Spoiled Children Who Rule the Family: An Old Bachelor’s Complaint ca. 1799

Young characters in eighteenth-century children’s books have a reputation for being preternaturally well-behaved.  That stereotype probably contains some truth, but we don’t have to look very far to find other contemporary writers besides Jane Austen who showed  adults who were not natural managers of children and households. Descriptions of parents in over their heads turn up in magazine essays and I ran across one in the July 1799 European Magazine.  “The Wanderer” number 15 was supposedly contributed by a cranky bachelor, but is actually the work of Joseph Mosher (1748-1819), one of the magazine’s regular writers.  It’s a fascinating mash-up of half-examined gender expectations, details about the material culture of childhood, and stereotypes about “savages” that were thought comical then.

Before telling about his dinner at the home of his boyhood friend Frank Homely, “Solus” the bachelor gives the backstory.  Years before he and Frank both fancied Rachel Barnaby, a farmer’s daughter, but Frank won her heart in just two months. Luckily Solus never revealed his passion and left England almost immediately after his disappointment.  Shortly after his return fourteen years later, Frank sends him an invitation to visit his lovely wife and their little family of seven sons and seven daughters.  Solus anticipates the pleasure of being entertained by an affectionate, rational couple who preside over an elegant establishment where the children are seen and heard when only when admitted to the company.

I repaired to Mr. Homely’s house, and was shewn into his study, which, instead of being furnished with books and maps, was strewed round with go-carts, dolls, whistles, penny trumpets, and “cheap publications.”  I  thought this rather strange furniture for a library….Scarce had I made this reflection, when my ears were alarmed with a tremendous sound, which, ascending the stair-case, and bursting open the study door, exhibited four of my friend’s sons and six of his daughters, shouting like wild Americans, with their arms strongly fastened with cords, and urged forward by another of the hopeful race, who brandished a whip over his head;…this gentle pastime, it seems, they called “playing at horses.”  The infant banditti had paced round the room, and thrown down three chairs in their progress, when the second horse in the team fell down, and was dragged by his playful associates along the floor, in spite of his angry cries and remonstrances. 

The floor sounds as if it were ankle-deep in inexpensive toys, the baby walkers (i.e. go-carts), and chapbooks (i.e. “cheap publications”), giving the impression that children took over their father’s library long before. If any further proof were necessary, eleven of the children burst in, as noisy as “savages” ( as Native Americans were then erroneously considered), pretending to be a team of horses drawing a carriage.  It sounds as if the coachman was applying his whip to his siblings’ backs to make them go faster around the room.  Their lack of respect for property provokes Solus to compare them as well to a lawless band of robbers (i.e. “infant banditti).  Of course, their play ends in tears and roars.

It required all the authority of their father to quell this hideous din, who shortly made his appearance; and notwithstanding the increased wrinkles on his brow, welcomed me with a cordial shake of the hand, and led me upstairs to the drawing room, to introduce me his wife. The drawing room had discarded all superfluous ornaments, and boasted a negligence and plainness that Diogenes might not have been ashamed of. In one corner two mischievous urchins had torn open a new pack of cards, and were building houses with them. In another stood a cradle and cawdle cup; while rush-bottomed chairs, backboards, steel collars and stocks, usurped the place of candlelabrums, silk hangings, and mirrors. 

A drawing room is supposed to be a handsome space where adults socialize, but at the Homelys it has been childproofed (i.e. emptied of furniture and objects needing protection from clumsy, careless, high-spirited members of the family) and is instead full of more children’s things that belong more properly in the nursery.  Equipment for improving posture like backboards, steel collars and stocks indicates parental aspirations that their children to carry themselves with fashionable grace.  Could their resting place on the floor betray the little victims as having taken the first opportunity to throw off the wretchedly uncomfortable things.?On my entrance, Mrs. Homely shook two children from her lap, and one from her shoulder, and arose to welcome me; exhibiting to my astonished view the once slender Rachel converted into a broad clumsy dame, with all the marks of premature old age.  After the usual ceremonies I took my seat, and now my torments commenced.  One child fastened my button with packthread to the back of the chair; another pierce the calf of my leg with a black pin; while a third insisted upon mounting behind me, and swinging by my pig tail.  I bore these tortures with the firmness of an American captive, hoping that the call to dinner would put an end to my sufferings.

Solus’ observations here must test many modern readers’ notions. While it is natural to be taken aback when seeing an old acquaintance changed almost beyond recognition, Solus’ description of Rachel’s body after bearing so many children seems ungentlemanly and unkind.  Comparing himself to a hostage tortured by Native American captors is now inappropriate, even if the Homely’s children were misbehaving.  Certainly, they ought to be have been stopped by one of their parents.

But my expectations were vain… though I confess my sufferings were alleviated by observing that the rest of the company came in for their share.  Mrs. Homely sat at the head of the table with a rickety child on her knee, and insisted, like an indulgent mother that she was, that none of her numerous brood should seat themselves at the board, which caused all the dine and disturbance that I expected.  Two butter-boats were overset on the satin breeches of Mr. Deputy Maroon; the immaculate muslin of Miss Bridle was fated to receive the contents of a wine glass; and, to complete the calamity, a fine leg of pork was entirely flayed, that the children might devour the skin, under the significant name of crackling.  My friend, not quite reconciled to matrimonial trammels, seemed rather disturbed at this scene of folly and confusion; but his help-mate, who had long buried politeness, and even decency, in the vortex of one instinctive passion, love for her offspring, was delighted with the bustle, and “would not have the poor things snubbed for the world.”  She looked round upon her distorted brood with exultation, even priding herself upon their defects, and appeared to think that she had obtained a dispensation from rule and reason from the sole circumstances of having favoured the world with fourteen children.

After surviving a meal so disorderly, Solus was entitled to be exasperated and disappointed.  And yet it seems incredible he would cast Mr. Homely as the victim of his wife’s failure as a mother. The figure of overly fond mother who does not restrain her children’s unmannerly and self-destructive behaviors goes back in English literature at least to the seventeenth century and usually the father is not considered an equally guilty party to the spoiling of the children.  When the wife’s parenting makes life miserable for everyone in the house as well as anyone who visits them and the father does nothing to correct the course, then he has failed his children as much as she has.

Although Mosher’s essay contains distasteful stereotypes, he also points the finger at some very familiar shortcomings parents can fall into when outnumbered by their offspring and overwhelmed by their energy.  Gentle readers of this blog may have experienced something like dinner at the Homelys  while trying to enjoy a quiet meal in a nice restaurant or catch up with friends in their apartment on a night no babysitter was available.  Perhaps they know someone who has been provoked to write to an agony aunts for advice about how to alleviate the miseries of such social situations.

Picturing Education: Students, Teachers, and Classrooms in the Catalogue of the Cotsen Children’s Library

The last two volumes of the Catalogue of the Cotsen Children’s Library, a comprehensive index, have just been published, bringing this huge project to completion.  This post will offer a survey of the pictures of children appearing in the preliminary pages of the eight volumes that illustrate the subject of teachers and pupils interacting in traditional and innovative classrooms.The frontispiece to vol. 1 of the pre-1800 imprints is a portrait of Margaret Bryan, a pioneering science educator for girls that appeared in her first such work, A Compendious System of Astronomy, in a Course of Familiar Lectures of 1797 (Cotsen 31780).  The two young ladies are her daughters; this plate was engraved by William Nutter after a painting by Samuel Shelley.   Bryan represents just one of many women writers for children whose works are described in the catalogue; she was unusual for attaching a likeness of herself in her book. Mothers are frequently portrayed in their role as their children’s first teacher.  It is no surprise that the allegorical figures of instruction and grammar are also represented as females, as in this mezzotint print ca. 1720 engraved by J. Jacques Haid after a painting by Hans Rottenhammer (Cotsen 38458) used as the frontispiece to the second volume of the index.  The rather masculine-featured woman solemnly shows a toddler a tablet of the letters of the alphabet, the first step towards literacy.  The child seems engaged by the task he is being set.Children like the play the part of teacher.   This little girl is too old for the alphabet blocks scattered on the floor, so perhaps she is preparing the doll in her lap for a lesson. This detail from a drawing in ink and gouache (Cotsen 18123) by British artist Helen Jacobs, possibly for Alice’s Alphabet.Jessie Wilcox Smith’s picture of a studious girl biting the end of her pencil from Carolyn Wells’s The Seven Ages of Childhood from 1902 (Cotsen 18997) was chosen as the frontispiece for the second volume of twentieth century imprints.  We take for granted  girls’ right to an education, but some illustrations in early modern school books are reminders that they were not welcome until comparatively recently, and if they were present, very much in the minority.  The title page vignettes for the pre-1800 volumes, The Parents’ Best Gift: or, The School of Learning [between 1748 and 1776} (Cotsen 26265) and Edward Coote’s The English School-Master (1658) (Cotsen 34054).Documenting the history of visual learning was a subject very close to the donor Mr. Cotsen’s heart, so illustrations of learning spaces full of pictures were essential.  If they really represent actual classrooms used for instruction, they were simply spectacular.  This spacious room shown in the frontispiece to the second volume of the pre-1800 imprints comes from the picture dictionary Primitiva latinoe linguoe circa 1736 (Cotsen 1088).This one, which opens out into a formal garden,makes an extensive gallery and a collection of scientific instruments available to the pupils.  It was taken from Sechzig eroefnete Wekstaette der gemeinnuezigstem kuenste und Handwerk fuer junge Leute of 1789 (Cotsen 91643). The illustration by Adrien-Emmanuel Marie of the father indulgently watching his son intent on assembling a jigsaw puzzle serving as the frontispiece to the L-Z volume of nineteenth-century imprints brings us back into the home, an important site for learning, especially in families that could afford novel aides to education.  This came from Jules Jouy’s Le chanson de joujoux of 1892 (Cotsen 3253), as does the final picture in the post, a critical reminder that all work and no play makes Jacques a dull boy…Special thanks to Stephen Ferguson, Associate University Librarian for External Engagement and designer Mark Argetsinger, who together made Mr. Cotsen’s dream of a fabulously illustrated multi-volume catalogue of his collection a reality.  As all of us who worked on this massive project can testify, along with the great children’s poet Kornei Chukovskii,  “Ach!  It’s no light task to pull a hippo from the marsh!”  Thanks for persevering!

The volume 1 team. Mr. Cotsen is to the far right. Stephen Ferguson second to the left.