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Posts Tagged ‘Tony Grant’

Austen Chat Podcast

Austen Chat Podcast
Brenda Cox, a writer for this blog, steered me to these wonderful podcasts offered by JASNA (Jane Austen Society of North America). Brenda’s discussion is featured in the second podcast on August 2023 entitled Jane Austen & Goodness: A Visit with Brenda Cox. 

On JASNA’s instagram’s site: 

Screen Shot 2024-02-04 at 6.48.15 PM

“This month we visit with the author of “Fashionable Goodness: Christianity in Jane Austen’s England” to discuss clergymen in Austen’s novels, her use of certain words that hold deeper religious meaning than you might think, women who were influential in the church, and the role churches played in the many social reforms of her time.”

A new podcast is featured every first Thursday of each month. This means a new one will appear in early March! Each is approximately 30 to 40 minutes long. They also come with a full transcript for a quick reference later, or for leisurely reading.

The Podcast host is Breckyn Wood, a member JASNA’s Georgia Region and an independent Jane Austen scholar. She is a freelance writer, editor, and children’s book author.

In addition to Brenda’s wonderful talk, previous podcasts include:

2023

July 6: Jane Austen & Her House: A Visit with Lizzie Dunford

Sep 7: Jane Austen & Her Wardrobe: A Visit with Hilary Davidson

Oct 5:  Jane Austen & Her Endings: A Visit with Inger Brodey

Nov 10: Jane Austen & Divorce: A Visit with James Nagle

Dec 7: Jane Austen & Mr. Wickham: A Visit with Adrian Lukis

2024

Jan 4: Jane Austen & Dido Belle: A Visit with Renata Dennis

Feb 1: Jane Austen & Food: A Visit with Julienne Gehrer

I can’t wait to listen to them all!

Tony Grant:  Review of Northanger Abbey, a play by Zoe Cooper

On the 26th January Tony Grant and his wife saw “Northanger Abbey” at The Orange Tree Theatre, Richmond upon Thames. The play, written by Zoe Cooper, was ”inspired” by Jane Austen’s novel. Only three actors enacted all the roles as written by Ms Cooper. 

I’ve seen plays in experimental theaters where actors played several roles after hastily making costume changes. This method of acting leaves me in awe in how the actors inhabit the different characters fully and with perfect recall of their varying dialogues.

Zoe Cooper's Northanger Abbey

The link below leads to the review on his blog of Cooper’s adaptation of Northanger Abbey. In preparation for the performance, Tony read Northanger Abbey again, which gave him fresh insights.

zoe cooper playwright

Playwright Zoe Cooper

Click on this link to enter Tony’s blog to read the review and information about Zoe Cooper.

Hallmark’s Loveuary Experience in February 2024

presents four original movies inspired by the novels of Jane Austen… with a Hallmark twist. 

The first movie aired on February 3rd, but never fear, it will be streamed on Peacock on demand.

Paging Mr Darcy:  

paging mr Darcy

When an overly serious scholar attends an annual Jane Austen conference, she has a sudden change of heart when she strikes a deals with the man who’s playing Mr Darcy. 1 hr 24 m, 2024

Future February Airings on the Hallmark Channel

Love & Jane, Premieres Sat Feb 10 8/7c

An American in Austen, Premieres Sat Feb 17 8/7c

Sense and Sensibility, Premieres Sat Feb 24 8/7c

These movies will also stream on demand on the Peacock App.

A short review of ‘Paging Mr Darcy’

I just viewed “Paging Mr Darcy.” I give it 2½ out of 5 stars, having spent much of my time keeping half an ear and eye on the film while looking up information for my sick dog. The story was pleasant, but would have been better had the script reflected the energy, fun, and seriousness of an actual Austen conference, like the yearly JASNA AGM. The script was not robust enough for my tastes, but then again, there’s a reason why Hallmark movies with their happy endings are popular with a large number of viewers, and why so many of these romance movies are generated each year.

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In 2021, on the heels of Bridgerton’s success, Netflix announced a new adaptation of Persuasion starring Dakota Johnson as 27-year-old Anne Elliot and Cosmo Jarvis as Captain Wentworth. Henry Golding, given the choice to play either the captain or William Elliot, interestingly chose the latter. Also on board are Richard E. Grant and Suki Waterhouse as, I suppose, Sir Walter Elliot and Elizabeth Elliot, for their roles have not been announced. The other cast members are described at IMBD Persuasion 2022.

Persuasion pulbicity-Netflixfilm

Let these exquisite photos of Dakota Johnson, Cosmo Jarvis (t), and Henry Golding (b) tide you over until PERSUASION, a most excitable new film adaptation of Jane Austen’s novel arrives on Netflix in 2022.- NetflixFilm twitter @NetflixFilm

Netflix is betting on a sure thing. In addition to Bridgerton, now in its second season, the powers that be at Netflix must also have noticed Emma 2020’s draw. Before theaters closed during the pandemic, this film drew huge audiences in its opening weeks and enjoyed a steady stream of online viewers during lock down.

Jane Austen’s final novel was published posthumously in 1818, and by many it is considered her finest. This new adaptation is described as a “modern, witty approach.” We’ll see how well this approach matches Austen’s nuanced novel. Carrie Cracknell, a theater director, directs this film. Like Autumn de Wilde (Emma. 2020), she is a first-time film director. The script was written by Ron Bass (Rain Man) and Alice Victoria Winslow (Hot Spot). 

Filming began in 2021, and a release date is anticipated this year. The film is now in post production. I’m curious to see how this Persuasion stacks up against two previous adaptations, one in 1995 starring Amanda Root, and in 2007 starring Sally Hawkins. Stay tuned for more news as it comes.

Behind the scenes photos-PhotoWorld Twitter

Behind the scenes photos from Twitter, Period Drama World @WorldPeriod

Review of Persuasion by Tony Grant of the theater production, 2022

“PERSUASION (an adaptation of Jane Austen’s novel by Jeff James and James Yeatman) at The Rose Theatre Kingston upon Thames.”

Marilyn and I went to see Persuasion performed at The Rose on Tuesday 8th March. It may be strange but  for somebody who professes to know a little bit about Jane Austen it is a long time since I had actually read the novel. I have delved deep into Austen’s novels over the years for quotes and to reference her possible thoughts  and ideas about life and love,  but I have failed to read the whole of the novels since I first read them all  years ago.  I have lost sight. I think of what Jane actually wrote. So I read Persuasion again and it wowed me. It is a novel that explores the shifting of society  in the early 19th century when much was changing, not just relationships, but class and the industrial world was taking off. It seems apposite that at the moment when the world order is actually changing that The Rose Theatre chose Persuasion to dramatize. 

I know that novels, good novels, that is, as you read them again over time and  as your own experience of life develops,  reveal  different levels of understanding. So what did I get from reading Austen’s Persuasion this time round before seeing the performance?  The word ,persuasion, is used at times during the novel, but not often. The actual consequences of being persuaded however are felt throughout and drive the novel itself. Anne Elliot was persuaded by not just her father to refuse a  marriage proposal to somebody she really loved  but Lady Russell, the family friend and Anne’s particular friend, was always the deciding factor in the process of persuading  Anne in her youth. Ann seems to have been persuaded into a lot of things in her early life up to the moment of the novel’s action including turning down that offer of marriage from Captain Wentworth eight years previously.   Ann is  annoyingly hyper neurotic. Is that because she has always been pressured by others? Does she feel  she has no control over her life?  

Things happen to Anne. She doesn’t make things happen for herself. She analyses every situation, almost every word and look to an intense degree. She  always comes out worst. In this novel and in the play she eventually learns to decide for herself. So a major theme has to be how we use people’s advice and how much we should be persuaded when making life decisions for ourselves.

Persuasion-program-Image@TonyGrant

Persuasion program. Image taken by Tony Grant. See more of his images in the link at the bottom of this post.

A novel written in the early 19th century  translated into  a play set in the 21st century, surely, it can’t be done. They are two worlds so far apart. How can they possibly come together and meet? There are the wise among us that say Austen is universal in her treatment of relationships. This is true when you drill down to what happens in a  relationship  but all those 18th century rules get in the way to a  translation across centuries, surely? Class status, wealth,  attitudes to money and  the patriarchy  and what seems to us blatant misogyny but wasn’t understood as such in the 18th century, how does it all get transferred to the 21st century? When I read Persuasion again finishing the day before we saw the stage adaptation, I couldn’t see any way that it was possible to achieve that transfer from the 18th century to the 21st century.

To finish the review, continue to read how this production achieved its 21st century point of view and how the comedy was resolved on London Calling, Tony’s blog. Note: Tony Grant is a frequent contributor to this blog. His site covers all things England, past and present.

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Book cover of Bath: An Adumbration in Rhyme by John Matthews

Cover of Bath: An Adumbration in Rhyme by John Matthews

Inquiring readers: Many of you who have visited here before are aware of Dr. Wiebracht’s online senior high school students’ research on John Matthews’s 18th century poem “Bath: An Adumbration in Rhyme.” This link leads to their published work, as well as Dr. Wiebracht’s description about the project and his advice for teachers on starting a similar semester-long online endeavor. Their remarkable results were published on this blog in January and spring of this year. The third step in Dr. Wiebracht’s examination of the poem – a publication – is presented in this review.

So the beaux in their boots, the belles in their slippers,

Come to walk up and down, and peep at the dippers,

For though strange it appears, I’d have you to know,

Whilst you’re drinking above, some are bathing below,

And each glass of water brought up by the pumps

Contains the quintessence of half-a-score rumps.”

Bath: An Adumbration in Rhyme, John Matthews

cruikshank-bathing-bath

A Peep at the Dippers, Cruikshank. Public Domain Image

The forgotten contemporaries of Jane Austen and an introduction to the first book in a series that will examine them

In his introduction of this unique annotated publication, Wiebracht writes that it:

speaks as directly as possible to the typical reader – the same reader Austen herself addressed. And teachers and students, particularly high-school students, will be inspired to know that the volume they are reading was researched, designed, and edited in large part by other high-school students. Indeed, as a teacher and scholar, one of my hopes for this series is that it challenges the narrow assumption that only university faculty and graduate students are capable of making original contributions to literary scholarship. This isn’t so.”

After the students completed their project in December 2020, Dr. Wiebracht and his academic colleagues continued to study the Adumbration. The result was this completed book, published in August of this year.

The major goals for Dr. Wiebracht, his students, and academic researchers were to find original sources to chronicle the genesis of this poem and the resources that influenced it. These sources can be found in the Table of Contents under bibliography and further reading, as well as a biographical essay on John Matthews, and an essay on Bath satire. Also included is a thoroughly accessible, but academic analysis of *Northanger Abbey (with references to Persuasion) regarding Austen’s descriptions of Bath, Anstley’s The New Bath Guide (1762), and G. Davis’s and P. Bonhall’s book, entitled A History of Bath: Image and Reality (2006). The highlight of this volume, though, is the poem, located near the very end. My close friend, H. Major, (and editor) particularly liked how the annotations were placed on the right page, next  to the archaic phrases in the poem on the left page for helpful understanding.

annotation of the adumbration

Side by side- poem on the left, annotation on the right

This 54-page book is the first in a planned series entitled Forgotten Contemporaries of Jane Austen. The selected works will have a varied audience in mind, with characteristics that include: 

  1. The work is not available in any other modern edition.
  2. It must discuss subjects that directly concern Jane Austen and are featured prominently in her novels.
  3. It must be relatively short to enable teachers and professors to use it as a supplement in a class or unit devoted to Jane Austen.
  4. It must have merit in its own right.

I won’t reveal too many details about the information contained in this first Critical Edition, for it would spoil your fun in learning what it has to offer when you purchase the book, which I recommend highly, but I would like to mention one sequence of connections that clearly tie several topics together: Bath in the late 18th century + Jane Austen’s Northanger Abbey and Persuasion + 18th century satire + writing in rhyme + macaronis and fops + Matthew’s one-dimensional view of fops compared to Austen’s more masterful take on that fashionable group of gentlemen.

Historical and literary connections:

In 1762, Christopher Anstey wrote The New Bath Guide: Or Memoirs of the B-R-D Family, which consisted of 15 letters in poetic verse. The popularity of this guide began a tradition of writing letters, journals, and guides in rhyme. Decades later, John Matthews followed in his footsteps by using bawdy and satiric references, while also including Greek myths and the daily habits of visitors to Bath, and the region’s topography.

A portion of the page of Anstey's guide

Anstey’s rhyme regarding a reflection on arrival in Bath

In his poem, published in 1795, Matthews describes a day in Bath from morning to night using the sharp humor characteristic of Georgian era satire (notice the quote about taking the waters in the pump room at the start of this review). Matthews was not the only one to follow this wide practice. Men and women of fashion often wrote in rhyme, as did Jane Austen’s mother, Cassandra, who wrote delightful recipes in that tradition. Jane, too, wrote poetry, but her poems are merely adequate when compared to her novels.

In one passage in the Adumbration, Matthews mentions macaronis in Milsom Street:

“Where, booted and spurred, the gay macaronies, 

Bestride Mandell’s counter instead of their ponies,

Preferring the pleasure of ‘tending the fair,

To breathing the freshness of Lansdown’s pure air” – Matthews

From the mid-18th century, cartoonists and writers made merry sport of the affectations of effete fops and macaronis, who were objects of visual and verbal fun. In his Adumbration, Matthews follows his era’s sardonic judgment. The annotations offer definitions and historical context that are placed conveniently near the Georgian terms and phrases that modern readers no longer understand. 

Image of a macaroni

1774 Wikimedia image of a macaroni or fop. “What is This, My Son Tom?”

Jane Austen’s take on fops, in the form of  Sir Walter Elliot (Persuasion), a man who cared more about his personal appearance than most men and women of his acquaintance, is more nuanced than Matthews’ fops, for behind Sir Walter’s sartorial pride and conceit, is a man disdainful of the middling sort, a man whose high opinion is reserved only for those he deems his equals, and a man who squanders his inheritance in the service of his immense ego. Unlike Austen, Mathews simply makes surface sport of a macaroni’s preference for fashion, much like the caricatures of his era.

Both Austen and Matthews portrayed Bath past its prime, however. It was once a highly desired resort town that, by the 1790’s, saw the mingling of the rising middle classes with an aging gentry and those on the downward slide, like Sir Walter, or with fortune hunters. Today, we read Matthews’ guide for fun and understanding; but we tend to reread Jane’s “fun” novels for their richness and insights!

matthew.austen

Portraits of John Matthews and Jane Austen. Vic’s image is from the book

Stanford online high school student testimonials:

The Jane Austen’s World team would like to thank the students for their hard work on this project and the excellent results. We would also like to thank Dr. Wiebracht and his colleagues for illuminating this document for a wider audience. In addition to their research, students were required to read Austen’s *Northanger Abbey. They also attended two 1 hour zoom workshops, one given by Tony Grant, and the other given by me, Vic.  A number of them sent notes of thanks!

“Thank you so much for being willing to get involved in our Bath project, for your enthusiasm on our work, and for helping us learn something new and unique about Jane Austen’s era! – Josie Chan

“Thank you so much for giving us a space on your platform, and for visiting our class last year!  Your insight on both Jane Austen and the publication process was invaluable.” –  Varsha Venkatram

“Thank you so much not only for giving us the opportunity to publish on your blog but for sharing your expertise. Your advice was an invaluable guide in this process.” – Sophia Romagnoli

“Thank you for visiting our class and publishing our article on your blog! It’s an honor to have been part of a team contribution to Jane Austen’s World. – Carolyn Engargiola

Note from Jane Austen’s World: Dear students, the honor is ours. We are so proud of your research and contributions, and cannot recommend this book highly enough – Vic Sanborn and Tony Grant

Order the book on Amazon:

Bath: An Adumbration in Rhyme: A Critical Edition for Readers of Jane Austen (Forgotten Contemporaries of Jane Austen) Paperback – 8 August 2021

by John Matthews  (Author), Ben Wiebracht (Editor), Josephine Chan (Editor), & 6 more

$9.99 U.S.

54 pages

Publisher: Pixelia Publishing (August 8, 2021)

Language: English

Paperback: 54 pages

U.S. Amazon

UK Amazon

Links:

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Early Life of Robert Geffrye

Robert Geffrye was born at Tredinnick Farm near Landrake in Cornwall in 1613. His father was a yeoman farmer. That meant, unlike a tenant farmer, he owned his own land. He was baptised at St Michael’s Church in Landrake on the 24th May 1613. The local vicar, Roger Jope, chose children from the area to teach the basics of reading and writing. He discovered in Robert a quick and intelligent child. At that time, learning to read and write opened opportunities to any able boy.

A number of national and international incidents happened in the early years of Robert Geffrye’s life. In 1623 and again in 1630, storms affected the crops and many families were left hungry. In 1618, the 30 Years War began in Europe. A period of continuous war over three decades between Catholic and Protestant states in Europe and particularly amongst the Germanic states ensued. Even though Britain was not officially a participant in these wars, James Ist still provided an army of 30,000 English troops to support his Protestant allies. In 1625, three hundred young Cornishmen were conscripted to fight. In 1627 a failed raid on La Rochelle saw the returning English army of 5000 men billeted on Cornish households. Landrake was no exception. Because of the unruly nature of some bands of troops stationed in Cornwall, martial law was imposed on the area. Poor prospects and many dangers beset the young teenage Robert Geffrye.

A young man wanting to get on in life obtained an apprenticeship, especially with one of the great livery companies in the City of London. This was a route to prosperity and advancement. Many Cornish men had made their fortunes by joining such livery companies and many prominent Cornishmen had links to the livery companies. For instance, Richard Randall the Deputy Vice Admiral in Devon had a longstanding connection with The Ironmongers Company. Richard Peate, another Cornishman, made a lucrative career with The Ironmongers and became their senior warden. Robert Geffrye went to London at the age of 17 and applied successfully to join the Ironmongers as an apprentice with Richard Peate.

Robert Geffrye’s father paid Robert Peate the £200 apprenticeship fee. Apprentices became part of their masters family and boarded with them for the seven years the apprenticeship lasted. Robert Geffrye lived with the Peates at Whitecross Street, Finsbury, and initially would have been set to work sweeping the warehouse floor, and packing and weighing goods. Towards the latter years of his apprenticeship he would have worked in the counting house dealing with bills, and learning the elements of book keeping and correspondence, and so became acquainted with Peate’s customers. Daniel Defoe had been an apprentice with the Butchers company. He wrote that on the completion of an apprenticeship, a young man could, 

“turn his hand to anything, or deal in anything or everything.”

Robert Geffrye completed his apprenticeship with credit in August 1637. He was given the freedom of the city, which gave him privileges within the city. He later became a liveryman of the company, putting him in a position of authority, checking standards, and attending church services, dinners, and ceremonies in the name of the company. His dealings were with men who had trained and achieved the same status he had. This put him on a trajectory within the political and trading establishment of the city. 

In 1667 and again in 1687, Geoffrey became the Master of the Ironmongers Company. In 1674 he became the Sherriff of London, an important role in the 17th century. Officeholders had important judicial responsibilities and attended the justices at the Central Criminal Court, The Old Bailey. In 1676, Robert Geffrey became an Alderman and eventually the Lord Mayor of London in 1685. 

Painting of ca, 1745, Westminster from Lambeth, with the Ceremonial Barge of the Ironmongers Company

Samuel Scott, ca, 1745, Westminster from Lambeth, with the Ceremonial Barge of the Ironmongers Company – Google Art Project.

Robert Geffrey’s life and his rise in importance and influence came during a tumultuous time, starting in his youth with The Thirty Years War, the reign of Charles 1st during the English Civil war, when war was waged between the Parliamentarians known as The Roundheads, who were who were mostly Puritan, and the Cavaliers who were monarchists and Church of England followers. The monarchy was defeated, leading to the execution of Charles 1in 1649. Scotland proclaimed his son, also Charles, as King Charles II, whose army was defeated at the Battle of Worcester in 1651, when he escaped to The Netherlands.

The following nine years were known as The  English Commonwealth under Oliver Cromwell. After Cromwell died, Charles II was invited back to England in 1660 and was welcomed in London in May of that year. Charles II died in 1685 and his brother James became King James II. 

Robert Geffrye lived through The Plague year of 1665, followed by The Great Fire of London in 1666. More conflict followed, including a successful attack by Charles II, a Roman Catholic, on The Medway ports with a Dutch fleet. The victory caused problems among many of the Protestant aristocracy and  government ministers. They wanted to get rid of Charles II and, backed by the Protestant Duke of Monmouth, to usurp him. Monmouth’s army was defeated at The Battle of Sedgemoor in Somerset. He was captured and executed and many of his followers were pursued by Judge Jeffryes  and condemned to death at the famous Bloody Assizes.

James II was able to consolidate his power and reigned until 1688, when he was deposed by William of Orange. During this tumultuous time, Robert Geffrye must have been a very astute politician and able administrator to navigate those times. You have to admire him for his tenacity.

Later life and the Almshouses

During his life Robert married a mercer’s daughter, Priscilla Cropely. They lived in Lime Street, very close to Leadenhall Market in the City and by the Ironmongers Hall. They had no children.

In 1653 he joined The Levant trading company. It is recorded that he traded cloth to Leghorn in Italy. Robert Geffrye  became an administrator in The Levant Company trading with Northern Europe, the Mediterranean  and Turkey. In 1670 he profited from the slave trade by his investments and involvement in the Royal African Company, and in 1680 Robert Geffrye became a joint owner of the trading ship, The China Merchant. He and his fellow owners wanted to hire their ship at first to The East India Company. 

He  became an administrator in The Royal African Company whose whole purpose was the ”Triangular Trade” with the Guinea Coast of West Africa, The West Indies, and Britain. All these great trading companies had strong links to The Ironmongers Company, trading in cloth, tin, lead, pewter, calico, spices, pepper and slaves. It is rather chilling seeing a list of their trading interests with slavery as just one more item on the list.

During the last fifteen years of his life, Robert Geffrye devoted his time to charitable work. He became the president of Bethlem and Bridewell Hospitals. Sir Robert Geffrye and his wife Priscilla were childless. She predeceased him by many years. When he died in 1704 at the age of 91 years, he left a small fortune of £13000. In his will, some of the money went to financing a school in his home village of Landrake in Cornwall, but a substantial amount of the  £13000 was left to build almshouses for poor deserving people who had worked mainly for the ironmongers and fell on hard times when they retired. 

Photo of the Geffrye Almshouse

The Geffrye Almshouses, image by Tony Grant

An almshouse is a charitable home for poor people of good character. The Ironmongers Company set up a group of officers called the Geffrye Charity Committee. They took nearly nine years to find a suitable site to build the almshouses–a site near the city so it had convenient access to the committee based at Ironmongers Hall.

They wanted the site to be conspicuous to passers-by so that Robert Geffrye’s legacy could be seen and admired. They first looked at a site in Old Street that the Ironmongers owned and a site in Bow was also considered. By 1711, the committee was still looking for a site and in November of that year they published an advertisement. A Mr Hunt, who owned a large plot of land fronting the Kingsland Road, responded, and sold the site to the Ironmongers for £200. 

There were other charitable foundations in The Kingsland Road too. Just to the north of this new site, The Drapers had built an almshouse. To the south, The Framework Knitters also had their almshouses. The area, although close to The City, consisted mostly of market gardens and arable farming. Clay pits in the area provided clay for brickmaking. In 1712, the Geffrye Charity Committee drew up their architectural plans for the almshouses. Someone who was not an architect must have been a competent draughtsman, for the plans were very good. The almshouses were well designed in a typical 18th century style copying Christopher Wren and aspects of Inigo Jones.

Tenders were submitted in 1712 for building the houses. Robert Burford, a carpenter, was employed to build the central great room and six almshouses located on the north side. Mr Halsaul, also called a carpenter in the documents, was contracted to build six more almshouses on the south side. In the documents they are merely called carpenters, but they were more likely to have been members of the Carpenters Guild, who had their own building apprentices. The central Great Room was used as a meeting place and to socialise for the first two years of its existence. It was soon turned into a chapel  for Sunday services, which the pensioners were required to attend.

The chosen site sloped to the west. To make it flat, the Committee encouraged people to dump their waste on the land to fill in the dip. Six hundred carts of soil were transported to cover the ground. The actual buildings were constructed at the back on solid ground that had not needed levelling. This provided ground for a solid foundation and left the front area to be grassed over as a  lawn for recreation, and room for Lime trees to be planted. Twelve houses were completed by 1712 with the great room in the middle. Two more houses were added, one to each wing in the following two years, making fourteen altogether.

The Geffrye Charity Committee insisted on high quality materials for the buildings. Today you can see how well constructed they are. The interiors are well designed. The floors are made of strong sturdy oak boards and the interior walls and ceilings are plastered. An American lady I showed round once finished the tour by saying, “ I’m ready to move in now.”

Statue of Robert Geffryes, Founder of the Hospital

Statue of Robert Geffryes, Founder of the Hospital

In December 1714, the first pensioners moved in. The criteria for becoming a pensioner was that you had to be 56 years old at least, poor, and of good character. The rules in the Geffrye Charity Committees documents state, 

“any member or their widow that shall have been Liveryman or Freeman of The Company of Ironmongers shall be preferred.” 

This did not mean that people who were not from the Ironmongers Company could not get in, but Ironmongers were given preference. Until 1740, on average between forty to fifty pensioners lived in the almshouses.

Robert Geffryes’ endowment provided a  Geffrye pensioner with a single room that had a small walk-in cupboard in one corner. They were given a pension of £6 a year. Each pensioner was provided with six sacks of coal a year. A new gown was given to each every Lady Day ( March 23rd). They were required to make ,”petticoats,” from their old gowns. Some of these official pensioners – male – often had wives, and it is thought some even had children living with them. £6 per year was not enough to live on for some. They could petition for extra funds from the almshouse poor box or the Ironmongers Companies estate. Many received extra money in this way. Some were also employed in work in the almshouses. The matron, groundskeeper and chapel clerk were employed from among the pensioners. A chaplain was also employed but he was not a pensioner. The Chaplain held a position of authority over the pensioners.

The committee made up rules for the pensioners to live by and were based on the rules enforced by other almshouses, so they were not unique. 

  • Pensioners could be fined for blasphemy. In this case they would be expelled from the almshouses to return to their parishes. This was not a good thing to happen. Living off their parish made them extremely poor. 
  •  If they were found guilty of adultery or lewdness they could be expelled. 
  • Staying out overnight could bring a fine. The gates were closed from 7pm in the winter and from 9pm in the summer.
  • Rule number 8 stated that a pensioner had to be. “of good life and conversation.” They were expected to get on well with the other pensioners and support each other when ill. Rule number 10 related to drunkenness. A fine would be given. Cases were heard at the Geffrye Charity Committee meetings held in the great room, to begin with. Generally, they were  lenient and expulsion was very rare. 

The almshouses today are called “The Museum of The Home.” Over the last three years a government grant from the lottery fund of £18 million pounds has been given to the museum to extend and develop its work. The basement has been lowered and refurbished to contain exhibitions and displays on the theme of The Home, which covers many aspects. Documentary films have been made about the home lives of local Shoreditch residents and their background. Various themes, such as migrant camps, sleeping rough on the streets ,”games in the home,” and other aspects of home life are covered. The key element about these new exhibitions and displays is to instigate discussion and to ask questions.

The ground floor has remained as the middle class English period rooms from Tudor times to the 21st century. A new addition called “The West Indian Front Room” has been installed as the 1970s room. Eventually, over time, the museum will move away from being predominantly a museum of middle class rooms to rooms that cover all of society. The roof has been opened up to contain a research library.

An important element of the museum’s work is its ground-breaking educational work with schools, colleges, and universities.  A new education block has been built at the back, a major element of the museum. The museum is now famous for its important outreach into the local community. Molly Harrison, the curator of the museum from 1949 into the 50s and 60s, developed child-centred exploratory education techniques, which many museums in Britain and the world over still use today. 

The second part of this series, which is a guided tour of the 18th century room in the Almshouses, will be posted on Thursday of this week. “Welcome to a Guided Tour of the 18th Century Room in the Museum of the Home at the Geffrye Almshouses, Part II.”

Links:

References:

  • Kathy Haslam : A History of the Geffrye Almshouses,  Published by The Geffrye Museum 
  • Penelope Hunting :  Riot and Revolution ( Sir Robert Geffrye 1613-1704)  Published by The Geffrye Museum 2013

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The Matthews Project

Introduction:

Inquiring readers,

The teacher who supervised the creation of this project, Ben John Wiebracht, contacted Vic Sanborn of Jane Austen’s World in the summer of 2020 to propose a research project his students would work on in the fall. After hearing the details, she instantly agreed to publish the finished result in a post, and to create a page for this blog to share with other teachers and students. (My apologies to Dr. Wiebracht for editing this document. I’ve placed quotations around his writing whenever I’ve made no changes.)

The project, entitled “A Day in Catherine Morland’s Bath,” was published on January 4, 2021. It is still attracting readers and is approaching 1,300 readers!

The Basics:

The teacher: 

Dr. Ben John Wiebracht, English teacher at Stanford Online High School, a private high school under the umbrella of Stanford University.

The class:

The class chose a senior-level elective called “Love Stories” which tracked the evolution of love stories from the classical era to the early nineteenth century. The final unit was on Northanger Abbey. (Virtual book, Little, Brown, and Company, 1903, Internet Archive). 

The students:

The article was researched, written, and designed by LiYuan Byrne, Josephine Chan, Ariana Desai, Carolyn Engargiola, Ava Giles, Macy Levin, Gage Miles, Sophia Romagnoli, Kate Snyder, Oscar Steinhardt, Lauren Stoneman, Alexandria Thomas, and Varsha Venkatram.

Image of the Adumbration class of 13 students and teacher Ben John Wiebracht.

The class and teacher.

The Article and its Inspiration (The What):

  1.  “A Day in Catherine Morland’s Bath.” (Posted January 4, 2021 in Jane Austen’s World.) As the title suggests, the goal of the article is to give the reader a sense of how Catherine Morland, heroine of Northanger Abbey, and tourists like her would have spent their time when they visited the city.
  2. The article was based on a long-forgotten Georgian poem that Dr. Wiebracht dug out of the archives over the summer: “Bath: An Adumbration in Rhyme” (1795), by the physician and poet John Matthews. 
    1. “The poem has a wealth of information on the amusements and absurdities of Bath, but it’s tough sledding for a modern reader, chock-full as it is of now-obscure allusions to Bath customs and institutions. Our job was to track them down.”
    2. “A fun example: Matthews mentions at one point a “priest” by the name of “King.” Eh? It turns out he’s referring to a fellow named James King, who wasn’t a priest at all but one of the city’s two “Masters of Ceremonies” – responsible for “presiding over social functions, welcoming newcomers, and enforcing an official code of regulations designed to preserve decorum and promote social interaction” (Gores, Psychosocial Spaces: Verbal and Visual Readings of British Culture, 1750-1820, p. 71). Matthews calls him a priest to poke fun at the city’s almost religious devotion to entertainment. And this same King plays a brief but important role in Northanger Abbey: he introduces Catherine and Henry. All of which is to say, paying close attention to Matthews can often lead to a fuller appreciation of Austen.”

Note from the Teacher: Searching for a Unique Contribution (The Why):

“The previous sentence begins to answer this question: we wanted to make a serious contribution to the study of Northanger Abbey

But let me speak as a teacher now, and not just a scholar. Over the years, I’ve grown increasingly uncomfortable with the standard way of teaching writing and research at the high-school level: the five-page essay. A thesis statement establishing the argument, some body paragraphs elaborating or demonstrating the argument, plenty of quotations and analysis – chances are you’ve written a couple in your day! In defense of the form, it does offer a space in which students can practice rhetorical and argumentative skills. My problem with the form is that it has no authentic audience, and the kids know it. Now I might pretend it has an audience by telling them, “imagine you’re writing for someone who is familiar with the text, but hasn’t studied it in depth.” Yeah right! In the history of the world, no one has ever thought: “I’m mildly interested in Northanger Abbey; now let me go find some five-page close-readings of it, but only ones with clear thesis statements and at least two quotes per paragraph.” Nope, the only audience for these essays is the teacher, and the teacher is bringing a very different attitude to the piece and making a very different set of judgments about it than the hypothetical “curious reader.” So the poor students have to pretend to be addressing one audience that for them does not exist, in order to please a very different audience. A recipe for stress – not to mention strained and awkward writing.

What if we changed the equation? What if there were ways to really give students an audience for their academic writing? If we could pull it off, I think it would send the message that the work we ask of students is meaningful and important – that the study of literature itself is important. That’s what the football coaches do, after all (the arch-rivals of us English teachers). How do they convince the kids that running into each other at high speeds is a meaningful, important endeavor? They stick them in a stadium where a bunch of people watch them do it, and it becomes immediately, empirically obvious to the students that football matters. In short, they give the kids an audience.

These were the considerations that prompted me to devise the Matthews project and to reach out to Vic about potentially publishing it on JAW – a forum with a thriving conversation about Austen. And this leads to the practical section of this page.”

Working with Your Students (The How):

If you’re interested in running a project like this with your kids, here are some tips to make it work.

  1. Canon-adjacent may be better than canon. What does that mean? It means that if you’re teaching Pride and Prejudice, it’s going to be tough for your students to break new ground simply by scrutinizing that text. But, if you can find some neglected texts whose study might shed light on Pride and Prejudice, then the picture changes. What about some of her juvenilia? What about Fordyce’s Sermons to Young Women, which found an appreciative reader in Mr. Collins? What about some Georgian satire making fun of pompous clergymen? This is something to do over the summer, when you’re planning the class, and it might take some digging: the text has to be obscure enough that it isn’t already saturated with criticism, but relevant enough to your main text that there are readers out there who might care about it. “Bath: An Adumbration in Rhyme” fit the bill: almost untouched by scholarship, but with clear connections to Northanger Abbey.
  2. Line up your venue in advance. This is key: you want the kids to know who their audience is from the beginning. Are you going to create an exhibit for a local public library? Will you try to get something published on a blog? Will you self-publish the students’ work on Amazon or some such service? Whatever the case, the students, like all writers, will do better work if they have a clear idea of whom they are addressing, and in what form. 
  3. Make sure students’ research tasks are well-defined. In our case, that meant combing through the poem, asking questions about various lines. Who are Tyson and King? What is a “macaroni”? Then students volunteered to tackle a certain number of research questions in groups. As a teacher, one of your roles is to be the executive planner, making sure there is the right number of students working on the right things.
  4. Offer continuous feedback. My students turned up all kinds of fascinating stuff in the course of their research, but of course they embarked on some rabbit trails as well. In order to help them make the most of their efforts, it’s a good idea to keep track of what students are doing while they’re doing it, rather than waiting to assess their work at the end. How can you do this? By creating a single google doc to which everybody contributes. Ours had a list of research questions, and I would simply check in every few days to see what students had added. Then I would leave comments offering encouragement, advice, and, if necessary, redirection. 
  5. Dive in yourself. Don’t be afraid to roll up your sleeves and do a bit of writing and research of your own. Remember that your students are still learning the ropes of our discipline. If you want to produce a publishable class project, you’ll probably have to do more than simply split up duties and set deadlines. You’ll have to integrate and harmonize the students’ efforts, and fill in some of the gaps yourself. It can change the classroom dynamic in a refreshing way, too, to join in the action. It’s a bit like the old master-apprentice relationship, according to which teaching is a matter of showing, doing, and collaborating, not just telling or advising.
  6. Don’t grade. Or, if you must, do it on completion alone. A grade is what you give to practice scholarship, to performative scholarship – the five-page essay and other such readerless forms. The point of the project I’m describing is to allow students to do some real work. And a particularly good way to make it real is to remove yourself, the teacher, as the audience. For the purpose of this project, you’re the opposite of an audience, you’re a co-author, and the real audience is what all good writing deserves: an interested public.

Sub pages:

Link to “Bath: An Adumbration in Rhyme, 1795,” John Matthews

Plans for Going Forward: 

Our class ended last December, but currently about half the students and I are working on a new project: a scholarly edition of “Bath: An Adumbration in Rhyme,” complete with an introduction and notes. We’ll be publishing it with Kindle Direct, an Amazon service. Digital copies of the edition will be available to the public at no cost, and hardcopies for under ten dollars.

In the long term, I hope to start a book series to which successive classes can contribute. It might be called something like “Forgotten Contemporaries of Jane Austen.” The goal of the series would be to recover Georgian and Regency writers whose work has fallen out of print, but whose study can shed fresh light on Austen’s life and work. As with the Matthews project, the students and I would work together to introduce and annotate these texts. We would also share the nitty-gritty tasks of publication — obtaining an ISBN, formatting, that sort of thing.

Jane Austen’s World’s Participation in the Project and Two Powerpoint Presentations: Tony Grant and Victoire Sanborn

About the PowerPoints:  

For a visit to Bath and a visual background, Dr. Wiebracht scheduled two workshops, one for Tony Grant, who lives in England and has served as a tour guide to visitors interested in learning more about the places where Jane Austen lived or visited. His PowerPoint and talk were given first, and should be viewed first for those who are interested.

Vic Sanborn’s presentation came the following month. She, too, had visited Bath and used a few of her own photographs, but mostly she concentrated on discussing the years of 1795-98, when Matthews wrote the Adumbration and when Thomas Rowlandson created his illustrations for “The Comforts of Bath.” Tony’s PowerPoint sets up Vic’s perfectly, for her notes are not in the PPT slides. Enjoy!

  • Link to Tony Grant’s PowerPoint Presentation on a Virtual Tour of Bath, given October 2020. This PPT, consisting of Tony’s photographs of his trips to Bath as both a visitor and a guide, comes with descriptions and annotations. If you use his photographs, please give him attribution.
  • Link to Vic Sanborn’s PowerPoint Presentation of Bath 1795, the year the Adumbration was written. The PPT is without explanatory text or the presenter’s voice. A majority of the images are from Thomas Rowlandson’s Prints of “The Comforts of Bath” from 1798. The images, on Wikipedia and the Metropolitan Museum of Art are in the public domain. If Vic Sanborn’s photos are used, please give her attribution. 

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