish Lord Melville insist she is fine. Louisa reaches breaking point, and realising the seriousness of her child’s illness, she hysterically orders the carriage to stop. She defies her husband and causes such a scene, that she cannot be ignored this time. They are released at the next inn and Melville with a mock bow drives off leaving the distressed mother and daughter behind. Medical advice is immediately sought, but it is too late. The child dies and Louisa’s harrowing shrieks pierce the inn. She is desperately agitated so the innkeeper calls a visiting clergyman upstairs for assistance. Louisa recognises him as her old friend Charles, and she drops to the floor in a fainting fit.

When she is revived, Charles comforts her with reassurances of God’s eternal love and protection. They pray together and Louisa is put to bed. Charles then sends the news to Lord Melville. Of course, Melville is envious of Charles and for the first time in his life, he feels genuine remorse for his behaviour. He orders his four horses to be harnessed and to be instantly dispatched to the inn. Meanwhile, Louisa takes a turn for the worse, and Charles is again summoned upstairs by the maid. He finds Louisa in the last stages of life. Her heart ‘was hurrying with the rapidity of a mill wheel’. He kneels down beside her to hear her confession – and here she expires.

In a nutshell: a perceptive novel packed with realism and frustration. The author Anne Caldwell Marsh offers a scathing critique of the emptiness of ‘fashionable’ society and its destructive influence on human lives.

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Hugh Latimer, or The School Boys’ Friendship (1828)

I’ve wanted to read this extremely rare novel by Susannah Strickland for years, so you can imagine my excitement when I recently discovered a readable grainy microfiche version. I have to confess it’s the first time I’ve ever read a book this way, but it was well worth the effort.

The novel revolves around a 12 year old boy called Hugh Latimer who attends a foundation school as a scholarship boy. He is the son of a widowed shopkeeper and gee doesn’t he get some abuse from his aristocratic peers. The children taunt him with insults like ‘beggar’s brat,’ but Latimer struggles on bravely through his school days with the help of his best friend Montrose. As the book progresses the boys develop a deep and lasting friendship and they learn much from their uncles and school master, Mr. Manby. From the very start, when Hugh asks to be taken from the school, his uncle asks ‘what would you rather be a gentleman or a shopkeeper?’ when Hugh replies the former, his uncle retorts ‘well don’t let them take that advantage from you’. The novel is also rich in biblical lessons, especially those found in the the book of St. Matthew, and one is given a real insight into early 19th century mentality. The author Mrs. Strickland develops several themes in her writing which she feels strongly about; in particular, she exposes and tackles class and racial prejudices which were both problematic during this period. In one scene the boys are walking arm in arm and happen to meet a black youth who enters the school with a basket of cakes on his head. Being a book of its time we encounter a vexing racist attack. The author lectures the reader on the evils of idleness and highlights this as the reason for the assault. Our hero Montrose then appears on the scene and threatens to thrash the boys for their inhumanity. When they leave we hear him addressing the youth ‘so where do you live, Blackey?’ He is clearly a thoughtful boy, but he has much to learn! Anyway, after the youth refuses their financial assistance, Montrose decides they should all visit his uncle. The Colonel then repays old ‘Blackey’ and after a long fruitful lecture he joins their hands and solemnly declares they must remain friends for life.

Later in the story with the introduction of Sinclair, the novel turns its focus to class prejudice. The pompous Sinclair with his upper class ancestry causes great mischief to Latimer’s friendship with Montrose. Having seen this unfold, Mr. Manby invites Hugh to his residence for tea. Hugh confesses he is heartbroken after being forsaken by Montrose and here Mr. Manby reveals his own humble origins as a foundation boy. He recalls being bullied by a youth called Carey, who spared few opportunities in humiliating him in front of his peers. One summer’s morning while out walking his dog he noticed somebody struggling in the water. It was Carey, and feeling nothing but indignation he decided to stand by and watch him drown. It was only after his dog jumped in the water and swam towards the boy that he came to his senses and dragged Carey onto the riverbank. Manby continues by explaining how they wept in each other’s arms, forgave the past and how Carey died peacefully in God grace, washed free of all his sins [naturally Carey’s death is full of pious reflections and comforting promises of everlasting life].

In the latter part of the novel Montrose invites Latimer to his uncle’s for the holidays. Of course Latimer initially hesitates after hearing that Sinclair and his siblings will also be there. Latimer arrives at the Colonel’s house and a week passes without any news from the brats. The boys and the Colonel spend their happy days in the pursuit of knowledge and science. When the arrogant Sinclair finally arrives he sees Latimer playing chess with his sister and declares he is no suitable playfellow for his sibling. The next morning Sinclair ignores Latimer’s salutations, and Montrose launches into an angry rant in defense of his friend. The Sinclair brothers leave the room and the Colonel tries to patch things up. The week passes in haughty politeness but with no sense of any warmness developing. Later, during a group drama where the parts are divided according to personality, the Sinclair sisters remark that ‘Latimer’ should naturally be the servant. The wounded boy retaliates: ‘what of it. My father was once a proud servant who died fighting for his country’.

While Montrose is downstairs chatting with chums from school, Latimer hears one of the girls shrieking as her dress catches fire. She is completely engulfed in flames so he raps her in a blanket and manages to singe off his eyelids so severally he cannot see for days. Next there follows a mawkish and unrealistic scene where the Sinclair’s fall at Latimer’s feet weeping and forgetting their old prejudices, thank him for saving their sister’s life. A few days later when the party departs (with Hugh still bedridden) he is given ‘handsome gifts’ for the services he rendered to the girl. The Colonel then sits with Latimer and points out a sword hanging on the wall. When he asks the boy to guess who that sword belonged to, Hugh, answered ‘to a hero?’ to which the Colonel replies, ‘yes, it was your fathers’. An ecstatic Hugh then asks the Colonel how he knew his father.  The Colonel explains how he was not dissimilar to the haughty Sinclair in his youth and had treated Latimer’s father (who was his commanding officer) with much contempt because of his humble origins. After repeatedly trying to antagonise him he eventually struck him in the face. The noble officer reminded him that he could be sentenced to death for his affront, but concluded how he was grateful there were no witnesses, as the matter could now end in a truce. As a sign of new found respect they exchanged their swords.

In the process of time the two boys become top of their school. The famous Lord Peterborough is passing through the area and requests to see the establishment. Latimer as the head scholar delivers an excellent speech in Latin, and after making some enquiries Lord Peterborough learns he is the son of the brave soldier who had thrice saved his life. To return the favour Hugh is awarded a pair of colours by the peer and a 50 pound annual pension for his mother and lame uncle. And here the novel concludes with the following beautiful paragraph:

‘The two young friends entered the army together; they served in the same regiment, fought in the same battles, and bled the same cause. Montrose, after many gallant actions, was made Lord Grahame; and his friend Latimer, rising by degrees to the height of his profession, received the badge of knighthood from the hand of his sovereign’.

For me, this book was both charming and silly at the same time. Often the scenes were overly mawkish, and the boys’ relationship was too mushy. Nevertheless, if one can see past this, and have the patience to wade through the religious moralising and shallow characters, I think it is well worth a read, even if only to appreciate the forward thinking ideas of the author.