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• W8940318 abstract "In 1814, two years after Shelley's thrilled discovery that Godwin was alive and selling books on Skinner Street, William Hazlitt and John Wilson Croker made apparently less agreeable discovery that Godwin's contemporary Fanny Burney was alive and selling books all over England. The Wanderer, Burney's last and most ambitious novel, had sold out its first edition immediately and was well into its second when first reviews appeared barely a month after its initial publication.(1) Hazlitt and Croker, authors of some of most damming of notices, effectively killed book; its second edition was its last until 1988. The reviews themselves sound rather like obituaries, not only for novel in question, but for author and age as well. If Shelley thought Godwin was anachronism in London of 1814, Hazlitt implies that Burney is even more so, as he moves back well before Godwin's day and places her work in a lovingly evoked golden age of leisure and tranquility. Burney, he says, is a writer of old school, a mere common observer of manners, not a denizen of Hazlitt's world in which prose has run mad (336, 334). Yet when one considers that none of Burney's work was published before American revolution and that The Wanderer opens with escape from Robespierre's France, this firm dissociation of Burney from era of empires lost and won - kingdoms overturned and created (335) is odd. The nature of attack on The Wanderer might account for some of Hazlitt's retrospective tone; he, like other reviewers, mocked novel's exploration of domestic versus revolutionary femininity as attempt to resurrect a dead issue. In year of such celebrations of domestic womanhood as Mansfield Park, Maria Edgeworth's Patronage, and Mary Brunton's Discipline, Burney's glance back to Wollstonecraft and Mary Hays seemed laughably dated. The egalite mania(2) of 1790s was, critics unanimously agreed, happily forgotten. Reviewers' problems with novel did not, however, stop there; most decided that if dangerous days of 1790s were to be recalled in fiction, Burney was inappropriate person to do so. Notoriously, her age was used against her, as John Wilson Croker, best known today for his proclamation that Keats was too much a cockney to write poetry, ruled that Burney was too old a woman to write novels. In his review of Quarterly, Croker merges author and novel in his image of an old coquette who endeavours, by wild tawdriness and laborious gaiety of her attire, to compensate for loss of natural charms of freshness, novelty, and youth (126). Both women and their novels ought to charm, he implies, but neither ageing, fading Burney nor her prickly, angry novel possesses flirtatious charm of Evelina. Hazlitt, more judiciously, and thus more devastatingly, concludes that as women's strength as writers lies in their ability to give readers closely observed transcriptions of a social scene, they are doomed to fail when they attempt what Sir Walter Scott later called the big bow-wow strain: explorations of war, society, and history (334-6). Burney thus fails on two counts: if she is attempting a feminine exploration of society, she is old-fashioned; if she is attempting historical novel, she is unfeminine. Unfemininity might seem a more adequate explanation than mere old-fashionedness for vituperation heaped upon novel, but it takes effort of imagination for twentieth-century reader to see anything remotely unfeminine in it. Juliet, wandering heroine of title, is beautiful, charming, modest, and accepts quite docilely all dictates of her society about feminine propriety. Even if one reads Wollstonecraftian Elinor Joddrel as true heroine of novel, as most recent critics have, message is not too startling: women might be strong, rich, and intelligent, but they still will risk all for love. Yet a closer look at novel shows that Hazlitt and other reviewers had good reason to be upset at some of ideas expressed in it. …" @default.
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• W8940318 date "1996-03-22" @default.
• W8940318 modified "2023-09-23" @default.
• W8940318 title "Private Men and Public Women: Social Criticism in Fanny Burney's 'The Wanderer.'" @default.
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