One of the questions we are often asked about the Lady’s Magazine (1770-1832) is regarding the identities of the magazine’s thousands of anonymous and pseudonymous writers who were often longtime contributors. Koenraad, Jennie and I have all written about some of the methodologies we use, problems we encounter and attributions we have made in various blog posts regarding the identity of these elusive authors. While my role on the project is focused on the examination and analysis of content, I often become intrigued (some might say obsessed) with the question of the individual behind the mask. In such instances, our team’s collaborative efforts are at once essential and particularly fruitful.

‘R’, a prolific contributor of tales and translations, was a particularly intriguing puzzle in terms of identification for a number of reasons. First, the number of contributions by ‘R’ was enormous and varied and the simple letter ‘R’ could be used by any number of different contributors. Additionally, ‘R’ was signed variously ‘R’, ‘R.’ and ‘R—’, making it difficult to pin down which contributions were from the individual we sought and not another ‘R’. Finally, the initial ‘R’ and its voluminous contributions raised the potential question of a link to magazine’s publishers, the Robinson family, and one of its initial publishers, J. Roberts. The various ‘R’ signatures to the tales and translations are likely distinct from the ‘R’ signatures to a serial feature in the magazine also appearing in the early to mid-1770s, ‘The Friend to the Fair Sex.’ While the ‘R’ who contributed tales and translations sometimes self-identifies as a ‘lady’, readers tended to address the ‘R’ author of ‘The Friend to the Fair Sex’ as a male, in part because the serial often berated women. While this isn’t proof that the signature was in use by multiple contributors, it does indicate that there were at least two distinct writers using the initial in the first decades of the magazine.

The search began in earnest after Koenraad located a note by E. W. Pitcher to the Literary Research Newsletter Vol. 5, No. 3 (summer 1980). Pitcher contributed ‘The Miscellaneous Periodical Works and Translations of Miss R. Roberts’ that attributes the items signed “R-” to this obscure magazine writer of the late eighteenth century. In the article, Pitcher points out that some of serials signed ‘R’ also used pseudonyms such as ‘Georgiana’ in different installments and were thus perhaps ‘translations of young ladies under her tutorship’, pointing towards Miss Roberts’ potential role as a teacher whose translations for the magazine were at times composites of her work and  that of her students (Pitcher, 127). Miss R. Roberts, Pitcher further notes, was the sister of Dr. Roberts, who was the High Master of St. Paul’s School. Using this as our starting point, the hunt began.

There is, in fact, an ONDB entry for ‘Roberts, R.’, that lists the elusive contributor as a translator and sermon writer, detailing information about her family in Gloucester and mentions her brother, Dr. Roberts, naming him as Richard (another ‘R’) and listed a host of her works; primarily translations. Roberts’ publications include: Select Moral Tales (Gloucester: 1763), a translation of four tales from Jean François Marmontel’s Contes moraux; Sermons Written by a Lady, the Translatress of Four Select Tales from Marmontel (1770); Elements of the History of France (1771), an abridged translation of Claude-François-Xavier Millot’s Élemens de l’histoire de France; Peruvian Letters — a translation of Mme Françoise de Graffigny’s Lettres d’une péruvienne (2 vols., 1747), The triumph of truth; or memoirs of M. De La Villette (T. Cadell, 1775); Malcolm (1779) an unstaged blank-verse tragedy; and Albert, Edward, and Laura, and the Hermit of Priestland; Three Legendary Tales (1783).

Roberts’ most significant work was probably the translation of Graffigny’s letters, to which she added a third volume consisting of nine letters. The attribution of the translation to Miss Roberts derives from a letter by Frances Brooke, a contemporary (and rival) translator and periodicalist who was much better known than Roberts. Marijn S. Kaplan’s edition Translations and Continuations: Ricoboni and Brooke, Graffigny and Roberts provides details of Roberts’ translations and her connection to Frances Brooke, with whom Roberts shared a publisher and whose son Jack attend St. Paul’s School, where Roberts’ brother was High Master  (Kaplan, xi-xii).

While the ONDB entry suggests that Roberts spent most of her life in Gloucester, noting the family link to Hannah More (via her nieces Mary and Margaret, daughters of her brother William) and her connection to Dr. Hawkesworth, Roberts’ first name and any details of her own life were absent. Using the information in the ONDB I began searching for her brother and family members. Eventually I uncovered the family’s genealogy records on ancestry.co.uk and although I found Richard, William, and other siblings in the records of St. Philip and St. Jacob’s, Bristol, there was no female ‘R’ listed in the available parish records. Yet the ONDB had offered a very specific death date of 14 January 1788 so, using that date and the last name Roberts, I worked backwards in my search, restarting with death rather than birth.

Finally, success! I located the burial record for a ‘Radiganda Roberts’ in Surrey, Southwark borough, in the parish of St. Mary, Newington, buried on 21 January 1788. The enigmatic Miss Roberts was no Rachel or Rebecca, but something much more unusual altogether.

I cast my net further, moving onto various records including the National Archives website. Another success: the will of ‘Radagunda Roberts’ – and what a will it was. It established the identity of Miss Roberts as Radagunda, who died in Southwark listed in the parish records as ‘Radiganda’. Additionally, it established a very firm and odd link to Dr Hawkesworth that was hinted at in the description of her translation The triumph of truth; or memoirs of M. De La Villette (T. Cadell, 1775) as ‘undertaken at the request of the late Dr Hawkesworth, who revised and corrected the translation’ (Daily Advertiser, 7 August 1775).

The will states ‘if my friends will kindly indulge me in it I beg to be privately buried at Bromley in the same grave with Dr. Hawkesworth and as Mrs. Hawkesworth may chuse to lye on his right hand I humbly sue for a place on his left and hope that favor will not be denied me but should it be too inconvenient my next request is to be buried with my father and mother’. Roberts’ request to lie on Dr Hawkesworth’s left was not granted and she was buried with her family. The intriguing request, hardly conventional for an unmarried and religious woman of the eighteenth century, points to a close relationship with John Hawkesworth (1715-1773), the celebrated translator of Telemachus (trans. 1768) whose edition of Cook’s Voyages was so largely criticised it was said to have hastened his death. Roberts’ copy of Hawkesworth’s Telemachus is singled out in her will; Roberts requests that her nephew, Alfred William Roberts, single out the book and preserve it along with her inkstand.

The will’s usual bequests to family members demonstrate her closeness to her nieces and clarifies that she did not, as the ONDB suggests, spend her life in Gloucester but rather lived with her brother Dr Richard Roberts and his wife in London. It is likely that she moved to London after the publication of her 1763 translation of Marmontel, which was published in Gloucester, and before the publication of Sermons Written by a Lady, the Translatress of Four Select Tales from Marmontel, which was published in London in 1770.

Her contributions to the Lady’s Magazine include a number of tales, often moral, oriental and didactic, such as ‘Malvolio; or Domestic distress’ LM VII [July 1776]: 342, ‘Dorilacia, or the fair captive’ LM VII [Sept 1777]: 484, ‘Saccharissa; or the Pitcher Broken’ LM IX [April 1778]: 171, ‘Philidor and Irene, or rural love LM X [March 1779]: 116, ‘Omrah restored’ LM X [July 1779]: 340, among many others. The tales are often illustrated and such engravings would likely either have to be commissioned after the editors received a tale or be sent to the contributor beforehand in order to match the tale to the engravings. That many of Roberts’ tales are illustrated thus hints at the possibility that Roberts was personally known to the magazine’s editors as a paid or regular contributor.

This information is only a starting point in our ability to map out more clearly the extent of Roberts’ contributions to the magazine and to attempt to uncover a potential relationship with the magazine’s editors or publishers and perhaps discover more about her relationship with Hawkesworth. On these lines, Jennie Batchelor has recently located a letter from Hawkesworth to Roberts held in the library at Harvard that may offer further information regarding this prolific yet largely forgotten translator and writer. While our work here has just begun, it has been a fascinating process so far, and has been a truly collaborative effort of discovery.

Sources:

Kaplan, Marijn S., Translations and Continuations: Ricoboni and Brooke, Graffigny and Roberts (London and New York: Routledge, rept. 2016 [2011]).

Mayo, Robert, The English Novel in the Magazine 1740-1815 (Evanston and London, 1962), catalog entries 225, 226, 287, 311, 314, 463, 859, 985, 1224 and 1260.

Pitcher, E. W., ‘The Miscellaneous Periodical Works and Translations of Miss R. Roberts’, Literary Research Newsletter Vol. 5, No. 3 (Summer 1980): 125-8.

Sherbo, Arthur, ‘Roberts, R. (c.1728–1788)’, Oxford Dictionary of National Biography, Oxford University Press, 2004 [http://www.oxforddnb.com/view/article/69592, accessed 25 Feb 2016]

Sources cited within Sherbo’s ONDB entry: J. Todd, ed., A dictionary of British and American women writers, 1660–1800 (1984) · P. Ripley, ed., A calendar of the registers of the freemen of the city of Gloucester, 1641–1838 (1991) · M. A. Hopkins, Hannah More and her circle (1947) · GM, 1st ser., 58 (1788), 85 · Foster, Alum. Oxon., 1715–1886 [Richard Roberts] · private information (2004) [Betty Rizzo]

 

Jenny DiPlacidi

University of Kent

 

 

Regular readers of this blog will know that the Lady’s Magazine project is currently running ‘The Great Lady’s Magazine Stitch Off’. We have made available 8 of the magazine’s embroidery patterns, which are being recreated, as I type, by dozens of people around the world. Many of the results will soon be on display in a major new exhibition, ‘Emma at 200: From English Village to Global Appeal’, which opens at Chawton House Library next month, to celebrate the 200^th anniversary of the publication of arguably Austen’s best-crafted novel.

The fact that the Lady’s Magazine has found its way into the exhibition – in a room that will be devoted to the arts of music, needlework and painting – is absolutely fitting. The magazine fed, while also being critical of, the appetite to cultivate female accomplishments in the period. It printed song sheets for much of its run as well as monthly embroidery patterns. The magazine also encouraged word play, and the kind of games that generate so much misunderstanding in Emma owe more than a small debt to the enigmas published in the Lady’s Magazine and other rival publications.

The magazine also featured and was widely read by well-known predecessors and contemporaries of Austen. The work of Stéphanie-Félicité de Genlis, a first edition of whose The Duchess of La Valliere (1804) will be exhibited at ‘Emma at 200’, was widely translated and her works serialized at length in the Lady’s Magazine. Successors of Austen read the magazine avidly, including Charlotte Brontë, whose letter on reading Emma is being loaned from Huntington library in California and will take pride of place at the exhibition.

But did Jane Austen read the Lady’s Magazine?

I wish I could say yes – my gut tells me yes – but the honest answer is we cannot be sure for now. What we do know is that the magazine was available from libraries from which the Austen family borrowed; that its fiction was circulated in the Hampshire Chronicle; and that Austen’s own novels owe some striking debts to characters and plotlines developed in the magazine’s short stories.

As Edward Copeland pointed out in his 1989 essay ‘Money Talks: Jane Austen and the Lady’s Magazine’, more than one Austen character may owe their names (and some of their traits) to short fiction in the Lady’s Magazine. Is it a coincidence that a Brandon and Willoughby both appear in Lady’s Magazine short story, ‘The Ship-Wreck’, from the Supplement for 1794? [1] Perhaps.

But as Oscar Wilde would likely not say, to find one or two literary parents in a magazine may be regarded as coincidence; to find three or four looks like proof positive.

This second piece of evidence we have is an anonymous moral tale that appeared in the November 1802 Lady’s Magazine entitled ‘Guilt Pursued by Conscience’. The story follows an alarming encounter between a young woman and ‘a man in dirty and tattered clothes, … a long beard, and naked legs and feet.’ Granted these aren’t children – the only child in this scene is the young woman’s own infant – but the parallels between this episode and that in which Harriet Smith is surprised by the gypsies in Emma are noticeable. They strike all the more forcibly because the story tells us that the young woman at the centre of ‘Guilt Pursued by Conscience’ is a ‘deserted orphan’ raised at a ‘boarding school’ (LM 33 [Nov. 1802]: 563).

Her name is Clara, a woman of dubious origins and few prospects, who ‘despise[s] ambition’ and seeks ‘only the genuine enjoyments of domestic happiness’. These she finds in abundance with one Mr Knightley, a ‘country gentleman’ who rarely visit ‘the capital’ and who disregards the ‘sneers’ of friends by ignoring the lack of advantage in the connection and marries the young boarding school girl (563).

The remainder of the story rapidly documents Clara’s history. The apparent beggar is, in fact, a wealthy former business partner of Clara’s father, who had been entrusted to make financial and pastoral provision for his friend’s charge after his death. Giving way instead to his greed and the prospects of increasing his fortune, however, he subsequently abandoned the child and when finally too troubled by his conscience to continue his life of dissipation, found himself unable to locate her, upon which unsettling discovery, he renounced his fortune to self-punish his misguided deeds. In the kind of improbably serendipitous resolution that was very familiar to Lady’s Magazine readers, this chance encounter with Clara leads to the restoration of family ties and the heroine’s fortune.

As Copeland points out, in so many ways, ‘Guilt Pursued by Conscience’ is a world apart from that of Emma’s Highbury. Indeed, Austen seems to reject outright the romance resolution that structures the ending of so many Lady’s Magazine moral tales: Harriet Smith will, after all, not marry the country gentleman. One of the lessons that Emma, especially, has to learn is that such quixotic readings of the world have no place within it and belief in them leads only to heartache.

But what are we to make of the connection between Austen’s novel and this obscure tale? Is Austen’s apparent re-writing of ‘Guilt Pursued by Conscience’ an attempt to obliterate – or overwrite, to use the term William L. Warner uses in relation to Samuel Richardson’s Pamela (1740) – the popular fiction that preceded it? [2] Perhaps.

I can’t help but feel, though, that Austen (like Richardson when writing back to the likes of Eliza Haywood) is more than a little indebted to what she might seem to criticise. Remember chapter 5 of Northanger Abbey? Austen was one of the most eloquent defenders of popular fiction of her day.

And let’s remember also that Austen wasn’t averse to deploying the improbably serendipitous ending herself. All those characters falling out of love with the wrong people and in love with right ones at exactly the right moment. All very convenient. All very ironically done. And all very Lady’s Magazine-like.

Clara Knightley and Harriet Smith have, I think, lots in common. Granted, Clara is fortuitously restored to her birthright, where Harriet doesn’t have one to be restored to, but as the moral tale and Austen’s novel make clear, neither woman needs nor wants one. Clara is perfectly happy with her Mr Knightley (who wouldn’t be?) as he is with his wife before the intervention of her putative guardian, just as Harriet is mutually happy with Robert Martin before Emma gets involved.

Both ‘Guilt Pursued by Conscience’ and Emma, I would suggest, are works of fiction that are about the improbable demands of readers for fictions of female happiness that can fall very wide of the mark. The short fiction in the Lady’s Magazine may not wear its irony as proudly or as deftly as Austen’s novels do, but it is there nonetheless, ready for Austen to learn from it.

‘Emma at 200: From English Village to Global Appeal’ runs at Chawton House from 21 March to 25 September 2016. The treasured items that will be on display for the duration of the exhibition are being loaned to the Library (a charity) free of charge, but Chawton House Library needs to raise at least £8,000 to cover transport, security and insurance costs. If you are able to make a donation online, no matter how small, please visit Chawton House Library’s website, here.

Notes:

[1] Edward Copeland, ‘Money Talks: Jane Austen and the Lady’s Magazine’, in Jane Austen’s Beginnings: The Juvenilia and Lady Susan (Ann Arbor: UMI Research Press, 1989), 153-71.

[2] William B. Warner, Licensing Entertainment: The Elevation of Novel Reading in Britain, 1684-1750 (Berkeley and Los Angeles: University of California Press, 1998). See chapter 5.

 

Dr Jennie Batchelor

School of English

University of Kent

 

 

Representations of animals and children abound in the Lady’s Magazine; I have written previously about John Legg’s love of wildlife and sympathy for hunted hares and foxes. Poems focusing on pets are common and range from the melancholy – ‘Verses written on the Death of Deborah’s Cat’ (LM XII [Sept 1782]: 495), to the curious – ‘Verses by a Gentleman to his Bird on his Parting with it to a Lady’ (LM VII [Dec 1776]: 661), to the downright odd – ‘Inscriptions on two monkey’s collars’ (LM XXII [May 1791]: 272). Serial features such as John Legg’s ‘Ornithology; or, A New and Complete Natural History of English Birds’ (1782-85) and Ann Murray’s ‘The Moral Zoologist’ (1800-05) provide the magazine’s readers with anecdotal and scientific information on animals both close to home and exotic. Across the genres, including tales that demonstrate the loyalty of dogs or the anecdotes regarding the sagacity of insects, animals are a frequent topic for the magazine’s contributors.

Likewise, children are ever-present in the magazine. In fiction, they appear in sentimental or moral tales such as Memoirs of a Young Lady (1783-86) or The Happy Discovery (LM XIX [March 1788]: 142) as beautiful and sweet, orphaned innocents. They are the focus of (sometimes terrifying) medical advice, the subject of advice queries to the Matron, or the characters in serial novels dealing with the trials of their management (‘The Mother-in-Law, 1785-86). And sometimes they are the intended readers of the items themselves.

This is the case for the serial fiction ‘Domestic Lessons for the Use of the Younger Part of the Female Readers of the Lady’s Magazine’ (LM XVII [Supp 1786]: 705 – LM XXI [March 1790]: 137), a long-running feature that is comprised of a series of short, instructive tales with a moral or conduct lesson. The anonymous serial was introduced by the editors in the 1786 supplement as a work ‘never before published’ (LM XVII [Supp 1786]: 705) and in spite of my efforts, its authorship remains unknown. Many of the short tales within the serial feature animals as well as children, with unsettling results. One of the more disturbing tales is the ‘second lesson’, entitled ‘The Mad-Dog’.

The lesson revolves around a father and mother’s attempts to cure their daughter, Georgina, of her ‘teizing temper’ that displayed itself, from a very young age, in cruelty towards animals. Georgina Sagely, ‘from her earliest infancy [. . .] pretended to be very fond of animals: of birds, beasts, and even insects, only to get them into her power, that she might exercise a cruelty over them, which was at once inhuman and unwarrantable. She would coax her dog to come near her, and then beat him unmercifully; and would tempt cats with pieces of meat or fish, and then run pins into them till they screamed with pain’ (LM XVIII [April 1787]: 202). While the parents are described as ‘very indulgent’, the author implies both from her behaviour displaying itself from infancy, and from the presence of two brothers who are kind to animals, that the fault is inherent in Georgina rather than the result of her parents’ indulgency.

Georgina continues to mistreat and torment the animals around her when, at age 15, her father takes away the animals under her care. The incident that follows is distinctive in its perspective. Mr. Sagely looks for his daughter and finds her in the garden and, observing her before she seems him, he realizes she is ‘spinning a cock-chaffer, suspended by a thread, which had been fixed to a crooked pin piercing its tail’ (LM XVIII [April 1787]: 203). The point of view here moves from an omniscient narrator to a limited third-person narration in which the reader sees Georgina from her father’s point of view, and is closely aligned with his thoughts as he watches his daughter, unable to access her feelings.

‘He stood, for a moment, the image of surprise; looking at her, unseen, and examining her features with the utmost attention: willing to hope, that the gratification of a trifling curiosity, and not of a cruel disposition, was the source of the pleasure which he beheld in them. He examined the features of his child with an anxious attention, and, to his sorrow, found not the wished-for satisfaction’ (LM XVIII [April 1787]: 203).

What is intriguing about this scene is not only the shift in narrative perspective, but also in the emotional complexity of the father. This is no simple, formulaic moral tale; Mr. Sagely’s anxiety is palpable: he wants to believe his daughter does not torture the insect for pleasure but for, perhaps, a scientific curiosity. But he can delude himself no longer. When she goes onto so torment the family dog that he knocks her over, she retaliates by putting a rope around his neck and dragging him around the yard until he bites her. Her parents seize upon this as an opportunity to terrify her, hoping it will cause her to change her behavior, and tell her the dog is mad and that she may catch the disease. She is put into a straight-coat, confined, and threatened with being thrown into the sea as a treatment.

At length, the Sagely’s duplicity is rewarded: Georgina is so traumatized by the ordeal that she is ‘restored to [her] reason’ but warned by her parents never to lose her ‘proper’ senses again lest she be ‘more severely punished, in a manner you have not yet experienced’ (LM XVIII [June 1787]: 314). The cure appears permanent, and Georgina becomes ‘not only a comfort, but a delight’ to her parents and displays henceforth exemplary conduct.

While the ‘lesson’ of the tale is dubious at best, and certainly modern-day readers would question the efficacy of such parental conduct to cure a cruel disposition, the author’s use of narrative shift and the depth of the father’s concern are distinctive. This is more than a standard conduct or moral lesson; it reveals the anxiety and fear experienced by parents who feel helpless to understand or change their child’s inherent propensity for cruelty and torture.

The serial remains an elusive installment in the periodical; it ends in 1790, unfinished, and no further mention of it or the anonymous author appears. And while the magazine’s frequent publications featuring animals and children are an enduring and fascinating aspect of its content, as readers, perhaps, we are happier when the two do not meet as they do in the ‘The Mad-Dog’ of ‘Domestic Lessons’.

 

Jenny DiPlacidi

University of Kent

If you have been following our Stitch Off posts, you may not need to read this, although you may well like to take a look at just some of the examples of work so far that our followers have sent us. Frankly, they are stunning.

The reason we have written this is that many of our followers old and new (and there are LOTS of new followers – thank you!) have been in touch with us recently to write a post that summarises what this thing called the Stitch Off is and how they can take part.

So, here is everything you want to know about the Stitch Off (we hope) all in one handy blog post.

What is the Great Lady’s Magazine Stitch Off?

The premise is simple.

We want to recreate and bring back to life a handful of some of the hundreds of embroidery patterns the Lady’s Magazine (1770-1832) published every month over the course of its 62-year run.

We want to learn from your experiences about the challenges and pleasures of ‘work’, as it would have been known at the time, that would have occupied many of the magazine’s readers.

How can I take part?

 

We have made available 8, rare surviving embroidery patterns from the Lady’s Magazine (1770-1832) – one of the first, longest and most influential women’s magazines – to followers of our project and blog. There are patterns for a gown, cravat, handkerchief and apron (all from 1796) and for muff, waistcoat and shoes (from 1775, the year of Jane Austen’s birth). The first five patterns are owned by Jennie Batchelor, the Principal Investigator of the Leverhulme Research Project this blog is all about, who very luckily acquired them from a reader of this blog. The last three have been generously shared by Penny Gore, whom readers of this blog may well know as a BBC Radio3 presenter.

High resolution images of all the patterns can all be found and downloaded for use here with their original dimensions.

 

 

 

Why should I take part? Or, how big a Jane Austen fan are you?

Well, mostly because you want to. But also, perhaps, because it could be lots of fun. Because lots of people already are taking part and are already having lots of fun. Maybe because we are sharing all of your works in progress and gloriously finished works on our blog, Twitter feed and Facebook page.

 

And maybe because if you do, your work could be on display at a major exhibition running from 21 March to 25 September at Chawton House Library, former residence of Jane Austen’s brother, Edward Austen Knight, to celebrate the 200th anniversary of the publication of Emma (1815).

This sounds too good to be true (a project follower’s words). Is there a catch?

Not really. If you are willing to have your work on display and don’t mind it being handled – it will be on a table, not behind glass – then all you need do is send it to us and we will return it to you when the exhibition ends. It will take pride of place on a display in the Oak Room of Chawton House Library, which will be devoted to the subject of female accomplishments (music, painting and needlework) for the exhibition’s duration. We’d also love it if you could send pictures to us via Twitter or Facebook along the way so we can share your work and experiences with others.

 

Do I need to be skilled in historic embroidery techniques?

Absolutely not. Some of our Stitch Off participants are wielding their tambour hooks with breathtaking dexterity. Others (like me) are resurrecting dim memories of how their grandmother taught them to do chain stitch and satin stitch. Some are using period sensitive fabrics, silks and colours. Others, to use the words of another Stitch Off participant, are modernising and ‘going wild’. You might try working up a small detail or a full garment. Whatever you do, we’re just happy you are taking part.

How do I register interest in the Stitch Off?

If you follow us on social media, just let us know there. If not, why not put a comment below?
We’ll be delighted to hear from you any which way you choose.

Where do I send my completed work and when do you need it?

 

If you want your work to be at the exhibition from the start we would need it, ideally, by 16 March. However, it that seems too soon, we can always add your work to the exhibition once it’s started (the advantage of not being behind glass).

Work should be sent to: Sarah Parry, Learning and Visitor Manager, Chawton House Library, Chawton, Alton, Hampshire, GU34 1SJ.

Please do send us your address if you would like your work returned after the exhibition closes.

 

Dr Jennie Batchelor

School of English

University of Kent