Date: Sun, 2 Aug 1998 Back from boating, brown and rested!
This chapter is the longest in this long installment; it will be all downhill
from here, I promise you! It covered the events occurring in only one
evening, the chapter commencing at nine PM the night of the very expensive
entertainment Mr. Harrel had planned to delude his numerous creditors.
The evening " ... was to begin with a concert, which was to be followed by a
ball, and succeeded by a supper." Although she deplored the mindless
expenditure, Cecilia was as eager in her anticipation as the hosts, albeit for
very different reasons. Surely that evening would bring some resolution to
the mystery of the status of Mortimer affections, as they related to her.
The ever eager Mr. Morrice was first upon the scene (with the exception of Sir
Robert, who had stayed for dinner), arriving just as the Harrels, Cecilia, and
Sir Robert were leaving the dining room. Mr. Morrice apologized profusely for
the accident with the tea urn, but Cecilia, feeling it had resulted in the
revealing of Mortimer's feelings for her, found little to forgive. Mr.
Monckton then arrived, coming later so as not to arouse suspicions about the
reasons for his attentions to Cecilia.
Cecilia, more knowledgeable about the mores of party behavior than our
previous heroine Evelina, dreaded being asked to dance by Sir Robert. She
knew that if she refused, she could dance no more that evening, and if she
accepted him, she would be confirming the reports of her engagement. She told
Mr. Monckton of her quandary, and he could not resist relieving her distress
by asking her to dance the first two dances himself. Her all too apparent
pleasure in informing Sir Robert of this fact when he solicited her for the
first two dances, so annoyed him that he left without asking her for any
later, to Cecilia's inexpressible relief. Having hopes of being asked by
young Delvile for later dances, she turned her attention to finding seating
for the concert portion of the planned entertainment.
Feeling assured of quiet enjoyment of the performance by seating herself by
the usually taciturn Miss Leeson, Cecilia was disappointed to find that as
Miss L. was seated by the few chosen by her for conversation, her hearing was
more filled with news of the latest in dress styles, than of the melodious
tones of the singer. Any hope of a remission of chatter disappeared with the
appearance of Miss Larolles, who informed Cecilia of the arrival of her
guardian, Mr. Briggs, who was standing upon a chair the better to survey all
about him. Spying Cecilia, he elbowed his way in his usual unceremonious
manner through the crowd to her side. Worse was yet to come; complaining of
the heat, he popped off his wig, the better to wipe his sweaty head. I
suppose the shock with which this was witnessed would about equal the dismay
if an elderly man removed his trousers, revealing his grubby boxers and bony
knees to all, to improve his comfort at a performance of the Cleveland
Orchestra. Cecilia, embarrassed by this behavior of her guardian's, fled to
an adjacent room, where she was explaining her relationship with Mr. Briggs,
to Mr. Gosport. The determined Mr. Briggs pursued her there, where he
demanded his supper, without the prospect of which, nothing would have brought
him out when it was "Time to go to bed ..." He moaned about the trouble and
expense of society, and complained of a hole that had appeared in a shoe that
had " ... hardly a crack in it before." Even worse, he had almost lost the
bundle in which he carried his "Best coat and waistcoat ...". He carried them
wrapped in a handkerchief, to save on wear and tear, and that was tied
loosely, to save wear on it. An unlucky boy appeared with a dog that tugged
on the bundle and the clothes fell out, getting soiled. Poor Briggs really
ran into expenses that evening; he had to buy a halfpenny's worth of apples
for the privilege of hanging his soiled clothes on a stall so he could pursue
the guilty boy ( who was easily caught, being slowed by fits of laughter), and
then had to buy half a pint of ale at a tavern to have his clothes dried and
brushed. Mr. Morrice and Mr. Gosport were having such fun in eliciting
Briggs' tale of woe that Cecilia was again able to slip away unnoticed. Back
to the music room she went but Cecilia was not to enjoy any respite from
unwanted attention that night. A young Mr. Marriot asked her for the first
two dances, then when told she was engaged, requested the second two. Losing
any hope of seeing Mortimer that evening, she accepted. While being further
entertained by Mr. Gosport about the oddities committed by Mr. Briggs, Cecilia
was approached by Lord Ernolf, who introduced her to his son, Lord Derford,
and requested her hand for two dances. After being told she was engaged for
the first four dances, he promised to renew his solicitation later.
"Hopeless, now, of young Delvile, she heard this intimation with
indifference."
Cecilia, possessed of that happy ability to find humor in the most dismal of
situations (to paraphrase a sister author), was accosted upon leaving the
music room, and entering the ballroom, by Miss Larolles, who whispered, " '
... pray let me wish you joy!' " Her response:
Cecilia: " ' Well, what is it?' "
Miss L.: " ' Nothing but let me be one of your bride maids. I assure you I
shall take it as the greatest favour in the world.' "
Cecilia: " ' My bride maid! ... but do you not think the bridegroom himself
will be rather offended to find a bridemaid appointed, before he is even
thought of?' " Of course the mistake was again the erroneous assumption of Cecilia's
engagement to Sir Robert. She was endeavoring to set her straight, when the
dance music began, and she had to leave to enter the ballroom with Mr.
Monckton. Emotions hit a rather fevered pitch when she saw Mortimer just
entering the room.
Cecilia had arrived at the conclusion that Delvile was absenting himself to
pursue another woman, but when he appeared, her only regret was that she had
so many dances committed, and unavailable for him to claim. This pleasant
anticipation shortly changed; "She soon, however, perceived a change in his
air and behaviour that extremely astonished her: he looked grave and
thoughtful, saluted her at a distance, shewed no sign of any intention to
approach her, regarded the dancing and dancers as a public spectacle in which
he had no chance of personal interest, and seemed wholly altered, not merely
with respect to her, but to himsefl, as his former eagerness for her society
was no more abated than her former general gaiety."
Cecilia's feelings were all too apparent to Mr. Monckton, who saw to his
dismay that her affections were engaged, and that she was apprehensive of
their return. He was aware that even if he should eventually succeed in
making Cecilia his own, that her heart would have first been given to someone
else. His jealousy took any pleasure in Cecilia's society from him, and he
retreated, the better to observe Cecilia and his competitor at a distance.
Depressed, Cecilia took the first empty seat, which happened to be near
Mortimer. He could not avoid speaking to her without seeming rude, and
reluctantly asked how she did. After initially being tongue tied, Cecilia
found ease in inquiring about and speaking of Mrs. Delvile. The arrival of
Sir Robert Floyer brought him relief, and he left her, in pursuit of a glass
of lemonade. Obtaining one from a passing servant, Sir Robert presented
Cecilia with it at the moment Mortimer arrived with one. How poignant Sir
Robert's question: " ' Well, madam ... here we stand, awaiting your pleasure.
Which is to be the happy man? ' " Knowing how testy Sir Robert could be when
he fancied himself offended, Cecilia, with remarkable presence of mind said, "
' Each, I hope ... since I expect no less than that you will both do me the
honour of drinking my health. ' " And she didn't have to go without her
lemonade, for she obtained a glass from that same passing servant.
Mr. Briggs obtained a glass from that same source, only to be sorely
disappointed by the lack of alcohol therein. He informed Cecilia that he had
a wealthy husband in mind for her, eliciting the first smile from Mortimer
that evening. Cecilia tried to divert him, but Morrice and Delvile were
enjoying the conversation immensely. Briggs' comments on his fellow
guardians; " ' Hate 'em ... hate 'em both! one spending more than he's
worth, cheated and over-reached by fools, running into gaol to please a parcel
of knaves; t'other counting nothing but uncles and grandfathers, dealing out
fine names instead of cash, casting up more cousins that guineas - ' "
Cecilia was willing to tolerate no more of this harangue, and rose, intending
to flee, when she was solicited by Sir Robert for the next two dances. Again
she told him she was engaged, to his annoyance, which increased with the
gloating reaction of Mr. Briggs, who chortled, " ' Shan't have her, shan't
have her! can tell you she won't consent; know you of old.' "
Sir Robert angrily asked, " ' And what do you know of me, pray Sir? ' "
Briggs: " ' No good, no good; nothing to say to you; found fault with my
nose! ha'n't forgot it.' "
This guy holds a grudge!
Cecilia surprised herself by greeting the arrival of her next partner, Mr.
Marriot, with relief.
The frequent changes of scene in this chapter remind me of the tumblings of
the interior of a kaleidoscope. Further colors are added with the
reappearance of Miss Larolles, who announced the imminent arrival of Mr.
Meadows, who all the girls earnestly coveted the social stamp of approval
which a dance with him would instantly confer. He proceeded to toy with Miss
Larolles in such a way that I can mentally picture Frances Burney's smile as
she wrote it. When Mr. Marriot reminded Mr. Meadows that there was a time
when he found dancing enjoyable, " ' Have you forgot, Sir, when you used to
wish the night would last for ever, that you might dance without ceasing?' "
Mr. Meadows adroitly changed the subject to the visual arts, and then whined,
" ' No, ... one can tolerate nothing! one's patience is wholly exhausted by
the total tediousness of every thing one sees, and every body one talks with .
Don't you find it so, madam?' "
I loved Cecilia's riposte: " ' Sometimes,' said Cecilia, rather archly.' "
Cecilia danced the next two dances with Mr. Marriot with no real enjoyment,
and refused all further requests, spending the remainder of the evening as an
onlooker. " She spent the night in the utmost disturbance; the occurences of
the evening with respect to young Delvile she looked upon as decisive: if his
absence had chagrined her, his presence had still more shocked her, since,
while she was left to conjecture, though she had fears she had hopes, and
though all she saw was gloomy, all she expected was pleasant; but they had
now met, and those expectations proved fallacious. She knew not, indeed, to
account for the strangeness of his conduct; but in seeing it was strange, she
was convinced it was unfavorable: he had evidently avoided her while it was
in his power, and when, at last, he was obliged to meet her, he was formal,
distant, and reserved."
The more Cecilia pondered, the angrier she became. Anger is healthier than
dejection, but how long could she keep it up?
Jill Spriggs
To Austen-l
August 2, 1998
Re: Burney: Cecilia: Her ancesters were rich farmers
I don't suppose Cecilia's father would have milked his own cows and so
forth, but there are precedents for making money out of farming related
activities in the 17th and 18th centuries. The Dukes of Bedford (and
others) made substantial fortunes out of draining the Fens (which are
not so terribly far from Suffolk); the 18th century was also the main
period for the enclosures of common land, out of which there was good
money to be made for capitalists. There were significant advances in
agricultural techniques well; consider Townshend and Coke, whose
activites set something of a fashion for landowners to take an active
interest in land cultivation.
RW
In response to RW, I meant that the
word "farmer" did not have the same narrowly agricultural connotations
for Burney that it has for many people since the 19th century. Nowadays
farming is often done by corporations and is a capitalist enterprise.
The amount of land, machinery, distribution facilities, and science
required demands huge influxes of money to make a great deal of money.
In Burney's period the word "farmer" had connotations which allied
it to our image of a capitalist. A farmer was someone who farmed
out land to others and made a profit. He was someone who bought
a lease to the right to collect taxes and made a profit. Thus
"rich farmer" might signify quite a different image for the 18th
century reader than it might for someone who thinks of a small
individual farmer today.
Ellen Moody
August 2, 1998
To Austen-l
Re: Burney: _Cecilia_, III:3, 1-9: Austen's Reworkings of Cecilia
How many dialogues and situations in these
chapters Austen repeats and reworks into her novels.
How close the wording both women authors use,
and yet how the effect of Burney's text is limited.
We don't apply any greater resonance or meaning to a line
the way people do in Austen. We also don't attempt to
explain what is uncomfortable away. Sometimes I wonder
if Austen is that superior to Burney in her understanding
and use of the repeated words or situations, or if, due
to a remarkable intuitively suggestive use of words
we attribute meaning to Austen which isn't there. I do
think there is more to be learned about what Austen
meant from reading Burney's books and seeing these
parallels than in reading a thousand documents on
slavery in Antigua.
Take the chapter called "A Rout."
There is the dialogue over the musical concert in
which all pretend to listen to the music and exclaim
how much they enjoy it while clearly doing no
such thing. It recalls the scene at the Middletons
where only Brandon listens to Marianne and the
scenes at the musical party in London where
Elinor meets Edward Ferrars (1988 Oxford Cecilia,
ed. MADoody and PSabor, pp. 322-3.
A couple of the scenes between Cecilia and Mr
Meadows and Cecilia and Delvile are directly
echoed in the more arrogant and withdrawn
behavior of Burney's men. This recalls Darcy:
Of dancing at balls the affected Mr Meadows says:
Of course he wouldn't deign to dance.
Then at the conclusion of the rout, Delvile's
behavior (as described) recalls Darcy's at
the end of P&P when he comes with
Bingley to visit the Bennets:
Maybe we are supposed to distrust or dislike
Darcy more than we do; perhaps Elizabeth's
first impression is not as wrong as she later
thinks. But I suppose we are going to find
out Delvile's situation resembles Edward
Ferrars' more -- except of course my "hopes"
are excited by the rumor he's got a mistress.
Also note the developing relationship between
Cecilia and Henrietta Belfield. It recalls
that of Emma and Harriet. Miss Bates's
name is Henrietta. Cecilia plays Emma
to Henrietta's Harriet including Henrietta's
falling in love with Delvile in just the
way Harriet fell for Knightley. There's
a direct contrasting echo because Cecilia
resolves not to encourage Henrietta in her
belief that Delvile loves her partly because
it would be irresponsible on her part. I liked
their genuine friendship. Henrietta becomes
the object of Cissy's "solitude." She is
described as a creature of "sensibility"
when it comes to her love for Delvile.
Cecilia also develops "a real regard" for
Henrietta and does not treat her like a
doll. She will not be "treacherous" to her
friend On the other hand, Emma is truer
to life (pp. 352-3).
The characters of Harrel, Mrs
Harrel, Belfield himself and Arnott are
remarkable. Now none of these are taken
over by Austen. Paragraphs like
the following about Harrel suggest
insanity is more common among the
"norm" of life than people suppose:
Austen seems to stay
with Burney's more conventional situations
though we are led to attribute more to
her text than the conventions by her knack
of suggestiveness.
Ellen Moody
To Austen-l
August 3, 1998
Re: Burney: Cecilia and Impossibly High Standards
One problem with most heroines of 18th century novels --
and this includes Austen's -- is they have impossibly
high standards for just about everything. One result of this is
they can seem priggish, especially when they are judging other
women. I suppose some people prefer the coquet anti-heroine
in such novels because even if she is often mean, ambitious,
nasty, cold, shallow (&c&c), she accepts reality.
Like Jill I noticed the sentence which explained to
us why Cecilia enjoyed Henrietta's company and they
became friends:
I had forgotten the earlier comment Jill remembered but it seems to
me a perfect explanation for this kind of Calvinistic scrutiny:
In Persuasion Mrs Smith tells Anne Elliot it is very rare
to find a real friend. The inference is we must make do with acquaintances
and pretense. The 18th century heroine refuses to do this. They often
prefer to be alone. Not that I think them necessarily wrong, but the
way in which the value is stated in Burney seems so self-satisfied.
Is Cecilia herself endlessly sincere, giving, emotional, open?
Another problem with this novel is Cecilia is a paragon. Now Evelina
had many real faults. I think we assume far more than Burney meant
us to think Evelina had, and that is the result of the epistolary
mode. But it kept the fiction from being too controlled by
an inhibited woman author.
Ellen Moody
To Austen-l
August 4, 1998
Re: Burney: Demand for Naturalistic Dialogue Relatively Recent
In response to Andrea I'd like to agree and say the peculiar thing about
Burney's work as I have read it thus far is that in the diaries and
letters and Evelina Burney is continually dramatising, continually
picturing, continually personating a meditation, yet in Cecilia_
summaries, descriptions, and set-pieces of moral-psychological disquisition
dominate.
Why is this? I do notice that many earlier novels do not dramatize
scenes. The novelist does not think it necessary that we have
a dramatized scene between Brandon and Marianne and would
not have noticed that no words are exchanged in the novel
in a literal way. Our demand for dramatic scenes with naturalistic
dialogue is a relatively recent. one.
Ellen Moody
From: "Jill L. Spriggs" August 5, 1998
Cecilia should have been prepared for the welcome she would get at the
Delviles'. It had been weeks since her last visit, and Mrs. Delvile had been
hurt by the sudden disappearance of her favorite. People who have expressed
dismay over the introduction of new characters will not greet the appearance
of Lady Honoria Pemberton with pleasure. She is interesting, however, as a
contrast to Cecilia. Lady Honoria seemed to be a combination of aspects of
the personalities of Miss Larolles and Mrs. Harrel. Giddy, silly, none too
bright, a more uncongenial companion for Mrs. Delvile seems unlikely.
Cecilia was hurt by Mrs. Delvile's haughtiness which she was then seeing for
the first time, and stung by her sarcastic remarks on "fickleness and
caprice". Lady Honoria soon distracted both Mrs. Delvile and Cecilia with a
whispered tidbit of gossip about a mistress of Mortimer's, who lived
"somewhere in Oxford-Road". Cecilia had fortunately removed to a window and
had her back to the two other women, else her secret would surely have been
discovered. Mrs. Delvile's outraged response was met with nonchalance by Lady
Honoria, who soon took her leave. The two soon reestablished their friendship
when Cecilia involuntarily expressed her sadness at the news that the Delviles
would soon be leaving town. Mrs. Delvile even made the gratifying comment; "
' ... I am glad to receive my young friend again, and even half ashamed,
deserving as she is, to say how glad! ' "
Cecilia shared dinner with Mrs. Delvile, and spent most of that day with her,
promising to at least pop in every day that the Delviles remained in town.
Neither of the male Delviles encroached on Cecilia's contentment.
Jill Spriggs
Re: Burney: Cecilia: III:5:5: Trying to Work the Clues Out
I guess that Delvile is engaged to a young woman who lives
in Oxford Road. I guess she is not his mistress, but rather
someone who would not be acceptable to his family, possibly
not really to Cecilia. Perhaps a woman whose class and
status is that of Henrietta Belfield. We may example Edward
Ferrars getting engaged to Lucy Steele.
I further guess that Lady Honoria Pemberton is the lady Mrs
Delvile wants her son to marry, and he knows it. I guess
Mrs Delvile doesn't dream Cecilia is interested in her son
as Cecilia didn't dream Henrietta could be interested in
Mortimer Delvile. Lady Honoria has heard rumors about
Delvile but as in the case of Mrs Smith's rumors, they
are slightly off the mark.
The one problem is that Mrs Delvile
ought to appear very upset by the information that her
son has a mistress in Oxford Road. If she has never
heard the rumor before, she ought to be fearful; if she
has, she ought to put two and two together. She
sees more of her son than Cissy. Yet Mrs Delvile
behaves as though Honoria has just said it rained
yesterday.
Ellen Moody
Date: Wed, 5 Aug 1998 As the Harrels lurch from crisis to crisis, I begin to suspect Cecilia of
being a bit of a slow learner. Surely she must have realized by then that it
was only a matter of time before the Harrel house of cards collapsed.
The morning after Cecilia had her reconciliation with Mrs. Delvile, she was
requested by a servant to hasten to the side of Mrs. Harrel, who was disturbed
due to the fact that Mr. Harrel had never come home the night before. Already
Cecilia had to amend her resolve to call upon Mrs. Delvile every day before
her departure; she sent word to her friend that she could not leave the side
of Mrs. Harrel until she could find out what had happened to her husband. The
same excuse sufficed for Henrietta, who called about noon, and was in turn
concerned to see the uproar in which she found the household. Mr. Harrel
could not be discovered the entire day, and imagine Cecilia's amazement when
she found that Priscilla intended to attend an assembly as though nothing were
wrong. Surmising that her friend could do without her company that evening,
Cecilia decided to pay an evening visit to Mrs. Delvile.
Upon being shown into the drawing room who should Cecilia espy but Mortimer,
alone and reading a book. He apologized for his mother's absence, said that
she had thought Cecilia was not coming that day and had retired to write
letters. Awkwardness reigned between the two, and conversation came in fits
and starts. Mortimer told Cecilia of the favorable impression Belfield had
made on his prospective employer, who was fitting up an apartment for his
reception. After another silence, Mortimer surprisingly brought up the
subject of Belfield's sister. He asked Cecilia if she did not find her
amiable, but Cecilia, finding it difficult to respond, hesitated. He then
asked her if she had found out something unfavorable about Henrietta, which
Cecilia denied. She finally forced herself to praise her unlucky friend.
Cecilia of course promised to do her best, but with chagrin she felt " ...
that the pity she had bestowed upon Miss Belfield, Miss Belfield might in a
short time bestow upon her." The fair hypocrite mused on the Delviles'
reaction to such an unsuitable bride. The prospect of the family's reaction
to such an union roused her generous nature, and she thought, " ' ... thrice
happy Henrietta, if such is thy prospect of felicity! to have inspired a
passion so disinterested, may humble the most insolent of thy superiors, and
teach even the wealthiest to envy thee! ' "
Specifically, Cecilia.
At this point in the book, I began considering the differences in the progress
of the Evelina/Orville and the Cecilia/Delvile romances. In Evelina it was
Lord Orville that misunderstood the relationship between Sir Clement and
Evelina; in Cecilia the misunderstandings run both ways. Mortimer thought
Cecilia was entangled with Sir Robert Floyer and Mr. Belfield, and now
Cecilia, already suspecting a competitor, found (she thought) it in her new
found friend, Henrietta Belfield. I think Mortimer was a little cavalier
about his involvement with females; he apparently regarded his heart as safe
from loss to, first, an engaged woman who would otherwise not be considered as
possible marital partner , and second, a social inferior. His heart was not
as insulated as he thought. So, Mortimer flees the company of a woman who he
has fallen in love with, due to her unsuitability for marriage (insufficient
pedigree), and lingers with a woman who he perceives as safe, in spite of her
marriageable state, because he was sure no one could ever suspect him as
desiring an alliance with someone so patently lower in station. Perhaps our
gentle fellow readers might begin to see why I do not care for the hero of
this story.
Jill Spriggs
From: Nancy Mayer August 5, 1998
Cecilia would make a good 39 episode sit-com. Or perhaps it shopuld be a soap
-opera with a new suitor popping up every other episode. I really believe the
story would have been better and the effect of Cecilia more lasting if it had
been drastically cut,
For the readers of Burney's day, this book was like a nightly TV program. It
is too long to be read in a day or even a night. Generally it would be read
aloud to the whole family as they sat intheir best room after dinner. They
could not sit up too late because of the price of candles etc so would
appreciate a plot that had definite stopping places. Even among the members
of the upper classes, few would or could just sit around and read. Cecilia
has some of the qualities of the adventure novels, of the picaresque novels of
Fielding, Lennox, and others in cluding Johnson, and Cervantes except that her
hero is a female .
However, at the same time, I feel as though this novel will end badly. In
most picaresque novels the adventurer goes places and meets people-- even
Pilgrim does both. Though sometimes thumped with a stout stick, or dunked in
water or coming off the worse in a meeting with rogues , the hero adventurer
always won in the end. I do not feel as though Cecilia will win.
Nancy Mayer
Subject: Burney's shortcomings as a novelist I think one of the main if not the most important flaw in Burney as a
novelist is the fact that she *tells* rather than *shows*. I'd like to
give one textual evidence for this point which was first brought up by
Ellen (if my memory doesn't fail me - apologies to everyone I should have
overlooked). Just take the following sentence on p. 252 (the chapter called
"Sympathy" where Cecilia admits her love for Delvile):"Her heart made no
resistance, for the attack was too gentle and too gradual to alarm her
vigilance ...". The key words here are *too gentle* and "too gradual*.
Witness how Austen has dealt with a similar situation: compare Elizabeth
Bennet's gradual change of behaviour towards Mr Darcy over the course of
"PaP". The reader learns about their growing regard and affection for each
other through their conversations/their dealings with each other and other
people and, of course, through Elizabeth's own thoughts. Where Austen is
subtle, Burney is heavy-handed. Both authors use third-person narrative but
while Elizabeth Bennet seems more "real", more concrete, Cecilia appears
stiff and distanced. I've started reading Lascelles' book and as much as I
enjoy her book (she gives some excellent very close readings of Austen and
Burney) it does colour my reading of "Cecilia". It makes me too negative
(too critical?) but such are the vicissitudes of reading! :)
Andrea Schwedler
From: Nancy Mayer Have I missed something ( all to easy for me to do, I confess) or have there
been few references to the condition of Cecilia's legacy from her uncle?
I would have expected comments on Sir Robert's changing his name , Deville could
at least say he wondered the man had so little family feeling, or about
Belfeild's hope it will be worth it for "for him to get out from under his
mother's thumb. " Has any character mentioned this limitation ?
Realistically, I would expect Sir Robert to say, he would change his name to
snipes if it would bring him money.
Though Edward Austen Knight adopted the Knight name and others have given up
their names for another it was not always necessary for a man to do away with
his name all together, Among the aristocrary is seemed to be more the
practice to add a name to the family one, rather than superseding the family
name..
Lord Byron added Noel to his becoming George Gordon Noel Byron, Lord Byron,
Lord Jersey added Child to his name of George Villiers when his wife
inherited the chief interest in Child's bank. . George Child-Villiers, Lord
Jersey.
Nancy Mayer
Re: Cecilia: The Ending?
Nancy, I hope Cecilia does not end that happily.
I cannot think she doesn't marry her Delvile, but
perhaps the circumstances and mood are enigmatic
and more like Austen's in S&S and MP.
Ellen
Date: Wed, 5 Aug 1998 Mr. Harrel still had not been heard from by Cecilia's return, and Mrs. Harrel
was about as frightened as this emotionally deficient chick could be. She
sent for her brother and the three of them spent a sleepless night awaiting
word of the profligate's fate. When he still had not appeared by the next
morning, Mr. Arnott urged his sister and Cecilia to snatch some rest while he
search all Harrel's known haunts. Before Mr. Arnott had returned, in fact,
while Cecilia and Priscilla were still ascending the stairs, the profligate
returned. He apparently was a compulsive gambler, and had been on a spree the
last two days. The debt he had contracted was larger than any he could hope
to pay, and he ordered his wife to pack for flight abroad. Priscilla
predictably became hysterical, Harrel abusive, and Cecilia begged Mr. Arnott
to go for the only friend Harrel was known to have, Sir Robert.
Cecilia began considering which guardian she would flee to; her inclinations
of course leaning to the Delviles, in spite of the discomfort she would feel
in the presence of Mortimer. While she was still musing, she was summoned by
Mr. Arnott, who pleaded with Cecilia to advise him what he could do to relieve
his sister. She recommended that Harrel leave his wife behind, in the care of
herself and Mr. Arnott. This proposal was imperiously denied by the rapidly
decompensating Mr. Harrel. After Sir Robert arrived, Priscilla, tears dried,
joyfully burst in upon Cecilia, telling her that she could solve all her
problems if she would just do this one little thing. It was, of course, marry
Sir Robert, and then take her into their home. Mr Harrel joined them and put
the screws to our poor heroine, and before she could refuse, Sir Robert
appeared, showering Cecilia's hand with kisses, and compliments flowing.
Cecilia once again let her distaste for the prospect be known, and was furious
both with the pertinacity of Sir Robert, and the intransigence of Mr. Harrel.
Priscilla, " ... clinging round her, still supplicated her pity and
compliance." With great difficulty, Cecilia convinced Priscilla of her
unalterable aversion to the match, and offered her " ... every good office not
wholly unreasonable." But this was slim comfort to the friend.
Cecilia had ordered a chair, intending to be removed to the Delviles' home,
when who should appear but her bad angel, Mr. Monckton. He urged her
immediate removal, which she assured him she was just then arranging. When he
found where she was intending to flee, he hit her in her most sensitive spot.
' To -- to St. Jame's-square,' answered she, with a deep blush.
' Indeed! -- is young Delvile, then, going abroad?'
' Abroad? -- no -- I believe not.'
' Nay, I only imagined it from your chusing to reside in his house.'
' I do not chuse it,' cried Cecilia, with quickness,' but is not any thing
preferable to dwelling with Mr. Briggs?'
' Certainly,' said Mr. Monckton coolly, ' nor should I have supposed he had
any chance with you, had I not hitherto observed that your convenience has
always been sacrificed to your sense of propriety.' " Ooh! Twisting the knife!
Cecilia, conquered, decided that the Harrels' situation was not quite so
pressing as she thought it was when she contemplated removing to the Delviles.
The next day would be soon enough ...
Jill Spriggs
Thursday, August 6, 1998
Re: Just Missing the Jackpot
Reading over Jill's commentaries on "A Surmize" and "A Bold
Stroke" I am struck by how strong these scenes are, how
intriguing and unidealized the characters, how real and
probable the situations of the main players, given their
status, money, and all we know of their characters. I find
myself remembering something I read a long time back
in which someone argued the difference between writing
the masterpiece which lives permanently, still speaks
intensely enough to our eyes so that we lose ourselvse
in it as a simulacrum of reality, and writing the book which
is interesting in its way, good enough, historically
fascinating, is some some stroke, some slight change
in wording throughout, some peculiarly appropriate
rich irony. Ah, if only Burney had had an editor...
Ellen Moody
From: "Jill L. Spriggs" August 5, 1998
remember Evelina as being written in secret, and there was opportunity for
"chopping and lopping" at leisure. We have already spoken of how Frances was
pushed to grind out this novel as quickly as possible to cash in on her
newfound fame, and I suspect that the greatest need of Cecilia is Jane
Austen's surgical skills. Burney was more secure in herself by the time she
wrote Camilla, she had escaped her father and Crisp and made a home of her
own with her late found love. How long a period elapsed between the
appearance of Cecilia and Camilla? Does anyone know how much time
was
spent in the writing of each? My theory should be easily [dis]proved.
Jill Spriggs
Re: Burney: How Long Did Burney Spend on Each Book?
Cecilia appears to have been written within a brief time.
EvelinaM came out in 1778, but it was the product
of many years of writing since the story of Caroline
Evelyn when Burney was 15.
Burney wrote The Witlings in 1779; Cecilia was
published in 1782. Allowing for
her to have begun a draft after Evelina, this is an
enormous book to have written inside 3 years.
We may say she was then immured at court between
1786 and 1791 when after a long illness the queen
gave her permission to quit. (Ahem.)
Camilla came out in 1796 which gives us 5 years.
But of course it may have existed in drafts during
the years at court.
If I remember correctly, The Wanderer was written
and rewritten over a period of 15 years.
I hope that Camilla will have far fewer
characters, a thickly developed plot around a
small cast of character who really exist in
close relationships to one another. The plot
summary seems to suggest it does.
Ellen Moody
Date: Wed, 5 Aug 1998 Now I understand why Cecilia is so much longer than Evelina. The
plot is
getting so complicated. We have our heroine who is an heiress, but the guy
needs to take her last name for the money. That would definitely create a
problem in itself. Then we have our hero whose family is so proud that in
addition to the fact that they would never let Mortimer do such a thing as
change his good old last name, they don't even think Cecilia is good enough
for their family by birth and rank (even if there was no condition of last
name). Then there is Cecilia's suspicion that the young Delvile is engaged
to somebody else. (Where exactly did she get that idea from I never
understood. OK, he seems to be avoiding her. But can't there be many other
reasons for that?). And in this weeks chapters Cecilia also hears the rumor
that Mortimer is keeping a mistress. As if all this isn't enough, now we
have the poor Henrietta Belfield also in love with Mortimer. Not to mention
the marriage proposals Cacilia seems to be getting daily lately. Remember
some time ago I wrote that I feel like too many characters are thrown at our
face to be able to keep track of everybody? Now I feel like there are too
many twists in the plot to be untied to satisfaction by the end of the book.
Ellen Moody writes:
Tying with what I wrote above, my guess is the book would have been twice as
long if she dramatized everything.
Nancy Mayer says:
The way it is now, the only possibility I see for Cecilia is a soap opera.
But think about the possibilities of a two-hour movie? We can get rid of all
kind of unnecessary people and plot twists.
On another subject Jill Spriggs writes:
I just started listening to Emma on tape and it is very intesrting to
notice the parallels and differences between the two sets of friends. I
don't find Cecilia to be such a snob towards Henrietta except for the
subject of their coomon love interest. She never treated Miss Belfiled as a
person of lower rank. I think she sees her as a lady who fell into
unfortunate circumstances. (Well, OK, maybe a lady is a bit of an
exaggeration but you get the idea) Miss Belfield seems educated and knows
how to behave. The only snobbishnes Cecilia has towards Miss B. is in
thinking that she is not good enough for Mortimer. Emma's treatment of
Harriet is different from then beginning. OK, she thinks Harriet is good
enough for Mr Elliot but she treats Harriet as her toy from the beginning.
Harriet is the 'clueless' young girl that Emma can guide (push around in
other words). Look at the way she manipulates her into refusing Mr. Martin
and making her think she made the decision herself. It's a good thing that
there is a Mr Knightley who can see through her and say "You saw the letter?
You wrote that letter Emma!" (FM)
"He is the kind of man, indeed, to whom I should never dare refuse anything,
which he condescended to ask."
Aysin Dedekorkut
From: "Jill L. Spriggs" A detailed summary of this chapter is not necessary; suffice it to say,
Cecilia went to the home of Mr. Briggs, requested asylum, was appalled by the
environment in which she would be living, and " ... then she left the house,
fully satisfied that no one could blame her for reusing to inhabit it, and
much less chagrined than she was willing to suppose herself, in finding she
had no resource but the Delviles."
A posting of record brevity!
Jill Spriggs
Again a supposition: I guess that eventually Cecilia will go to live
in this appallingly degraded environment. She will go to the
Delviles, and be driven away. Then she will have only Mr
Briggs to turn to. By that time she will have lost much of
her money.
Some other things that could happen: Mr Monckton's wife
dies. Delvile turns out to be engaged to the woman in
Oxford road. Delvile breaks up with said woman.
Mrs Harrel blows her brains out. "What brains?" someone
asks.
Ellen :)
Date: Thu, 6 Aug 1998 I hesitate to call Cecilia a picaresque heroine because she is too much
rooted in her own class. She moves consistently in her own fashionable
circle without ever getting near the lower classes. Mr Briggs' squalour is
based on his own miserliness, not because he's genuinely poor. Where are
the whores, gamesters, tricksters (I can't think of any more stock
characters right now) that would populate the hero's journey? There are
none in Cecilia. There has been no major change of place in the novel so
far or can anyone imagine Cecilia in a seedy tavern hobnobbing with the
lads?
Well, I seriously doubt that Cecilia would ever do such a thing and (heaven
forbid!) ever engage in titillating repartees (well, or even go way beyond
the verbal sparring). She also lacks the picaresque hero's most redeeming
qualities - namely irony and humour. She has no FUN!
I keep referring to the *hero* but what about picaresque heroines?
I can only think of two off the cuff: Defoe's
Roxana and Erica Jong's Fanny. But there are bound to be more. I also
vaguely recall a number of women in the 17th and early 18th centuries whose
lives were pretty wild and adventurous (Aphra Behn, Susanna Centlivre??).
Female cross-dressers, impersonators, spies etc. but I am getting off
track.
Andrea Schwedler.
To Andrea and other Burney friends,
I agree Cecilia seems no picaresque heroine. But in fact it is
rare to find a picaresque heroine after the later 17th and
before the 20th century. Once the techniques of
verisimilitude and a stifling insistence on the presentation
of mores in respectable art which show the female
at home, surrounded by family or friends, and
unwilling to risk her chastity by the slightest
adventure, the picaresque plot is not available.
Aphra Behn does have picaresque heroines, of which
the best are her heroines in her plays and the
hero of Love-Letters between a Nobleman and His
Sister. The English civil war did free women to
act on their own; the Restoration was not a
self-consciously anti-puritanical, anti-piety
era, but once it was over, one has to wait for
Harriet Vane to meet a woman on her adventures
alone once again -- in respectable literature.
In unrespectable literature it's another case,
Fanny Hill has adventures, though I am not
sure even she goes out on the road.
Ellen Moody
Subject: Burney: Cecilia: Mortimer Delvile & Other Threads Mortimer and Lord Orville are both so darn polite they do not think of asking
a direct question. And that is the crux of my impatience with Burney's books.
Though we do not want the hero to be one of the vulgar characters,we ( or I)
come to wish they were a little less polite. It is so much easier to think the
worse than to ask a question or give the benefit of the doubt.
Another question... is Mortimer financially dependent on his father?
Also, his behavior is not realistic in one way. Cecilia is an attractive
heiress, yet he appears willing to let her go to any taker.
Both Orville and Mortimer would rather look the other way than go to the help
of an oppressed heiress. It was only at the end that Orville became worthy of
Evelina... Will Devile ever be worthy of Cecilia? ( he has to be the hero as
there is no other "worthy" young man in the story.)
Nancy Mayer nmayer@bellsouth.net To Austen-l
Re: Burney: Cecilia: Mortimer Delvile and Lord Orville
There is a strong similarity in the presentation
of Mortimer and Lord Orville thus far. Both are, as Jill says,
extremely solicitious of the favored female's free will; they
bend over backwards. Perhaps Burney had learned to dislike males
who swaggered and told "their" women what to do all the time.
Both are stiff, polite, address the lady in the third person;
both are proud. We may get irritated, but remember that respect
for women was actually not common in Burney's day. This comes
across strongly in the early part of the diary; recall the
behavior of the males at Ranelagh in Evelina.
I assume Mortimer is financially dependent on his father.
And yes Cecilia would be much better off with either Briggs or
Delvile. If she doesn't watch it, the Harrels will swallow
her fortune with ease, and then look indignant or incredulous
if she demands repayment of any of the debt.
Ellen Moody
From: Sallie Knowles I'm finally caught up with all the messages after being unable to get
any email for 3 weeks. I have access at the library where I work, and
we had to pack the library collection and relocate to a different
building while ours is remodeled and brought up from 1970 codes to
1990's. This will take a year or so, according to the contractor.
I am enjoying reading Cecilia much more than I did Evelina mainly
because I like Cecilia herself. She isn't the naive ninny I felt
Evelina was throughout the book. Cecilia has more experience in company
and IMO more sense than Evelina ever showed. That she trusts Monckton
more that she should is to be expected since he only shows her his best
side, and she's known his all or most of her life. I agree with Ellen
that Monckton is the most interesting character in the book, so far. I
haven't read ahead, I'm barely keeping up with the group on all the
different reading schedules, so I don't know where all this is going
yet. I also like Mr. Briggs as a contrast to all the other male
characters who basically sound much alike. I can't remember who posted
about all the characters Burney throws at us (Jill?), but I agree that
it makes it very confusing to keep them straight. I just found the post
I was thinking of and it was Aysin who in her post last Tuesday (6/30)
commented about "...too many characters are thrown at our face all at
once..."
The masquerade was fascinating. I was sure the devil was Monckton
before Burney told us, but I wasn't as sure of the others. I thought
that was his way of trying to keep all Cecilia's suitors at bay even
though it wasn't going to work. I loved Mr. Briggs' chimney sweep who
swept all before him including the devil!
The white domino seemed to me the calm voice of reason amidst the chaos
of the unrestrained behavior of the masqueraders. Having read through
chapter 3 of volume II though, Mortimer Devile's inability to answer a
direct question of Cecilia's I found very irritating. In Chap 2 when
Cecilia meets young Mortimer (I find myself thinking of Mortimer Snerd,
one of Edgar Bergen's alter egos everytime I read this name, I'll try to
substitute Cary Grant's character in "Arsenic and Old Lace" he was a
Mortimer too I think, anyway, I digress) at his father's house, and she
remembers his cryptic comments of the morning and tries to explain why
she was standing by that particular house, young Mortimer's comments
become more and more incomprehensible to Cecilia. When she says "
Cecilia responds : "I find I must forbear any further enquiry, for the
more I hear, the less I understand."
During this whole exchange, my initial good impression of Mortimer began
to erode as I saw him as a real chip off the old block of his father's
wooden head. Obfuscation for the sake of it seems to be their ruling
passion! If this doesn't turn Cecilia off, I'm not sure she's a
intelligent as I thought.
Sallie
Subject: Evelina/Orville and the Cecilia/Delvile romances Jill Spriggs I have been meaning to write this for days, but was too lazy to do so.
Jill's remark finally makes me say it. I cannot warm up to Mortimer Delvile
for some reason. No matter how idealized Orville was in the beginning, I
still prefer him to Delvile (although I prefer Cecilia to Evelina - then
again the throwing away of 7000 pounds might change my mind any minute). I
prefer Orville because he had an openness and honesty lacking in the young
Delvile. We would never expect something bad out of Orville and would not
believe it if we have heard the rumor. But at this point in the story I
could expect and believe anything of Mortimer Delvile. He might be engaged
or keeping a mistress or hiding another secret we do not know about.
Aysin Dedekorkut
Curious contrasts: in Evelina the heroine is delightfully
flawed and the hero kindly, appealling, and unable
to tell a lie. All right, priggish too. In Cecilia, the
heroine is a paragon, and the hero suspicious, cold, and
possbly disdainful and promiscuous. The picture of the
world in Evelina is shallow and at times childlile;
the picture of the world in Cecilia is disillusioned
and complex. The first book is filled with dramatic
narrative; the second with meditative narrative.
From the point of view of size, Burney's last three
novels are all staggering to contemplate. This is highly
unusual for women's novels of the period. Ann Radcliffe
only produced one leviathan (Udolpho), and de Stael
two (Delphine and Corinne). Most women's books
were of the one-volume variety until the Mudie's demand
for a three-volume set-up in order for him to make his
profit made three-volumes a must for everyone who
hoped to get into print.
Ellen Moody
Date: Sat, 08 Aug 1998 09:20:04
To: austen-l@vm1.mcgill.ca
From: Ellen Moody At 10:25 PM 8/6/98 -0400, Nancy Mayer wrote:
Even though she does not go on adventures in the sense that the purists
require, Cecilia is moving from one house, one set of people to another.
Hers is not a calm life.
As to Mortimer's mistress so called or what ever On what street did the
Belfields live? Had he been seen going to visit them? The snooty people
would not expect him to be calling on anyone who lived in that part of town
except a mistress.
Nancy Mayer
I am happy to disagree with myself. Yes, if by picaresque Nancy means
having an adventure-filled and active life, Cecilia qualifies. In fact
one difference I am struck by between Burney and Austen is how inward
is Austen's focus. Yes she shows us people in their social drawing
rooms and landscapes and towns, but always through the aspect of what
they are feeling within. The emphasis is on the interaction of the
private with the public self. Burney is more more externalized; she
does not see the anguish one feels at having to conform to conventions
in the way Austen does. Austen sees that under the cover of conventional
morality much pain can be inflicted by people upon on another.
Austen's scenes are always intimate. We focus on a few people; we
stay in a room with few people who know one another. We don't
move out to the vast panorama. There are no mob and streets scenes,
no sense of a world of bustling activities by hoards of people one
will never meet or any any personal knowledge of. That's there in
Burney. It is appropriate to the "male" picaresque mode.
I find the reading of Burney fascinating. It points up so much in
Austen; I hope if we go on to read other books of the period in our
little subgroup we will get yet further relevant perspectives to
open up Austen's fiction and to enjoy theirs too.
Ellen Moody
Subject: Cecilia,. Vol. III, Bk. V, Ch. IX, A Declaration Cecilia of course went straight to the home of the Delviles, but, finding Mr.
and Mrs. Delvile breakfasting with some aristrocrat, his wife, and two
daughters, returned to the Harrels' to communicate her request to Mrs. Delvile
in writing. Did anyone doubt that Priscilla and her husband would get one
more crack at our heiress?
Cecilia was greeted upon her return by a rather flurried Mr. Arnott, saying
they had feared that she had already left for good, giving them insufficient
time to gull the creditors into security, allowing them time for flight.
Cecilia apologized for causing such alarm, and assured him that she never
intended to leave without a final good bye. She urged Mr. Arnott not to allow
himself to be drawn into the ruin which was surely pending for Mr. Harrel, but
unfortunately this was regarded as a cue to again proclaim his love. Cecilia
tried to let him down gently; he alone of her suitors did she compassionate.
He, more calm, begged her to advise him on how to best help Mr. Harrel avoid
the desperate measure of exile. Cecilia, for a change pragmatic, asked why he
should be spared; after all, this trouble he had brought upon himself. Mr.
Arnott communicated the request of Mr. Harrel that she postpone her departure
from their home until the next day, to provide cover for their flight.
Cecilia reluctantly agreed.
At last Cecilia had an opportunity to compose her epistle requesting refuge in
the home of the Delviles. While not stating precisely why she needed to leave
Portman -square, she did stress the urgency of her request. She received a
gratifyingly kind response, and began to prepare for her change of residence.
Jill Spriggs
To Austen-l
August 10, 1998 First Jill wrote:
Then Andrea replied:
In response to Andrea and Jill:
It's interesting that in her last novel, Austen creates a character
who seems to sum up a type many young girls had to cope with
in life and recurs in the realistic novels of the period. Recall
Lady Howard of Evelina.
Ellen Moody
Reply-To: Jane Austen List
From: "Jill L. Spriggs"
Subject: Cecilia, Vol. III, Bk. V, Ch. 1, A Rout
" ' Certainly ... but pray let me ask you of what?' "
Miss Larolles: " ' O Lord, now ... I am sure you know what I mean; but you
must know I have a prodigious monstrous favor to beg of you: now pray don't
refuse me; I assure you if you do, I shall be so mortified [hmm, Mortimer ...
mortification ...?] you've no notion.' "
"he looked grave and thoughtful, saluted
her at a distance, shewed no sign of any intention
to approach her, regarded the dancing and dancers
as a public spectacle in which he had no chance of
personal interest" (p. 330).
"'What dancing! Oh, dreadful! how
it was ever adopted in a civilized country I cannot
find out; 'tis certainly a Barbarian exercise, and of
savage orign" (p. 335).
"The more she recollected and dwelt
upon the difference of his behaviour in their
preceding meeting, the more angry as well
as amazed she became at the change..."
p 338).
"Mr Harrel... was seized from
time to time with fits of horror that
embittered his gayest moments, and
cast a cloud upon all his employments.
Always an enemy to solitude, he found
it wholly insupportable ... " (p. 346).
"The trial of intimacy, so difficult for the ablest to stand,
and from which even the most faultless are so rarely acquitted, Miss Belfield,
sustained with honour. Cecilia found her artless, ingenuous, and
affectionate; her understanding was good, though no pains had been taken to
improve it; her disposition though ardent was soft, and her mind seemed
informed by intuitive integrity."
"What chiefly damped her hopes of forming a friendship
with any of the new acquaintance to whom she was introduced was the
observation she herself made how ill the coldness of their hearts accorded
with the warmth of their professions: upon every first meeting, the
civilities which were shewn her, flattered her into believing she had excited
a partiality that a very little time would ripen into affection; the next
meeting commonly confirmed the expectation; but the third, and every future
one, regularly destroyed it. She found that time added nothing to their
fondness, nor intimacy to their sincerity; that the interest in her welfare
which appeared to be taken at first sight, seldom, with whatever reason,
encreased, and often abated; that the distinction she at first met with, was
no effusion of kindness, but of curiosity ..."
Subject: Cecilia, Vol. III, Bk. V, Ch. V, A Sarcasm
To: austen-l@vm1.mcgill.ca
Reply-To: Jane Austen List
From: "Jill L. Spriggs"
Subject: Cecilia, Vol. III, Bk. V, Ch. VI, A Surmise
" ' I have been greatly pleased,' said he, after waiting some time to hear if
she would finish her speech, ' by being informed of your goodness to her, and
I think she seems equally to require and to deserve it. I doubt not you will
extend it to her when she is deprived of her brother, for then will be the
time that by doing her most service, it will reflect on yourself most honour.'
"
Subject: Burney: Not Dramatising
X-To: Jane Austen mailing list
Subject: Burney: Not Dramatising
X-To: Jane Austen List
Reply-To: Jane Austen List
From: "Jill L. Spriggs"
Subject: Cecilia, Vol. III, Bk. V, Ch. VII, A Bold Stroke
" ' You were going, you said, when I came, -- and whither?'
Subject: Burney: Not Dramatising
Reply-To: Jane Austen List
From: Aysin Dedekorkut
Subject: Cecilia: The Plot & 2 sets of friends from Cecilia and
Emma
in the diaries and
letters and Evelina Burney is continually dramatising, continually
picturing, continually personating a meditation, yet in Cecilia_
summaries, descriptions, and set-pieces of moral-psychological disquisition
dominate.
Cecilia would make a good 39 episode sit-com. Or perhaps it shopuld be a soap
opera with a new suitor popping up every other episode. I really believe the
story would have been better and the effect of Cecilia more lasting if it had
been drastically cut ...
I enjoyed Ellen's post drawing parallels between Henrietta and Cecilia, and
Harriet and Emma. Has another possible parallel struck anyone? That of the
friendships between Henrietta and Cecilia, and Mrs. Delvile and Cecilia.
Henrietta recognized that a social gulf existed between her and her friend.
Cecilia recognized no such gulf between her and Mrs. Delvile, who I suspect
never lost her awareness. Cecilia thought Henrietta would instinctively
recognize the unsuitability of a match between herself and Mortimer, and was
appalled when she realized that Henrietta loved him. How would Mrs. Delvile
react when she found out about another and, to her, almost equally unsuitable
match? Mrs. Delvile, having the highest estimation of Cecilia's delicacy,
would surely expect her friend to protect her heart from aspiring to what
surely must apparently be an unsuitable match. I agree with Ellen that
Cecilia was a snob, in fact the worst kind. The kind who holds others to
different standards from those for herself.
Subject: Cecilia, Vol. III, Bk. V, Ch. VIII, A Miser's Mansion
To: austen-l@vm1.mcgill.ca
August 6, 1998
Sender: Jane Austen List
From: van Leyen
Subject: Cecilia as picaresque heroine?
To: Jane Austen List
Organization: Great Basin College
Subject: Cecilia in general
"You may tell me any thing, if you will but be less mysterious." He
replies, "Forgive then the frankness you invite, and let me acknowledge
to you how greatly I honour the nobleness of your conduct. Surrounded
as you are by the opulent and the splendid, unshackled by dependance,
unrestrained by authority, blest by nature with all that is attractive,
by situation with all that is desirable,--to slight the rich, and
disregard the powerful, for the purer pleasure of raising oppressed
merit, and giving to desert that wealth in which alone it seemed
deficient--how can a spirit so liberal be sufficiently admired, or a
choice of so much dignity be too highly extolled."
X-To: AUSTEN-L@VM1.MCGILL.CA
Perhaps our
gentle fellow readers might begin to see why I do not care for the hero of
this story.
"By Elizabeth's instructions she began to comprehend that a woman may take
liberties with her husband, which a brother will not always allow in a
sister more than ten years younger than himself."
Ok, I will admit I used picaresque as a term meaning "having lots of different
things happen." Cecilia may be relativly static but she certain meets the
drunkards, the gamblers, the fop, the lovelorn . She meets people that are
not present in Austen's novels. her life does not flow but is cut up into
hundreds of little episodes.
To: austen-l@vm1.mcgill.ca
From: van Leyen
Subject: Mrs Delvile and Lady Russell
Mrs. Delvile, having the highest estimation of Cecilia's delicacy,
would surely expect her friend to protect her heart from aspiring to
what surely must apparently be an unsuitable match.
- sounds very much like Mrs Russell, doesn't it? Elderly female
advisers/friends" with firm convictions about what is proper for a young
lady but bound to be disappointed by their adopted daughters
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