{"id":699,"date":"2015-08-19T17:14:01","date_gmt":"2015-08-19T16:14:01","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/ladys-magazine\/?p=699"},"modified":"2015-08-19T17:14:01","modified_gmt":"2015-08-19T16:14:01","slug":"c-d-h-or-catharine-day-haynes-a-gothic-author-for-the-ladys-magazine-and-the-minerva-press","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/ladys-magazine\/2015\/08\/19\/c-d-h-or-catharine-day-haynes-a-gothic-author-for-the-ladys-magazine-and-the-minerva-press\/","title":{"rendered":"C. D. H. or Catharine Day Haynes: A Gothic Author for the Lady’s Magazine and the Minerva Press"},"content":{"rendered":"

Over thirty years into the lifespan of the Lady\u2019s Magazine<\/em> most of the magazine\u2019s popular fiction remained the work of the anonymous, pseudonymous or often unsigned contributions of the periodicals\u2019 reader\/writers. Much of the content serialized in the magazine after 1800 closely resembles those popular Gothic novels published \u2013and, importantly \u2013 paid for by the Minerva Press. And as we continue with our research, we uncover more authors who contributed to the Lady’s\u00a0<\/em>Magazine<\/em> as unpaid correspondents and were paid for their works elsewhere.<\/p>\n

\"Screen<\/a>

LM XLVII (Oct 1816): 437. Image \u00a9 Adam Matthew Digital \/ Birmingham Central Library. Not to be reproduced without permission<\/p><\/div>\n

One of the correspondents who would become a paid writer published first in the Lady\u2019s Magazine<\/em> under the initials \u2018C. D. H.\u2019 According to The Cambridge Bibliography of English Literature, 1800-1900\u00a0<\/em>[1]<\/a> \u2018C. D. H.\u2019 is Miss C. D. Haynes, later Mrs C. D. Golland. Haynes published her first Gothic novel, The Castle of Le Blanc, A Tale<\/em>, in serial form in the Lady\u2019s Magazine<\/em> from October 1816 through 1819.<\/p>\n

This novel is really quite wonderful. It opens with a young bride, Clara, travelling to the castle of her new husband. On the journey he seems unaccountably agitated and cold but when she asks him about his odd behavior he forbids her to question him. When they reach his ancestral home: \u2018the ponderous gate of the castle opened to receive them\u2014a cold shivering ran through the frame of Clara; she viewed it as the grave of the departed happiness\u2019 (LM <\/em>XLVII [Oct 1816]: 439). The novel takes on a Radcliffean tone, interweaving Gothic conventions found in The Italian<\/em> and The Mysteries of Udolpho<\/em>. Clara, pregnant and alone in the castle with her husband the Marquis le Blanc is desperately unhappy as he \u2018made too free with the bottle after dinner\u2019 and \u2018generally joined her quite inebriated\u2019 \u00a0(LM\u00a0<\/em>XLVIII [Aug 1817]: 357). The novel\u2019s inset tale features with gambling, ruin, a beautiful siren, and a virtuous heroine who cross-dresses as a gamester to successfully win her lover\u2019s fortune from him rather than see him lose it to his enemies.<\/p>\n

\"rebus\"<\/a>

LM XLVIII (Feb 1817): 88. Image \u00a9 Adam Matthew Digital \/ Birmingham Central Library. Not to be reproduced without permission<\/p><\/div>\n

What I find so interesting about C. D. Haynes, who I believe is in fact Catharine Day Haynes, later Catharine Day Golland, is her relationship with the Lady\u2019s Magazine. <\/em>Because not only did Catharine Haynes publish her first Gothic novel in the magazine, she also contributed other items, such as a rebus<\/a> in February 1817 that was solved in June. The solution to the rebus was posed by a correspondent with the signature \u2018Henry\u2019 who answered the riddle with: \u2018Golland\u2019s the swain belov\u2019d by thee\u2019 (LM\u00a0<\/em>XLVIII [June 1817]: 233). Part of Catharine\u2019s courtship then, or at least her publication of it, was conducted within the very pages of the periodical.<\/p>\n

\"solution\"<\/a>

LM XLVIII (June 1817): 233. Image \u00a9 Adam Matthew Digital \/ Birmingham Central Library. Not to be reproduced without permission<\/p><\/div>\n

Catharine went on to publish a number of novels with the Minerva Press, and the first two of these were actually printed in 1818 and 1819 \u2013 while she was still writing The Castle of Le Blanc<\/em> for the Lady\u2019s Magazine<\/em>. Clearly her paid work did not stop her from writing unpaid for the magazine. Her Minerva Press novels include The Foundling of Devonshire, or who is she? <\/em>(1818) Augustus and Adeline, or, the monk of St. Barnardine: a romance <\/em>(1819), Eleanor, or the Spectre of St. Michaels: a romantic tale <\/em>(1821, tr. Fr. 1824).<\/p>\n

But even after such successes with the Minerva Press, Catharine Haynes\u2019 relationship with the Lady\u2019s Magazine <\/em>endured. The magazine\u2019s births, marriages, and deaths section published her nuptials to \u2018the swain Golland\u2019 in January 1821: \u2018At St. Bride\u2019s, Mr. John Golland, of the New Kent Road, to Miss C. D. Haynes, author of the Castle Le Blanc, Foundling of Devonshire, and several other works\u2019 (LM\u00a0<\/em>II [Jan 1821]: 56).<\/p>\n

\"Screen<\/a>

LM III (April 1822): 224. Image \u00a9 Adam Matthew Digital \/ Birmingham Central Library. Not to be reproduced without permission<\/p><\/div>\n

Interestingly, the Magazine <\/em>notes not only the Gothic tale she wrote for them, but also her publication with Minerva. Little more than a year later, Catharine Haynes \u2013 now Golland \u2013 is mentioned again in the same section, but this time it is a birth that is announced: \u2018a daughter born to the wife of Mr. John Golland, in the New-Kent-road,–formerly Miss Haynes, authoress of the Castle of le Blanc, a novel given in our Magazine\u2019 (LM\u00a0<\/em>III [April 1822]: 224).<\/p>\n

But the Robinsons\u2019 loyalty to Mrs Golland ends here. In 1822, after she has published two novels with the Minerva Press, Catharine sends another novel, likely unsolicited and provided free of charge, to the editors of the magazine. The novel was clearly not well received. In the Noember 1822 column \u2018To our correspondents\u2019 the editors state that:<\/p>\n

\"manuscriptreject\"<\/a>

LM III (November 1822): 640. Image \u00a9 Adam Matthew Digital \/ Birmingham Central Library. Not to be reproduced without permission.<\/p><\/div>\n

What this indicates, I believe, is that contributors to the magazine were not amateur or unprofessional as they have often been described by literary historians such as Robert Mayo.[2]<\/a> They were skilled and professional writers who published work elsewhere that was paid for and in some cases returned to the magazine to continue to provide \u2013 or attempt to provide \u2013 further original fiction with no payment expected. Catharine Haynes Golland is just one example of those correspondents whose literary career fails to conform to the model of authorship as a linear progression from the amateur to professional.<\/p>\n

[1]<\/a>\u00a0Joanne Shattock,\u00a0The Cambridge Bibliography of English Literature, 1800-1900\u00a0<\/em>(Cambridge: Cambridge University Press, 1999), pp. 929-30.<\/p>\n

[2]<\/a> Robert D. Mayo, The English Novel in the Magazines, 1740-1815<\/em> (London: Oxford University Press, 1962), p. 2; p. 81; p. 317.<\/p>\n

Dr Jenny DiPlacidi<\/p>\n

University of Kent<\/p>\n","protected":false},"excerpt":{"rendered":"

Over thirty years into the lifespan of the Lady\u2019s Magazine most of the magazine\u2019s popular fiction remained the work of the anonymous, pseudonymous or often unsigned contributions of the periodicals\u2019 reader\/writers. Much of the content serialized in the magazine after 1800 closely resembles those popular Gothic novels published \u2013and, importantly \u2013 paid for by the […]<\/p>\n","protected":false},"author":39798,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/blogs.kent.ac.uk\/ladys-magazine\/wp-json\/wp\/v2\/posts\/699"}],"collection":[{"href":"https:\/\/blogs.kent.ac.uk\/ladys-magazine\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.kent.ac.uk\/ladys-magazine\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/ladys-magazine\/wp-json\/wp\/v2\/users\/39798"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/ladys-magazine\/wp-json\/wp\/v2\/comments?post=699"}],"version-history":[{"count":6,"href":"https:\/\/blogs.kent.ac.uk\/ladys-magazine\/wp-json\/wp\/v2\/posts\/699\/revisions"}],"predecessor-version":[{"id":711,"href":"https:\/\/blogs.kent.ac.uk\/ladys-magazine\/wp-json\/wp\/v2\/posts\/699\/revisions\/711"}],"wp:attachment":[{"href":"https:\/\/blogs.kent.ac.uk\/ladys-magazine\/wp-json\/wp\/v2\/media?parent=699"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/ladys-magazine\/wp-json\/wp\/v2\/categories?post=699"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/ladys-magazine\/wp-json\/wp\/v2\/tags?post=699"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}