Skip to main content

November 21, 1852

 

A comparative view of the social life of England and France from the Restoration of Charles the Second to the French Revolution (1828) was a history written by Mary Berry, (March 16 1763 to November 21 1852). Berry was a friend of Thomas Macaulay, and other intellectual luminaries, of the late 18th century. This volume enhanced her fame, but she was already known for her editing of Horace Walpole's correspondence, and other books also. I am gong to briefly quote from the preface because it gives a good sense of an ahistorical past which governed the imaginations of writers until about this period. You can see her need to defend her history because if things really changed, that might cast doubt on the fundamentals of the 18th century world. (If things did NOT change the reason to write history is different or non-existent). Nowadays we are accustomed to the view that fundamental worldviews can shift in an historical time, but our view was itself an historical development. So this introduces Mary Berry:

... the great moral principles upon which all social order in an advanced state of civilisation is necessarily formed, remain at all times nearly the same, the modifications imposed by law, or induced by custom, in different eras of society—the duties exacted by the one, and the licence often obtained by the other — produce occasional, accidental ebbs and flows in the morals as well as in the manners of private life. These form an interesting and not unuseful subject of contemplation to such minds as, in society, by an intimate acquaintance with their contemporaries, have been enlightened, not contracted; who have learnt, in and from the world, indulgence to its follies without participation in its thoughtlessness, and a severe adherence to general principles, with great lenity to individual deviations from them. ...

Mary Berry and her sister and father led an adventurous life of travel, and their salon was attended by many names we remember today, though we have forgotten Berry's. Mary died the same year as her sister.

After her own death her correspondence was edited by a good friend of hers and published in 1865:
Extracts of the journals and correspondence of Miss Berry from the year 1783 to 1852, Volume 1.
Included in this book is a poem written by the cousin of Mary Berry, graciously ending a long visit with her family.

MISS SETON'S LINES TO THE 'TEA-CADDY

Dear Caddy, since no more from thee
I now shall draw each morning's tea,
This envied place no more be mine,
And I, like ministers, resign;
Since from these scenes I must retire
To humble Causham's cottage fire,
Where dog, and cat, and I, and mother,
Sit and make much of one another;
And quit this house where best I see
The charms of true society; 

...

This excerpt, (the original is about a hundred lines) with its artful conceits, gives a glimpse of a privileged class which produced more women writers than are often counted.

Comments

Popular posts from this blog

August 23, 1941

Onora Sylvia O'Neill (August 23, 1941) is a British thinker. She studied at Oxford and received a doctorate from Harvard. After a noted career, in 1992, she  accepted the post of  Principal of  N ewnham College, Cambridge, and since 2006 she has been Emeritus Professor of Philosophy at Cambridge. Her 1997 paper, "Environmental Values, Anthroporphism, and Speciesism" contains a timely  argument  in which Dr. O'Neill, (she prefers that title to the "Baroness" to which her elevation to the peerage allows) points out inadequacies in the use of the term speciesism to argue against according humans more ethical rights than aspects of the non human world.  A viewpoint that puts " a person torturing a cat is on a par with a cat torturing a bird," is not one she finds supportable. The link is to a downloadable version of this paper.  We have  this picture  of Onora O'Neill, in 2002, at Newnham College: We meet in the Principal's lodge at Ne

August 25, 1990

Watch enough old movies (pandemic anyone) and you can fill in this scene--- businessmen, sex, court corridors. This is the backdrop to a scene from Morley Callaghan's novel, The Man With the Coat , (1955), from which we quote: As a businessman, Singerman might say he couldn’t afford to be associated with an old fighter who was an outcast from a place where the best people went. “I won’t be an outcast,” Mike said so loudly that his own voice in the darkness startled him and he sat up in bed. Then he heard a cat in the lane behind the building. The window was open a few inches. The weeds that bothered his hay fever grew in the lane. Again he heard the cat dragging at the lid of the garbage pail. The lid clattered and rolled and he jumped up, slammed the window shut, then he clenched his big fists with the broken knuckles and stood in a trance for a long time. A more directly biographical account is Morley Callaghan's story of accompanying a lady friend to the coliseum one night,

August 22, 1806

Jean Honoré Fragonard (April 4 1732 to August 22, 1 806) the famous French painter, whose art illustrated the lives of a gilded class, included cats occasionally in his scenes. We have some biographical context from the  National Gallery of Art : 'Fragonard was one of the most prolific of the eighteenth-century painters and draftsmen. Born ... in Grasse in southern France, he moved with his family at an early age to Paris. He first took a position as a clerk, but having demonstrated an interest in art, he worked in the studio of the still life and genre painter Jean Siméon Chardin (French, 1699 - 1779). After spending a short time with Chardin, from whom he probably learned merely the bare rudiments of his craft, he entered the studio of François Boucher ....1703 - 1770). Under Boucher’s tutelage Fragonard’s talent developed rapidly, and he was soon painting decorative pictures and pastoral subjects very close to his master’s style....Although Fragonard apparently never took cour