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Category: Regency

In Regency times, would you have been a “bluestocking”? How many times have you read about (or written) a heroine who either considered herself one, or was warned in no uncertain terms by her mother/aunt/sponsor or best friend against becoming one?

blue_stockingNot too long ago I was invited to join a group of Regency authors calling themselves The Bluestocking League. (A lot of authors are finding it wise to band together to help promote each other’s work.) We haven’t been very active yet, but we discovered soon after naming ourselves that another group of authors had recently formed a group called the Bluestocking Belles. You see? Bluestockings are back!! So it seemed timely to take a look at what was originally an 18th century women’s society, and in the Regency became a (derisive) slang term for educated women with intellectual interests –who might, after all, threaten the social order!

The 18th century, “The Age of Enlightenment,” earned the name because ideas and intellect flourished during the period. While women had few rights, two things they –could- do (and were expected to do) were socialize and engage in the arts. Salons were popular, and hostesses angled to have the most illustrious leaders of culture and literature as guests. The London salons hosted by the well-to-do and well-educated friends

Elizabeth Montagu

Elizabeth Montagu

Elizabeth Montagu (1718-1800), Elizabeth Vesey (c.1715-91) and Frances Boscawen (1719-1805) attracted some of the greatest intellectual minds of the times, such as the writer Samuel Johnson, and artists Francis Reynolds and her brother Sir Joshua Reynolds. By mid-century these get-togethers evolved into a loosely organized network, kind of a “women’s club” that offered more than intimate gatherings for conversation, supplying mutual support, friendship and patronage for a growing pool of writers, artists, and intellectuals. Writers Hannah More and Fanny Burney, poet Anna Seward, and artist Angelica Kaufmann were regulars among many others in later years. The women, and their male guests, also advocated for education and explored options for civic and social improvements.

Most of the women portrayed as young Greek Muses in this group portrait by Richard Samuel were Bluestockings. Singer Elizabeth Ann Sheridan is in the centre. Artist Angelica Kauffman sits at the easel with writer/poet Elizabeth Carter and poet Anna Letitia Barbauld behind her. The five at right are (L-R) historian Catharine Macaulay, hostess & literary critic Elizabeth Montagu, and writer Elizabeth Griffith (all seated), and standing behind them, writers Hannah More and Charlotte Lennox. Some were much older than shown by the time the picture was exhibited in 1779. (Montagu was 61.)

Most of the women portrayed as young Greek Muses in this group portrait by Richard Samuel were Bluestockings. Singer Elizabeth Ann Sheridan is in the centre. Artist Angelica Kauffman sits at the easel with writer/poet Elizabeth Carter and poet Anna Letitia Barbauld behind her. The five at right are (L-R) historian Catharine Macaulay, hostess & literary critic Elizabeth Montagu, and writer Elizabeth Griffith (all seated), and standing behind them, writers Hannah More and Charlotte Lennox. Some were much older than shown by the time the picture was exhibited in 1779. (Montagu was 61.)

The story of exactly how the network acquired the affectionately applied name of the Bluestocking Society, or the Bluestocking Circle, is debated. Blue wool stockings were commonly worn for informal or daytime dress then, with white or black silk reserved for evening or more formal occasions. The informal style (and the cross-class nature) of the salon gatherings was unprecedented and set a new style for socializing. One version of the story holds that Mrs Vesey (or Mrs Montagu), inviting the botanist Benjamin Stillingfleet to attend a salon, assured the man who had given up polite society that he was welcome to come “in his blue stockings.” Another version says Stillingfleet simply showed up wearing them. OTOH, the French version of the term (bas bleu) had actually already been in use since the 1500s. At any rate, the group adopted the name with pride. The network expanded well beyond London, and probably peaked during the 1780-90’s, when Elizabeth Montagu opened her new Portman Square home for meetings, and was hailed by Johnson as “the Queen of the Blues”. Hannah More’s poem “Bas Bleu, or the Conversation” was published in 1789.

Typically, though, as the term “bluestocking” became widely accepted as a tag for an intellectual woman, it also began to be perverted into derisive slang, belittling the very values it once stood for. The original Bluestockings were dying off at the start of the Regency, and their supportive network had suffered setbacks such as the loss of friendship between Montagu and Johnson, a scandal over patronage and money involving Montagu, More, and the poet Anna Yearsley, and later, scandalous lifestyle choices made by members like Macaulay. Ridicule replaced admiration in the eyes of society –Byron scorned them and Rowlandson did a cartoon, “The Breaking Up of the Bluestocking Club” published in 1815. In the Regency, to be a bluestocking was considered tantamount to declaring spinsterhood and rejecting society. rowlandson-bluestockings

The original Bluestockings were the feminists of their day, ahead of their time in many of their ideas, but especially in valuing the female mind. Their moniker shows up these days in all sorts of ways, from the name of bookstores and a play, to a week-long celebration of women in education at UQ in Australia. I’m happy to be among women ready to reclaim the term and put it back into its original perspective and meaning. So, are you a bluestocking, too?

If you want to read more, there’s a great article connected to an exhibit at London’s National Portrait Gallery: http://www.npg.org.uk/whatson/exhibitions/2008/brilliant-women/the-bluestockings-circle.php, and another with great detail at https://bluestockingssociety.wordpress.com/the-blue-stocking-history/.

Also, there’s a book: Biographical Sketches of Principal Bluestocking Women, by Anna Miegon. I want to read it now! There’s also a collection of essays: Reconsidering the Bluestockings, by Nicole Pohl & Betty A. Schellenberg, and much more, of course. I think the original Bluestockings would be pleased to see how far we women have come, don’t you? Although perhaps dismayed that it took as long as it has, and that we still have more to achieve. What do you think? Please comment!

So I spent most of the day staring at my computer screen half-petrified because I realized this morning that today is April Fool’s day & I have to write a post &, oh my gosh, do I need to write something funny?!!?!? I’ve toyed with several amusing headlines – “The Riskies Will Only Write Zombie Books From This Day On! (and our heroes’ manly appendages will all fall off all the time!!) (or something),” or, “We Just Wanted To Tell You That We Are All Aliens From Outer Space Pretending To Be Romance Authors, But Please Don’t Mind Us & Carry On” – but, well…

Instead of talking about zombies, wonky manly appendages, and aliens, I’ve decided to turn to much nicer things, like my super-seekrit project: I’ve taken part in a multi-author box set of sweet romances, which came out earlier this week. And did I mention that the box set is free? 🙂

the cover of Love Is All You Need, a box set of sweet romances
I also caved in and added a few more titles to my research library. Among other things, I’ve finally ordered Chatsworth: The Attic Sale, the catalogue of the auction at Sotheby’s in 2010. In expect to find many interesting items in there! Here’s a short YouTube video about the auction:

Moreover, I also stumbled across a number of fascinating research experiments in the form of historical enactments, of which two are of particular interest to the Regency period: in Pride & Prejudice: Having a Ball a Regency ball is staged at Chawton House, the estate of Austen’s brother. The documentary is only 90 minutes long (or rather, short), but it still provides some fascinating insights into the practicalities of preparing the food, of the dancing itself, and the supper that followed.

And then I also found a series about music in the country house. I briefly dipped my toe into this field when I wrote Springtime Pleasures and had my heroine swapping music books with her new friend. “Music’s Hidden Histories” is a joint project of the University of Southampton and Tatton Park. The short videos are all available via the Humanities Southampton YouTube channel:

For now, though, I’m going to return to Roman antiquity and my dashing centurion Marcus Florius Corvus. I’m really looking forward to celebrate the launch of this new series with you next month!

the covers for Sandra Schwab's new series EAGLE'S HONOR


You can find Love Is All You Need on Amazon US, UK, CA, Kobo, Apple, B&N. Happy reading!

This post was originally posted on the now-defunct Romancing the Past blog back in 2011, but on re-reading it I decided it was timely enough (for Risky Regencies values of timeliness) to bear recycling!

It has occurred to me that, should I happen to meet certain historical figures in the afterlife, our conversations might prove a bit awkward.

It’s the TMI factor, you see. What do you say to a man when you’ve seen the love letters he sent to his wife in the early days of their marriage? Letters which contain such revealing passages as:

“Come soon; I warn you, if you delay, you will find me ill. Fatigue and your absence are too much. You are coming, aren’t you? You are going to be here beside me, in my arms, on my breast, on my mouth? Take wing and come, come! A kiss on your heart, and one much lower down, much lower!”

Well, all right, then. Good to know this guy–we’ll call him General X–could be so generous and amorous when his passions were engaged.

And then there’s General Y. A more circumspect soul, he left us no correspondence allowing us to deduce just what he planned to do to his woman of the moment next time he got her into bed. And when one of his brothers was being a bit too scandalous in his womanizing, General Y complained in a letter to another brother that he wished their errant sibling was “castrated, or that he would like other people attend to his business & perform too. It is lamentable to see Talents & character & advantages such as he possesses thrown away upon Whoring.”

Though don’t let that fool you into thinking General Y was any kind of model of chastity. Among other things, he had at least two mistresses in common with General X, one of whom was generous enough to the salacious curiosity of posterity to publicly state that Y was better in bed.

Napoleon

And who are our amorous generals? X is Napoleon and Y is Wellington–and speaking as someone who’s read stacks of biographies of both, it’s amazing how much of their personalities and voices come through in those two brief quotes above.

Wellington

Do you know any good historical TMI? And would you prefer Napoleon or Wellington as a lover? (I’m on Team Wellington all the way–he’s much better-looking by my tastes, I like cool-headed, reserved, snarky personalities like his, and on the whole I prefer my Secret Historical Boyfriends to NOT try to take over the world. Though, really, if I were going to have my pick of ANY military man of the era, I’d have to consider Michel Ney and Eugene de Beauharnais too.)

TheProposal400x600Today the Riskies welcome guest Margaret Evans Porter! Margaret and I have been friends since early days in my career, and I was a huge fan of her work even before that. The Proposal is one of my absolute favorites among her books, so I am very excited that a new edition will be released tomorrow!! Margaret is offering a print copy of The Proposal to a randomly chosen winner among those who comment by the end of this week, so please share your thoughts with us below after visiting here. And read on to find out about a new project she has coming out next month, as well!

mepatberkeley

Margaret Evans Porter

Margaret is the author of 11 novels and 2 novellas published in hardcover, paperback, digital editions, and in translation. She earned the Best New Regency Author award from Romantic Times Magazine with her first book, and later novels received multiple award nominations. She has also published nonfiction, poetry, and her photography, and is a trained actress who has worked on stage and in film and television. All this and she is also a historian and an avid gardener! But I should let HER tell you.

What’s the premise of The Proposal?

A: In 1797, Sophie Pinnock, a botanical artist and the widow of a famous landscape designer, is employed by the Earl of Bevington to alter the ground of his newly inherited castle in Gloucestershire. She would much prefer to restore the gardens to their original state than replace them. After many years living in Portugal, her employer has returned to England to claim his title.

Where did the idea for this particular story come from?

mepgarden

Margaret’s garden

A: It was the dead of winter in New England, the world was buried under snow–much like this winter! My coping mechanism was to design new rose beds that would feature historic period roses from Medieval times to the Regency and Victorian eras. I had recently spent time at a Gloucestershire castle. I ended up with a 2-book contract as well as an expanded garden!

Where did you turn for research?

A: I had already amassed a collection of historic gardening guides and price lists from the 17th, 18th and 19th centuties. My mother is a rose gardener, so I was raised with historic roses and books about them. On trips to England I visited intact gardens from earlier times.

What aspects of the research itself most intrigued you?

A: There was a raging debate about landscape design at that very time, when Humphrey Repton was altering many formal gardens to conform with his more “natural” style–popular with some people, and criticised by others. I was able to rely on primary sources, like the Red Books that Repton created for his clients (Sophie provides her clients with Blue Books!) And I’m always happy when I can wander through English gardens, so that was particularly appealing to me.

Do you have a favorite scene in this book?

A: I managed to include a scene in which Sophie debates Humphrey Repton himself, because–quite conveniently–he had clients in the neighborhood.

What would you say is “risky” about this book?

A: It seems “risky” to us nowadays, the concept of a female businesswoman in the late 18th century or Regency. But there is so much precedent! Many a widow, through financial necessity or entrepreneurial desire, took on responsibility for her late husband’s businesses. I think it’s a disservice to these women to bury the record of their achievements, and in some cases their innovations–Mrs. Eleanor Coade, who developed Coade stone, Hester Bateman the Silversmith, Rolinda Sharples the artist, Mrs. Sarah Baker the theatre proprietress who developed the theatres of southeast England. These are the notable names, but how many more must there have been that we do not know?

Another aspect of “risk” concerns opium addiction, and to a lesser extent, attitudes and suspicions about sexual orientation. Both of which have an effect upon the secondary mystery plot.

How long have you been writing?

A: I’ve been writing stories since I could hold a crayon in my fist. I became a publisher-editor-author at age 9 or 10 when I founded a class newspaper. My family is packed with writers, so it wasn’t an unusual path for me to follow. My mother, who taught me to read quite young, says she always knew I would be a writer.

What aspects of your own personality show up in your stories?

Rose from Margaret's Garden

Rose from Margaret’s Garden

I’m everywhere. I create gardens and grow roses–so does Sophie in The Proposal. I performed on stage for many years, and studied dance–I’ve written novels featuring an actress, a dancer, and an opera singer. Like Oriana in Improper Advances, I play the mandolin. I mine the places in Britain or Ireland where I’ve studied, lived and/or travelled and use them as settings for my stories. My dogs turn up in books as members of my characters’ households.

Do you find that your training in theater is helpful to you as a writer?

A: It’s immensely helpful, in a variety of ways. Performing period plays immersed me in the idiom of past times, I was speaking dialogue uttered by the people who lived in the eras about which I write. From a very young age I was required to do intensive character biographies, creating backstories for the people I was portraying–this often required in-depth research into social customs, education, upbringing, styles of speech, popular books and music. And of course I was wearing costumes–corsets, petticoats, full skirts, strange shoes–and carrying fans and having my hair dressed and so on. Those experiences were extremely valuable, as you might imagine!

Which book, if any, was the most difficult for you to write, and why?

I would say my new historical biographical novel, A Pledge of Better Times, for several reasons. It is entirely fact-based, all the characters were real people of the late Stuart court–monarchs and aristocrats. PledgeCover400x600Historical events provided the structure, the research was intense and took place over many years between other commitments. (For example, my productivity suffered a little during my 2 terms in the state legislature. But some sections of the novel were written surreptitiously during boring floor debates!) I don’t remember that any of my Regencies or historicals were difficult to write, although I did have to manage a very quick turnaround on an option book proposal while visiting friends in England. Almost every character in that book, Improper Advances, except the hero and heroine, were historical persons, so my fictional story needed to tie in with historical reality.

You now have a second website (www.margaretporter.com) for your mainstream historical novels, featuring real people from history. Your April release, A Pledge of Better Times, is the first of these. Tell us a little bit about this new direction in your writing?

A: In my youth I read many YA biographical historical novels, and my ambition to write mainstream historical novels dates from that time. It took a long time for the right story to find me–that of Lady Diana de Vere, and of Charles Beauclerk, 1st Duke of St. Albans (bastard son of King Charles II and actress Nell Gwyn). It was sparked by some genealogical research, and caught fire after I became acquainted with a direct descendant of theirs. I spent years carrying out the research all round London–at Kensington Palace and Hampton Court and the Tower–as well as in Holland at The Hague and Paleis Het Loo. And Versailles. This book also features the development of formal gardens!

A Pledge of Better Times, will be available in print and as an ebook in April. It has just been named one of the “Books to Read in 2015” by the Book Drunkard blog–very exciting.

Where can readers go to get in touch or learn more about your books?

Website: www.margaretevansporter.com
http://www.facebook.com/AuthorMargaretEvansPorter
@MargaretAuthor on Twitter.

Risky readers, don’t forget to post a comment if you’d like a chance to win a print copy of The Proposal! Margaret Evans Porter, thanks so much for visiting with us today!

The Proposal:

When a lonely young widow and a mysterious earl clash over a neglected castle garden, suspicion and secrets threaten a blossoming love.
“Part romance, part mystery, a highly entertaining read.” –M.K. Tod, author of Lies Told in Silence
“Very sensual…lush in detail. Her characters have as much depth as the settings, and the gardens provide a wonderful backdrop for a tender love story.” –Affaire de Coeur
“Decidedly different…totally believable and deeply heartfelt.” –Rendezvous

Print on Amazon:

http://www.amazon.com/Proposal-Margaret-Evans-Porter/dp/0990742091

Kindle on Amazon:

http://www.amazon.com/dp/B00UKI0UAC

LAMP-Icebound Light-nite   This ice-encased lamp by my front door started me on this trip down the rabbit hole, which has nothing (so far) to do with any of my current writing projects. The two-inch-thick ice gave the light shining bravely through it a beautiful glow, and admiring it, I thought, “Thanks for electricity! This couldn’t have happened during the Regency.” Well, at least not without considerable effort to melt, chip, or break through the ice, since the lamp would have needed to be lit.

That made me think about who would have had to do it, and lamplighters in general, and street lighting, and how in the Regency the transition from oil street lights to gas was actually a Big Deal that I’ve never seen mentioned in any of our novels. (Have you?) It’s just one more way the Regency era was the dawn of the modern age. Gas street lights were still in use into the 20th century, and there are still some in London. (I’ll come back to this!)

Our busy London characters never seem to run into any lamplighters, yet an army of them were out there at dusk every evening, with their ladders and long poles, making sure that the city was alight for the busy evening of activities ahead. And in homes that fronted along streets, someone had to light the exterior lamps every night, no matter the weather. (Doesn’t that make you start to appreciate the simple flipping of a switch?) Lamplighters-W PynePrior to the introduction of street lighting (and in rural areas), nighttime excursions depended entirely upon the moon or light you provided for yourself, that traveled with you, plus the light from houses along your route. I ran across a reference to some regulations that required homeowners to provide lights, at their own expense, so it wasn’t just a courtesy! Light you provided yourself might have been a portable lantern, or lamps on your carriage, or even a hired “link boy” who would carry a torch to light your way safely (if he wasn’t in league with a group of thieves). Hmm, that could be fun….

The system of oil street lamps in London and major towns was put into place starting in 1750, so the major changes in city life that came with such improvements –the reduction of crime, improved personal safety, and the glittering array of late night entertainments our characters enjoy: at theaters, pleasure gardens, private balls, assemblies, gambling hells, or even extended shopping hours– had become the norm only within a generation or two of our Regency characters. Travelers to London were suitably impressed, sharing descriptions like this in their writings: “In Oxford Road alone there are more lamps than in all the city of Paris. Even the great roads, for seven or eight miles round, are crowded with them, which makes the effect exceedingly grand.” – Archenholtz, 1780s

Lamplighter at duskThe next big thing, the introduction of gas lighting, did not happen easily, even though gas burned much brighter than oil. As I dove into this topic, I quickly found I had 11 printed pages of notes!! This is what happens –most of you reading this are research junkies, too, so you understand. LOL. Even my attempt at a brief timeline came out too long to put here — there’s so much fascinating stuff!!

So, the short(er) version:

After the discovery of natural coal-gas in mines and its flammability, people began experimenting. In 1739 Dr. John Clayton first manufactured coal gas by heating coal placed in a small retort. More experiments followed. In 1792, William Murdoch, a Scottish mechanical engineer and inventor who worked with steam engines in Cornwall for the firm of Boulton and Watt, and who had been experimenting with practical uses for coal gas, set up a retort in his own home in Redruth, Cornwall, laid pipes, and lit all of his house and workshop with gas, the first to achieve this.

Murdoch went on to become the manager of Boulton and Watt’s steam engine works in Soho, Birmingham, where he used gas to light the main building of the Soho Foundry in 1798. In 1802, Murdoch lit the outside front of the building by gas, to the astonishment of the gathered locals. Boulton and Watt began making gas retorts and pipes, and sent Murdoch to fit up many of the big cotton mills in the North with the new lights (which enabled extended working hours, for better or worse!). Murdoch later went on to invent other useful items, but that’s another story.

Other people were also pursuing the prospects for using gas. Frederic Albert Winsor, a German, came to London with knowledge of a French patent for piping gas. Despite little knowledge of chemistry or engineering, Winsor claimed to be an authority on gas and pursued his ultimate aim of lighting the streets of London. He wanted Parliament to set up a national gas company. Samuel Clegg, a fellow employee (or a student? or both?) of Murdoch’s at Boulton and Watt headed to London, where he apparently teamed up with Winsor, for he is named as one of the founders of the company Winsor eventually succeeded in starting.

1803 — Winsor gave a demonstration of lighting the Lyceum Theatre in the Strand with gas.

1804 – Winsor began to give public lectures about the uses of gas.

1807 –Winsor leased a pair of houses in Pall Mall where he conducted experiments and public demonstrations, trying to attract investors for his plans. He installed 13 lamp-posts in Pall Mall fed by a pipe buried under the pavement from his house. On January 28, he introduced the first gas street lights in the world. The lights stretched from St James’s to Cockspur Street and when lit, observers noted their light had “much superior brilliancy”. On June 4 of that year, to celebrate the King’s birthday, Winsor placed gas lights along the walls of Carlton Palace Gardens between the Mall and St. James’s Park. The gas was again supplied by the furnaces inside his house on Pall Mall.

Many people did not believe the city could be lit in this way, including the renowned scientist Sir Humphrey Davy. Some thought that the gas came through the pipes already on fire, which of course seemed dangerous! Rowlandson did a cartoon of the lighting in Pall Mall: Rowlamdson -Pall Mall Lights

In 1809, Parliament did not approve Winsor’s “national company”, but finally Winsor “and his associates” (Samuel Clegg?) did obtain a Royal Charter for their London and Westminster Gas Light and Coke Company to supply gas to those cities and the borough of Southwark for 21 years. On New Year’s Eve, 1813, the Westminster Bridge was lit by gas. Gas began to flow through the London streets that year and soon other companies were seeking permission to lay their own gas pipes. The laying of gas lines –think of all the construction in those busy streets!! Is it unromantic to have our characters inconvenienced by the mess?

By 1823, “40,000 lamps covered 215 miles of London’s streets.” And by 1826, “almost every city and large town in Britain, as well as many in other countries, had a gas works, primarily for lighting the streets. In these towns, public buildings, shops and larger houses generally had gas lighting but it wasn’t until the last quarter of the 19th century that most working people could afford to light their homes with gas.” (From the National Gas Museum website: http://nationalgasmuseum.org.uk/gas-lighting/)

Apparently the “gas works” were discussed in an episode of Downton Abbey (since gas was still primarily in use in the 1920’s) –I don’t watch that series so someone else might comment!

It’s interesting to note that in 1808, Murdoch read a paper before the Royal Society, staking his claim as the first to harness gas for a practical purpose. He said, “I believe I may claim both the first idea of applying and the first application of this gas to economical purposes.” He received the Society’s Gold Medal recognizing his work.

InLighting Plaque-IMG_23287-Vers-2 June 2007, the Westminster City Council installed a Green Plaque at 100 Pall Mall, London, to mark the the bicentenary of the “World’s First Demonstration of Street Lighting by Coal Gas”, marking Winsor’s achievement.

As for gas lamps still in use, this website: (http://www.urban75.org/london/london-gas-lamps-and-gaslighting.html) has a collection of photos of gas lamps still in use in London and their locations – a surprising number of them! And also a photo of a modern day lamplighter. Who knew?

And another “who knew?” –the connection between street lighting and crime is once again an issue in Britain, where a December 2014 report states that all over England communities are switching off or dimming their street lights to save money. Heading back to the 18th century, anyone? (http://www.independent.co.uk/news/uk/politics/safety-risk-as-councils-dim-or-switch-off-a-quarter-of-street-lights-9939124.html)

Let’s talk about it! Please comment on anything you read here. 🙂

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