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The Tour of Doctor Syntax, Book Review

Posted in 18th Century England, Ackermann, Anglican Church, Author interview, Book review, Books Jane Austen Read, Cartoons, Satirical, Clergy, Jane Austen's World, Poetry, Regency Travel, tagged , , on October 14, 2024| 2 Comments »

Reviewed by Brenda S. Cox

“I have seen nobody in London yet with such a long chin as Dr Syntax” (Jane Austen, March 2, 1814).

I just finished reading, cover to cover, a brand-new book which is over 200 years old. The Tour of Doctor Syntax in Search of the Picturesque, by William Combe, is a classic which Jane Austen herself enjoyed. But it’s out in a new edition, with wonderful illustrations, explanations, and comments.

A fun new annotated version of The Tour of Doctor Syntax, including parallels with Jane Austen’s novels!

The story in verse was first published from 1809-1811 as a series in Ackermann’s Poetical Magazine. Ackermann had a series of prints by the great caricaturist Thomas Rowlandson. They featured a country clergyman with a long pointed chin and a tall white wig traveling through the countryside. Ackermann gave Combe the illustrations for each issue of the magazine, and Combe wrote a section of the story to go with them. He didn’t know ahead of time what the pictures would be for the next issue, but somehow he came up with a coherent story. One interesting facet is that Rowlandson apparently intended to satirize the clergy, but Combe made Syntax into a good, learned man, a little silly, but lovable.

A book version came out in 1812. Dr. Syntax was wildly popular and stayed in print, with multiple printings and editions, well into the 1800s.

This new version of The Tour of Doctor Syntax was edited and annotated by an advanced high school class and their professor, Dr. Ben Wiebracht. Ben actually discovered Dr. Syntax through one of my posts right here at Jane Austen’s World. Recognizing its potential for his class on “Jane Austen and Her World,” he asked Vic Sanborn, owner and primary writer of this website, and myself, to share with his class. Vic owns some lovely Rowlandson prints. We both loved connecting with such bright and interested students, who asked knowledgeable questions.

The Book

They’ve done a brilliant job with the book. It starts with a biography of William Combe and the history of the book itself. Combe’s challenges as a writer in Austen’s age were fascinating to me, as a writer myself. A clear introduction explains “the picturesque,” which is mentioned in Austen’s novels. Parallel to the text are straightforward explanations of difficult terms and phrases. That makes them easy to quickly reference. A glossary in the back gives terms previously defined.

The best part, for me, are comments pointing out parallels with Jane Austen’s work. I can’t even begin to list these, but there are many great insights. Some are about the clergy in Austen’s work, since Syntax is an underpaid country curate like Charles Hayter of Persuasion. Many comments have to do with the “picturesque,” “improvement” and country estates ranging from Sotherton to Pemberley. Others relate to the class system, Gothic novels, and other topics.

The full text of the poem/story is opposite explanations, comments, and illustrations, making them easy to access. The Tour of Doctor Syntax, 2024.
“Doctor Syntax Tumbling into the Lake,” by Thomas Rowlandson. One of the lovely full-page illustrations for this new version of The Tour of Doctor Syntax.
Victorian illustration, 1838, of the same scene, by Alfred Crowquill. The Tour of Doctor Syntax includes both the Rowlandson and Crowquill illustrations.

I also loved the illustrations. The editors chose the best versions they could find of each of the full-page, hand-colored pictures by Rowlandson that were the basis of the book. They added illustrations from a later Victorian version, as well as other entertaining and illuminating cartoons and pictures from the time.

Interview with the Editor

I’ll let Dr. Wiebracht himself tell you more about how this book came about.

Ben, please tell me about your class that produced this book.

The class is called “Jane Austen and Her World” and it’s designed for advanced juniors and seniors. The goal is to see Austen’s novels not as sealed-off masterpieces, floating in a historical vacuum, but as windows into her world. Most class days, our Austen reading is accompanied by shorter texts designed to create a sense of context and show how Austen was in conversation with her contemporaries. For instance:

  • We pair Austen’s account of Bath in Northanger Abbey with a number of late 18th-c. satires of Bath, 18th-c. dance music, and illustrations of the city by Rowlandson and others.
  • We pair Catherine’s pseudo-Gothic adventures in Vol. II with excerpts from The Monk, The Castle of Otranto, and The Mysteries of Udolpho.
  • We pair the private theatricals in Mansfield Park with a viewing of a performance of Lover’s Vows, as well as specimens of anti-theatrical criticism from the period, including a satire on private theatricals by Jane’s brothers!
  • We pair the discussion of landscape gardening in Mansfield Park with images from Humphry Repton’s famous “red books” showing “before and after” estate grounds.

The idea is to understand Austen in a deeper way by developing the practice of “reading outward.” And we incorporate that principle in our work for the class. Instead of the usual school essays, students work with me to create a critical edition of a neglected text from Austen’s time, with annotations and other resources that draw connections between the text and Austen’s life and work.

The class enrolled 16 students (the maximum). They hailed from all over the country and world: Japan, China, and many different U.S. states. This was my first time teaching the course, though I developed the core ideas in an Austen unit for a previous course. In the future, I will probably teach the course every three years. The book project in particular is a heavy lift, and I’m not capable of it every year!           

How did you end up studying Dr. Syntax along with Jane Austen?

I have to back up a bit here. In the course of an Austen unit for a previous class, students and I had created a critical edition of a long-forgotten 1795 poem called Bath: An Adumbration in Rhyme. We used that book to launch a new series called “Forgotten Contemporaries of Jane Austen.” Its goals are:

  • to recover neglected but valuable texts from Austen’s time, and
  • to trace new connections between Austen and her contemporaries.

As I was preparing my Austen class, I settled on Doctor Syntax (first brought to my attention in JAW by one of your articles!) for three reasons.

  • First, the poem had undeniable literary-historical importance – one of the all-out bestsellers of the Regency. A critical edition, I thought, was long overdue.
  • Second, many of its themes – from the plight of poor clergy to the “picturesque” – were major concerns of Austen’s novels, too.
  • Finally, the poem was simply a really good read. Combe’s verses are light, fun, and at times even touching, and Rowlandson’s accompanying illustrations are some of his best work. In every way, the poem deserved to be revived!

What do you hope readers will gain from the book?

There are a lot of things I hope people take away! One would be a deeper appreciation of just how engaged Austen was in the debates and issues of her day. Sometimes Austen is talked about as something of a provincial writer, sealed off from the wider Regency world, modestly toiling away on her “pictures of domestic life in country villages,” as she once put it. But when we keep in mind just how much of a smash hit Doctor Syntax was, and when we consider the many, many parallels between this work and Austen’s novels, which our edition lays out in detail, then we see Austen differently. She now starts looking like a very savvy writer, who understood what the major issues of the day were, what readers were interested in. To be sure, she stuck to her convictions and drew on her own experience and observations, but she did so in a way designed to appeal to a broad, national readership.

I’m also excited for people to meet this poet William Combe, who had one of the most interesting lives of any Regency writer. He was a remarkable literary talent. He doesn’t fit the mold of the “Romantic poet,” which is one reason he might be overlooked. Instead he offers a light, generous humor that shows us that Regency poetry wasn’t all about Byronic heroes and Wordsworthian dreamers. There was a sociable, comic side to the poetry of the period. Combe represents that comic side particularly well.

Finally, I would love it if this book inspired other teacher-scholars to undertake collaborative research with their students – especially at the upper-high-school level. There are so many benefits. For students, it’s a more rewarding and enjoyable approach to literary scholarship than the usual school essays. For teachers, it’s a welcome relief from the role of “judge/grader” – instead you get to teach through co-creation, as is done in most trades through the apprenticeship model. And for the reading public, there’s the benefit of the work produced! I am convinced that student involvement, with the right guidance and leadership from the teacher, leads to better scholarship. It certainly has in my experience.

By the way, while we don’t offer a Kindle edition, we do offer a free etext in the form of a downloadable PDF on our website. We decided from the beginning to be an open-access publisher, in part to make it easier for teachers with low-income students to assign our books. The best way to use the e-text is to enable the 2-page view in your pdf reader – that way the text and notes are neatly parallel, as in the physical book. The etext can also be used as a supplement to the physical book – for instance if you want to do a text search for a particular word.

How did you and the students share the work on this project?

Each student was responsible to annotate one of the poem’s 26 cantos, about ten pages of text. I did the other ten cantos myself. Students also had one or more additional responsibilities, which included:

  • Researching aspects of Combe’s life
  • Researching Gilpin and the picturesque
  • Compiling chronologies
  • Drawing maps
  • Designing the cover
  • Editing the text according to scholarly standards

My job was twofold. First, I offered regular feedback on work in progress, helping students learn how to navigate library databases, write good, concise annotations, etc. I also did the parts of the book that were a bit beyond the reach of high-school students, even excellent ones, which all the students who worked on this book were! For example, I wrote most of the introductory materials, as well as some of the trickier annotations. I helped with the final prose, too, to ensure continuity of voice. That doesn’t mean, though, that the best stuff is mine. Many of the best, most insightful annotations in the book are entirely by students, and every one of my students has some of their own writing, their own voice in the final book – which was a major priority for me. And just as students benefited from my feedback, I benefitted from theirs. They fully earned their editor credits in the final book.

Final Thoughts

Dr. Wiebracht and his class did an amazing job. I highly recommend this book, which is available on Amazon and from Jane Austen Books at a discount. I have not yet read the earlier book in the series, Bath: An Adumbration in Rhyme, but now I want to get hold of that and read it, too!

If you’re at the JASNA AGM this month, you can hear Ben and some of his students speak, and get them to sign your copy of the book. (Unfortunately I’m speaking in a slot opposite theirs, as well as other excellent speakers at that time, so you’ll have to choose! It’s always challenging.) Their talk is also available in the virtual version of the AGM.

The price is very reasonable for a book with color illustrations. I hope you’ll get a chance to enjoy and learn from this lovely book!

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Comical Dr. Syntax and Jane Austen

Posted in art, Books Jane Austen Read, Cartoons, Satirical, Jane Austen's religion, Jane Austen's World, tagged , , on February 28, 2022| 6 Comments »

by Brenda S. Cox

“I have seen nobody in London yet with such a long chin as Dr Syntax”—Jane Austen, Letters, to Cassandra, March 2-3, 1814. (p. 267 in LeFaye’s 4th edition)

Frontispiece, The Tour of Doctor Syntax in Search of the Picturesque (1812), by William Combe and Thomas Rowlandson. Notice the chin! All of these images: Thomas Rowlandson, Public domain, via Wikimedia Commons

Jane Austen and her sister apparently enjoyed the adventures of Dr. Syntax, hero of a series of popular illustrated books. Usually, the text of a book is written, then the illustrator adds pictures. However, Dr. Syntax was created the other way around.

One of the most popular cartoonists of the day, Thomas Rowlandson, drew a series of pictures of Dr. Syntax on a journey “in search of the picturesque.” A publisher commissioned William Combe to write the text of the story, in narrative poetry, and the text and pictures were published together.

Austen could only have been familiar with the first book, published in 1812, Dr. Syntax: In Search of the Picturesque. In 1820 and 1821 sequels were published, The Second Tour of Dr. Syntax: In Search of Consolation, and The Third Tour of Dr. Syntax: In Search of a Wife.

Encyclopedia Britannica tells us, “All the Dr. Syntax books satirize the many 18th- and early 19th-century writers whose ‘Tours,’ ‘Travels,’ and ‘Journeys’ were vehicles for sententious moralizing, uninspired raptures, and sentimental accounts of amorous adventures.”  Satire: right up Austen’s alley!

I’ve read the first Dr. Syntax book and it’s a delight. You can find it on archive.org. (Which, by the way, is a great source for many old books.)

Doctor Syntax Tumbling into the Water. One of Dr. Syntax’s many adventures: Trying to get a good view, in order to sketch a castle, he falls into mucky water (Canto IX).

Dr. Syntax is a downtrodden, overlooked country curate, like Charles Hayter in Persuasion. Hayter, though, has connections to move him up in the church hierarchy. Poor Dr. Syntax does not. As a curate, he performs all the duties of a rector (like Mr. Collins and Henry Tilney) or a vicar (like Mr. Elton), but receives only a small portion of the income from the parish. An absentee rector elsewhere gets most of the money. On the first page, we see his responsibilities:

Of Church-preferment he had none,

Nay, all his hope of that was gone:

He felt that he content must be

With drudging in a Curacy,

Indeed, on ev’ry Sabbath-day,

Through eight long miles he took his way,

To preach, to grumble, and to pray;

To cheer the good, to warn the sinner,

And, if he got it,–eat a dinner:

To bury these, to christen those,

And marry such fond folks as chose

To change the tenor of their life,

And risk the matrimonial strife.

His income from these “weekly journeys” is only thirty pounds a year. (To get an idea of what this means, Mrs. Jennings thinks Edward Ferrars and his wife will have to live on a curacy of fifty pounds a year. She says, “Lord help ‘em! How poor they will be!”) Syntax complains that “that thankless parent, Mother Church” has overlooked his learning, giving jobs, as rectors and deans, to “fools.” The curate “feeds the flock, while others eat, the mutton’s nice, delicious meat.” Those others take the tithe income, while the curate serves the people of his parish.

Dr. Syntax also runs a school, to supplement his income, just as Jane Austen’s father did. Syntax laments rising expenses, though, saying the boys “delighted less in books than meat.” Even birch wood, used for caning disobedient boys, had gotten so expensive that often “To save the rod, he spar’d the child.” He did not punish them because he couldn’t afford to. (This is an inversion of the biblical advice in Proverbs 13:24, saying those who love their children will discipline them. It is often summarized as “spare the rod and spoil the child.”)

Dr. Syntax, Setting out on His Tour of the Lakes. His wife calls out “Good luck!” as his horse Grizzle awaits. The church that gives him a minimal income as a country curate is in the background (Canto I).

However, Dr. Syntax has a brilliant idea. He will go on a trip in search of the picturesque, drawing what he sees, and then write a book, making a lot of money–he hopes. His wife, dreaming of “silks and muslins fine,” happily sends him off on his faithful nag Grizzle.

Dreaming of “future treasure,” he finds himself lost on an empty plain, with only a defaced, useless signpost. However, he sits down to draw a picture of it, totally revising the landscape to make it look “picturesque.” He says, “I’ll do as other sketchers do, Put anything into the view.” He is proud that finally he has “made a Landscape of a Post.”

Dr. Syntax, Losing His Way. He finds a post from which to create a landscape picture of the “picturesque.”

The book parodies the “picturesque,” just as Austen parodied it in Sense and Sensibility. Edward Ferrars says,

I like a fine prospect, but not on picturesque principles. I do not like crooked, twisted, blasted trees. I admire them much more if they are tall, straight, and flourishing. I do not like ruined, tattered cottages. I am not fond of nettles or thistles, or heath blossoms. I have more pleasure in a snug farm-house than a watch-tower,—and a troop of tidy, happy villages please me better than the finest banditti in the world.

Marianne, of course, is shocked.

Dr. Syntax, Stop’t by Highwaymen (Canto II). They leave him tied to a tree. Fortunately, his wife has sewn most of his money into his coat so they don’t get it.

Dr. Syntax, after creating his picturesque scene of a post, is attacked by robbers and tied to a tree—the first of his many adventures. Two passing women (whom he compares to Don Quixote’s Dulcinea) free him and give him a meal. While his horse roams, a jokester cuts off half its tail and ears, making it “a fit sight for country-fair.”

At an inn, Dr. Syntax copies down quotes from books (to use in his own book), while a dog runs off with half his breakfast. He has kissed the maid (by her invitation), but her jealous boyfriend pours boiling water into his shoes.

His adventures continue. He makes new friends along the way, one of which gives him a church living in the end. He draws many pictures, writes his story, and his book is published.

Dr. Syntax, Taking Possession of His Living. A friend met on his travels provides the connection he needs to get a good church living.

At the end, Syntax, now appreciated and with a good position,

“enjoy’d his hours of learned ease;

Nor did he fail to preach and pray,

To brighter worlds to point the way . . .

Thus the good Parson, Horse, and Wife,

Led a most comfortable life.”

Dr. Syntax Preaching. Doctor Syntax gets the opportunity to show off his skills along the way.

I can imagine Jane Austen reading this book, laughing at the absurdities of Dr. Syntax’s trials and tribulations. She may have enjoyed, as I did, his more serious poetical sermon about man being “born to trouble,” which prepares us for “better worlds and brighter skies” (Canto XXI). The satirical language throughout the book is great fun. And she probably appreciated the delightful Rowlandson illustrations. You will find many entertaining passages in the book, if you get a chance to read it.

Dr. Syntax’s long, sharp chin certainly made an impression on Austen, so that she even looked for someone with such a chin in London!

Brenda S. Cox blogs on Faith, Science, Joy, and Jane Austen. She spoke on “Satirical Cartoons and Jane Austen’s Church of England” at the 2021 JASNA AGM. 

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Jane and the Year Without a Summer, by Stephanie Barron

Posted in 19th Century England, Austenesque novels, Book review, Cartoons, Satirical, History, Jane Austen's World, medicine, Regency Science, tagged , on February 7, 2022| 10 Comments »

A Book Review by Brenda S. Cox

“Mr. Curtis’s [the apothecary’s] opinions were succinct . . . He looked at me–and into me, by way of a lanthorn beam directed down my throat–and pronounced me in want only of a period of rest and refreshment.”–Jane and the Year Without a Summer

Jane and the Year Without a Summer by Stephanie Barron is the newest “Jane Austen Mystery.”

Jane and the Year Without a Summer is the fourteenth book in a delightful series by Stephanie Barron. The novels show Jane Austen solving mysteries. I’ve enjoyed all of them! In the first of the series, Jane and the Unpleasantness at Scargrave Manor, she solved the murder of an earl in 1802. In each book, actual events, people, and places in Jane’s life are mixed with fiction, mystery, and a little romance.

In Jane and the Year Without a Summer, we’ve reached May 1816. So we’re nearing the end, sadly. Jane is suffering from the disease that will eventually kill her. But, of course, she doesn’t know that yet. So she goes to Cheltenham Spa with Cassandra to try the waters. She hates them, but, as always, gets involved in, and solves, a mystery. And she meets up with a romantic interest from a previous book.

You can enjoy this story without having read earlier books in the series. It’s been quite some time since I read the previous book, and I still followed this one easily.

Nothing really mysterious happens until over a third of the way through the book. But I enjoyed hanging out with Jane and Cassandra until then, and appreciating the real historical details woven into their story. The family is experiencing hard times, with Henry’s bank failure; Edward fighting a lawsuit; and Charles surviving a shipwreck and facing an inquiry over the loss of his ship. The apothecary tells Jane she needs a rest, so she uses some of her income from Emma to take Cassandra to a popular spa town.

The Year Without a Summer

At their boarding house, they meet a clergyman who calls himself a “man of Science.” (Though “natural philosophy” or “natural history” would have been more common terms used at the time.)  He prophesies apocalyptic desolations on the earth, based on an actual event.

Mount Tambora in Indonesia had erupted the year before (1815), the largest volcanic eruption in recorded history.  It filled the world’s atmosphere with ash for several years. This made 1816 a “year without a summer,” when crops failed and people went hungry around the globe. 

Austen experienced a wet, cool summer. John Constable pictures a storm moving in over Weymouth Bay that year, 1816. Public domain via wikiart.

Medicine

In another area of science, we hear the dubious medical advice of the Alton apothecary and the Cheltenham doctor. A real doctor is mentioned, though, who revolutionized medicine during Austen’s time by inventing vaccines.

Edward Jenner lived in Cheltenham at the time. He discovered that he could give people cowpox in order to prevent smallpox. (“Vaccination” comes from Latin “vacca,” meaning cow.)  Jane thinks that he “is of such dubious brilliance that some regard him as the Devil, and others as a god.” She says she was vaccinated by her friend Madame Lefroy, a clergyman’s wife who did vaccinate many people in her parish, near the Austens’ parish.

James Gillray’s 1802 cartoon, “The Cow-Pock, or the Wonderful Effects of the New Inoculation!” shows cows emerging from the bodies of people being vaccinated, illustrating the public’s fears of vaccination. Public domain via wikipedia.

“Weaknesses” of Women

The Cheltenham doctor Jane consults claims that her health problems are due to “an excess of uterine influence.” He claims that “denying the organ its proper function of childbearing” causes it to release poisons into the body, causing “every kind of affliction” common to women! Jane doesn’t think much of his advice. She comments to Cassandra that childbearing itself is even worse; some of their relatives died in childbirth.

Attitudes toward women are threaded through the novel. Jane’s brother James tells her, “the female mind is too weak to support the rigors of composition, and must necessarily fall into vice.” Jane, of course, ignores this. I’m wondering if James ever said anything like this (readers, do you know?), or if it’s just a reflection of popular attitudes. James wrote a poem, after the publication of Sense and Sensibility, praising her writing and adjuring her to continue writing. So if he said something like this later, it was quite a change.

[Spoiler alert—skip this paragraph if you wish.] The mysteries of the novel center around a frail young invalid, Miss Williams. She is trying to achieve independence. Her wealthy father’s will gave her an inheritance when she married, but she will lose control of it if she gets pregnant (or dies). So she becomes anorexic, refusing to eat. One of Barron’s many helpful notes tells us that anorexia frequently prevented menstruation and conception. So women sometimes used that choice as a way to control their own lives. However, when people close to “Miss Williams” die, questions arise. Is her wastrel husband trying to kill her to get her inheritance? Or is something else going on?

Stephanie Barron not only tells a compelling story, she has obviously done her research on Jane Austen’s life and world. We learn fun details ranging from how transparencies were made and displayed, to how much Princess Charlotte’s wedding gown cost.

I think any Austen fan will enjoy reading about Jane Austen’s fictional adventures during “the year without a summer.”

Jane and the Year Without a Summer comes out on Feb. 8. Enjoy!

Brenda S. Cox also posts on “Faith, Science, Joy, and Jane Austen,” and is working on a book entitled “Fashionable Goodness: Faith in Jane Austen’s England.”

For a scholarly examination, see Tambora and the “Year Without a Summer” of 1816 

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Christmas Cartoons of Jane Austen’s England

Posted in Cartoons, Satirical, Christmas, Jane Austen's World, Persuasion, Regency Christmas Traditions, tagged , , , , on December 24, 2021| 4 Comments »

by Brenda S. Cox

“This is quite the season indeed for friendly meetings. At Christmas every body invites their friends about them, and people think little of even the worst weather.”–Mr. Elton, Emma

I hope you are all enjoying the holidays. In Austen’s novels, Christmas is a time for parties and for family and friend to gather, just like today. It was also a day for attending church (see Emma ch. 16 and Mansfield Park ch. 23), after weeks of Advent when prayers focused on the coming of Christ. For more on the prayers and readings that Austen would have prayed and read for Advent and Christmas, see my post Advent with Jane Austen. You can also find many posts at this site (and others) on Christmas customs in Jane Austen’s England.

I recently gave a presentation on “Satirical Cartoons and Jane Austen’s Church of England” at JASNA’s Annual General Meeting (you can read it in this month’s Persuasions On-Line, or, if you are a JASNA member, you can watch it in the AGM on Demand).  Today I’d like to share a few cartoons about Christmas in Austen’s England. (I didn’t find many; perhaps Christmas was not a popular subject for caricatures.)

Triumphal Procession

Let’s start with this wild one.

The Triumphal Procession of Merry Christmas to Hospitality Hall, Richard Newton, 1794.
© Trustees of the British Museum (CC BY-NC-SA 4.0) via wikimedia

In an earlier post about the Clerical Alphabet cartoon, I wrote about Richard Newton, a prolific young artist of the time. Newton drew the above cartoon in 1794, satirizing the general gluttony and drunkenness associated with Christmas. In The Triumphal Procession of Merry Christmas to Hospitality Hall, men on a carriage feast on large pieces of meat while behind them a naked man sits on a barrel, probably of wine or another alcoholic beverage.

Academics at Christmas

Christmas Academicks, Playing a Rubber of Whist, Thomas Rowlandson, 1803.
Public domain via the Metropolitan Museum of Art.

University professors have a much more restrained celebration, though still not a devout one. Thomas Rowlandson’s The Christmas Academicks Playing a Rubber of Whist (1803) shows four academics playing cards, while a fifth stands nearby and a servant brings drinks. All are clergymen, probably fellows (professors or tutors) at the University of Oxford or Cambridge, who would be single clergymen. (Jane Austen’s father was a fellow at Oxford until he married.) As in many satirical cartoons of the time, the clergymen are pictured as overweight and self-indulgent. They are gambling and drinking, not in church. 

Farmer Giles’s Establishment, Christmas day, 1800, by William Heath, 1830
Courtesy of The Lewis Walpole Library, Yale University

Farmer Giles: Christmas Through the Years

Some years later, in 1830, William Heath drew a series on Christmas as a political satire. It begins with a delightful version of an 1800 country Christmas, such as the Musgroves or Westons might have enjoyed in Austen’s novels.

Farmer Giles was a symbol of the unsophisticated country farmer. Here he feasts with his joyful family at Christmastime. As we see in Austen’s novels, Christmas was a time for parties and feasts. Greenery decorates the fireplace and the wife is slicing plum pudding. Farmer Giles is apparently prosperous and he becomes more so.

Farmer Giles’s Establishment Christmas 1816 by William Heath, 1830
Courtesy of The Lewis Walpole Library, Yale University

By 1816, the farmer has done well and moved up into fashionable society. This Christmas he and his wife are playing cards (gambling) while guests dance in the ballroom. However, they look much less happy than in the first print. The children are grown now, and looking on. The farmer’s hand appears to be bandaged for the gout, from overeating and excessive drinking.

Farmer Giles’s Establishment!!! Christmas 1829 by by William Heath, 1830
Courtesy of The Lewis Walpole Library, Yale University

Their financial prosperity doesn’t last, though. The agricultural economy crashed.

In the third plate, Farmer Giles’ Establishment!!! Christmas 1829, the farmer is in a debtors’ cell. He holds a paper saying his children have been sent to the work house. His wife is doing laundry in a tub.

So this series becomes political satire, criticizing the government for its policies which led to an agricultural depression. A very sad Christmas.

The Merry Musgroves

But let’s return to Austen’s happier times. 

The Musgroves and children at Christmas
C.E. Brock, Persuasion, Volume 2, chapter 2

As Austen describes Christmas at the Musgroves, in Persuasion:

On one side was a table, occupied by some chattering girls, cutting up silk and gold paper; and on the other were tressels and trays, bending under the weight of brawn and cold pies, where riotous boys were holding high revel; the whole completed by a roaring Christmas fire, which seemed determined to be heard, in spite of all the noise of the others. . . .

Anne, judging from her own temperament, would have deemed such a domestic hurricane a bad restorative of the nerves, which Louisa’s illness must have so greatly shaken; but Mrs. Musgrove, . . . concluded a short recapitulation of what she had suffered herself, by observing, with a happy glance round the room, that after all she had gone through, nothing was so likely to do her good as a little quiet cheerfulness at home. . .

“I hope I shall remember, in future,” said Lady Russell, as soon as they were reseated in the carriage, “not to call at Uppercross in the Christmas holidays.”

Every body has their taste in noises as well as in other matters . . .

I hope this Christmas is just to your taste! Many blessings to you in the New Year.

Brenda S. Cox writes on Faith, Science, Joy, and Jane Austen. She is currently working on a book entitled Fashionable Goodness: Faith in Jane Austen’s England.

 

For more on satirical cartoons in Jane Austen’s England, see:

Satirical Cartoons and Jane Austen’s Church of England

The Stereotype of the Self-Indulgent Clergyman: Rowlandson’s Parsonage 

The Clerical Alphabet: Problems in Austen’s Church of England 

Keeping Within Compass  Mike Rendell also shows and discusses many other fascinating cartoons from Austen’s era on this blog, but be aware that many are risque. I am indebted to Mike for posting on the Newton Clerical Alphabet cartoon that got me started looking at cartoons and the clergy.
 

For more on Christmas in Austen’s England, see:

Party Like the Musgroves, by Rachel Dodge, to have your own party like the Musgroves did in the passage above!

Christmas Georgian Style 

Archive for Regency Christmas Traditions (various posts on this site)

Christmas Traditions (various posts from various sites)

More Regency Christmas Traditions (and scenes and stories, various posts from Maria Grace’s site) 

Joy to the World: Psalms, Hymns, and Christmas Carols in Austen’s England

Regency Christmas Carols

Handel’s Messiah in Jane Austen’s England 

Advent with Jane Austen: Now, and Not Yet 

Georgian Christmas Pie Recipes

Regency Christmas Songs and Games

A Jane Austen Christmas: Regency Christmas Traditions, book by Maria Grace

Christmas in Jane Austen’s Time

Jane Austen’s Christmas

. . . and much more!

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