“High Tea” in Lake Park

IMG_0954.JPG On Saturday, December 2, I joined fifty+ other ladies and gentlemen for tea at the Lake Park Community Center. Ours was the 2 PM service. There were other services, one at noon and another at 4 PM, and the event was hosted by the local garden club. This was a special treat for me from one of my dearest friends, Kim Withey. At our table, we joined two other ladies and two delightful young ladies, whose mother, we were told, was from Yorkshire, England. 

The event had us all thinking about high tea in England, which was a Victorian custom. One thing led to another and soon we were discussing tea traditions and Jane Austen. 

Tea in the afternoon, we are told, began with the servants rather than with those they served. Some people question whether this could be true, but I have read something similar in more than one non-fiction book. Doubters say there is no way workers would come in from the field to take take and some sort of meal. However, in the households of the late 1700s, when the tradition began, it would make sense for the servants, who had been up since dawn to be permitted a mid afternoon meal around two o’clock. They would have eaten breakfast around eight and would have a late supper. 

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By Jane Austen’s time, afternoon tea, especially for those residing in London, took place around three or four. It is believed that the afternoon tea was followed by a walk in the park in what was known as the “fashionable hour.” In addition to the tea, the house’s hostess would serve her guests or family members some sort of finger sandwiches on thin bread, with no crust. I am particularly found of cucumber sandwiches, but I believe that is more modern than during this time. It would me more likely that the sandwiches had some sort of meat paste or very thin slices of meat. There would be biscuits (what we Americans call “cookies”), small cakes (not petite fours, as we sometimes think), but rather fairy cakes. The Huffington Post describes fairy cakes as such: “Fairy cakes are not, as their name might imply, themed cakes designed and decorated to the liking of fantasy and sci-fi fans. They are, simply stated, smaller versions of cupcakes. They’re widely popular in the UK, and tend not to pile on the icing in the same way that American bakers do with cupcakes. Mich Turner, a British baker and champion of the fairy cake,  describes American cupcakes as having ‘the wrong icing: great wodges of lurid buttercream, rather than the traditional non-fat glace stuff.’ Conversely, fairy cakes use a lighter glace icing. They also are traditionally made with a lighter sponge cake as opposed to the thicker butter cakes used in cupcakes. Alternatively, a fairy cake is a type of cupcake with its top cut off and replaced in two pieces, like wings. These are also called butterfly cupcakes.” As most of those in London during the Season ate supper around 8 PM, it would sense to adopt some sort of mid-day meal, and during the Regency the concept of lunch or “nuncheon” was not universally accepted. 

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Sandwich Cake via The English Kitchen https://theenglishkitchen.blogspot.com/2010/08/ traditional-victorian-sandwich-cake.html

“High Tea” became popular during the Victorian era. “High tea” refers to the height of the tables, not necessarily “High Society.” Low tea would be served on what we might think of as a coffee table, here in the U. S. High tea was served on a table meant for dining. High tea served a more complete meal than did the tea we mentioned above. There would be a choice of bread, some sort of fish (usually salmon, but other fish could be served), roast pork or beef, ham, trifle, sponge cake, fruit tarts, currant teacake, macaroons, sandwich cake (see both the Swedish style with the vegetables and shrimp, as well as the one made of sponge cake and filled with jellies, fruit, etc., above). One would also expect to see a variety of jellies and cheese, as well as clotted cream and butter. 

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Silver Mote Spoon/Skimmer ~ London 1720 ~ http://www.silvercollection.it/dictionarymotespoon.html

Kathryn Kane on the Regency Redingote says that tea leaves used during the Regency was a coarser mix/chop than we see today. This meant the tea was steeped for a longer period of time, but the larger leaves were easier to strain from the teapot, or Heaven Forbid!, the cup. Kathryn tells us, “Mote skimmers, also called mote spoons, were considered an essential part of any upscale English tea service for well over a century before the Regency began. Yet today, very few people are even aware of the existence of mote skimmers, let alone what they looked like or how they were intended to be used when tea was being served. Though there were some who considered a mote skimmer old fashioned by the time the Regency began, these handy little implements were still a part of a great many family tea services.

“The origin, history and use of the mote skimmer …

“Whether their teapots were made of silver or porcelain, most upper-class households had a set of silver implements which were considered part of their tea service and were brought out when tea was served. At the turn of the nineteenth century, these sets of silver implements typically included a dozen or more silver teaspoons, so that each guest would receive a silver spoon in the saucer when their tea was served to them. However, there were other implements in these silver sets which were meant for use only by the hostess as she brewed and served the tea to her guests. These silver hostess utensils typically included a tea scoop, a set of sugar tongs and a mote skimmer.”

 

 

 

 

Posted in food, food and drink, Regency era, tradtions, Victorian era | Tagged , , , , , , | Comments Off on “High Tea” in Lake Park

A Closer Look at “Christmas at Pemberley”

ChristmasatPemberley.jpg This is one of those books that floats around in the author’s head for some time before it becomes a reality. Although we have a bit about the letters Princess Charlotte wrote to her supposed lover, it deviates from many of story lines for there is no great angst or mystery. It is simply a story of life and death and new beginnings…the story of a Christmas miracle. This book is essentially Georgiana’s story, but Kitty Bennet plays a major role, as does Elizabeth and Darcy. 

At the beginning of the book, Darcy has taken Elizabeth with him on a business journey. She is pregnant, and he wants to keep her close, for they have experienced several miscarriages, and Elizabeth is despondent. I have her refusing to permit anyone to even speak of the baby until she is far enough along that even if the child came early, its chances of survival were improved. I based this on personal experience. Before I had my son at age 38, I had experienced a miscarriage and an ectopic pregnancy. I never thought to have my own child. During that pregnancy, I refused baby showers and the like, until I was six months along. With modern medicine, I thought if he made it to six months, he would survive. He made it to seven and a half. Now, he is 33 with 3 children under the age of six. 

But I have digressed. Elizabeth in the book wonders why God has not permitted her the joy that her sisters have known. On this journey from Northumberland to Derbyshire, there is a massive snow storm, and the Darcys must take shelter at an inn. Okay. This is the hokey part: It is Christmas, and there is no shelter for the Josephs family at the inn. You got it. Mrs. Joseph is ready to deliver. Elizabeth insists that she and Darcy aid the family. 

Meanwhile, back at the ranch (oops! I mean Pemberley), Georgiana has her own hands full. First, the Bennets arrive: Mr. and Mrs. B., Kitty, Mary, and Mary’s intended (who was not expected). Mrs. Bennet took it on herself to invite the young man. Thinking it would be good for Elizabeth’s disposition, Darcy had invited the Bennets to Pemberley. We also find the Bingleys in attendance. They have arrived with their children and Jane expecting another. However, Miss Bingley was not invited, but like Mary’s betrothed, the lady tags along with her brother. These few are the only invited guests to what becomes a large holiday party.

Lady Catherine has been with her brother, Lord Matlock, but as the Matlocks are to visit with their eldest and his family for Christmastide (to view their new grandchild), her ladyship is without quarters. Although she and Darcy have never made up since Lady Catherine’s scathing letter regarding Darcy’s marrying Elizabeth, Lady Catherine shows up on Pemberley’s doorstep, with her daughter Anne in tow, and demands rooms. Georgiana, who is still a bit intimidated by her ladyship, naturally, does not turn her aunt and cousin away. Oh, by the way, Lady Catherine was to meet with the Collinses before returning to Kent, and she invites Mr. and Mrs. Collins to join her at Pemberley. 

Kitty’s love interest, the clergyman, Mr. Winkler, holds the living at Pemberley, and he comes and goes with some regularity in the story line. He involves Kitty in administering to the poor in the neighborhood, a perfect role for the wife of a clergyman.

Then Colonel Fitzwilliam calls upon the household. He has been in America (during the War of 1812). With him is his aide, Lieutenant Roman Southland, and a gentleman from America, Mr. Beauford Manneville, who is not all he pretends to be. The storm has stifled their travel, and the colonel brings his companions to Pemberley, expecting Darcy will welcome them. Georgiana is most happy to have her cousin, the colonel, return, for she carries tender feelings for the man, who has not yet realized that she has turned into a young woman in his absence. 

This is absolutely a love story. Obviously, Darcy and Elizabeth are in love, but they are married. What of the others? Georgiana convinces the colonel finally to see her as she has always seen him. The lieutenant, who happens to be the cousin of the cleric who held the living at Rosings Park before Collins—a man that Lady Catherine adored, takes a liking to Anne, while the American has a eye on Miss Bingley. There are lots of high jinxes and tender moments. You will laugh, and you are likely to cry at some of the scenes, for once Darcy and Elizabeth make it home, their world will never be the same. [I should say that this book won several Inspirational Romance awards, for there are more than one bit of an actual sermon and lots of questioning of God’s intent within one’s life in the story line.]

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Christmas at Pemberley: A Pride and Prejudice Holiday Sequel

(Inspirational Romance; Fiction/Historical Fiction; Classics)

To bring a renewed sense joy to his wifes countenance, Fitzwilliam Darcy secretly invites the Bennets and the Bingleys to spend the Christmastide festive days at Pemberley. But as he and Elizabeth journey to their estate to join the gathered families, a snowstorm blankets the English countryside. The Darcys find themselves stranded at a small out-of-the-way inn with another couple preparing for the immediate delivery of their first child, while Pemberley is inundated with friends and relations seeking shelter from the storm.

Without her brothers strong presence, Georgiana Darcy desperately attempts to manage the chaos surrounding the arrival of six invited guests and eleven unscheduled visitors. But bitter feuds, old jealousies, and intimate secrets quickly rise to the surface. Has Lady Catherine returned to Pemberley for forgiveness or revenge? Will the manipulative Caroline Bingley find a soul mate? Shall Kitty Bennet and Georgiana Darcy know happiness?

Written in Regency style and including Austens romantic entanglements and sardonic humor, Christmas at Pemberley places Jane Austens most beloved characters in an exciting yuletide story that speaks to the love, the family spirit, and the generosity that remain as the heart of Christmas.

Excerpt #1 from Chapter 2: At the inn, Elizabeth is rereading a letter from Darcy. 

My dearest, loveliest Elizabeth,

As I sit at this desk in awe of the most splendid of gifts that you have offered me this night, my heart overflows with love. The loneliness has dissipated, and I do not speak of the physical closeness we shared last evening—as exquisite as it was—I speak of the happiness that you have brought to my life and to Pemberley. From the beginning, you destroyed my hard-earned peace, and many times I found myself spiraling out of control, but I would, willingly, suffer the pain again to know you for but one day—one hour, even. You are everything—firmly planted are my hopes—you are the coming chapters of my life’s book.

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A TEAR SLID DOWN hER CHEEK, but Elizabeth didn’t whisk it away. he had rattled her senses that night. Rattled. Shaken. Turned her world upside down in the most tantalizing ways. Her heart had pounded so intensely when she’d looked upon her husband for the first time: It had mimicked the cadence of his as Darcy drew her into his embrace. Unbelievable desire had coursed through her— ricocheted through her body and devoured her soul. Luckily, she’d spoken quite frankly with her Aunt Gardiner prior to the wedding night. If not, his power over her might have frightened Elizabeth. Instead, she’d viewed it as a challenge, and although she’d allowed Darcy to lead, she’d learned to exercise her own power. Elizabeth loved it when he surrendered to her—when he couldn’t deny her.

A smile turned up her mouth’s corners. They were good together—the absolute best. Her hand instinctively rested on her abdomen. “Please, God,” she whispered. “this time…please.” She wanted so desperately to prove to Darcy and to the world that she was worthy of being the Mistress of Pemberley—worthy of his love.

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Excerpt #2 from Chapter 4, Colonel Fitzwilliam arrives at Pemberley, but when word comes to the drawing room, everyone thinks it is Darcy and Elizabeth. [Note: In my books, the colonel is “Edward,” my father’s name. Austen never presented the character with a Christian name in the original Pride and Prejudice.]

Georgiana and Kitty raced along the passage and down the main staircase.“We’ll tell Elizabeth that your parents allowed you to return to Pemberley because you were lonely now that Miss Bennet is engaged.”

“Elizabeth will never believe I miss Mary’s company,” Kitty objected.

Georgiana tutted her disagreement. “We just need for our sister to believe us long enough for her to reach the drawing room to greet your family.”

They waited impatiently for the Darcys’ arrival, each girl fidgeting with her dress. Then Mr. Nathan opened the door, and instead of Mr. and Mrs. Darcy, three winter-cloaked gentlemen strode through the opening. Both girls stood in awe of the men—all fine specimens of maleness. “Oh, my,” Kitty swallowed her words. She clawed at Georgiana’s arm.

But Georgiana stood frozen in place. The man in front held her mesmerized. A year—more than a year had passed since she had last seen him, but he remained as before. Solid. Raven haired. Smoky blue eyes. Eyes that appeared to look through her. See me. Georgiana willed herself not to say the words. Not quite as tall as her brother, she still barely reached his shoulders. “Edward!” she called and launched herself into his waiting arms. In his embrace, Georgiana inhaled the scent of him deeply. He smelled of cold and leather and sweat and the spicy cologne he always had worn. “Thank God, you’ve returned to us.”

Her cousin picked her up, clutching Georgiana to his chest, and swung her around in a circle. “My, Goodness!” he laughed easily. “What happened to my little Georgie?”

“You’ve been away for a year, Edward,” she protested.

“So, I have.” He laughed again as he set her on her feet. “Where’s that rascally brother of yours?” he glanced toward the main stairs.

“Fitzwilliam and Mrs. Darcy are on their way from Northumberland,” she explained.

Edward frowned. “Well, Fitz will be delayed. We barely made it from Liverpool on horseback. Darcy won’t chance it in a carriage.” The colonel gestured to the men waiting behind him. “Do you have rooms available, Cousin? I don’t wish to attempt riding to Matlock.”

“Of course.” Georgiana nodded to Mr. Nathan, and the man ducked into a servant’s passageway to do her bidding.

Edward spotted Kitty waiting patiently. “And is this who I believe it to be?” he asked teasingly.

“You remember Mrs. Darcy’s sister Catherine from the wedding, do you not, Edward?”

The colonel bowed to Kitty. “Absolutely. I am pleased to find you at Pemberley, Miss Catherine.”

Kitty curtsied to the group. “I’m certain Mr. Darcy and Elizabeth shall be thrilled for your return, Colonel.”

Edward placed Georgiana’s hand on his arm. “Allow we to introduce my traveling companions, my dear. Miss Darcy. Miss Catherine. May I present Lieutenant Roman Southland? the lieutenant is my assistant.”

The officer bowed formally. “MissDarcy, the colonel has spoken often of his cousin, but his words didn’t do you justice.” He kissed Georgiana’s outstretched hand. “Thank you for accepting our intrusion upon your hospitality.”

 

“Pemberley would never turn away the colonel’s associates,” Georgiana responded. “Edward is family.” She wanted to ask what her cousin had said of her and how often the colonel spoke of her, but instead, Georgiana smiled welcomingly at the man.

“And this gentleman,” the colonel indicated the man not wearing a uniform.“This is Mr. Beauford Manneville. Mr. Manneville is from South Carolina in the Americas, but he’s come to our ‘enemy’ shores to do business with our government and to renew his acquaintance with his distant cousin Lord Shelton.”

“Welcome to England, Mr. Manneville.” Georgiana curtsied and again extended her hand. “I’m sorry that your first experience on British shores brings you icy roads.”

The colonel laughed softly. “You don’t understand, Georgie. In South Carolina, snow rarely falls. Cold weather doesn’t tarry either. Is that not correct, Manneville?”

The man openly shivered. “I’ve never been so cold, Colonel, and you may leave your levity out of it, sir.”

Colonel Fitzwilliam bowed stiffy. “As you wish, Manneville.” He turned to Georgiana with a touch of lightheartedness. “And from what entertainment did we pull you ladies?”

Georgiana suddenly remembered the others waiting in the drawing room for her return. “Oh, Edward,” she gushed. “I am doubly happy to see you, especially in Fitzwilliam’s absence. We’ve a houseful of guests, including Lady Catherine and Anne.”

“Darcy invited our aunt for Christmas?” he asked incredulously.

“No. Her ladyship invited herself, as well as Mr. and Mrs. Collins. Lady Catherine visited the earl, but his lordship and the countess have traveled east to welcome the arrival of Viscount Lindale’s first child.”

 

Edward beamed with the news. “Did you hear, Southland? I’m to be an uncle. My brother Rowland’s wife is in her confinement.” The lieutenant removed his gloves and laid them nearby. “Then it is fortuitous that we didn’t seek Matlock. It appears your family is scattered between here and Lincolnshire, sir.”

“they are. That they are.” He smiled genuinely at Georgiana. “Come, Gentlemen. I’ll introduce you to Lady Catherine De Bourgh, my family’s paragon of virtue,” he said teasingly.

Georgiana fell into step beside him as they climbed the stairs. “In addition to her ladyship and Anne, the Bingleys and the Bennets are in residence,” she said softly.

“My, you do have a houseful. I thought you exaggerated, Cousin. How many await me in the drawing room?” He directed Georgiana toward the open door. Kitty and the lieutenant followed, and Mr. Manneville brought up the rear. “Counting you three, we number nineteen,” she responded.“Fitzwilliam invited the Bennets and Mr. and Mrs. Bingley as a surprise for Mrs. Darcy, but the others have sought shelter at Pemberley.” Georgiana leaned against him. “Handling so many distinct personalities has been challenging.”

His finger stroked her arm. “You’ve performed well, Georgie. I’m proud of you.”

They had reached the open door. Taking a deep breath, Georgiana glided into the room. “Look who’s joined us,” she announced.

For the length of two heartbeats, no one moved, and then Anne, Lady Catherine, and Mr. Bingley rushed forward to greet the colonel. Anne, who was the closest to the door, reached him first. “Edward,” she gasped.“You’ve returned to us. Bless the heavens!”

The colonel embraced her warmly. “I’m well, Anne.” He kissed her cheek.“You look lovely.”

“My health has improved,” she said shyly.

“That pleases me more than you know.” Edward then turned to his aunt. He took Lady Catherine’s outstretched hand and bowed over it. “Your ladyship.” he offered the obligatory air kiss. “You, too, look well.”

“I am as I always am, Edward.” She accepted his whispery kiss on her cheek.“You are a fortnight early, sir. The earl departed for Lindale’s estate less than a day prior.”

“So Georgiana has informed me.” He glanced about the room taking in familiar and unfamiliar faces.“I pray Lady Lindale has a safe delivery.”

Lady Catherine stepped to the side.“We are anticipating Darcys’ arrival,” she clarified.

the colonel nodded his understanding. “As I have explained to Georgiana, I would not expect Darcy for, at least, another day. We traveled by horseback from Liverpool. The roads remain treacherous. We walked the horses the last seven miles or so.”

“That’s disappointing,” Mr. Bingley observed,“but safety is paramount to speed in such cases.”

The colonel blew out a long breath.“It was a difficult journey.” He shook Bingley’s hand. “If you will allow the impropriety,” he said to the group,“my associates and I will freshen our clothes and then rejoin you. With such a large party, introductions will take some time.”

“Of course, Colonel,” Lady Catherine declared before Georgiana could open her mouth.“I assume my niece can have meals sent in.”

Edward interrupted. “Georgiana is a gracious hostess, Aunt. My cousin will see to our needs without error. She’s Lady Anne’s daughter and understands her duties.”

“Come, Gentlemen.” Georgiana gestured toward the hall. “Mr. Nathan has indicated that your rooms are ready. I’ll show you the way.”

The three travelers bowed solemnly to the room and followed her. Georgiana caught Edward’s hand. “Thank you for deflecting her ladyship’s implied censure.”

 

“You don’t need rescuing, Georgie,” he whispered. “But I’ll act your gallant if you prefer.”

“You are my gallant, Edward,” she said softly. “You always have been.” 

Excerpt #3 comes from Chapter 16: Lady Catherine discovers her daughter Anne kissing Lieutenant Southland. 

Without preamble, Lady Catherine stormed into the room as the couple jumped apart. Never in all her years had she expected to find her daughter in an intimate embrace with a gentleman. Catherine didn’t know whether to celebrate or stand in horror. As was typical, she chose something less sedate than a celebratory moment, centering her disdain on the man who had just compromised Anne. “Lieutenant.” she snarled. “have you no principles? You’ll unhand my daughter immediately.” Anne took a half step toward her in the lieutenant’s defense, but Lady Catherine’s cold glare warned her daughter to not interfere.“I ask again, Lieutenant. Have you no defense for your actions?”

  • * * *

“Perhaps, Lady Catherine, we could all have a seat and discuss this calmly,” Elizabeth said with authority from the open doorway. With a flick of her wrist, Pemberley’s mistress sent the two maids and a footman on their separate ways and closed the door behind her. She quickly assayed the dilemma and discovered a very flushed Anne De Bourgh standing between her mother and Edward’s aide-de-camp. Immediately, she moved to defuse the situation. “Come, let me assist you, your ladyship.” She caught Lady Catherine about the waist and directed Darcy’s aunt to a chair. “Allow me to pour you some sherry,” she said as she shot a pleading glance to the lieutenant to move.

Southland reacted immediately. he scurried to a nearby tray and poured a glass and handed it to Elizabeth.“Drink some of this,” Elizabeth encouraged.“It shall calm your nerves.”

Lady Catherine intoned aristocratically, “I’m not the type to succumb to nerves, Mrs. Darcy.”

“No one believes you are, your ladyship,” Elizabeth said softly, “but it’ll give us a moment to compose our thoughts. Please do it for me.” Elizabeth knelt obediently beside Lady Catherine’s chair.

Giving the lieutenant a deathly glare, Lady Catherine reluctantly took a small sip of the potent drink.

“Thank you, your ladyship.” Elizabeth caught the woman’s hand and gave it a weak squeeze. Lady Catherine’s gaze fell on her, and for a brief moment, Elizabeth saw vulnerability.

Yet, a soft knock on the door drew their attention, and Darcy slipped into the room. Elizabeth observed the recognition in his eyes. “Mr. Nathan seemed to think her ladyship had suffered some sort of shock,” he said cautiously.

Darcy’s eyes rested on her face. He spoke of his aunt’s health, but she knew he would take his cues from Elizabeth. “A bit of an exaggeration, I fear,” Elizabeth automatically rose and took a step toward him. It was a response of which she become conscious upon Darcy’s return to Longbourn—when he brought Bingley to Jane in order to right a wrong, Elizabeth found herself physically drawn to him. No matter when she saw him, the moment Darcy stepped into a room, she moved closer. “Her ladyship simply requires a moment. Perhaps you might escort your cousin and the lieutenant into the room next door while I see to your aunt.”

Thankfully, Darcy didn’t protest. Over the last three years, they’d learned to trust each other exclusively. With a nod of understanding, he asked, “Anne, would you and Lieutenant Southland join me in the yellow sitting room?” He moved to lead the way.

Anne turned to her mother. “I’m sorry, your ladyship,” she whispered through silent sobs. “You must try to understand.” After a brief bow to both Elizabeth and Lady Catherine, Southland caught Anne’s elbow and escorted her from the room.

Elizabeth waited for their departure before turning to Darcy’s aunt.With a deep sigh, she pivoted, expecting to find an irate aristocrat whom she would have to appease, but was greeted by the distraught tear-stained face of Lady Catherine, and instantly, Elizabeth felt compassion for what she suspected to be a very lonely woman. “Your ladyship,” she empathized and pulled a footstool over to sit at Lady Catherine’s feet.

“Might I?” Lady Catherine held the glass for Elizabeth’s view. She took it immediately. “Of course.” Walking to the serving tray, Elizabeth glanced over her shoulder at the sunken figure resting back into the chair’s cushions. What happened to the imperious Lady Catherine? Where did all her fight go? Returning to the footstool, she sat and then eased the drink into the woman’s gnarled grasp. They sat in silence for a few minutes before Elizabeth asked, “Would you like to speak of it, your ladyship? I realize I’m probably the last person with whom you would consult, but I’m at your disposal. You’re my husband’s aunt, and I desire only the best for you.”

Lady Catherine’s gaze returned to Elizabeth’s face. “Why would you treat me with respect? With compassion?” she murmured. “I’ve never treated you kindly.”

Elizabeth frowned. “We’ve known our contentious moments, but I understand your intensity. You wished the best for your child, and Mr. Darcy is truly the best of men. If I were to have my own child, I’d fight with a similar ferocity to secure his future.”

Admiration played across the lady’s face.“I expect you would, Mrs. Darcy. You give as good as you receive. I doubt if Mr. Darcy had any idea of your tongue’s viciousness.” Lady Catherine half smiled.

“I beg to differ, your ladyship. Your nephew was on the receiving end of more than one of my barbs. I like to think my sauciness was part of my charm,” Elizabeth impishly said.

 

The line of Lady Catherine’s mouth tightened to hide her smile. “A certain sauciness on my sister’s part attracted his father, and I am positive that Sir Lewis found it appealing.”

“I suspect you’re correct,” Elizabeth said judiciously. “Therefore, although your words stung, after careful analysis, I accepted your intent. I can place those sentiments behind us if you agree.”

Lady Catherine’s eyebrow rose in question.“I suppose we might make the effort for Darcy’s sake.”

“Then for Mr. Darcy’s familial benefit we’ll persevere,” Elizabeth said contritely. “Now, with that settled, may we address your concerns for Miss De Bourgh?”

“What is there to address? Anne must marry Edward’s aide. She’s been compromised.”

 

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Original cover for Christmas at Pemberley ~ I rejected this one because it looked too Victorian.

Posted in American History, Austen Authors, book excerpts, British history, eBooks, family, Georgian Era, historical fiction, holidays, Jane Austen, Living in the Regency, Pride and Prejudice, publishing, Regency era, Regency romance, romance, Ulysses Press | Tagged , , , , , , , , , , , , , | Comments Off on A Closer Look at “Christmas at Pemberley”

A Writing Desk Fit for Jane Austen, a Guest Post from Laurie Benson

A Writing Table Fit for Jane Austen

This post originally appeared on Austen Authors, but I wished to share it with you. Laurie Benson shows us how cramped was the desk upon which Jane Austen created some of the world’s finest literature. Enjoy! 

IMG_1939.JPG Since I collect antiques, I thought I’d share one with your readers that might have appealed to Jane Austen. It’s my Georgian era writing desk. I confess, while it’s in my home and I adore it, the Georgian writing table is much too small for me to use as my primary desk. For Jane, however, it would have been ideal, since her desk was about the same size.

In 1809, Jane moved to Chawton Cottage in Hampshire with her mother, her sister Cassandra, and friend Martha Lloyd. If you visit Chawton Cottage today, you’ll see the small twelve-sided walnut table Jane sat in front of when she revised Sense and Sensibility and Pride and Prejudice. It’s also from this table that she penned Mansfield Park, Emma, and Persuasion.

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Jane Austen’s Writing Table at Chawton Cottage, courtesy of the Jane Austen House Museum

As was the custom of the day, she would have used a writing slope on top of the table. Inside her slope she would have kept her quills, inkpots, and paper.  Many slopes have hidden compartments. This Georgian era writing slope is one of mine.

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According to A Memoir of Jane Austen by her nephew James Edward Austen-Leigh, Jane’s table was located in the general sitting room of the house. This room had little privacy but thankfully for Jane, it had a creaking door. She never wanted this door fixed since it warned her of any approaching visitors. Once she heard the door creak, she would hide her manuscript before anyone could see it.  My writing table has a special feature that I think she would have appreciated and found quite useful.

When I stumbled across this mahogany table at my favorite antique shop, I fell in love with this little treasure dating from the Georgian era. It has one drawer, and a writing surface covered in felt that slides out of the front. While I was inspecting the piece, I discovered a silk brocade-covered panel on the lower back of the table that slides up and down. The owner of the shop was away at the time, and unfortunately his assistant couldn’t tell me anything about this feature.

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Once I got the table home, I looked through Judith Miller’s book Furniture World Styles from Classical to Contemporary and was thrilled to find a picture of a writing table almost identical to mine. The description of the table in her book reads:

English Writing Table: This one-drawer mahogany table has a leather insert top. A silk-upholstered, adjustable face screen is fitted to the back. It has square tapering legs with brass canisters. circa 1790 W. 17 inches.

With additional research I discovered a face screen was a useful feature. If you were sitting too close to the hearth, you could raise the face screen to shield yourself from the heat of the fire. Keep in mind during the Georgian era, many women and men wore makeup. To prevent your face from melting, you could raise the face screen.

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I also think Jane Austen would have liked the feature to prevent prying eyes from reading her writing.

B1vb1axDtmS._UX250_.jpg Laurie Benson is an award-winning author of historical romances published by Harper Collins. When she’s not at her laptop avoiding laundry, she can be found browsing museums or heading for the summit on a ridiculously long hike. She’s loves to chat with readers and fans of the regency era. You can find her on Twitter at @LaurieBwrites or on Facebook at www.facebook.com/LaurieBensonAuthor. To find out more about her books, visit her historical blog, or subscribe to her newsletter, visit her website at http://lauriebenson.net.

Nominated for Harlequin's 2017 Hero  of the Year!.png Her current release, An Unexpected Countess, is nominated for Harlequin’s 2017 Hero of the Year Award.

Sarah Forrester is an American diplomat’s daughter who must locate the fabled Sancy Diamond or her family will be ruined by a mysterious blackmailer. But the Earl of Hartwick has also been tasked by the Prince Regent with finding the diamond. Little does Hart know that the feisty woman he meets on a roof top is his competition. As they each follow the clues hidden in a bracelet, Sarah and Hart realize they will have to work as a team. Being together may be as dangerous to their hearts as the hunt is to their lives…and finding the jewel is only the beginning.

Amazon: getBook.at/UnexpectedAmzUni

Barnes & Noble: http://bit.ly/2kjGkIM

Google Play: http://bit.ly/2wEhmYm

iBooks: http://apple.co/2jUPGHq

Kobo: http://bit.ly/2jUOFiK

Also, check out these other titles from Ms. Benson…

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Happy Thanksgiving!

From my house to yours, I wish you a safe and restful Thanksgiving. I am spending the day with my favorite munchkins and their parents. 

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Tory Daughters: Jane Austen and the Brontës (an Overview)

Recently, I was asked by a local teacher to speak to her English class after the students had read Pride and Prejudice and Wuthering Heights. Below, you will find my notes for a comparison/contrast between the Brontës and Austen. As I have been out of the public classroom for several years, I did a bit of brushing up before opening myself up to lots of questions from these students. 

(Many of the key points below come from “Tory Daughters: Jane Austen and the Brontës,” from Patrick Parrinder’s Nation and Novel, 512 pages, Oxford University Press, November 15, 2008. This book is a fabulous resource, which I would highly recommend to others.)

(These notes are in no particular order.) 

Introduction to the early 1800s:
• Fictional romance requires that the young lovers defy social norms, but the novels of Austen’s contemporaries, such as Maria Edgeworth (I am currently reading “Castle Rackrent.”) reflect specific anxieties about marriage in the early 19th Century. For example, in “Castle Rackrent,” Edgeworth seems to be reconstructing an heir worthy of Irish legitimacy. As a female writer, Edgeworth appears to be fortifying the system of primogeniture, which separated women from access to property.
• The idea of a companionate marriage became increasingly dominant in the early 1800s. Austen’s novels did much to propagate this middle-class idea.
• Advocating love matches and companionate marriages in novels also held a symbolic element. Each new alliance represents a further weakening of the dynastic line. 
• A common complaint of Austen’s novels is her heroines marry for love. What the critic is missing is that the marriage can also hold political and social significance. Women can be active agents of cultural change. (See my posts on endogamous and exogamous marriages.)
• In a time when divorce was expensive and required Parliamentary approval, selfish and short-sighted family interests being set against the wider social interests that the lovers embody demonstrates the novelist implicit or explicit prejudices.
• Up until the Victorian period, the politics of marriage in English fiction reflected the social norms of the aristocracy and gentry. The narrative often frames and marks as “foreign” the literary conventions of sensibility. 
• The importance to the landed estate is England’s future is an element of the stories. The concept of primogeniture is reinforced.
• The English ‘Jacobin’ novelists of the 1790s (such as Charlotte Smith, Thomas Holcroft, and Robert Bage) produced parables of a reformed aristocracy rather than visions of an aristocracy overthrown by the people. Their novels tend to suggest that an enlightened aristocracy could still form the backbone of the English nation. Rarely do these narratives endorse any single, self-identical political future.
• The Church was a vocation open to the younger sons of the landed gentry. Members of the clergy were Oxford or Cambridge graduates.
• A clergyman’s life was associated with genteel poverty and a lack of ruling-class privilege.
• A clergyman’s daughters were so pressed to marry. Austen remained unmarried, while Charlotte Brontë eventually married the Reverend Arthur Nicholls.
• The English “courtship novel” appealed to female writers and readers.They reflected the tension between the traditional definition of womanhood in terms of the marriage mart, and women’s demand for moral independence and self-respect. Female-authored novels of the period made an attempt to frame sentiment as an outmoded, if still dangerously attractive structure of feeling.
• The heroines of courtship novels are outside the charmed circle from which aristocratic brides are chosen. They have no obvious dynastic responsibilities, and the marital expectations that have been formed about them are the vaguest.
• These heroines are relatively free and are conscious of their freedom; and coming from staunch Protestant backgrounds, they possess a moral conscience and a desire to take personal responsibility for their own lives. The movement between literature and history forms a transition between private and public meanings.
• The aim of the fictional plot in the courtship novel is not simply to portray the heroine’s growth towards self-fulfillment and a settled happiness. The happy ending translates her moral assets into material ones, suggesting that – in fiction, at least – virtue has its earthly reward.
• The Happily Ever After of the courtship plot rewards the most morally deserving pair of lovers while thwarting all rival claimants. The allegories of love and marriage are not only subject to particular forms of narrative inscription that ultimately determine their meanings but also deeply embedded with a political moment that demands closer attention. 
• The politics of the HEA ending depends upon its relationship to the conventional hierarchy of wealth and breeding. Most often, the established social power is unexpectedly reaffirmed while the aristocracy is revitalized by an infusion of social responsibility and Christian virtue (the typical dowry of clergyman’s daughter).
• The courtship novels lead us through romantic complications, intricate false alarms, and delicate misunderstandings to an endorsement of Tory England.

imagesJane Austen:
• Resided at Steventon Rectory
• She came from a solidly genteel background and was strongly anti-Jacobin.
• Her characters are far more ill at ease in fashionable society than those of the Jacobin novelists, whose politics she so disliked.
• The Jacobins remembered the anti-Royalist origins of the Whig party and dreamed of an alliance between radicals and reformed Whig aristocrats.
• For Austen, however, the 18th Century diversion between the Tory country gentry and the ruling Whig aristocracy was a deeply personal matter.
• Austen has been described as the “Tory daughter of a quiet Tory parson” and her novels as “Tory pastorals.”
• Although party names never appear in Austen’s fiction, the stinging portrayal of an aristocratic grande dame, such as Lady Catherine de Bourgh, implicitly involves party politics.
• Austen’s outspokenly Royalist teenage History of England, admittedly a burlesque, reveals the strong political opinions, which later mellowed into her family’s moderate Toryism.
• A Church of England parson held a duty to support the monarchy and the ruling class and to preach patriotism and social obedience to his flock.
• Patriotism accompanied paternalism. The parson also held the role of “spiritual father” to his flock.
• In Austen’s novels, it can be argued “the significance of marriage as a relationship between individuals…is always subordinate to its significance as a relationship between families.
• Austen’s characters are strongly individualized and are not carried away by the anarchy of romantic love.
• There is an important variation in Austen’s marriage plots, some of which are endogamous – as in Edmund Bertram’s union with his cousin Fanny – and some exogamous. Endogamous marriage implies the purification and consolidation of a house, a dynasty, or a community. It is a defensive, protective measure. Exogamous marriage is a union of opposites – political, social, and temperamental – injecting new blood into one of the nation’s old or ruling families.
• The culminating marriages in Austen’s fictions are socially and economically far more advantageous to the heroine than the hero. Moreover, exogamous marriage is fraught with danger in her novels.
• To marry openly for economic advantage (as with Charlotte Lucas in Pride and Prejudice) is to invite the novelist’s scorn.
• Those who marry beneath them in essentials are set for misery (such as Mr. Bennet in Pride and Prejudice and Sir Thomas Bertram in Mansfield Park).
• Austen’s heroines must resist easy captivation and must appear to disregard material considerations so their ability to contract a wealthy marriage becomes a tribute to their integrity alone. The heroine who rejects the handsome cavalier or bounder in favor of the unbending man of virtue (or prig) is set to fulfill her destiny.
• Her “cavaliers” are characterized by vacillation, self-contradiction, and inconsistency. They are all “Beta” males.
• Ironically, Austen uses many “Whig” names in her stories: Wentworth, Woodhouse, Watson, Bertram, Brandon, Churchill, Dashwood, D’Arcy, Fitzwilliam, Russell, and Steele.
• A self-imposed limitation of Austen’s novels is she only “hints” at social change.

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Charlotte Brontë:
• Resided at Haworth Parsonage
• The Brontë sisters were daughters of an Irish father and a Cornish mother, who idolized the Anglo-Irish Duke of Wellington, the victor of Waterloo and, eventually, a Tory prime minister.
• Wellington and his brothers are the central figures of the fantasy world of the Class Town (later Angria) created by Charlotte and her brother Bramwell in their youth.
• At the age of 13, Charlotte copied out Walter Scott’s tribute to Wellington in his Life of Napoleon Bonaparte, adding the following exclamation: “If he saved England in that hour of tremendous perils, shall he not save her again?”
• The Victorian critic Leslie Stephen saw Charlotte Brontë as a typical example of the ‘patriotism of the steeple.’
• Charlotte thought of herself as the antithesis of Austen.
• Charlotte, for all her sympathy with oppressed woman, was a political conservative and an ardent admirer of Walter Scott.
• Her novels are “a marriage of identifiably bourgeois values with the values of the gentry or aristocracy – a figurative political marriage.”
• Jane Eyre’s whole life is determined, as we gradually realize, by a series of rash and impolitic marriages in preceding generations.
• At every stage of the novel, the young Jane is the chosen pilgrim following a predestined path, while her imagination continues to construct fictional versions of herself; her true identity is gradually revealed.
• In Jane Eyre, we see a Victorian “English-ist” in the characters. Those outside of England (Rochester’s French mistress, the Francophile Whig aristocracy represented by Blanche Ingram, etc.) set against the superiority of the English (Jane Eyre).
• The deepening love between Jane and Rochester is one of the English novel’s crowning examples of an exogamous sexual romance based on the attraction of social and historical opposites.
• Jane Eyre escapes from Rochester only to find herself being endogamously courted by St John Rivers, the country vicar and Puritan saint, who is her cousin.
• Where Rochester would have lured her into a bigamous marriage, Rivers proposes a mere marriage of convenience, not a love match or a union likely to lead to offspring.
• Rochester’s marriage to Bertha Mason was intended to carry colonial wealth back to England, while Rivers plans to export evangelical spirituality to India and tells Jane it is her duty to assist him.
• What Jane detects in Rivers is the self-mortifying patriotism of the new breed of British imperialists.
• Their life at Ferndean is one of repatriation and restoration.
• Rochester’s blindness is the blindness of Samson, but Jane’s arrival at Ferndean puts him back into familiar English hands.

Emily Brontë:
Wuthering Heights is understood as a provincial novel, portraying violent and brutal extremes of behavior and set in a wildly romantic landscape.
• The primitiveness of the Yorkshire moors is registered through the eyes of the southern-bred Lockwood.
• The novel’s confined topography is in sharp contrast to the cosmopolitan settings and incessant journeyings of the Gothic and Jacobin fiction to which it is indebted.
• Brontë balances the Gothic material in WH against a tale of courtship and domestic passion.
• The striking two-part structure, with bitter conflict in the first generation and gradual reconciliation in the second, had been anticipated in at least one earlier courtship novel, A Simple Story (1791) by Elizabeth Inchbald, the author of the English version of Kotzebue’s Lovers’ Vows, which was performed as part of the story of Austen’s Mansfield Park.
• In Wuthering Heights, provincial Puritanism to some extent takes the place of A Simple Story’s high bred Catholic spirituality.
• The Puritanical sermons of Joseph and Jabes Branderham set a devotional context for the love story.
• Catherine’s admitting her love for Heathcliff is a kind of neo-paganism or romantic nature worship. Her words are a poetic metaphor rather than inspired truths, and are deeply false.
• Catherine is portrayed as cruel and self-destructive as is her brother Hindley.
• Heathcliff is the Holy Ghost whom Joseph and Branderham wished to see excommunicated. This means the romantic passion of Catherine and Heathcliff is not a bond between external soul-mates, but a union of opposites, a Puritan-Cavalier love tragedy in which the vengeful Puritan outcast attempts to drag his former lover down to destruction.
• The more Catherine accepts the namby-pamby lifestyle into which she has married, the more Heathcliff accepts his demonic role of eternal excommunication.
• Heathcliff’s elaborate plan of revenge cannot prevent a growing alliance between the Earnshaws (remnants of the old yeoman class of independent farmers) and the Lintons (genteel land owners).
• Heathcliff’s death sums up the novel’s themes of dynastic succession, sin and punishment, excommunication, and devil-worship. He has made arrangements for an un-Christian burial.

Similarities/Differences:
• Their novels reflect their authors’ rural and Anglican backgrounds and their concern with patriotism, paternalism, pastoralism, and the moral accountability of the individual.
• Patriotism is a stronger emotion in Austen and Brontë than in most English women novelists before or since.

Jane Austen Film Adaptations:

*  Unleashing Mr. Darcy (2016) – TV

 * Love and Friendship (2016) – Film

* Austentatious (2015) – TV Series
 * Pride and Prejudice and Zombies (2015) – Film

* Northbound II (2015) – TV Series (modern Northanger Abbey)
 * A Modern Persuasion (2014) – Film

*  Pride and Prejudice (2014) – TV mini-series
 * Sense and Sensibility (2014) – Film

* Lady Susan, Missing Masterpiece (2013) Short Film 
 * Death Comes to Pemberley (2013) – TV mini-series

* Emma Approved (2013) – TV Series 
 * Austenland (2013) – Film
 * Pride and Prejudice: Having a Ball (2013) – TV Movie/Documentary

* The Lizzie Bennet Diaries (2012) – TV Series

 * Scents and Sensibility (2011) – Film
 * The Many Lovers of Miss Jane Austen – TV Movie/Documentary
 * Pride and Prejudice: A Modern Day Tale of First Impressions (2011) – Film
*  Prada to Nada (2011) – Film – modern day Sense and Sensibility with a Spanish “flavor”
 *Aisha (2010) – an Indie film version of Emma
*Jane Austen Handheld (2010) – Film – told through a documentary-style film format
Emma (2009) a BBC TV mini-series
Sense and Sensibilidad (2008) – Film
*Lost in Austen (2008) – TV mini-series that takes the main character into the novel’s pages
Sense and Sensibility (2008) – TV mini-series
Jane Austen Trilogy (2008) – a documentary with bibliographic intentions
Miss Austen Regrets (2008) – a made-for-TV show based on Austen’s letters
The Jane Austen Book Club (2007) – film based on the popular best-selling book
Mansfield Park (2007) – TV movie
Northanger Abbey (2007) – TV movie
Persuasion (2007) – TV movie
Becoming Jane (2007) – popular film based on Austen’s letters
Pride and Prejudice (2005) – Film
Bride and Prejudice (2004) – Indie film
Pride and Prejudice (2003) -modern adaptation film
The Real Jane Austen (2002) TV movie/documentary based on Jane Austen’s letters
Kandukondain, Kandukondain (2000) Film based on Sense and Sensibility
Mansfield Park (1998) – Film
* “Wishbone”- “Pup Fiction” (1998) -an episode of the popular TV show
* “Wishbone”- “Furst Impressions” (1997) – an episode of the popular TV show
Emma (1996) – TV movie
 Emma (1996) – Film
Sense and Sensibility (1995) – Film
Persuasion (1995) – TV movie
Pride and Prejudice (1995) – TV mini-series
Sensibility and Sense (1990) – TV movie
* Northanger Abbey (1987) -TV movie
Mansfield Park (1983) – TV mini-series
Sense and Sensibility (1981) – TV movie
* Jane Austen in Manhattan (1980) – Film
* Pride and Prejudice (1980) – TV mini-series
Emma (1972) – TV mini-series novel
* “Novela” – “Persuasión” (1972) -TV series episode
Sense and Sensibility (1971) – TV movie
Persuasion (1971) -TV mini-series
* “Novela” – “La abadía de Northanger” (1968) -TV series episode
Pride and Prejudice (1967) – TV series
* “Novela” – “Emma” (1967) – TV series episode
* “Novela” – “Orgullo y prejuicio” (1966) -TV series episode
* “Vier dochters Bennet, De” (1961) – TV mini-series based on Pride and Prejudice
Emma (1960) – TV movie
Camera Three (1960) – TV series based on Emma
Persuasion (1960) – TV mini-series
Pride and Prejudice (1958) – TV series
Pride and Prejudice (1958) – TV film
* “General Motors Presents: Pride and Prejudice” (1958) – TV series episode
* “Orgoglio e pregiudizio” (1957) – TV mini-series
* “Matinee Theater: Pride and Prejudice” (1956) – TV series episode
* “Kraft Television Theatre: Emma” (1954) – TV series episode
Pride and Prejudice (1952) – TV mini-series
* “The Philco Television Playhouse: Sense and Sensibility” (1950) – TV series episode
* “The Philco Television Playhouse: Pride and Prejudice” (1949) – TV series episode
Emma (1948) -TV film
Pride and Prejudice (1940) – Film
Pride and Prejudice (1938) -TV

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The 1832 Cholera Outbreak in England

Lieutenant-General Lord William Henry Cavendish-Bentinck, known as Lord William Bentinck, was a British soldier and statesman. He served as Governor-General of India from 1828 to 1835. In 1831, he wrote a letter to his brother, the Duke of Portland, in which William described the spread of cholera in India. (Read the Transcript of Pw H 287/1-3: Letter from Lord W.H. Cavendish Bentinck, Camp Bahadaghur [Bahadurpur], India, to [W.H.C. Cavendish-Scott-Bentinck] 4th Duke of Portland, Cavendish Square, London; 4 Dec. 1831 (Pw H 287/1-3HERE)

2-cholera-epidemic-1892-granger.jpgEarlier than the descriptions Lord William Bentinck, cholera was noted in Jessore, India, in 1817. It spread quickly to Russia by 1823, to Hamburg, Germany, by 1831, and the first case in London was documented on 12 February 1832. Thankfully, only about 800 victims were named in the East London slums. “In 1832 more people died of tuberculosis than cholera, and a child born of a labourer in Bethnal Green had a life expectancy of only 16 years. However, cholera evoked a response in social terms, and a contribution to the development of public health, of far more significance that its effect on mortality at the time.

“Although the ‘Cholera Morbus’ is what we now call just cholera, the terms ‘Asiatic’, ‘spasmodic’, ‘malignant’, ‘contagious’ and ‘blue’ were also used to describe this new disease, generally thought to be a more serious form of the contagious cholera already well known. It was confused with, or thought to be the same as, ‘common’ or ‘English’ cholera, dysentery and food poisoning frequent in this country during the summer months. What actually caused the disease or how it was spread, was not understood until well after 1832 but it is now clear that the bacterium Vibrio comma, if drunk in water contaminated with infected sewage, causes a mild fever that usually gets better within a week. A poison produced by the bacterium however stimulates a profuse diarrhoea that may prove fatal if the vast quantities of water and salts lost are not replaced. Thus it is not a serious disease if treated correctly, but doctors in the 1830’s generally tried to restrict fluid intake, to prescribe emetics and purgatives, and even to bleed their patients, trying to ‘equalize the circulation’.

“The disease was first noticed among British troops in India, and vivid accounts appeared in the press of the effects of cholera in St. Petersburg, Russia. This first hand knowledge of the disease, and reports of the mortality it could cause in large cities, led the Privy Council to put all ships for Russia arriving in England under quarantine in January 1831. The Privy Council had set up a Central Board of Health in 1805, after concern about yellow fever arriving in Britain. This was reconstituted, and met daily from June 1831 to May 1832. It issued circulars and gave advice to parochial Vestry Committees, who were responsible for the precautionary measures taken within their own parishes.” (Mernick THHOL)

European cities attempted to contain the disease by placing all ships under quarantine. The London docks held ships in Standgate Creek, near Deptford, for ten days. A physician had to pronounce the ship disease free before it could proceed to unload and before men were allowed to enter the country.  Unfortunately, this method was not completely effective in stymieing the disease’s slow march across London.

the last three days of this period to be bona fide employed under proper supervision in opening hatches …. and ventilating the spaces between decks by Windsails, and opening, airing and washing the Sailors’ clothes and bedding. [CBH Letter-book PC 1/93, 17 November 1831.]

 

London_Board_of_Health_searching_the_city_for_cholera_Wellcome_V0010896.jpgMerrick THHOL also tells us (along more on specific cases), “During December and January there were a large number of cases of suspected cholera in London, and the prospect of an epidemic received a lot of attention. Even a play was produced, called ‘Cholera Morbus, or Love and Fright’, in which a man dispersed a crowd in terror by shouting ‘collar her’ after a girl who had picked his pocket, allowing her to run free. The Times thought this an outrage and an indecency. 

“Of the 48 cases investigated by the Central Board before February, probably only one or two on the river were the Asiatic cholera; the illness of John Potts received the most attention, although it was only dysentery. He was a sailor recently arrived from Sunderland on the collier Mould, and waiting to work north on the Dirt. Taken ill with vomiting and cramps, he was removed to Shadwell Workhouse, where he soon died, on 18th January. A postmortem examination was performed, and a twenty-inch length of his intestines carried to the Central Board at Whitehall by the parish beadle. The inquest was held in the George and Dragon public house on Shadwell High Street, and was attended by representatives from all the neighbouring parishes, but the verdict was that ‘the deceased had died by the visitation of God, from natural causes, and not from the Cholera Morbus’.”

By 1832, the disease reached Britain for the first time. Reports from Nottingham say that the first victim was a Mr T. Farnsworth of Lees’ Yard, Narrow Marsh. The disease spread mainly through the poorer districts, until it affected some 1,000 people and caused nearly 300 deaths.

19022.37722.jpg Very unusual remedies against cholera were advertised in the press. The University of Nottingham website quotes: “In the absence of proper understanding of the medical causes of cholera, people were persuaded to try a variety of preventatives and cures which were advertised regularly in the press. Cures ranged from mixtures of tincture of rhubarb, salvolatile and essence of peppermint, to Dr. Norris’s Fever Drops (described as ‘Most efficacious’) and concentrated Ilkeston water, the latter being credited with the cure of Mr. Hollingworth’s son.” (see Extracts from Nottingham Journal 4 and 25 August 1832 HERENevertheless, according to an 1849 report of the Sanitary Committee of the Borough of Nottingham, ‘this terrible scourge the Cholera fixed itself in 1832 in Streets and Courts filthy, ill ventilated and crowded with inhabitants too poor, dirty or dissipated to procure necessary food or use the most common means to secure health’. [source: Records of The Borough of Nottingham, Vol. IX, 1849, p. 71]

05-0506m-map-houses.jpgFrom the East Midlands Collection Not 3.D14 FIE: Extracts from Henry Field, The date-book of remarkable and memorable events connected with Nottingham and its neighbourhood, from authentic records. Part 2, 1750-1884. (Nottingham: H. Field, 1884), we learn something of the spread of the outbreak. 

For more information, you might also explore History Home 

or London and the Thames

or Cholera in Sunderland 

or for a look at the same epidemic in America, try ThoughtCo

 

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The Theatre-Loving Fore-Runners of Shakespeare ~ Part I

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Nicholas Treveth c. 1328 ~ Public Domain https://en.wikipedia.org/wiki/Nicholas_Trivet

 With the rediscovery of the works of Seneca, Plautus, and Terence, the renaissance of 16th Century England began. First edited in 1308 by an Nicholas Treveth, the tragedian Seneca remained unnoticed for some time by those in England, for Treveth resided in France at the time. Treveth was an Anglo-Norman chronicler, who was the author of a large number of theological and historical works and commentaries on the classics, more especially the works of Seneca. Many of these exist in MS form. in various libraries, but only two appear to have been printed, one being the work by which he is chiefly remembered, the chronicle of the Angevin kings of England; the other was the last twelve books of his commentary on St. Augustine’s treatise De civitate dei. The full title of the former work is Annales sex regum Angliae qui a comitibus Andegavensibus originem traxerunt, an important historical source for the period between 1135 and 1307, containing a specially valuable account of the reign of Edward I, who was his contemporary. (Nicholas Trivet)

Albertino, an Italian, had written an original verse play, using the Senecan model, in 1310. Albertino had been crowned with the laurel wreath for his efforts. This was followed by numerous rhymed dramas, with the most important of the time arriving in 1541 with the performance of Cinthio’s Orbecche, termed to be “the first regular tragedy in the vernacular produced on a modern European stage.” Orbecche is a tragedy written by Giovanni Battista Giraldi in 1541. It was the first modern tragedy written on classical principles, and along with Sperone Speroni‘s Canace, was responsible for a sixteenth-century theoretical debate on theater, especially with regards to decorum.  It was produced in Ferrara in 1541, with incidental music composed by Alfonso della Vivuola and sets by the painter Girolamo da Carpi. Ercole II d’Este was present at the premiere, which took place at the playwright’s house. The play was printed in 1543, with several additions for the reader’s benefit. Though the play followed Aristotelian principles in terms of structure, thematically it was Senecan, featuring vengeance, rage, hate, and the depiction of violence. (Orbecche) [Note: Shakespeareʹs primary source for Othello and for Measure for Measure was a story in Giraldi Cinthioʹs Gil Hecatommithi, which was published in 1565. ~ For more on the similarities, please go to this piece from the British Library. For an 1855 translation, please go HERE.]

France was also writing classical plays before the English, but their insistence upon unity of action and upon long choral lyrics did not appeal to the English. 

250px-Portrait_of_Thomas_Legge_LLD_by_Sylvester_Harding

Portrait of Thomas Legge by Sylvester Harding ~ https://en.wikipedia.org/wiki/Thomas_Legge

The Italians were also the first to explore Comedy. Petrarch wrote Philologia in 1331. He based it upon the work of Terence. The period of neo-Latin imitations began in seriousness in 1427 with the recovery of 12 lost plays by Plautus. By 1521, Henry VIII provided his guests with a Plautus comedy. Even English themes were turned into performances in Latin. Thomas Legge‘s Richard Tertius Tragedia, a play based on the life of Richard III, was performed at Cambridge around 1580. 

Before the time of Shakespeare, the English drama was either a comedy, a tragedy, or a chronicle/historical play. In truth, the three types overlapped. A tragedy might have historical elements and might use comedy as a relief of tension in the action. There were also equally arbitrary subdivisions of romance, classics, satire, etc.

The historical chronicle play was the most distinctive of the early English plays in form and subject matter. The comedy found within this early attempts was based on the comedy of the old sacred scripts. They presented both real and mythical national heroes. The chronicle and the morality plays were often blended together. For example, “Bishop John Bale in 1538 vigorously distorted history to defy the Pope of Rome in his King John. In a a sense this play is not a chronicle, for its purpose was decidedly more polemical than historical. Yet Bale presents actual historical figures on the stage, although in peculiar fashion. Only King John is a person throughout. The others begin as abstractions, but near the end of the first of the two acts Sedition assumes the name of Stephen Langton, Usurped Power becomes the Pope and other abstractions take historical names.” [Parks, Edd Winfield and Richmond Croom Beatty, The English Drama 900 – 1642, New York, W. W. Norton, 1963, 99.] As one can easily observe, Bale was an English clergyman, historian, and controversialist, and Bishop of Ossory. He wrote the oldest historical verse drama [King John] and developed and published a very extensive list of the works of English authors down to his own time, just as monastic libraries were being dispersed. His unhappy disposition and habit of quarreling with authorities earned him the nickname of “bilious Bale.” (John Bale) 

Over 150 chronicle-style plays were produced between the late 1500s and the first decade of the 1600s. These were plays of national pride, ones designed to appeal to the audience, but not ones of historical accuracy. To Elizabethans, this was a cause to know shame at the general populace. Dramatists employed such resources as Stowe‘s Chronicles of England (1585) and Holinshed‘s Chronicles of England, Scotland, and Ireland (1577). Shakespeare is thought to have used Holinshed’s Chronicles as the source for the majority of history plays, most notably for Macbeth, King Lear, and Cymbeline. Christopher Marlowe is also credited with the use of Chronicles from Holinshed. 

According to Winfield and Beatty (p99-100), “The first important chronicle play was The Famous Victories of Henry V, first acted about 1580. The play may have been written by the actor Richard Tarlton; certainly, as Derick the clown, he made the play almost entirely his own until his death in 1588. The Famous Victories has no Falstaff, but it has many comic incidents which Shakespeare used to advantage in Henry IV. Soon after 1585 the stage became crowded with these plays: only John Lyly, of all the prominent playwrights who preceded Shakespeare, escaped association with them. In the hands of these diverse dramatists, the chronicle broke up into several forms: strictly historical, legendary, pseudo-historical, etc. They might be tragic or comic. Thus Marlowe’s Edward II or Shakespeare’s Henry V is reasonably authentic, with the first tragic and the second a comedy; but Shakespeare’s King Lear is so little historical that it is commonly regarded as a tragedy rather than a chronicle. Good examples of pseudo-historical are Robert Greene‘s Scottish History of James IV and Friar Bacon and Friar Bungay, in which the author employs historical figures without the slightest regard for historical accuracy.

Established dramatists without hesitation reworked the older and cruder plays, as Shakespeare did the Famous Victories  and the anonymous King Lear (usually assigned to the early 1580s). Many other plays which have survived seem possible re-workings of old plays by several different men, with the authors so completely confused that to unravel the tangle seemed hopeless. The classic example of this is the Henry VI trilogy usually reprinted in Shakespeare’s works. There was an earlier play; either in this earlier form or in the final version of Thomas Lodge, Robert Greene, George Peele, Henry Chettle, Thomas Kyd, Christopher Marlowe, William Shakespeare, and some others; and very plausible reasons can be given for each man named. The historic play was a medium which was new and fluid, with few rules or few examples to follow. As a rule, the best plays are by single dramatists who imposed upon this loose form a certain unity of personality, if not of action. The history borrowed many of the characteristics of the epic. In this form it held an amazing popularity throughout the reign of Elizabeth I. Even Ben Jonson wrote a romantic tragedy of this type, his lost Richard Crookback, before he turned to classical tragedy, and he experimented with an English subject cast in the strictest classical mold in the fragmentary Mortimer His Fall (1602). Shakespeare’s successors were less attracted by the chronicle, although Fletcher, Webster, Heywood, Rowley, and many another wrote such plays. Only John Ford‘s Perkin Warbeck was outstandingly successful. Apparently, soon after the accession of James I, the national spirit lost its high and unified nature; as it ebbed and broke into diverse streams, the chronicle play, of great national deeds and heroes gradually became less popular. Long before the close of the theatres in 1642, it had practically been abandoned by the playwrights. 

 

 

Posted in Anglo-Normans, British history, drama, England, kings and queens, medieval, playwrights, theatre | Tagged , , , , , , , , , , , , , , , , | Comments Off on The Theatre-Loving Fore-Runners of Shakespeare ~ Part I

Austen and Autism, a Guest Post from Elaine Owen

This post originally appeared on Austen Authors in June 2016 as Elaine Owen’s first post with our group. I thought it worthy to share it here. 

These days it seems like you hear about autism everywhere, and that includes in the world of Jane Austen. Some people say that Fitzwilliam Darcy, our aloof and haughty hero, typifies the isolation and lack of social graces that are the hallmarks of autism. In this, my first blog post on Austen Authors, I thought it would be interesting to take a deeper look at this question.

My own interest in the topic stems from having a child firmly on the autism spectrum, and from having several other close family members with Asperger’s syndrome (a milder form of autism). I live, eat and breathe autism every day. In fact, my writing career started in part as a response to the stress of having to deal with securing services for our daughter as she makes her transition from a school setting to an adult with autism. If it weren’t for autism and the therapeutic escape of writing Jane Austen fan fiction, I wouldn’t be posting on this blog today.

Darcy, we are told, is insensitive to the feelings of others, especially those who are his social inferiors. He’s haughty. He’s arrogant and more than a little proud of himself. He sits out dances if the mood takes him, rejecting the social requirements of the day. He feels free to meddle in the lives of others. More than that, he seems utterly oblivious to the effect he has on other people. Few men, for instance, would dream of insulting the woman they love even while they ask for their hand in marriage. In short, Darcy seems to live in his own insulated, hyper-rich, snobby world, unable to properly relate to those around him. In fact, he’s not all that different from the character of Sheldon (often described as autistic) on The Big Bang Theory. 

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But take a closer look. Darcy’s actions are all about choices. He doesn’t sit out dances because he doesn’t understand the social rules; he sits them out because he does understand them, and he prefers not to interact with those he views as inferiors. He readily comprehends the various kinds of social gaffes committed by Mrs. Bennet, Mr. Bennet, the younger Bennet daughters, and even Caroline Bingley, and he has no problem using both verbal and non-verbal means to communicate his own feelings about them. His interactions with Elizabeth, on and off the dance floor, are both sophisticated and subtle. None of these are characteristics of somebody on the autism spectrum.

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Most importantly, Darcy is able to overcome his character flaws because of his love for Elizabeth, not because he suddenly overcomes a disability. He doesn’t need help to understand how badly he has treated those around him—he needs someone in his life who makes him want to try to do better, and that person is the one woman who will not accept him until he does. Elizabeth (and we readers) fall in love with Darcy not because he can’t help himself, but precisely because he can.

So no, I don’t think you can make a strong case for Darcy having autism.

But if you want to make a case for this guy having a social and communication disability…

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I won’t argue with you.

Here are a couple of links in case you want to read more about the debate over Darcy being on the autism spectrum:

http://www.telegraph.co.uk/news/uknews/1547881/Why-Mr-Darcy-was-the-strong-but-silent-type.html

https://www.theguardian.com/books/booksblog/2007/apr/04/dontdiagnosefictionalcharac

 

Meet Elaine Owen: Elaine Owen was born in Seattle, Washington and was a precocious reader from a young age. She read Pride and Prejudice for the first time in ninth grade, causing speechless delight for her English teacher when she used it for an oral book report. She practiced writing in various forms throughout her teen years, writing stories with her friends and being chief editor of the high school yearbook. She moved to Delaware when she married.

In 1996 she won a one year contract to write guest editorials in the Sunday edition of The News Journal in Wilmington, Delaware, and she continued her writing habit in political discussion groups and occasional forays into fiction.

In 2014 she began to write Pride and Prejudice fan fiction and decided to publish her works herself to see if she might possibly sell a few copies. Thousands of books later, the results have been beyond her wildest hopes, and she plans to continue writing fiction for the foreseeable future.

When she’s not writing her next great novel, Elaine relaxes by working full time, raising two children, volunteering in her church, and practicing martial arts. She can be contacted at elaineowen@writeme.com. Look for her on Facebook!

  

 

 

 

 

 

 

Posted in Austen Authors, Georgian England, Georgian Era, Guest Post, Jane Austen | Tagged , , , , , | 2 Comments

Goin’ Courtin’ Regency Style

One of my MOST favorite movies is Seven Brides for Seven Brothers. I always dearly loved Howard Keel, and Jane Powell was the perfect foil for his Alpha male persona in the film. There is one song sequence in which Jane Powell, as Milly, teaches the six younger brothers the protocol of “Goin’ Courtin’.” 

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Goin’ courtin’, goin’ courtin’
Oh it sets your senses in a whirl.
Goin’ courtin’, goin’ courtin’
Dudin’ up to go and see your gal.
Oh, it’s fun to hunt and shoot a gun,
Or to catch a rabbit on the run
But you’ll find it’s twice as sportin’ goin’ courtin’.
Now there’s lots o’ things you gotta know
Be sure the parlor light is low
Y’ sidle up and squeeze her hand
Let me tell you fella’s that is grand.
You hem and haw a little while
She gives you kinda half a smile.
You cuddle up she moves away
Then the strategy comes into play.

But what of “courting” in the Regency Period? 

Society during the Regency era expected strict propriety from its young people. Sometimes the rules were strict and unreasonable, but somehow the youth of Jane Austen’s time managed to come together.

Young men of the time were often older than the women they courted. Men were expected to establish themselves before seeking a wife. They were expected to have sound financial prospects, especially if they were not the eldest son and expected to inherit the family property. Men often sought wives straight from the schoolroom, meaning ages 16 and 17 because childbirth was difficult for a woman of the era. (One must remember that the average was eight pregnancy during the woman’s lifetime. Naturally, not all were births because of the poor medical conditions.) It was thought that a younger wife could withstand those difficulties more easily than a “woman on the shelf” (women of 25+ years of age). An heir and a spare was expected of the marriage. In addition, the women of the gentry and the aristocracy were expected to secure her financial future with her marriage, for she had few other options than to marry. Control of their lives were transferred from their fathers/guardians to their husbands.

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It is the standard belief, especially in romance novel set in the Regency, that at age 16 a girl of the gentry made her Come Out, which was a formal introduction of the girl to Society. In truth, it was customarily between age 16 and 18. Depending on the number of sisters waiting to be presented in their own turn, the timing of the girl’s appearance in Society could vary. The “Come Out” was the “signal” that she was prepared to become a bride. New dresses and jewelry and riding habits, etc., were required for the young lady’s debut. She would be “on display” at all times, and people would be evaluating her elegance and manners. The Season in London involved balls, soirees, the theatre, assemblies, trips to the museum, and a long list of places to see and be seen. During this period, the young lady could finally participate in conversation with adults and her suitors. I often wonder of the thrusting of young ladies into a world in which they had little experience. The men were permitted their sowing of the their oats, but women were held in check. 

In Jane Austen’s Pride and Prejudice, Lady Catherine De Bourgh is flabbergasted by the news that all five Bennet sisters are Out at the same time “The younger ones out before the elder are married!” Of course, Elizabeth Bennet defends her mother’s lax sense of propriety by saying, “I think it would be very hard upon younger sisters, that they shouldn’t have their share of society and amusement because the elder may not have the means or inclination to marry early.” It was not impossible to have more than one daughter Out at the same time, but the expense of doing so was an issue. The expense of multiple daughters out at the same time could have been staggering to a man such as Mr. Bennet. When Charlotte Lucas finally marries at age 27, her sisters her happy because “hopes of coming out a year or two sooner than they might otherwise have done” arise. Younger sisters often had to wait for the older to become engaged or married before they would be permitted an appearance in Society. 

A young lady making her debut not only required a financial outlay, but a strategic plan, so to speak. A bevy of connections were necessary in order to receive the proper invitations to the most Town-worthy events. It was quite a coup to be seen at the best events, and a girl required numerous relations and acquaintances aiding her success, not to mention fashionable clothes, subscriptions to balls, tickets to the theatre, a carriage, etc. 

Girls of the aristocracy would likely come to London during the Season (which varied somewhat depending upon when Parliament was in session). A ball in her honor would be on the agenda, as well as a Presentation at Court, which required a sponsor and expensive gown, which was regulated by Queen Charlotte. “Female gowns worn at court during the Regency era looked ungainly. Instead of the lovely columnar silhouette of the Grecian-inspired draped gown, court gowns at this time made their wearers resemble the upper half of an extravagantly decorated apple or a pregnant cake topper. These custom creations, made with sumptuously expensive materials, adhered to the rules laid down by Queen Charlotte, who presided over the royal drawing rooms until her death.Earlier Georgian gowns flattered a lady’s waist, with corsets that made the waist seem miniscule. As waists rose, the silhouette of the gowns became grotesque, swallowing a lady’s figure in a ball of fabric.” (Awkward! The Regency Court Gown) 

After receiving the Queen’s notice, the young woman’s could receive a proper gentleman caller. Society would welcome them into their outstretched arms. This would include girls like Miss Georgiana Darcy and Miss Anne de Bourgh (had her health allowed of course.)

Girls of the gentry, who did not expect a Season in London, could perhaps lay claim to a ball or an evening of entertainment dedicated to her Come Out. In Jane Austen’s Mansfield Park, Fanny Price’s uncle held a ball in her honor marking her coming out. These events were designed to show off the girl to potential suitors. Aunt Phillips likely had the idea of her invitation to supper for Mr. Wickham and Captain Denney being a stepping stone in placing the Bennet sisters before the gentlemen. Sometimes the event was more of a public nature as was the Meryton Assembly in Pride and Prejudice. Mrs. Bennet was determined to place Jane before Mr. Bingley, for the man was said to be wealthy. If Jane could be place thusly, then her eldest daughter’s marriage could place the other four girls in the path of equally rich gentlemen. 

A proper young lady was to have a chaperone in tow at all times. Often, a chaperone traveled with the husband and his new bride on their “honeymoon.” Eligible gentlemen were only to give their attentions to the young ladies who had made their Society debut. A young woman who was Out could engage in conversation with eligible gentlemen, could attend formal dances and social outings, and could walk out with a gentleman, if she was properly chaperoned. Girls, who were not Out, could not engage in conversation until a parent or other familial adult asked her a question. She could only walk out with a male relative (again with a chaperone). Many girls wore what is known as a “close bonnet.” This was a hat with a deep brim, which hid most of the girl’s countenance from view. She was not to be “seen” until the proper time of her Come Out. 
imagesTom Bertram in Austen’s Mansfield Park relates a story of a young lady who did not practice decorum. The girl approached Tom at a party, claiming him an acquaintance and “talked and laughed till [he] did not know which way to look.” In sharp contrast is the novel’s heroine, Fanny Price. At Fanny’s Come Out, the guests note that Fanny is “attractive…modest…Sir Thomas’s niece…and soon to be admired by Mr. Crawford. It was enough to give her general favour.”

You will notice I have said nothing about “LOVE.” That was not part of the equation. A match that would benefit both the male and the female was all that mattered. If affection became part of the arrangement, then the situation was blessed. Those of the lower gentry and the working class would have more options revolving romance in the marriage. 

Posted in Austen Authors, estates, family, film, George Wickham, Georgian England, Georgian Era, historical fiction, Jane Austen, kings and queens, literature, Living in the Regency, marriage, marriage customs, Pride and Prejudice, romance | Tagged , , , , , , , | 2 Comments

Proving Lines of Succession + Release of “The Earl Claims His Comfort”

Succession for a Peerage

What happens to a peerage if the peer cannot be found or is presumed dead? What becomes of his wife? His children? This is a familiar plot in many Regency novels. I used it in the first book of my Twins’ trilogy, Angel Comes to the Devil’s Keep. Angelica Lovelace’s father is the third son in the family, but when his eldest brother goes missing and the second son is dispatched with in an unusual plot twist, Horace Lovelace becomes the heir presumptive to the title. However, no one can be certain of the eldest’s death. People saw the Peer go overboard on his “honeymoon,” but there is always the possibility of his still being alive. [No “Gilligan’s Island” plot, but anything is possible.] Obviously, the authorities must wait to see if the Peer’s wife is pregnant and if she delivers forth a son, who would then be the heir apparent and displace Horace in the line of succession, but then what?

Such a search could take forever if there is no child to become the heir. We customarily think that after a person is missing for seven years, that he is declared dead, but that is not so in the case of a peerage. The search could take several lifetimes, though the Committee on Privilege of the House of Lords and the College of Arms may choose to set a time limit. Until the Peer is officially declared dead, his “widow” cannot remarry.

It could be possible for the heir apparent or the heir presumptive to act in the Peer’s place to oversee the property and the business of the peerage, but he cannot officially claim the title until a decision on the Peer’s death has been made.

Another incidence of inheritance plagues book 2 of the Twins’ trilogy, The Earl Claims His Comfort. In it, a doppelgänger attempts to unseat Levison Davids, 17th Earl of Remmington, by claiming the earldom is his rightful heritage. So what really occurs when there is a question as to the line of succession?

First, let us clear up some misconceptions. The most confusing of those, for some, is the difference between an heir apparent and an heir presumptive. The heir apparent can only be the peer’s oldest living son or the oldest of his grandsons ( son of the oldest son), if the peer’s oldest son is deceased. What’s most important to remember is that “if a man inherits a peerage, it is because he is the eldest surviving legitimate male who can trace a direct (father to son) lineage back to an earlier holder of the peerage. In other words, he doesn’t inherit because he was the brother or the cousin or the uncle of his predecessor, but because his own father, or grandfather, or great-grandfather, or great-great-grandfather, etc., was an earlier holder of the peerage. [“Eldest” in this context doesn’t mean that he happens to be the oldest of several different living men who can trace a direct line back to an earlier holder of the peerage, but rather that his line is the eldest, i.e., eldest son of eldest son; and all other lines senior to his have died out.]” (“Hereditary Peerages”)

Although it has taken various forms, the Peerage Roll has existed since the Roll kept by Garter Principal King of Arms in 1514. The early ones still in the custody of the House of Lords are those from 1621, 1628, and 1661. Garter’s Roll was the official roll of the House until 1827. From 1827 to 1999, a sessional Roll became a part of Parliament’s history. After the passing of the House of Lords Act in 1999, the Clerk of the Parliaments ceased to preserve the Roll. Since the enactment of this parliamentary law, the Crown Office issues the Writ of Summons to those 92 hereditary peers remaining in the House of Lords. There is no longer an automatic entitlement to a Writ of Summons to the HOL, but this was not so during the Regency.

To claim a peerage during the Regency (and even now), certain statutory declaration evidence must be supplied by the claimant. For a son, this would include evidence of his birth, his parents’ marriage (and that they were married BEFORE his birth, not necessarily before his conception), the previous Peer’s death, and evidence that the late Peer had no legitimate surviving male issue before the birth of the claimant (meaning he had no elder legitimate surviving brothers). For a brother to succeed, the claimant would need all of the above plus evidence that the late Peer had no legitimate male issue and there was no surviving male issue between the birth of the Peer and that of the claimant (meaning the late Peer had no surviving sons). For a nephew to succeed, the person needed proof of his birth, his parents’ marriage, the birth of his father, the death of his father, the death of the deceased Peer, evidence that the late Peer had no surviving legitimate male issue, that there was no surviving legitimate male issue between the birth of the late Peer and that of the claimant’s father, and the claimant’s father had no surviving male issue before the birth of the claimant.

To make such a claim from a position of collateral succession, meaning those who stand to receive a portion, or all, of a deceased individual estate, but who are not direct descendants of the deceased person, the claimant needed to provide evidence of his birth, evidence to show the claimant is descended from the collateral relations of the Peerage/grantee, and evidence to show that all male lines from the very first Peer are senior to that of the claimant are extinct, and that no male senior to the claimant in. his. own line is still living.

Resource for parts of this piece come from the Ministry of Justice, Crown Office, House of Lords “Guidance Notes on Succession to a Peerage…” http://www.college-of-arms.gov.uk/GuidanceNotes2.pdf

Jeremy Turcotte has a lengthy list of extinct British peerages that was compiled in September 2013. I thought it might be of interest to some of you. Find it at https://jeremyturcotte.wordpress.com/2013/09/21/a-listing-of-extinct-british-peerages/

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Earl6x9Introducing The Earl Claims His Comfort: Book 2 in the Twins’ Trilogy, releasing September 16, 2017, from Black Opal Books

– a 2016 Hot Prospects finalist in Romantic Suspense

Hurrying home to Tegen Castle from the Continent to assume guardianship of a child not his, but one who holds his countenance, Levison Davids, Earl of Remmington, is shot and left to die upon the road leading to his manor house. The incident has Remmington chasing after a man who remains one step ahead and who claims a distinct similarity—a man who wishes to replace Remmington as the rightful earl. Rem must solve the mystery of how a stranger’s life parallels his, while protecting his title, the child, and the woman he loves.

Comfort Neville has escorted Deirdre Kavanaugh from Ireland to England, in hopes that the Earl of Remmington will prove a better guardian for the girl than did the child’s father. When she discovers the earl’s body upon a road backing the castle, it is she who nurses him to health. As the daughter of a minor son of an Irish baron, Comfort is impossibly removed from the earl’s sphere, but the man claims her affections. She will do anything for him, including confronting his enemies. When she is kidnapped as part of a plot for revenge against the earl, she must protect Rem’s life, while guarding her heart.

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Excerpt…

“Cannot recall the last time I slept in my own bed,” he murmured to no one in particular as he stood to gain his bearings. The room swirled before his eyes, but Rem shook off the feeling. Of late, it was common for him to know a dull vibrating sound marring his thinking.

Levison Davids, the 17th Earl of Remmington, set the glass down harder than he intended. He had consumed more alcohol than he should on this evening, but as his home shire often brought on a case of maudlin, he had drowned his memories. He turned toward the door, attempting to walk with the confidence his late father always demanded of his sons. Lev was not trained to be the earl. His father had groomed Rem’s older brother Robinson for the role, but Fate had a way of spitting in a man’s eye when he least expected it.

Outside, the chilly air removed the edge from the numbness the heavy drink provided him, and for a brief moment Rem thought to return to the common room to reinforce the black mood the drink had induced. A special form of “regret” plagued his days and nights since receiving word of his ascension to the earldom some four years prior, and he did not think he would ever to be comfortable again.

“Storm comin’,” the groom warned when he brought Rem’s horse around.

“We’re in Yorkshire,” Remmington replied. “We are known for the unpredictable.”

Customarily, he would not permit the groom to offer him a leg up, but Rem’s resolve to reach his country estate had waned. He had received a note via Sir Alexander Chandler that Rem’s presence was required at the Remmington home seat, and so he had set out from France, where he had spent the last year, to answer a different call of duty.

Sir Alexander offered little information on why someone summoned Rem home, only that the message had come from the estate’s housekeeper. Not that it mattered who had sent for him. Tegen Castle was his responsibility. The journey from France had required that Rem leave an ongoing investigation behind, a fact that did not please him, even though he knew the others in service to Sir Alexander were excellent at their occupations. Moreover, the baronet had assured Rem that several missions on English shores required Remmington’s “special” skills, and he could return to service as quickly as his business knew an end.

He caught the reins to turn the stallion in a tight circle. Tossing the groom a coin, Rem kicked Draco’s sides to set the horse into a gallop.

As the dark swallowed them up, Rem enjoyed the feel of power the rhythm of the horse’s gait provided. He raced across the valley before emerging onto the craggy moors. At length, he skirted the rocky headland.

He slowed Draco as the cliff tops came into view. When he reached Davids’ Point, he urged the stallion into a trot. Rem could no longer see the trail, but his body knew it as well as it knew the sun would rise on the morrow. After some time, he jerked Draco’s reins hard to the left, and, as a pair, they plunged onto the long-forgotten trail. He leaned low over the stallion’s neck to avoid the tree limbs before he directed Draco to an adjacent path that led upward toward the family estate, which sat high upon a hill overlooking the breakwaters.

When he reached the main road again, he pulled up on the reins to bring the animal to a halt. Rem patted Draco’s neck and stared through the night at his childhood home, which was framed against the rising moonlight. It often made him sad to realize how much he once loved the estate as a child and how much he now despised it.

“No love left in the bricks,” he said through a thick throat. “Even the dowager countess no longer wishes to reside here. How can I?”

It was not always so. Although he was a minor son, Rem always thought to share Tegen Castle with his wife and children—to live nearby and to relate tales of happier days.

“But after Miss Phillips’s betrayal and then, likewise, that of Miss Lovelace, I possess no heart to begin again.”

In truth, of the two ladies, Rem had only loved Miss Delia Phillips.

“Fell in love with the girl when I was but fourteen and she, ten.”

He crossed his arms over the rise of the saddle to study the distant manor house.

“Perhaps Delia could find no solace here,” he murmured aloud.

Even today, it bothered him that Delia had not cared enough for him to send him a letter denying their understanding. He had learned of Delia’s marrying Baron Kavanagh from Sir Alexander, with whom Rem had served upon the Spanish front. Sir Alexander’s younger brother delivered the news in a cheeky letter.

“I suppose Delia thought being a baroness was superior to being Mrs. Davids. Little did she know I would claim the earldom. More is the pity for her.” A large raindrop plopped upon the back of his hand. “If we do not speed our return to the castle, my friend, we will arrive with a wet seat.”

He caught up the loose reins, but before he could set his heels into Draco’s sides, a shot rang out. By instinct, Rem thought to dive for the nearby ditch. Yet, the heavy drink slowed his response, and before he could act, Remmington knew the sharp sting of the bullet in his thigh.

Draco bolted forward before Rem had control of the stallion’s reins. He felt himself slipping from the saddle, but there was little he could do to prevent the impact. He slammed hard into the packed earth just as the heavens opened with a drenching rain. The back of his head bounced against a paving stone, and a shooting pain claimed his forehead. Even so Rem thought to sit up so he might take cover, but the effort was short coming. The piercing pain in his leg and the sharp sting claiming his vision fought for control. The blow to his head won, and Rem screwed his eyes closed to welcome the darkness.

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Angel Comes to the Devil’s Keep: Book 1 of the Twins’ Trilogy

– a 2017 Daphne du Maurier Award for Excellence in Mystery/Suspense finalist

-a SOLA’s Eighth Annual Dixie Kane Memorial Award finalist for Historical Romance

Huntington McLaughlin, the Marquess of Malvern, wakes in a farmhouse, after a head injury, being tended by an ethereal “angel,” who claims to be his wife. However, reality is often deceptive, and Angelica Lovelace is far from innocent in Hunt’s difficulties. Yet, there is something about the woman that calls to him as no other ever has. When she attends his mother’s annual summer house party, their lives are intertwined in a series of mistaken identities, assaults, kidnappings, overlapping relations, and murders, which will either bring them together forever or tear them irretrievably apart. As Hunt attempts to right his world from problems caused by the head injury that has robbed him of parts of his memory, his best friend, the Earl of Remmington, makes it clear that he intends to claim Angelica as his wife. Hunt must decide whether to permit her to align herself with the earldom or claim the only woman who stirs his heart–and if he does the latter, can he still serve the dukedom with a hoydenish American heiress at his side?

Posted in Act of Parliament, Black Opal Books, blog hop, book excerpts, book release, British history, eBooks, estates, excerpt, family, Georgian England, historical fiction, Inheritance, primogenture, Regency era, Regency romance, research, romance, suspense | Tagged , , , , , , , , , , , , , | Comments Off on Proving Lines of Succession + Release of “The Earl Claims His Comfort”