This isn’t usual for self…

But I shall try it anyway.

The thing is, in the last few days I’ve done an interview, which if I’m honest I actually truly enjoyed!  And I kind of wished to share that.

And not only but also, I’ve done another thing on the state of the country–at war– during that era we’d like to think was uber-friv, parties, pretty dresses, aristos in high cravats and Beau Brummell–the early 19th century.  And I kind of wanted to put that out here too.

So, do you mind if I just give you two charming links to these bits and say, Thanks jolly much for reading…?

A glimpse of Austen’s England. 

Bennetts and that little white pony, a salutary tale for authors.  Or parents.

Slainte!

100_0245

My Journey with Jane Austen…

Over the last little while, I have got to know a rather splendid person, one I’ve come to admire immensely.  Her name is Sue Pomeroy and she’s the director of a film-to-be about Jane Austen…

You know, there’s so much hype and chatter and all sorts about Austen’s work these days, but so often, at least to me, she seems to have got lost in it all.  Forgotten.  And perhaps it was that which made me warm so much to Sue and her ideas.  Because she puts Jane herself back into the picture.  And I love that.  I just love it.  And I thought you would too.

Ovecoming Pride & Prejudice coverSo without further ado, please welcome Sue Pomeroy talking about her Journey with Jane Austen

“My first encounter with Jane Austen was on a school trip to a stage production of – I think it must have been Emma.

“All I remember was an old fashioned ‘box set’ and actors wandering about with cups of tea in tights and carpet slippers, speaking very archly.  It was a total turn off and it put me off Jane Austen for years.  If that was the best Jane Austen could offer I wanted nothing more to do with her.

“The highlight of the evening was when one of the students dropped a box of Maltesers in the back row and they all bounced down under the staggered seats for ages.  That at least made us laugh.

“How wrong first impressions can sometimes be!  As the plot of her novel of that name reveals, sometimes first impressions prove to be the exact opposite of the truth.

Carl Davis & Jean Boht

Carl Davis & Jean Boht

“When I turned back to Jane Austen some years later to read Pride and Prejudice I realised how wrong I had been in my estimation of her.  I had reacted to the creaky theatre production and not to her at all.  So, somewhat humbled, I started afresh with a rediscovery of this rather brilliant novelist.

“The other major factor in my re-assessment of Jane Austen was my stay in East Berlin.  Strange, but true.

“I was thrilled to be awarded an arts bursary to work behind the Berlin Wall with the world famous Berliner Ensemble.  What an amazing experience that was.

“One of the things I saw at very close quarters were the tactics employed by writers and playwrights to step around the censorship of the communist regime, and get their ideas across.  For instance there were no less than three productions of A Midsummer Night’s Dream by William Shakespeare in East Berlin during one season, which bemused me – until I realised they were using ‘the Wall’ in the Pyramus and Thisbe story, acted out by the rude mechanicals as a comment on the ‘die Mauer’, the Berlin wall.

“The more productions I saw in East Berlin the clearer it became – writers were using symbolism, humour and comedy as well as adaptations of classical work, to communicate their ideas. The audience knew this and were looking out for all the clues to the author’s real views.  In a repressive regime you have to employ all sorts of inventive ways to step around the political restrictions.

“That opened my eyes when I got back to reading Jane Austen.  It was her delicious wit and mischievous sense of humour that allowed her to find her own unique voice and deal with issues that would not have been considered palatable for a woman to voice openly in Regency England!

20130609_151400“She exposes hypocrisy within the church, the obsequious behaviour of the landed gentry to anyone of title, the blind obsession among the upper classes with breeding, the limited opportunity for intelligent women when a good marriage offered their best, and only, chance of happiness.

“In the period in which she was writing, novels were dealing with fantasy, great adventures, romantic extremism and epic subjects.  Jane on the other hand created novels which reflected the real world which she observed in great detail.  She had strong opinions and her characters played out her views on the world she lived in.  I am sure she got away with it through her wit and comedy.

“By the time I was working on an adaptation of Pride and Prejudice I was smitten.  The more I worked on the adaptation, the more Jane Austen’s novel resembled a beautifully crafted cut jewel, shimmering as you hold it up to the light.

JA1“We took the production on an extensive UK tour of No 1 theatres at the same time as the BBC series was broadcast, and enjoyed the same rapturous reception.  It was fascinating to see the audience response to the characters and the twists and turns of the plot.  They picked up all the nuances of the hidden barb, the ‘off the cuff’ witticism, the send up satire. As readers would have done when first reading the novel, published during Jane’s own lifetime.

“Over the years, I feel I have become closer and closer to Jane Austen.  I feel I have got to know her as a person.  And my feelings toward her are of the greatest admiration, and an almost sisterly pride in her achievements.  I also feel a little protective of her.  To watch the public enthusiasm for her work grow to such proportions is breath taking.  And I sometimes wonder when I hear the experts pronouncing on her work, see the opulent screen adaptations and observe the universal delight in dressing up in frocks and breeches, what would Jane have made of it all?

JA2“I see her in her modest cottage in Chawton, writing away quietly, leaving the squeaky door so she could hide her papers when someone came in and I wonder if we have forgotten her individual journey to bring those novels to fruition and then to publication. Hers was not an easy life, as a poor country parson’s daughter, and it became less easy after her father died and she and her mother and sister had to rely on the generosity of others to get by.

“Her sense of humour, her love of family and her deep faith must have sustained her through some of the difficult times, but I do feel for her.  My heart goes out to her. This single woman, writing, keeping the flame of hope and love alive.

“That has been the catalyst for wanting to make this film. The growing love and enthusiasm for her work across the world is wonderful, but amid all the adulation and admiration and commercialisation I see a woman at her desk, in a small English village, having the tenacity and courage to keep on writing, to keep on hoping, to keep on loving.  I want to celebrate the events of this 200th Anniversary year, and the people we have met on our journey to film them.

“But before we all get carried away with the delight and the fun of it all, I want to bring the focus back to Jane herself and remind ourselves of her story.  To look at what it must have taken to write six brilliant novels as a woman at the dawn of the nineteenth century, and how Jane overcame the pride and prejudice of her own life and times to become a published author.  That’s what my film will be exploring.

***

Sue Pomeroy is currently making a new film about Jane Austen’s life and work.

Fuschia Films logoTo find out more about this new film, and to help make it happen please visit http://www.fuschiafilms.com/jane-austen-film-products-and-events/.

For more on Fuchsia Films see http://www.fuschiafilms.com

For regular updates follow the project on twitter @JaneAustenFilm and @FuschiaFilmsLtd

and www.facebook.com/JaneAustenOvercomingPrideAndPrejudice

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The sheer delight of historical slang…

I am by nature a perfectionist.  (I know, I know, the fastest way to drive yourself crazy.)

I am also, again by a twist of nature, a stickler for detail.  (Yes, that’s right, the second most direct route to madness.  Particularly if you’re a historian writing historical fiction.)

Together these two probably constitute the fastest way to send yourself round the twist, or perhaps along the quickest route to total eccentricity.

(No comment from the pit, you!)

GreatParisCipherAnd this peculiar combination of traits has seen me doing everything from riding long distances hell for leather through gale force winds and sheets of rain–terrifying, invigorating, brilliant!–to enable me to write truthfully of an age when horses were the only mode of transportation, to learning to take snuff one-handed, to learning to crack the Napoleonic codes spies used two hundred years ago.

Obviously, it was this that led me to undertake that–what’s the opposite of a wild goose chase?–tricksy bit of sleuthing over the last few weeks about the waltz, to which I’ve previously referred after I’d come up against was the visit by Tsar Alexander to Britain in June 1814…

incroyable1[He, as the victor over Napoleon, was paying us a little visit to cement the friendship between our countries, to flirt, to play the saviour of Europe to an adoring audience, to flirt…He was wildly popular in London.  (He brought his pet poodle with him.  Does that help or hinder?)

And one of the things for which he was famous was dancing all night.  Quite literally.  Whether because he genuinely liked it or whether because it was an opportunity for him to get closer, I don’t know, but he did love to waltz.  But I kept being teased by this one thing–his visit was in 1814, yet too many authors and websites were insisting the waltz wasn’t done till 1816.

alexander 1814Still,  I couldn’t really imagine the local aristocratic lovelies saying to the 6-foot tall, blond hero and emperor in his spiffing formal uniform, “No, your Imperial Immenseness, the waltz is too immodest for me and I don’t know how…”?

No, not so much, hunh?  Doesn’t really work, does it…]

So, admittedly, some of my work is just plain bonkers.  Yes, I do know that.

But, you see, all of it–every miniscule minute iota of it–is absolutely necessary so that I can convey as powerfully and dramatically and accurately to the reader what it was to live 200 years ago.  Because above and beyond all things and at all times, I strive to put the reader in the room.  (Not to tell a modern tale in dress-up clothes, but to put you in the room!)

Still, one of the tricksier areas of research though is speech.  Because I can read their letters, their journals, even their books and speeches, but who talks everyday as they write in letters?  Or diaries?  Those may be marginally better perhaps, but it’s still not the same as a recording, is it?

So one of the great finds and great delights of my life has been to come upon and read–cover to cover and more than once–a book called The Vulgar Tongue:  Buckish Slang and Pickpocket Eloquence by Captain Francis Grose, originally published in 1785 and continuing in publication until 1812…

Imagine, a book full of words like:

Slubber de gullion — a dirty, nasty fellow;
Nocky boy — A dull simple fellow;
Basting — beating; Spider-shanked — thin-legged;
Kinchin — a little child, Kinchin coes, orphan beggar boys educated in thieving…

Go ahead, try rolling them about in your mouth, letting them fall into speech.  An intoxication of language, really.  Sheer absolute joy.

It’s all too evocative, too atmospheric not to revel in it.  But the use of just a smattering of such slang in the dialogue easily transforms it from modern to, well, a sense of what they must have spoken like.

We can’t be sure, of course.

printshopwindow1And we always have the awkwardness of, in my case (I write about Napoleonic Europe), 200 years of history and hind-sight as an obstacle.  But the slang gives us a feeling for the roistering, boisterous, rambling world of London that Jane Austen did not talk about, the world of the military, the Britain that had as yet no police force, the city that hadn’t yet been ripped up by the Victorians for the installation of sewers, and the countryside given over to farming.

But even a simple reading of dictionaries of historical slang give one a sense of their different perception of things, of what mattered to them, what their daily lives encompassed, who they met with and how they perceived their fellows.  It’s an education in itself.   Occasionally shocking, often surprising, always ebullient.

As I say, tremendous fun.

And as for me, well, I’ve learned at least one thing, I can tell you–I am without a doubt a plaguey saucebox and a scapegrace.  Ha ha ha ha.  (But you probably already knew that.  Though now, you have the precise nomenclature, yes?)

photo by B.Bennetts

Why things aren’t always clear-cut…

There are a lot of armchair historians out there these days…which, don’t get me wrong, I think is a good thing.

For one thing, it may mean that the publishers who seem to have given up on publishing history in favour of celebrity drool-fests might rethink their strategy and go back to publishing works by the likes of Charles Esdaile, Dominic Lieven, Andrew Roberts, Michael Broers and all these other fabulous authors I admire.  And that wouldn’t just be a good thing, it would be a grand and noble and enriching thing.

(It would additionally mean I’d have to add another bookcase in the Growlery, but who’s counting…)

Yet it often also means another thing, and that is, everybody’s got an opinion on everything.  No matter how small, somebody’s going to give it to you when your views don’t match theirs.

Let me give you an example.  Let’s consider the introduction of the waltz into British society.  (A dangerous pastime, I know…)

You might think it’s of no import, and quite possibly, you’d be right.  Does it matter?  Did it lead to anyone’s death, to an epidemic of disease, to the cure of a disease, to war, to peace, to the emancipation of women or slaves?  And the answer is, of course, none of the above.  Nevertheless, a lot of folks get very miffy over it–insisting that it could not ever, ever, ever be mentioned in a book that was set earlier than 1815-1816.

May 1812And this is where the issue begins to impinge on self.  Because my works (thus far) are set in 1812 and 1813…and I do mention the waltz.  (And being a bit of a fiend for accuracy in my own work, this concerned me…)

So I was chatting about this dilemma to another historian, one whom I respect enormously as much for her knowledge as for her ability to approach problems from different angles.

And after recounting the adamant position of those who held that it was unknown here until the Lievens introduced it in the late autumn of 1812 (he was the Russian ambassador), and discussing with her the various historical references I had to hand, including engravings of waltzing couples published well before 1812, she said something quite interesting.

She said, “When was waltz music first published here?  Because if they’re waltzing to music, then somebody has to be playing it for them…And that will tell you when it started to become popular and socially acceptable.”

Is that a stroke of genius or what?  Of course, she’s right.

And it was at that point that things started to get very interesting.  Because the first publication of music for the waltz was in 1806.  A not-well-known-to-us English composer, Edward Jones, published A Selection of Original German Waltzes, and dedicated the volume of music to none other than the Princess Charlotte (who was only ten at the time).

And here’s another thing, publishing companies don’t just publish stuff for no reason–they have to believe there’s a market for their product and they’re going to sell the stock.  So, 1806 has to herald enough of a degree of popularity for the music and dance that the sheet music is going to fly off the shelves…

Anyway, this novel approach to searching out the music led me to a number of quite fascinating bijou fact-ettes about the waltz, all of which kind of overturn the idea that this ‘shocking’ dance erupted on the scene out of nowhere in about 1814-15.

In 1810, Gillray published his famous caricature of waltzing couples, entitled, Le bon Genre.

There’s Lord Byron’s poem about it, A Satire on Waltzing, which was written in the autumn of 1812 and published anonymously in the spring of 1813.  He disapproved, as unlikely as that seems, given his reputation:

Endearing Waltz! — to thy more melting tune
Bow Irish jig and ancient rigadoon.
Scotch reels, avaunt! and country-dance, forego
Your future claims to each fantastic toe!
Waltz — Waltz alone — both legs and arms demands,
Liberal of feet, and lavish of her hands;
Hands which may freely range in public sight
Where ne’er before — but — pray “put out the light.”
Methinks the glare of yonder chandelier
Shines much too far — or I am much too near;
And true, though strange — Waltz whispers this remark,
“My slippery steps are safest in the dark!”

lawrence-caro-lambThere’s also the small matter of a letter from Lady Caroline Lamb, again written in 1812, which says:

“My cousin Hartington wanted to have waltzes and quadrilles; and at Devonshire House it could not be allowed, so we had them in the great drawing-room at Whitehall. All the ‘bon ton’ assembled there continually. There was nothing so fashionable.”

Equally, there is another private letter, this time by Byron, written in 1811, in which he complains about the immorality of the dance (yes, I know, rich coming from him!) and how all the nobility are indulging in it…

And finally, there’s this lovely bit of insight into Viscount Castlereagh’s personality–that’s the Foreign Secretary, in case you’d forgot, with the wife who’s allegedly a stodgy great stickler for manners and morals as well as a Patroness of Almack’s.

Lord-Castlereaghs-waltzNevertheless, by 1815, because he loved it so much, there was even a waltz dedicated to him, with the title, Lord Castlereagh’s Waltz.  And the most famous dancing master of the age, Thomas Wilson, supplied not one, but two versions of this dance in his immensely popular volume, Le Sylph, An Elegant Collection of Twenty Four Country Dances published in 1815.

And years later, writing about her uncle’s fondness for the dance, Castlereagh’s beloved niece, Emma, would say:

“He liked the society of young people, and far from checking their mirth and their nonsense, he enjoyed and encouraged it, with his own fun and cheerfulness…he was able to work serenely at the most important dispatches amidst the clamour of a family party, which he preferred to the isolation of his study.  If an air were played that pleased him, he would go to the pianoforte and sing it; if a waltz, he would say, ‘Emma, let us take a turn,’ and after waltzing for a few minutes, he would resume his writing.   His power of abstraction was indeed remarkable; our talking and laughter did not disturb him; once only do I recollect that he rose from his chair laughing, and saying, ‘You are too much.’”

All of which evidence suggests to me that the waltz–not the one we know (and I’ll get to that in a minute)–was well and truly a fixture on the dance floor long before it was allowed at Almack’s.

Though even that date has to be fixed no later than June 1814, because Tsar Alexander was here for a few weeks’ visit then, and we know he loved to waltz (whether it was that he loved the dance or he loved the opportunity to get handsy, I can’t tell you), but I just can’t see anyone saying “no” to him–not even at Almack’s, where he assuredly went.

Which led me to examine the issue even more closely…one reference I found to it in 1802, spoke of the waltz as but one of a medley of elements making up the series of country dances…so lots of people were learning it and dancing it, they just didn’t necessarily have a separate designation for it.

It was at this point then, that I began to wonder, ‘Exactly, what the heck were they doing back then, really…

Eventually, I fossicked out the answer on the website of a dance historian by the name of Walter Nelson, who paraphrasing the description from the aforementioned book by Thomas Wilson, writes:

1806waltz“It began with the ‘March’ which was a very brief side by side promenade. This turned quickly into the ‘Pirouette” or ‘Slow Waltz’.  The partners would take each other in one of several holds, one of the more popular of which had the partners facing in opposite directions, hip to hip, with one arm across the front of the partner’s body and the other hands holding in an arch above the body.  In this posture, they would rotate very slowly, with their gaze fixed on one another.  This was the part that probably made the blue stockings the most nervous.

“The next was the ‘Sauteuse’.  At this point, the dance got a bit more energetic, with the music tempo increasing and the dancers working a little hop into the step.  The posture would be changed – one possible option would be the man holding both the lady’s hands behind her back.

The routine would finish with the ‘Jetté’ which was even more energetic and up tempo.”

And as Mr. Nelson also says of it:

“The Waltz we know today was not the Waltz of the Empire/Regency era. It was not the fast moving, twirling Viennese Waltz of the Victorians, and it was not the sedate but graceful box-step of the 20th Century.  It was a strikingly intimate and sensuous dance, which is a major departure from the group dances and stately minuets of earlier generations.  To a society that focused so much attention on harnessing teenage libido to the purpose of making a good marriage, this was rather disturbing.”

Wow!

So there you have it.  It wasn’t as I thought.  It wasn’t what anyone I’d spoken to previously thought.  It was a twisty, turning tale of some were, some weren’t, some knew, some didn’t, here a little, there not so much…just like all history, really.

Not at all clear-cut…In fact, messy as a pig’s breakfast.

Daily Life ~ Through the Prism of The Great War

This is one of those blog posts I’ve been avoiding writing for some time now.  Like for well over a year.

Chiefly because writing it will mean that I might have to get up off my sorry backside and go look in a book or two to confirm a couple of details rather than just opening up my brain and allowing the contents to leak onto the page.  Which obviously is my preferred method.

English officersYou see, as I’ve observed the popular focus on the early 19th century in novels and because of the undimming interest in Austen, I’ve come to feel that–somehow–there’s this assumption from the few oblique references to it in Austen’s works that the long wars with Revolutionary and Napoleonic France really didn’t impact on the lives of the ordinary and/or aristocratic British at this time.

But that’s a bit like inferring that Austen and her family didn’t eat eggs.  Or wouldn’t have known what they were. She never mentions them, does she?  Ergo…

Yet, like eggs or milk or bread, during the late 18th and early 19th centuries in Britain, the ongoing war with France was so much a part of the fabric of daily life that–like her omitting to say that her characters had eggs for breakfast–it possibly didn’t occur to her to mention it.  Indeed, this period of war created the very weft and warp of their existence…And the daily reminders of it–they called it the Great War–were so constant, so ubiquitous in their daily lives, that Austen and all her readers took it as understood.

horationelson2The wars with France between 1793-1815 defined, changed and effected abso-blooming-lutely everything!  And they went on and on and on, world without end, amen…

And therefore I would contend that in order to truly understand the period–which some call the Regency (though that’s far from strictly accurate)–one must view it not through a rose-tinted lorgnette with an aristocratic mother-of-pearl handle, but rather through war-tinted spectacles.

Let me show you.

From the outset of the French Revolution, English eyes (and newspapers) had been riveted on the unfolding events in Paris.  Remember–France is right across that little arm of water called the Channel (or la Manche if you’re French)…a body of water so narrow, a person can swim it.  A small boat can sail it on a fine day…

Until just 250 years previously, at least a part of France had always been owned or ruled by England.  The ties, therefore, for all sorts of reasons, were very close.  So, it must have seemed like their French cousins and business partners/competition had plunged into a vortex of sanguinary madness such as had never before been seen…

warprintAnd then, in 1793, four years into this Revolution, the French declared war on Britain.  Viscount Castlereagh, when still a young man, was the in the Low Countries during the September Massacres…he daren’t enter France himself…and he read with mounting horror the newspaper accounts of the events that still today are nearly unreadable for their savagery.

By 1797, France was strong enough and cocksure enough to attempt invasions of both Ireland (then under British rule) and the British mainland…both, fortunately, fizzled out–Ireland’s due to a blizzard and heaving gale and the mainland’s due to the inferiority of the French troops and the welly of the Welsh they encountered at Fishguard.

martellotower But subsequently, all along the south coast, successive governments would embark on building a series of Martello towers to protect against the present threat on invasion.

Nor was invasion just a mythical nightmare of a threat.  Napoleon, in power since 1799, used the year of the Peace of Amiens (1802-1803) to establish one of the largest army camps at Boulogne–which again, is just across the Channel and which, on a clear day, one can see from the coast of Kent.  And what the English saw didn’t make for very reassuring viewing.

For at Boulogne, Napoleon was assembling his troops for invasion.  Some 500,000 of them. And often he was there himself, reviewing the troops in full view of the English telescopic lenses trained on the place.  Imagine it.

Bearing in mind that ever since the Commonwealth, Britain hadn’t had a standing army per se–or at least nothing on the scale of the European powers–this was pretty scary stuff.  If that Corsican upstart managed to get those troops across that tiny slip of water, the result would have been overwhelming.  Quite literally.

Thus, the army fellows spent weeks and months working out which were the most likely points of access and then, carving up Kent and Sussex with a series of water courses to hinder the French advance while they, in London, would get the King and royal family away to safety in Wheedon–where they built the early 19th century version of a royal bomb shelter.  As the whole of Kent and Sussex were carved up this way, the impact on transportation and even agriculture would have been immense–a daily reminder of the threat across the water.

It seems impossible to fathom, of course, but although he was pretty hot as a general on land, Napoleon never got the hang of water.  And that, of course, saved Britain time and again from his invading forces.

Those forces gathering and threatening in Boulogne were only held back as the French waited for a spell of calm in which to cross over. Because Napoleon, judging the difficulty of navigation solely on the width of the Channel, had opted for rafts–large wooden rafts, four feet deep–in which to transport his men, horses, artillery across to England.

And when the first troops were loaded onto these rafts for his inspection, they, er, tipped over.  Many soldiers–being unable to swim–drowned, the guns fell into the water and sank, and the horses swam for shore.  Whereupon, Napoleon stormed off in one of his classic rages…

The threat may have been lessened for the moment, but the Brits didn’t lose their sense of vulnerability.  Not ever.

semaphore towerImagine the disruption to daily life, there, along the south coast.  Also along the coast, just as in the weeks preceding the arrival of the Spanish Armada, huge woodpiles were erected to act as beacons should the French be sighted crossing.  Added to this, from 1796, there were the telegraph hills or semaphore towers, marring the skyline perhaps, but able to send coded messages inland (Deal to London) in a matter of minutes.

No wonder the militias in those southern counties were particularly active and always recruiting…and all the landed families of each county would have been expected to send their sons and husbands to be officers in the militia, if they hadn’t already bought commissions in the military or gone to sea…

Britain was indubitably on a war footing and that’s how things would remain until 1814…

Everywhere they went, everything they saw and experienced would have emphasised this, if ever they forgot…the newspapers churned out a daily diet of war coverage, and particularly naval coverage, because it was at sea that Britain truly excelled.

Between the years of 1793 and 1812, year upon year, Parliament voted to expand the size of the Royal Navy, taking its size from 135 vessels in 1793 to 584 ships in 1812, with an increase in seamen from 36,000 to 114,000 men.   Those seamen all had families, families who missed them whilst they were away, families who grieved if and when they were lost.

In 1792, the size of the merchant marine was already at 118,000, but this too expanded as the Continent was increasingly closed to British trade and British merchants had to seek farther afield for fresh markets.

nelson'stombAdmiral Horatio Nelson was the hero of the age–embodying the tenacity, the daring, the sea-savvy of Britons through the centuries, standing up to Continental aggression and aggrandisement alone.  He wasn’t just lionised, he was idolised.

Thousands upon thousands of British boys went to sea because of him–and he was known for treating the younkers well.  When he died at Trafalgar, the nation mourned, quite literally.  (Have a look at his catafalque in St. Paul’s if you doubt it.)

Again, along the south coast, Portsmouth, Plymouth, Southampton were all swimming with sailors, and with all those industries which support a maritime war–from shipyards to rope-makers to munitions-makers…it was boom-time.

Encampment in St. James's Park 1780

Encampment in St. James’s Park 1780

Hyde Park and numerous other vast public tracts of land were covered with the tents and paraphernalia of military training camps for the army.

But it wasn’t just in the ubiquity of the military that one sees the war–the preferred and very available art form of this period was the cartoon, the satirical print.  The war and in particular, Napoleon, provided the fertile imaginations of the cartoonists with a veritable buffet of opportunities for their cynical art and wit.

printshopwindow1Given then some 40% of the population was illiterate, it was from these prints, every day displayed in print shop windows, that the British public, gawping and laughing, gathered much of its news and thereby formed its opinions.  (That’s every day for nearly 20 years!)

The theatres too invariably included a naval spectacle or re-enactment as part of each evening’s bill, in much the same way as during WWII wartime dramas starring John Mills were churned out by Pinewood Studios.

Plays about Nelson were the most popular and the plays of Charles Dibden (then popular, now forgot) reflected this with titles like Naval Pillars, a piece based on Nelson’s victory at Aboukir Bay.  Indeed, it was often joked that Dibden should be decorated by the Admiralty for the number of successful naval dramas he’d written…

As if that weren’t enough, the popularity of these maritime spectacles prompted the owners of Sadler’s Wells to create a lake of real water upon their stage as a more lifelike setting for all these pieces.  And when one considers that up to 20,000 Londoners attended the theatre each night–and that’s not including Vauxhall Gardens where they also produced martial spectacles or any of the smaller venues where the chief attraction was naval illuminations–that’s when you start to see this war as almost the emotional meat and potatoes of their daily lives.

militarystyleClothing design, especially for women, embraced the military influence–whether it was riding jackets a la militaire with double rows of buttons and frogging up the bodices and cuffs, or as lady’s head wear, taking its shape from the common shako or the caterpiller-crested helmets of the dragoons, there it is again.

For the underclasses, let’s call them, all along the coast from Cornwall up to East Anglia, the endless French wars led to an increase in smuggling activity upon an industrial scale.

Brandy, French silk, and all sorts were smuggled in, whilst wool for uniforms was smuggled from East Anglia, and just about everything else you can imagine was smuggled from the rest of the coast to European beaches…the organisation and size of these smuggling gangs grew proportionately more sophisticated as the wars raged on, and once Napoleon closed Europe’s borders to British trade, the size of these gangs just mushroomed.

As did the need for an increased presence of Preventive Officers and Revenue Cutters, patrolling the waters of the Solent, the Channel, and the North Sea…

And finally, these wars hit everyone where they’d feel it most, every day.  In their pockets.

The war itself, added to the agricultural consequences of years of terrible harvests, led to rampant inflation.  Food prices as well as the cost of common goods soared.  The lack of grain was so acute that in the years 1808-1812, the Government had been forced to buy thousands of tons of grain from the United States, to be shipped to feed the British troops on the Peninsula.

shako1Not only that, but within five years of its breaking out, the cost of the war had effectively drained the Treasury–the wretched conditions in the Royal Navy had in 1797 led to mutiny and the army was, not to put too fine a point on it, starving.  There was, as seen up above, a serious threat of French invasion and Ireland needed troops to ward off any French incursion there.

Pitt the Younger was both Prime Minister as well as Chancellor of the Exchequer (a common combination of offices at that time) and he felt there was a need for an increase in ‘aid and contribution for the prosecution of the war.’  His solution?  Income tax.  Which was announced in 1798 and became part of every taxpayer’s nightmare from 1799.  As today’s Inland Revenue describes it, it was a fairly straightforward proposition:

“Income tax was to be applied in Great Britain (but not Ireland) at a rate of 10% on the total income of the taxpayer from all sources above £60, with reductions on income up to £200.  It was to be paid in six equal instalments from June 1799, with an expected return of £10 million in its first year. It actually realised less than £6 million, but the money was vital and a precedent had been set…”

It was, as it turned out, just a drop in the bucket when set against the vast costs of the war.  A detailed, country by country, analysis of the subsidies Britain paid to her allies over this twenty year period adds up to the eye-watering sum of £55,228,892.

(If you’d like that in today’s money, that’s £3.5 billion, using the retail price index.  Or if you prefer to calculate using average earnings, £55.1 billion.)

And if you think they weren’t constantly grumbling about it…think again.

Nor does that sum include the cost of maintaining a military force in the Peninsula under Wellington, the cost of the disastrous Walcheren expedition, nor the vast (and we’re talking millions) sums secretly paid out to the intelligence agents and spies…The total figure, therefore, is closer to £700 million or £44 billion in today’s dosh.

And none of this even hints at the private sadness and inconsolable losses of those who received, daily, from the Admiralty, from Horse Guards, from commanding officers in Spain, letters informing them that their loved ones would not be returning home…

The war, it was everywhere…it was the carefree laughter and the relief of peace that were missing. And for many had never been known.

The inimitable Georgette Heyer…

It would seem I’ve been procrastinating…but that’s not actually the case.

What is the case is that I’ve got so much on my plate that any multi-tasking capabilities I may have possessed have run for the proverbial hills, leaving me with about three half-written blogs, piles of reading on Russian foreign policy circa 1812, half a sonnet frollicking about in my head, and too many characters from the next books standing in the wings, tapping their feet, waiting for their cue to come on.

[And the answer to “Ha ha, how do you sleep well at night?” is “Not very well really…I wake up at about four and…”]

Anyway.

Recently, I was reminded by a friend’s complaints about the cheesiness of much of today’s literary marketing of a letter I received from a literary agent, a female of the species.  Which actually, in retrospect, amused me.

blokeI had sent this individual the opening chapters for my novel, Of Honest Fame, you see, along with the usual charming, banterful letter and a synopsis.

Then, after the obligatory wait of several months, said agent had returned the sample chapters along with a rejection letter in which she compared the work to the novels of Georgette Heyer–novels for which, she assured me, there was no market.

From this fatuous comparison, I deduced she had either been drinking…and/or was terminally stupid…and most assuredly had never read any of Heyer’s work.  [Even since her death in 1974, Heyer’s works have NEVER been out of print.]

Hence after my incredulous, “What?” you will understand that my uppermost emotion was relief at the lucky save!

[Exactly what about a boy setting a corpse alight and later getting the basting of a lifetime could possibly remind anyone of a novel by Georgette Heyer still eludes me.  But then, I fear I am too literal in my understanding of these things.

What I’m guessing this creature was dim-wittedly trying to say was that the novel was set in the early 19th century, quite possibly the Regency, and therefore something or other…And I confess, one longed to meet the dotty female and say, “Yes, dear, the novel is set in the early 19th century.  And so is War and Peace.  Or can you not spell that?”]

But lately, you know, I’ve been seeing Miss Heyer’s name splashed about a fair bit–usually on the cover of some allegedly Regency novel  [just like Georgette Heyer, the endorsement gushes] a term which was coined to describe some, though not all of her work–and this has actually made me want to spit teeth.

1812_greatcoatFor this comparison can only be based on the crudest and most simple-minded assessment of Heyer’s work–although, interestingly enough, in Heyer’s lifetime, critics of her work dismissed it with the words, “another Georgette Heyer.”

And perhaps this is the problem.  And it’s an ongoing one.

Because both of those statements about Heyer reveal how little the author/reviewer knows or understands of Heyer’s work, whilst at the same time committing  the absolute bimbonic folly of fancying that a novel’s quality can be deduced from what the characters are wearing and where/when the thing is set..

To imagine that a novel is nothing more than a plotline, a time period and a few stock characters–thus anyone who writes a thing set in the early 19th century must of necessity be writing like Miss Heyer–is to wholly underestimate and undervalue the extra-ordinary talent, apparently effortless prose style, and wit of this quintessentially British author.  It’s like saying all bars of soap are the same.

Or put another way, it is to be criminally stupid and terminally, intellectually myopic.  Ehem.

(Just as when I see contemporary authors comparing their own works to hers, I mark them down as delusional.)

Because Georgette Heyer is inimitable.

There is no one like her.

Just as no one is like P.G. Wodehouse.

Heyer was a one-off, an original, a woman of tremendous talent who backed up every book with oodles of hard work and endless research, at a time when the historical novel–light, dark or in-between–hardly existed.

She was a pioneer.

Both Wodehouse and Heyer were authors of a certain era, who because of the tremendous ease with which they created their fictional worlds, their prodigeous talent for making prose flow like rippling, streams of wit, dominated the literary scene for more than five decades of the 20th century, without equal.

Like Wodehouse, her sentence and paragraph construction are peerless.

Highgate Tunnel Mail coachAnd like Wodehouse and the world of Blandings Castle, Heyer created a parallel Regency London and initially Sussex (where she grew up)–one without politics, the nastiness of war or assassination or Napoleon, one where the West End and Mayfair were clean and bright and rarely raining [we wish!] and most people rubbed along tolerably well.  And it is against this delicious confection of a backdrop that she set her tales, many of which were plays on the traditional favourite, the Cinderella story.

You know the drill, poor female requires handsome rich prince to see through the tatters of her shyness and the ashes of her genteel poverty, her lower position in society, and recognising her true merit, her lovely laughter and wit, sweep her off to a happy, rich, life…Yadda yadda yadda…

And certainly given that during the early 19th century and indeed looking honestly at the career opportunities for women in the early 20th century, the Cinderella story is a fitting one–without a man, particularly a rich one to provide, life didn’t offer many choices, and even fewer bonuses.

Equally, unlike in real life, in Heyer’s world, the aristocracy and gentry were plentiful; the male of the species were witty, urbane, amused, well-dressed and loaded–all alpha males with a sublime sense of humour, great shoulders and a starched cravat.

But this, my friends and companions, is where Heyer gets interesting.  Because she is not writing the standard Cinderella story in as many permutations as she can manage.  Rather she is subverting the genre even as she is creating it.

Georgette Heyer was born in 1902, in Wimbledon.  She lived through and remembered all her life that period of turmoil when women got the vote, when at last they were allowed into universities like Oxford and Cambridge, when a certain equality with males appeared possible.  For women, the world in which Heyer grew up was one of new, untried and unexplored horizons.  And Heyer, rather than writing the same old same old took that standard formulaic romance, broke the mold and turned it upside down, bless her.

If, as the Arab saying has it, “stories teach people how to live”, then Heyer was writing the template for the new millenia’s women.

Indeed, from the outset, Heyer’s females were not the simpering, swooning simpletons beloved by her fellow pioneers of historical fiction, Baroness D’Orzy and Raphael Sabatini.  [Recall, Heyer’s first published work, The Black Moth, came out in 1921.]  Instead, she started as she meant to go on and in her works, it was all to play for.

tea on the lawn-sandbyThe Masqueraders, published in 1928, gave the female protagonist the lead male’s role and gave to her brother the role of pantomime princess, beautifully dressed and undetected in female garb.  And whilst this may have been a play on the history of the Scottish uprising of 1745 and the fact that Bonnie Prince Charlie escaped from Scotland dressed as a servant woman, and equally, the British stage has a long tradition of males in female roles, I cannot begin to imagine how this played in 1950’s America.  If it played at all.

The Corinthian, published in 1940, took the Cinderella lead and gave it to the rich hero.  Sir Richard Wyndham is rescued (he says it himself) from the onerous duties and ties of family and financial expectation by the young rebel, Pen Creed–the ashes of his wealth and the tatters of his fine clothes seen through by this rebel-child of a girl with decided opinions, a wicked sense of humour and wearing boy’s clothing, thus ensuring Richard’s future happiness.

The Grand Sophy (1950) takes matters even further.  Sophy isn’t just masterful, she masters the whole family–who admittedly need it.  But there is nothing shrinking or feeble or swooning about her.  She’s about as far from the Victorian virgin-ideal as one could hope to get.  And reading her, I have no doubt, empowered a whole generation of young women, engendering in them the belief that they could surmount any and all obstacles, even as it encouraged them to be amusing, wise and formidable, and still be lovable.

(Since girls of the 1950s were still being encouraged to laugh at a bloke’s jokes, even when they weren’t funny, to shut up and listen and hide their own intelligence, this is probably a great deal more subversive than we might today think.)

tomkinsVenetia (1958), Frederica (1965), A Lady of Quality [Annis Wychwood] (1972), all provide further proof of her talent for upending convention.  None of these main female characters are blushing debutantes.  They are all older, wiser, savvier, pragmatic, with good, sound heads on their shoulders, shouldering burdens that the men in their lives have shied from.  They are vibrant, confident, self-assured, the intellectual equal if not superior of their male counterparts, with a self-knowledge to rival that of a seasoned philosopher.

And none of them want rescuing.  Indeed, often it is they who are more likely to mount the white charger and ride to the aid of their men…

But while Heyer may be mounting a subterfuge of a campaign on behalf of capable women everywhere, she does so with such finesse, such charming irony and delicious wit, that what might be a provocative storyline of female empowerment is couched in a flow of easily digested, apparently innocuous delight.

And yet, what an ironic wit she had.  Her authorial voice was unique.  Delicate, graceful, laced with genial good-humour, and without the cruelty of some of Austen’s observations, Heyer poked fun without poking anyone in the eye.

Listen to this:  “Fashion was not kind to George…”  Or she will write of a lady “enjoying ill-health”–how much more tolerant than Austen’s descriptions of Lady Bertram?  That lightness of touch has more in common with Wodehouse, surely.

And she is, I will be honest, quite possibly greatest though when she writes of sisters, aunts and mothers.  She captured these relationships with all their  invisible, manipulative, endearing and powerful strings attached as no one before her or since.  She writes them all honestly, graciously, humorously, with her tongue firmly fixed in her right cheek…

Her prose is as smooth and effortlessly elegant as the unfurling of silk pennants in the breeze–like “drowning in honey, stingless”–and is unmatchable and unrivalled.

And behind of and in back of all this was the strength of her unending research, her notebooks filled with slang, with details of dress, of society, family, invention and history.

Interestingly too, unlike the current craze for implausible aristocratic titles that one may encounter between the pages of contemporary historical romances, as she grew older, Heyer came more and more to favour stories of the gentry and professional classes.  

Almacks CruikshankBlack Sheep, A Lady of Quality, Frederica, Charity Girl, The Nonesuch, Cotillion, Arabella, The Toll-gate…whether she was playing to the new ideal of meritocracy and equality in the 20th century or whether she was sidestepping the Labour-inspired class warfare issues, I cannot tell you.  But these novels are most assuredly not filled with scenes at Almack’s, tales of the ton, or tired witticisms allegedly spoken by George Brummell–the cliche-ridden world of so-called Regency romances.

If Heyer has a failing at all, it is in her male protagonists–too many of them read exactly the same and might be carbon copies of one another:  bored, well-dressed, sporty, self-indulgent.  And they become invariably soppy at the end–which I personally find sick-making.  But that’s just me.

Still…when I recounted the sorry tale of my rejection to a friend, an Oxford don (male), his reaction was as far from mine as could be.  “She compared you to Georgette Heyer?” he said.  “No one has ever paid me a compliment like that.  If they had, it would have been the greatest compliment of my life!  I would give anything to be compared to her…Wow!”

Which also makes me laugh.  For truth is, I know how hard she worked and I respect her too much to even dream of aspiring to be her equal…

A word or two about the British monarchy…

One of the things that I kept sensing during the various discussions engendered by my last blog about the Regency was at root a thing about the monarchy.

It’s something in the way some non-Brits write about the monarchy, putting a spin on British history that we simply lack here.  Like, I’m not convinced they get it.

Because here’s the thing–with the exception of a small rump of media types and political republicans here (as opposed to monarchists), we don’t feel there’s anything inherently unequal about having a monarch–a person whom we refer to as His or Her Majesty.  We don’t bristle over that.

We don’t regard it as a slight on our equality in the eyes of God or the law or anything. We don’t regard it as a slap in the face to our personal freedoms.

Some monarchs are more popular than others.  Some were considered useless.  Some are utterly brilliant.  Some go in and out of popularity.

edward-viiEdward VII, for all that the press racked up more salacious stories about him than just about anyone under the sun, was surprisingly popular and it was he who turned the Victorian monarchy into the vibrant modern institution it is today–he it was who got out in his car and drove about, meeting and greeting his subjects.  And he was round and fat and jolly, just like them, and they were quite fond of him for just those reasons. (Though if you read some biogs of the poor fellow, you’d not know this…)

Anyway, as I’ve mulled over this little problem, I’ve become convinced it has something to do with sentiments of the American Revolution, and a misplaced conviction that we must have felt that way too, only we lacked to gumption to throw off those chains of tyranny or something.

So I thought I’d deal talk about that–rather than the news about Richard III.

To begin with, late 18th century Englishmen did not believe they were suffering under any tyrant’s boot.

They thought the opposite–they knew they lived in the freest society on earth.  They believed that to the core of their beings.  They had freedom of speech, freedom of the press and no need even for a police force to patrol them.

(Yes, yes, yes, there were some rabble-rousers like young Tom Paine–but have you read him?  Actually read him?  I mean the guy was as nuts as any bag of squirrel food!)

Ehem…

Indeed, by the late 18th century, British men were firm in their belief that the political vicissitudes inherent in a tyrannical system had been dealt with the abolition of the Star Chamber under Charles I’s rule, and subsequently, with the disposal of Oliver Cromwell, the republic’s dictator.

And it’s important too to remember that it was an Act of Parliament which invited Charles II back to England to sit on the throne.  He was there by populist choice–he wasn’t imposed on us.

And even when his younger brother, James II, proved such a kingly disaster, it wasn’t the monarchy that the people wished to get rid of, it was James.  I mean, they didn’t say, “Oi, this king business is rubbish, let’s have an anarcho-syndacalist commune” instead, did they?

No, they just opted to get rid of James and get in someone more to their taste.

And again, it was Parliament who wrote to William of Orange inviting him to come and be king here.  He ruled by popular consent.  And that is a significant point.  It’s also significant that after 1689, it is always a limited monarchy that is being spoken of–not an absolute monarchy as in France or Russia or Spain…

Also, Britain already had separation of the legislative and executive going back at least as far as Elizabeth–she couldn’t raise her own taxes, for example.

Robert Walpole was the first MP to use the title of Prime Minister–he took office in 1721–and he held that position until 1742–a period of unprecedented peace.  This is also the point at which the political power shifts from the head of state to the head of government.  Thus, Walpole was de facto head of the executive while the head of state was the absentee king, George I.

And–again, important to note–this was an elected government.  And whilst one might say it’s not democracy as we know democracy–they had rotten boroughs and all that–I’d just like to point out what was happening to our nearest neighbour–that would be the reign of Louis XV.  Ehem.

So, skipping along to George III…

imagesFrom the outset, he was immensely popular.  He had everything going for him.  For the first time in several generations, he, the king, had been born here in England.  English was his native language.  He looked and spoke like an English country gentleman.  And they loved him for it.

He married and was devoted to his wife.  He adored his children.

Indeed–though one frequently hears commentary to suggest that Albert and Victoria invented the image of the happy royal family and all that Victorian ideal–the fact is George III was the inventor of the modern family.

George played with his children, he was devoted to them, they were often seen with him in the carriage, or held high in his arms, and it was clear from his every movement and every word, that he sincerely loved them.  And this was a new thing–this engagement with one’s children.  And the people loved him for it.

He was also a tremendous patron of the arts, of manufacture and industry, of scientific study and invention.  A few years ago at the Queen’s Gallery, there was an exhibition showcasing his patronage of the arts and manufacture–and what an exhibition it was!  The range of scientific experimentation and instrument manufacture that had come about because of his support was jaw-dropping.

This was a guy who was constantly on the look-out for ingenuity and advancement, and when he found it, he threw the whole of his weight behind it.  He invited the author/inventor to come talk about it.  He commissioned a fancy prototype for himself.  And when he got hold of it, he shewed it to everybody at court and got them to invest in it…If George III took you up, you were made!  And they loved him for it.

He was like that about the agricultural revolution then sweeping England as well.  His letters to Coke of Norfolk and others are copious, and well-informed.  So the farmers of England (and that’s just about everyone) thought he was pretty sound too.

Then came the American Revolution–and this is a curious thing–because when encountering the colonial complaints and their cries of tyranny, the English living in England didn’t actually know what to make of it.  For a start, they couldn’t figure out what the colonials were talking about.

The cries about the tyrant who imposed unfair taxes, without representation, didn’t even make sense to an 18th century Englishman, because he knew that the king had no say over taxation.  The king didn’t and couldn’t raise taxes–he had nothing to say to the matter one way or another.

(And George III was remarkably frugal.  [There’s another word for it, and that would be nip-farthing…ehem…another reason his British subjects liked him…])

He didn’t have executive power either as stated previously.  So all that George III is a tyrant stuff–that was lost on us.

Anyway.

In the wake of the American Revolution, George III’s reputation did suffer–people here thought that he really should have sent over lots more troops and kicked some sense into the fractious colonials.

But, he and his ministers knew something too (had known something for some time)–and that is that the American Revolution had been paid for by the French crown; the American troops had been led by French officers, their food supplies sent from France, along with all their uniforms, their munitions, etc.

(For a detailed account of the French crown’s investment and Congress’s subsequent reneging of those massive loans–which incidentally caused France’s bankruptcy and hence its slide into Revolution–see Maurice Lever’s three volume biography of Beaumarchais, who in addition to being the author of The Marriage of Figaro, was Louis XVI’s agent in the affair.)

And once the Revolution was over in 1783, and British attention refocused on matters closer to home–as in across the Channel where Englishmen did a lot of their business–George’s reputation recovered.

Then came the first Regency crisis…

Prinny RussellUntil that point, Prince George had been your average rebellious prince, playing around with the naughty crowd–the Devonshire set–in moves designed to set his parents’ teeth on edge…but the Regency crisis changed all that.

And when George III recovered his wits, (just as the French Revolution was about to kick off…) there was more than a whiff of bad odour about the business.

There were, and there had been, echoes of Henry IV’s rage over Prince Hal’s ‘trying on the crown’ in the air (see Shakespeare’s Henry IV, Part Two).

Prince George had been far too eager for power…And that was felt to be truly offensive…And I think it’s safe to say their relationship never really recovered.

Meanwhile, George III went back to kinging, to supporting the arts and manufacture, to farming which was his passion.  He may still have felt the loss of the colonies most keenly, but as the French Revolution unfolded and the genocidal violence reached its nadir, old George–devoted to his country, his family, his farm and his people–looked better and better.

He became a symbol of stability, of the English nation that would not bow to the tyrannical violence and bloodshed of Republican France.  Once Napoleon came on the scene and with his military might swallowed up most of Europe, George’s reputation smelled rosier and rosier.

As he aged–and soldiered on on their behalf–he was regarded with great affection by his subjects.  They truly loved him and truly felt great empathy for his physical sufferings and his final descent into blindness, deafness and madness caused by porphyria.

As for George IV, his reputation never did recover.  A disloyal child–to the Georgian mind–was one of the great banes of existence.   There were scores of disinherited children during this period… And George had crossed that line and was perceived as disloyal to his father and disloyal to the king and therefore to the country.

But what’s curious though is that whilst George IV, both as Regent and King, was hated–certainly by the London press–no move was ever made to get rid of him.

(Again, no suggestions of an anarcho-syndacalist commune…and this is important, because often when one considers the history of a place or period, what’s missing is as significant as what’s there…)

And had the problem been with the concept of monarchy, as some people imagine it must have been, Parliament might have stepped in.  They’d done it before…

But they didn’t.

And for all that the newspapers and cartoonists of the day loathed and mocked Prinny, what’s peculiar is the grounds for their so-called hatred:  his licentiousness and profligacy.  Because here’s the thing–as I’ve mentioned earlier, there are more saucy stories about Edward VII than about nearly everyone else put together.  But that doesn’t seem to have bothered either the press or the populace.  By comparison to Edward, Prinny was an amateur, a kindergartner…

And he did a number of quite innovative and good things.

He insisted that Britain should NOT participate in the art-grab when the allies were breaking up the vast collection of artwork in the Louvre, pillaged from all over Europe.  He wouldn’t accept any of those pillaged treasures as gifts either.  He was a patron of the arts and letters–particularly letters–his patronage meant a great deal to Sir Walter Scott and did much to transform the anti-Scottish sentiment which had been the norm in England.

He was the first British monarch since the 17th century to visit Scotland and he loved it there and did everything he could to promote it–so those kudos do not belong to Victoria and Albert either–George IV had already begun the work.

He was also the first monarch to appear in tartan dress.  (Yes, I know that a regular kilt requires 14 yards of fabric, and one for a chap with a 50″ waist just makes my eyes pop…but, well, he probably kept at least one tartan weaver in work for over year…)

When he died, he wasn’t mourned particularly.  The people had loved his daughter, Charlotte…But George IV’s brother, William IV, was much loved too.  He drank too much–they all did–but he was regarded with genuine affection.  And his reign had seen the beginning of many of the reforms that Victoria is often credited with…

And now?  Now we regard the monarchy and our dear Queen with affection and appreciation–probably just as his subjects regarded George III–so my advice to those writing about Britain–don’t infer that we regard our kings or queens with anything other than full-hearted gratitude.  Regardless of what the press are blabbing about.  And many of us sing with full gusto every time we hear the music, those famous strains of Handel’s coronation anthem:  “Zadok the priest and Nathan the prophet anointed Solomon king.  And all the people rejoiced and said, God save the King!  Long live the King.  May the King live forever.  Alleluia!  Alleluia…Amen.”

And we mean it.  Every word of it.

Brummell and the Drury-Lane Ague…

Recently, a thing–as some will know–really got up my nose. 

Which, after I’d come down off the wall, got me to pondering what it was that had so enflamed my ire? 

And I, at last, in the small hours of the morning, came upon it:  it’s the trivialising and minimising of people’s lives and challenges in the early 19th century so that these people become nothing more than a ‘fun’ setting for some novel or other. 

The spark that fired me up was, of course, George Brummell. 

So today, I’m going to talk about him.  Specifically about him and about the thing that killed him–slowly and agonisingly–syphilis–the medical term for one of the several sexually transmitted diseases also known in 1811 as a Drury-Lane Ague. 

(And…I’ve just lost half my audience right there!  Because yes, what this blog isn’t going to be is ‘fun’.) 

You’re right, syphilis isn’t fun.  And it’s not sexy.  It’s not romantic.  It doesn’t have great hair. 

It’s horrible, it’s terrifying and it’s brutally painful.  But it was, in the 18th and 19th centuries, as prevalent and as fatal and widespread in its destructive sweep as Aids in the 1980’s and 90’s.

There are various theories and discussions about how and when it arrived in Britain.  Obviously, there are all those urban legends (which vary depending on which nationality is speaking) about it being the French disease or the Italian disease or the Spanish plague, brought back from the New World by the Conquistadors…

I don’t know which if any of these stories are true, half-true or complete and utter vermin dander.  The point is that even by the late 17th century, it was known as a killer.  And a messy killer.  (Anyone who’s seen the film about the Earl of Rochester as played by Johnny Depp will attest to that.)

They’d also worked out exactly how they believed one got it–the heterosexual exchange of bodily fluids with an infected person. 

So prevalent was it, that by the mid-18th century, veneral diseases had become very much part of the reality of popular culture. 

And we know this, in part, by the runaway success of Hogarth’s works which feature many characters showing the tell-tale signs–The Rake’s Progress and The Harlot’s Progress–and also by the numerous terms associated with it to be found in Captain Grose’s dictionary of The Vulgar Tongue:  fire ship (a girl carrying VD), peppered (infected with VD), Lock’s hospital (a hospital for VD patients), Drury Lane Ague…

(To give you a sense of how prevalent it was Europe-wide during the 18th century, some 25% of the population of Venice was infected…there’s even a Syphilis museum in Venice….it’s not for the squeamish–that’s all I’ll say.)

Anyway… 

They’d also learned, by trial and error, that the disease was passed down to one’s children. 

And all of this had led through the latter part of the 18th century to a lessening of overt promiscuity and a tightening up of morality (which plays in with the rising tide of Methodism from the 1780s or so)–at least on the part of the growing middle classes and gentry. 

As for the upper classes–the artistocracy and their friends–those who could afford to pay higher prices for their pleasures–they too became more particular (though, as you will see, not particular enough) about limiting their sexual partners and lovers to those who did not show signs of the infection…

George Brummell had come to London and had made a name for himself as a paragon of good taste, of elegance, an advisor on all things sartorial and taste-related to the rich and famous.  He was a gentleman.  

From 1802 until his departure for Calais in May 1816, he held sway as the arbiter of fashion.  Daily he sat in the bow window of White’s Club on St. James’s Street, cracking jokes with his friends, in an English Regency version of the top football player and friends of an American teen movie.  Or at least that’s how it strikes me.  He was ‘the man’.

But that’s only fourteen years of his life.  And this is what gets me so very cross.  Because like those teenage sporty-boys, these fourteen years offer only a glimpse of the full life of the man.  And the full life of this man, Brummell, was one of debt, depression and disease.  And it wasn’t fun. 

Like many of the other gentlemen of his acquaintance and class and at his club, Brummell frequently was seen at the soirees of Harriette Wilson, the well-known Regency courtesan. 

He generally was known to stop there regularly–late in the evening after the theatre; he was exceedingly fond of the cold chicken she served as part of her suppers…He may have had an affaire with one of Harriette’s fellow demi-mondaines…and there were certainly plenty of willing partners at these parties she threw…That was, in fact, the whole idea. 

So at some point, during the height of his fame and influence (judging by the progress of the disease) Brummell contracted a Drury Lane Ague.  Sometime between 1810-14.  Probably.   His behaviour suggests he definitely had contracted the disease by sometime in 1814.

(Just as a point of reference, having a STD wasn’t that uncommon at this time–Viscount Castlereagh contracted some sort of venereal complaint which laid him low whilst he was at Cambridge, and which caused him to cut short his university education…It wasn’t syphilis though.  That much is fairly certain.)

1814 is a pretty key year in terms of the history of syphilis in Britain too, because that’s the year the victorious soldiers and officers returned from Europe after defeating Napoleon’s troops in Spain.  And in their luggage, as it were, they brought back a more virulent strain of the disease than had previously been recorded here. 

As one contemporary author wrote:  “…there is a splendid pox in town, as pure as at the time of Francis I.  The entire army has been laid up with it, boils are exploding  in groins like shells, and purulent jets of clap vie with the fountains.” 

Nice, eh?  

From the outset, within weeks of contracting the disease, Brummell would have known he had it.  Primary syphilis is recognisable by the chancres and rash…the treatments for which could be obtained quite discreetly during the 19th century.  These were mercury-based pills and/or ointments that would clear up the rash and cause the initial chancre to disappear. 

Less curable was the wildly fluctuating libido which was a tell-tale sign of the disease, and that would range from mad for sex (called syphilitic euphoria) one minute to the next in which the sufferer is repelled by it. 

Reckless behaviour, severe depression, lethargy and frequent bouts of self-loathing also accompany this primary stage, and these characteristics certainly increasingly define Brummell’s behaviour during his final years in London–his wild and ever-wilder schemes for raising money, his depression at his deepening debt, his wild addiction to gambling which consumed all else, his rash and unstable behaviour toward old friends, including the Prince Regent.

How long this stage lasts varies between individuals.  But, at the time of the Regency, they believed that the disappearance of the chancres, the mouth ulcers and rashes signified that a sufferer was cured and could no longer communicate the disease.  They couldn’t have been more wrong. 

And Brummell, although he wasn’t bearing the outward insignia of the disease any longer, was far from well.  He was forced by his mountain of debts to flee England in May 1816, and once established in Calais, he shaved off his hair and bought a wig–another sign of the advancing disease is that the hair grows irregularly in unsightly patches.  

So from 1816, Brummell was hard up for money and living in very reduced circumstances, suffering from bouts of fitful depression, physically he probably felt rough all the time, and by now, he was probably impotent too. 

As the years progressed, the disease advanced into its secondary stage which in Brummell’s case (as in so many others) would have meant he ached all the time and the pain would be so bad at night that he couldn’t sleep. 

The onset of secondary syphilis is also accompanied by a measles-like rash a.k.a. roseolas.  And Brummell would have had terrible recurring headaches too.  He would have been acutely sensitive to cold and to heat, as well as suffering from a full gamut of tummy problems.  The mercury would be causing him to salivate excessively.  His teeth would loosen and fall out, along with all his hair.  His eyesight would begin to fail and he wouldn’t be able to distinguish certain colours either.  Certainly, his depression would deepen even further. 

(And anyone who saw him at this time would have known what it was that had infected him thusly–they might not have talked about it, but they all knew.)

By 1834, he was suffering from neuro-syphilitic strokes caused by his continual use of mercury–which is a poison in case you didn’t know.   They also included arsenic and iodide in their treatments at the time…they were mostly concerned with the outward symptoms of the disease, believing as they did, that if you could treat these, the disease wouldn’t act as quickly on the central nervous system.  (Wrong again.)

Brummell appeared to recover from the two recorded strokes.  But that’s deceptive.  He did a spell in prison for debt where he slept on a straw mattress–and that can’t have helped his condition. 

By 1835-36, he was suffering from tabes dorsalis which is the  physical manifestation of the onset of the final stage of tertiary syphilis and its accompanying dementia.  In other words, it’s the slow attack of the disease on the spinal chord and the spinal nerves, hence by this time, those who saw him would have noticed that his walk was ‘creeping’ and ‘snail-like’ and that he stooped. 

The dementia started to kick in as well and his moods would have ranged from extreme mania (hence the stories about him giving imaginary balls and ordering invisible staff about) to periods of quiet realisation of just what was going on and bitter weeping…

On 17 January 1839–against his will–Brummell was admitted into the asylum of Bon Sauveur near Caen. 

rakesprogress2He was now suffering from the final stages of Meningovascular syphilis and his many symptoms included facial paralysis andquaking, the loss of bladder/bowel control, his teeth would all have fallen out, his tongue would have been swollen and cracked and turning black as would his privates, he would have had tumours in the groin, weeping tumours would have appeared on his legs, and his brain would have been shrinking away from the bone casing of his skull and turning eventually to a kind of granulated powder.  He would have been quivering or raving and in constant agonising pain which would make him violent–and the treatment for that was to be hosed down with icy water…

Towards the very end, he suffered from almost continual seizures and quaked pretty much non-stop.  He died at 9.15 on the evening of 30 March 1840. 

I dare say, you now can see why I have a hard time with the presentation of Brummell as merely a man of witty repartee and a fashion icon.  His story is too terrible for that. 

And regardless of how one feels about his morals or lack thereof–I’m not particularly fussed or interested:  he was a man of his time–no one, not any one (no matter what they have done!) deserves to suffer like that.

It’s like reading about the French soldiers who died on the retreat from Moscow.  Now I’m not a fan of the Napoleonic empire, and I’d be the first to list the atrocities Napoleon’s troops committed all over Europe, but when I read accounts that tell me, “We saw round the fires, the half-consumed bodies of many unfortunate men, who, having advanced too near in order to warm themselves, and being too weak to recede, had become prey to the flames.  Some miserable beings blackened with smoke, and besmeared with the blood of the horses which they had devoured, wandered like ghosts…they gazed on the dead bodies of their companions, and, too feeble to support themselves, fell down, and died like them…”

When I read that, I think “No one deserves what Napoleon did to his men.  No one!” 

Even though I know that these very men were carrying the virulent form of syphilis all over Europe and spreading it far and wide via gang-rape–the exhumations of the mass graves of Napoleon’s soldiers from outside Vilnius and Smolensk have revealed (upon forensic analysis) that 80% of Napoleon’s troops were suffering from secondary syphilis.  (Which kind of gives the lie to all Nappy’s claims that he looked after his men like a father…the fellows he took to Russia were dead-men walking.)

It’s probably down to them too that Vienna was so infected with syphilis that young men like Franz Schubert contracted the disease on a night out.  Years later, Robert Schumann had to be incarcerated for the same reason…

But no one deserves these dreadful sufferings, and equally, no one deserves to be reduced to a caricature.  These were all real people, as real as you and me, and that needs never to be forgot nor lost sight of.  Not ever…

Alle Seelen ruhn in Frieden.

Yes, I’m ranting…

Yes, I am ranting.  Rant, rant, rant

And I’ll tell you why.  Because of the internet. 

Because it makes me crazy and because so many misstatements of fact, so many bare-faced lies, and so much misinformed drivel is trotted out as fact on all the various blogs that clot up the blogosphere that it makes me absobloominglutely crazy. 

So there I was today, reading along in my quaint little Englishey fashion, when I came upon a blog about George Brummell–or Beau Brummell, if you prefer.  Whatever. 

And within two paragraphs, I was swearing.  Expleting.  Using the full-force of my extensive vocabulary in three languages! 

(It’s at times like this that I hate being an expert.  I hate, hate, hate it.  I want to be a nice person, you see.  I want to be supportive and lovely and charming and say things like, “That’s utterly fab!” and “I think you’ve done a smashing job…” 

I do not, not, not want to be known as that wild-eyed, wilder-haired semi-lunatic professor who throws chalk [hard] with unerring accuracy at his students and hits them smack in the forehead when they get their Latin verbs wrong!  [I had a professor like that once.  He was utterly brilliant.  Terrifying.  But brilliant.])

Also, please understand that I don’t really have an interest in Brummell one way or another.  I mean, I know lots about the fellow, because I read and research bloody everything, but knowing about him doesn’t get me firing on all cylinders like say the Russian light cavalry or formation of the Landwehr in 1813 does, or anything.  I mean, I’m sure he was perfectly delightful but…

But, okay, back to this blog…Because the first thing that set my teeth on edge was a bit about Brummell going to Eton where he ‘got to rub shoulders with the aristocracy’ as if it’s some sort of rare privilege accorded to a special few and we should all genuflect or something. 

So let me be perfectly clear here:  I am friends with several members of the aristocracy.  Get over it. 

In fact, until her death, my very dearest friend in all the world had a title–an ancient one.  And do you know what?  She was brilliant.  She was smashing.  She was the very least up-herself, stand-on-ceremony, proud or arrogant person in the entire world.  And I loved her dearly.  And I miss her like stink. 

But I’ll tell you something else.  She had to brush her teeth.  Just like everyone else.  And when she didn’t, she got cavities.  Just like everyone else. 

But back to Brummell. 

The thing about that statement–besides the obvious aristophilia issue which has me splenetically croaking–is that the author had just finished telling us that Brummell was born at 10 Downing Street where his father lived because he was the private secretary to Lord North.  Who was the Prime Minister under George III.  And who had, clearly, a title. 

And in and out of the front door of Downing Street, handing Billy Brummell (young George’s father) the requisite sweeteners to ensure that they could get in to see the Prime Minister were half the aristocratic heads in the kingdom.  Because that’s how politics worked in those days.  

So, young George would have been ‘rubbing shoulders’ with the aristocracy from the day he was born–or any time he wasn’t in the nursery…

Okay.  (Breathing in.  Breathing out.)  So then I skipped a bit, because there wasn’t a wall close enough at hand against which I could bang my head.  Hard…

And then I came across the statement that the thingie that’s called a Bow-window is called that because Beau Brummell used to sit in White’s bow window overlooking St. James’s Street.  What? 

Has no one but me heard of that superlative set of volumes known as the Oxford English Dictionary????  The repository of all the most wonderful information and the definitive authority on how and when words came into use in English?  And there’s no bally excuse for not using it because it’s now ON-LINE!

And had the author of this blog bothered to check any of her facts in that fine and noble work, she would know that it was Samuel Richardson who first used the word ‘bow-window’ in print in the year 1753. 

That’s 25 years before George Brummell made his appearance in Downing Street as a squalling brat. 

Later, Repton uses in in a discourse on gardens and conservatories or something.  And Austen used it in 1816 in Emma.  It had nothing to do with Brummell or his soubriquet.

[I have–since yesterday–refered to the index in my copy of Ian Kelly’s biography, Beau Brummell, The Ultimate Dandy, and have found that Kelly does indeed refer to this thrice between pages 245-46.  He writes:  “The facade of White’s clubhouse…was remodelled during the second half of the eighteenth century, and a little later a bay window was added over a former doorway that became a landmark on St. James’s Street.  Here Brummell held court in the afternoons, in a bow window that became known as the Beau Window…The men of the Dandiacal Body…’mustered in force’ around Brummel’s chair in the Beau Window, watching the world go by and telling jokes.”  I, therefore, stand corrected on this point.]

Pause for more of that breathing manoeuvre…

So then, I skipped along and discovered the startling information that [allegedly] Brummell contracted the syphilis from which he died in 1840 in the last years of the 18th century, when he was stationed in Brighton with the Prince’s own 10th Regiment of Light Dragoons. 

Hello? 

The only problem with that bijou fact-ette is that it’s impossible–which she would have known had the author bothered to read the whole of the Kelly biography that she cited in her footnotes. 

Because syphilis was a fast-working killer in those days and as Brummell was clearly suffering the torments of tertiary syphilis in the 1820s and 30’s, he had to have contracted the disease in London, at the height of his fame and popularity.  So around 1811. 

Because by 1816, he’d shaved off his hair to combat the baldness that was a side-effect of the mercury treatment.

Had he contracted the disease in Brighton before 1797 as she averred, he would have been bald and losing his teeth by 1803–the very time he was introducing the starched cravat of folded linen to the gentlemen of White’s Club! 

And the thing that really vexes me and peeves me in all this is that now this blog with all this rot is out there.  You know?  And some perfectly charming little person, having read a Georgette Heyer novel or something, will think, “Oooh Beau Brummell, I should google him…”  

But instead of coming across a piece that will enlighten her and give her an insight into the early 19th century mindset and provide some useful historical context, instead of all that, this charming little person will get regurgitated sancitmonious Victorian de-sexualising b*ll*cks. 

Because that’s what happened!  By the time Gronow and his mateys were writing this pap about Brummell, Victoria was on the throne, Wellington–another quite the virile man about town–was a staid, elderly statesman, and all that naughty Regency stuff had to be white-washed–and for heaven’s sake, no one mention Harriette Wilson (Brummell’s close confidante and Wellington’s former mistress).  And to say they messed with their facts doesn’t even get warm!

The very worst I ever read of that stuff was one late Victorian biog of Brummell which simpered on about his mincing walk which was like he was tiptoeing around the raindrops. 

Ya, right.  A chappie who was a cavalry officer–think boots, well-built shoulders, hard-drinking, hard-swearing, hard-riding, manly man, a fellow who spent 4-5 hours in the saddle every day–is supposed to have tippy-toed around the raindrops.  I don’t think so.

Oh–and another thing.  Brummell broke his nose when meeting face-to-face with a cobblestone.  On account of his horse having shied and spooked. 

Ehem. 

I also have met with the ground, nose to nose, as it were, pretty much in the same way.  Fortunately, it wasn’t a cobblestone, it was a hummock on the South Downs, so my nose does not have an interesting tilt to one side.  However…It’s not Romantic.  It’s just what happens…

And I’d also like to add that that prissy little picture of him isn’t Brummell.  The most likely candidate for an accurate picture of him is this one with the broken nose…

So what was Brummell then, if he wasn’t this prissy sissy clothes-horse? 

He was a man’s man.  A very well educated man who wrote rather spiffing epigrams in Latin (most Eton boys did so–they’d been writing plays in Latin or Greek since they were about 14.)  He loved dogs.  And dogs loved him.  He didn’t wear perfume or scented after-shave–he said a man should smell like clean, country-washed linen and nothing else.

And he most especially loved fabric.  Not in a girlie kind of way–but more in the way I conjecture someone like Karl Lagerfeld or Yves St. Laurent loves fabric.  He loved the weaves.  He was passionate about the depth of colour in a good English wool.  He loved how the cut of a coat could show off the fabric. 

And the early 19th century was a great time for English wool–the new mechanised looms were producing some fantastic weaves and blends…and he loved them all.  They set him alight.  And his enthusiasm for the cut of the fabric and for the design that would emphasise that changed English menswear forever. 

He was a dandy when the word didn’t mean some bloke who wears all different colours at one go and has floppy hair. 

A dandy as he lived it [dandy in those days was defined as the opposite of a bore–work that out…] wore perfect tailoring in subtle and dark colours–dark blue or dark green jackets with buff coloured breeches for daytime and for evening black breeches (later pantaloons) with a well-cut black or navy coat.  All of which sounds very contemporary, very button-down, very elegant.  No? 

Oh, and he had a great sense of humour–and played lots of practical jokes.  A lot like Oscar Wilde from what I can tell…

He was seriously addicted to gambling.  Compulsively.  Obsessively.  And it was this which destroyed him.  He gambled away millions.  And his addiction destroyed all his relationships–just as any addiction if left untreated will do–obliterated all other interests.  It left the friends who lent him money to pay off his debts seriously up against it. 

And in the end, he had no choice but to face the bailiffs or scarper off to Calais.  Which is what he chose to do.  In disgrace and ignominy. 

As for this other stuff, well…I think what I need to say is, People, do your research.  Do it properly.  Check everything.  Don’t present yourself as an expert if you’re not.  And don’t even think about blagging it.  

If only because I’m sick of knocking my head against the wall because you can’t be bothered.  

Otherwise, shut the **** up.

The depth is in the detail…

What with one thing and another, I come across a fair few number of young historians and writers in my daily rounds…and novelists and aspiring novelists and historical authors and all that…and I read a fair number of historical blogs too, some of which are utterly superb. 

(I’m always so grateful when someone has written about something I need to know!  It’s very much a case of my cup runneth over kind of thing for me…)

But one thing I’m noticing a lot is an emphasis or reliance on facts and nothing but the facts approach.  And that, in my estimation, has the effect of de-humanising history and reducing the lives of those who lived before us to something about as deep as onion-skin or parchment. 

This can be most acute with timelines, for example–not that I’m suggesting that one shouldn’t learn the facts, the names and dates and all that.  It’s essential.  Obviously, I think that.  I mean without it, you’ve got no framework upon which to hang the understanding of the events and people! 

But the thing is…the thing is…

How can I put this?

Well, the other day, I was talking with a student of history–focusing on the Tudors at the minute–and she was ranting about how much she can’t stand the blighters.  All well and good, but one of the reasons she gave was that Henry VIII stank so badly.  According to her one could get a whiff of his Majesty from a mile away. 

(Which seems hyperbolic to me, even on a windy day…but I digress.)

So I felt forced to say, “Hang a tick,” (not because I like the Tudors, because I don’t), “but I think you’re leaving out an important element here–you’re forgetting that they were human”.  I’m not saying that the Tudors don’t deserve a degree of mockery–as I said, I don’t much care for them.

“And whatever you do”, I continued, “Never let anyone make you forget that however different they were to us, they were human.   And allow them the dignity of being human–not just a name and a series of dates.” 

Probably, my comment went in one ear and out the other–but I tried.  At least that’s what I’m telling myself.

But it is a thing, you know…there are so many histories and works of historical fiction or romance where the authors seem to have no clue as to the humanity of those about whom they’re writing.

They’re not human, they’re not people–these figures who people the pages–they’re names or titles with a set of posh clothes.  Which makes them a named clothes’ horse–not a person.   These characters or historical figures are nothing more than cardboard cutouts–you can’t imagine them having a lie-in of a Sunday morning, or preferring sausage to streaky rashers with their cooked breakfast. 

But without some sense of character, of likes and dislikes, of what makes them smile or laugh, well, without that…I don’t know…history is reduced to this dry as late autumn leaves affair, with the life crushed out of it.  (Hence, it’s no wonder that today’s students perhaps think history is boring.) 

You see, we’ve got to go beyond the recitation of names and dates to the details that define the individuals.  And not just because it makes for more informative and more interesting reading, but because otherwise we are in danger of missing out on the great wonder and endless variety and sesquisuperlativeness of the human race.

Take the Viscount Castlereagh, for example. 

I mean, yes, he did all sorts of politically amazing things and he was Foreign Secretary from 1812 until his death and led the fight against Napoleon and was a chief mover and shaker at the Congress of Vienna in 1814 and probably one of the greatest Foreign Secretary’s ever…all of which is important, but…

…he also had a thing about renovating kitchens.  No, really, he did.  And every time he bought a new house for himself and Lady Castlereagh, the first thing he did was have the kitchen expanded and remodelled. 

I mean, how is that for quirky?  (Frankly, it sounds just like some friends of ours…) 

I don’t know whether he did it because he was a devoted foodie and an early Hugh Fearnley Whittingsall.  I don’t know if he had the kitchens expanded because he was concerned for the health and safety of his cook and thought cooking in a crabby little badly-vented kitchen was bad for her health.  I don’t know if he did it because he was keen as mustard on the new kitchen ranges that were being manufactured at the time and he couldn’t wait to install the newest version…maybe all of the above. 

But every time he bought a house–both Number 18 St. James’s Square and the farmhouse at North Cray in Kent, he redesigned the kitchen and had the walls pushed out until it was all modern and convenient (in the early 1800’s–how funny is that?) and they didn’t move in until the builders had done their work. 

Beethoven’s another one.  Did you know he had deep dimples in his cheeks, and when he smiled broadly, his cheeks had these great whorls in them?  And that he had a wildly flowered dressing gown which he used to wear in the mornings, and the Viennese used to see him through the open window of his flat in Vienna and laugh at him in it–that’s how garish it was.  And he loved it. 

Or Charles Vane Stewart, Castlereagh’s younger half-brother.  The brothers in that family, in general, seemed to be prone to bouts of depression.  (If they’re sounding quite modern–that’s because I think they are–or maybe they’re just human?)  Anyway, the same month that saw their younger brother killed in action in the Peninsula, also saw Stewart’s wife die after an operation to remove a brain tumour…

Stewart sank into a bout of deep depression–he really did love her…

And it was at that point that their son came to live with Castlereagh and Lady Castlereagh, because young Charles simply couldn’t pull himself together after her loss.  He never returned to the Peninsula, but was attached to the Allies from August 1813 as they pushed Napoleon back and back and back, all the way to the gates of Paris. 

Afterwards, he was a diplomatic envoy in Vienna, for the Congress there, and is notorious for drinking heavily (was he self-medicating?), having an affaire with the Princess Bagratian, spending heaps of money, and wearing yellow boots.  And having large parties and rowing with people.  Sounds remarkably like a lot of folk one could mention…

Or Lady Castlereagh…yes, she was a Patroness of Almack’s.  So?  One of the great loves of her life was wild animals–I mean, she was mad for them in the way people today have a thing about elephants or tigers… 

(I know, you didn’t see that one coming…)

And at their farm at North Cray, she had built a vast aviary and a menagerie, in which she kept ostriches, kangaroos, llamas, a zebra and even a lion.   She was also a seriously switched-on exotic gardener–O’Brian’s Dr. Maturin would have been her kind of guy–so she had this great exotic hothouse constructed so that she could grown the tropical plants which were sent to her from all over the world…And she really knew her botany…I mean, how cool is that?  How real?  How genuine? 

Another one–a person I don’t much talk about–is Lady Caroline Lamb.  Yes, there are all the famous stories about her chasing after Byron and all sorts.  But, she also lost two children.  I don’t know if it was a case of miscarriage or still-birth, but I do know that she suffered terribly with depression after the loss of those babies.  Her husband, William, was equally cast down, bless him. 

And all those stories about her slitting her wrists or swallowing shattered glass–do those not hint at a girl who–however rich and titled–just couldn’t cope and who was self-harming? 

(It sort of changes the way you look at her, doesn’t it?  It brings her closer…and makes her more understandable…even one of us.)

Beau Brummell loved dogs.  Really loved them.  It was one of the things that drew him to Chatsworth, where he was friends with the Duchess of Devonshire–she had lots and lots of dogs.  And, dogs loved him…Which tells you a lot more about his character than that he wore a high cravat–if you see what I mean…

So there you go…look for the detail, the individuality…it will bring history to life in all its glorious Technicolor delight. 

Because, I don’t know about you, but I am definitely more than my date of birth and where I went to school…and it seems to me that since I’d like to be known for more than that, the least I can do for those friends who’ve gone before, is to get to know them as I would wish to be known…