Ruth Bernard Yeazell

In Of the Rights of Persons, the first volume of his celebrated Commentaries on the Laws of England (1765-69), William Black stone concluded his account of how the law makes a husband and wife one person by suggesting that the legal disappearance of the married Englishwoman was effectively a tribute to her sex. ‘These are the chief legal effects of marriage during the coverture’, Blackstone wrote, ‘upon which we may observe, that even the disabilities, which the wife lies under, are for the most part intended for her protection and benefit. So great a favourite is the female sex of the laws of England.’ Perhaps not surprisingly, Blackstone’s sisters now tell a different story. For Susan Staves, whose book takes its impetus both from feminism and from critical legal studies, to analyse the history of married women’s property in England is to uncover the ‘deeper’ structures of patriarchy – the system by which men manage to perpetuate their power by transmitting wealth from one generation to the next. The aim of the law, as Staves interprets it, is to ensure that women have as little independent control as possible of the wealth that passes through them.’

At a critical moment in The House of Mirth (1905), just after her humiliating confrontation with Gus Trenor compels Lily Bart to realise how terrifyingly ‘alone’ she is, ‘in a place of darkness and pollution’, Edith Wharton’s doomed heroine thinks for the first time of the Furies: ‘She had once picked up, in a house where she was staying, a translation of the Eumenides,’ the novelist writes, ‘and her imagination had been seized by the high terror of the scene where Orestes, in the cave of the oracle, finds his implacable huntresses asleep, and snatches an hour’s repose. Yes, the Furies might sometimes sleep, but they were there, always there in the dark corners, and now they were awake and the iron clang of their wings was in her brain.’ Though Lily’s memory of the Furies obviously measures the relentlessness with which her society will pursue and destroy her, it serves more subtly to characterise the victim herself: sensitive enough to respond to the power of the dramatist’s art and to recall the scene so vividly, she has neither the education nor the discipline to know anything of Aeschylus beyond this chance acquaintance – an acquaintance casually ‘picked up’ in one of those luxurious houses where the beautiful but impoverished young woman has been a perpetual hanger-on. Having failed to make a wealthy marriage or otherwise to place herself above the reach of scandal, Lily will eventually descend from those houses to the narrow room of a shabby boarding-house, where she swallows an overdose of chloral. Wharton’s heroine clearly suffers from a lack of resources in more than one sense – and if the novel sometimes suggests that there is in any case no escaping the Furies, it nonetheless wishes us to understand the shallowness of her education, like her inability to earn her own living, as an indictment of the culture that made her so vulnerable.’

In ‘The Birthplace’ (1903), a tale inspired by the case of a couple who had served as custodians of the Shakespeare house in Stratford, Henry James constructed a marvellously ironic narrative about the ‘stupid’ avidity of a public who care nothing for the artist’s work and everything for his legend, flocking to the shrine to see ‘where He hung up His hat and where He kept His boots and where His mother boiled her pot’. Though James’s notebooks clearly record the Shakespearean donnée, in the story itself ‘the supreme poet’ is never named: the celebrated mystery of the man from Stratford provides James with an ideal instance of the gap between the private person and the artist, even as the fictional poet’s namelessness intensifies his disappearance into his work. In the words of Morris Gedge, the sensitive caretaker who is the story’s protagonist: ‘Practically … there is no author; that is for us to deal with. There are all the immortal people – in the work; but there’s nobody else.’ Yet the poet’s success in covering ‘His tracks as no other human being has ever done’ does not prevent the public from demanding the ‘facts’: it only means, finally, that those facts will have to be invented. When Gedge begins to cast doubt on the legend, he almost loses his job; when he brazenly embroiders the ‘romance’ and piles up the false details (‘It is in this old chimney-corner … just there in the far angle, where His little stool was placed, and where, I dare say, if we could look close enough, we should find the hearthstone scraped with His little feet …’), the visitors’ receipts pour in, and the governing committee doubles his wages. His wife has feared that Gedge may now be ‘giving away the Show … by excess’, as before he almost dished them by restraint – but the point, of course, is that no excess can be too much for the vulgar multitude. The only real difference between Gedge’s original position as librarian at ‘Blackport-on-Dwindle’ – ‘all granite, fog and female fiction’ – and his new one as caretaker at the Birthplace is that he has increased his income by himself becoming a popular romancer.’

Perhaps all human courtships follow narrative precedents, but few make for such a satisfying story as that of the Brownings. The slightest imaginative pressure can transform the familiar facts of the case into a myth or fairy-tale, with each of the principals in the affair behaving wonderfully true to type: the spellbound maiden, mysteriously immobilised by an unnamed curse; the patriarchal ogre, who keeps his daughter locked away in a darkened room and turns aside all suitors; the lover who arrives with spring to break the spell and carry the heroine south, restoring her to health, happiness and fertility. Though luck must receive some credit for the happy ending of the tale, Daniel Karlin emphasises that theirs was doubly a writer’s story, and that much of its narrative potential should be attributed to the participants themselves. Subject to many subsequent redactions, the love story on which they first collaborated would ironically become the two ‘obscure’ poets’ most popular and accessible work. Rather than offer yet another retelling of the myth, Karlin’s book seeks to analyse the process of myth-making, and the psychological and literary needs that process served.