Mrs. Mary Davys: Forerunner of Fielding

PMLA ◽  
1959 ◽  
Vol 74 (4-Part1) ◽  
pp. 348-355
Author(s):  
William H. McBurney

After the scores of “secret histories,” “authentick memoirs,” and “true relations” written by Mrs. Eliza Haywood and other female novelists of the 1720's, the four volumes of fiction by Mrs. Mary Davys produce much the same “cheerful, sunshiny, breezy” effect that Coleridge attributed to Fielding's work, in contrast to “the close, hot, day-dreamy continuity of Richardson.” The double comparison is more than subjectively valid, for Mrs. Davys stands in much the same relation to Fielding's ebullient masculine genius that Mrs. Haywood's distressed damsels do to Richardson's heroines—both as a forerunner and as an influence upon the early eighteenth-century reading public.Many of the qualities which distinguish Mrs. Davys from her contemporaries may be explained by her background and by the circumstances under which her works were written and published. She was born in Dublin in 1674 and married the Reverend Peter Davys, a friend of Jonathan Swift and headmaster of the free school attached to St. Patrick's. Swift considered the marriage an indiscretion on the headmaster's part but, indiscreet or not, it was apparently a happy one until Davys'early death in 1698. Soon after this, his young widow “went for mere want to England.” She appeared briefly in London in 1700 and then settled in York where she lived for the next fifteen years. Little is known of her during this period. Swift's correspondence and his Journal to Stella indicate that she occasionally visited London, that she tried by various ruses to maintain contact with him from York, and that he grudgingly sent her several sums of money before his return to Ireland in 1714. Such irregular charity could hardly have been sufficient for the most frugal existence, and from pictures of life in a York boarding house and the recurrent character of a settled but good-natured female companion in her plays and novels, one may conjecture that Mrs. Davys enacted a similar role in private life.

1964 ◽  
Vol 5 (2) ◽  
pp. 107-116 ◽  
Author(s):  
John R. Elwood

Female playwrights of varying degrees of quality were reasonably plentiful in late seventeenth and early eighteenth century England; but, except for Eliza Haywood, few of these playwrights doubled as actresses, at least with sufficient success for us to be aware of their talents. Even the stage career of Mrs. Haywood, one extending at least from 1715 to 1737, has not been documented in its entirety before now. It deserves attention because it adds some details to the scanty biography of this woman who is best known as a novelist, a novelist who turned out scandal chronicles long before Richardson made the novel morally acceptable, and who in 1751 produced what may be the first domestic novel in English,The History of Miss Betsy Thoughtless. Along the way she had some success as a publisher, as the first woman writer of a periodical for women, as a poet, and as a playwright and actress. It was her efforts in the theater that drew the attention of such men as Jonathan Swift and Richard Savage and brought her into a rather lengthy association with Henry Fielding. And it was her theatrical experience that contributed much to her eventual skill as a novelist. She liked the stage, and much of what we like in her later work she owed to the stage.


2019 ◽  
Vol 63 (4) ◽  
pp. 862-884
Author(s):  
EDWARD TAYLOR

AbstractThe importance of print in the ‘rage of party’ of late seventeenth- and early eighteenth-century Britain is well known, but scholars have paid insufficient attention to the press phenomenon that provided the most persistent and undiluted partisan voices of the era, the comment serial. Comment serials – regular printed publications designed explicitly to present topical analysis, opinion, and advice – were fashioned as powerful weapons for partisan combat. Due to their regularity and flexibility, they could be more potent than other forms of topical print, especially pamphlets and newspapers. Although many publications have been individually recognized as comment serials, such as Roger L'Estrange's Observator (1681–7), Daniel Defoe's Review (1704–13), and Jonathan Swift and others’ Examiner (1710–14), their development as a holistic phenomenon has not been properly understood. They first appeared during the Succession Crisis (1678–82), and proliferated under Queen Anne (1702–14), supporting both tory and whig causes. Through widespread consumption, both direct and indirect, they shaped partisan culture in various ways, including by reinforcing and galvanizing partisan identities, facilitating the development of partisan ‘reading communities’, and manifesting and representing party divisions in public. This article focuses on John Tutchin's Observator (1702–12) as a case-study of a major comment serial.


2019 ◽  
pp. 168-190
Author(s):  
Benjamin Bankhurst

The era of the Hanoverian Succession was a period of rapid demographic change in Ireland. The arrival of 90,000 Scots pushed the extent of Presbyterian influence in Ulster well beyond its heartland in the northeast. This stoked concerns within the Church of Ireland of a possible Presbyterian coup like the one that befallen the Scottish Church in 1690. The fear of expansionist Dissent faded in the years after the death of Queen Anne when Irish Presbyterians began sailing en masse to the American Colonies. Irish Presbyterians were quick to capitalize on Ascendency concerns regarding perceived Protestant decline in their efforts to repeal the Test Act of 1704. This essay examines the changing debate over Dissenter demography in the works of William Tisdall and Jonathan Swift. It argues that Protestant anxieties regarding fluctuations in Dissenting numbers influenced the larger political debates in early eighteenth-century Ireland.


Author(s):  
David Oakleaf

Like their imitators, Eliza Haywood and even Daniel Defoe have been called mercenaries who wrote to formula for low readers with limited intellects. Yet Love in Excess and Robinson Crusoe inaugurated a decade of lively, market-driven narrative experiment aimed at sophisticated gentry readers. When low scandal titillated, it originated in high life. Highly inventive, Jane Barker, Mary Davys, Penelope Aubin, and some authors of the many lives and surprising adventures in the Crusoe manner read their rivals with professional care. They adapted and contested as well as adopted Defoe’s distinctive fictional memoir, Haywood’s equally modern amatory sublime. So did Jonathan Swift when he parodied Robinson Crusoe’s strategies in Gulliver’s Travels, an anonymous narrative that matched its commercial triumph. Swift hastened the vogue’s end, but these novelists’ commercial and literary legacy endures.


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