Hard Cash: Charles Reade's Works
Charles Reade
May 2017 · Charles Reade's Works Book 6 · Golden Text
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IN a snowy villa, with a sloping lawn, just outside the great commercial seaport, Barkington, there lived a few years ago a happy family. A lady, middle-aged, but still charming; two young friends of hers; and a periodical visitor.
The lady was Mrs. Dodd; her occasional visitor was her husband; her friends were her son Edward, aged twenty, and her daughter Julia, nineteen, the fruit of a misalliance.
Mrs. Dodd was originally Miss Fountain, a young lady well born, high bred, and a denizen of the fashionable world. Under a strange concurrence of circumstances she coolly married the captain of an East Indiaman. The deed done, and with her eyes open, for she was not, to say, in love with him, she took a judicious line--and kept it: no hankering after Mayfair, no talking about “Lord this” and “Lady that,” to commercial gentlewomen; no amphibiousness. She accepted her place in society, reserving the right to embellish it with the graces she had gathered in a higher sphere. In her home, and in her person, she was little less elegant than a countess; yet nothing more than a merchant-captain’s wife; and she reared that commander’s children in a suburban villa, with the manners which adorn a palace. When they happen to be there. She had a bugbear; Slang. Could not endure the smart technicalities current; their multitude did not overpower her distaste; she called them “jargon”--“slang” was too coarse a word for her to apply to slang: she excluded many a good “racy idiom” along with the real offenders; and monosyllables in general ran some risk of’ having to show their passports. If this was pedantry, it went no further; she was open, free, and youthful with her young pupils; and had the art to put herself on their level: often, when they were quite young, she would feign infantine ignorance, in order to hunt trite truth in couples with them, and detect, by joint experiment, that rainbows cannot, or else will not, be walked into, nor Jack-o’-lantern be gathered like a cowslip; and that, dissect we the vocal dog--whose hair is so like a lamb’s--never so skilfully, no fragment of palpable bark, no sediment of tangible squeak, remains inside him to bless the inquisitive little operator, and c., and c. When they advanced from these elementary branches to Languages, History, Tapestry, and “What Not,” she managed still to keep by their side learning with them, not just hearing them lessons down from the top of a high tower of maternity. She never checked their curiosity, but made herself share it; never gave them, as so many parents do, a white-lying answer; wooed their affections with subtle though innocent art, thawed their reserve, obtained their love, and retained their respect. Briefly, a female Chesterfield; her husband’s lover after marriage, though not before; and the mild monitress the elder sister, the favourite companion and bosom friend of both her children.
The lady was Mrs. Dodd; her occasional visitor was her husband; her friends were her son Edward, aged twenty, and her daughter Julia, nineteen, the fruit of a misalliance.
Mrs. Dodd was originally Miss Fountain, a young lady well born, high bred, and a denizen of the fashionable world. Under a strange concurrence of circumstances she coolly married the captain of an East Indiaman. The deed done, and with her eyes open, for she was not, to say, in love with him, she took a judicious line--and kept it: no hankering after Mayfair, no talking about “Lord this” and “Lady that,” to commercial gentlewomen; no amphibiousness. She accepted her place in society, reserving the right to embellish it with the graces she had gathered in a higher sphere. In her home, and in her person, she was little less elegant than a countess; yet nothing more than a merchant-captain’s wife; and she reared that commander’s children in a suburban villa, with the manners which adorn a palace. When they happen to be there. She had a bugbear; Slang. Could not endure the smart technicalities current; their multitude did not overpower her distaste; she called them “jargon”--“slang” was too coarse a word for her to apply to slang: she excluded many a good “racy idiom” along with the real offenders; and monosyllables in general ran some risk of’ having to show their passports. If this was pedantry, it went no further; she was open, free, and youthful with her young pupils; and had the art to put herself on their level: often, when they were quite young, she would feign infantine ignorance, in order to hunt trite truth in couples with them, and detect, by joint experiment, that rainbows cannot, or else will not, be walked into, nor Jack-o’-lantern be gathered like a cowslip; and that, dissect we the vocal dog--whose hair is so like a lamb’s--never so skilfully, no fragment of palpable bark, no sediment of tangible squeak, remains inside him to bless the inquisitive little operator, and c., and c. When they advanced from these elementary branches to Languages, History, Tapestry, and “What Not,” she managed still to keep by their side learning with them, not just hearing them lessons down from the top of a high tower of maternity. She never checked their curiosity, but made herself share it; never gave them, as so many parents do, a white-lying answer; wooed their affections with subtle though innocent art, thawed their reserve, obtained their love, and retained their respect. Briefly, a female Chesterfield; her husband’s lover after marriage, though not before; and the mild monitress the elder sister, the favourite companion and bosom friend of both her children.
About the author
Charles Reade was born at Ipsden, Oxfordshire, to John Reade and Anne Marie Scott-Waring, and had at least four brothers. He studied at Magdalen College, Oxford, taking his B.A. in 1835, and became a fellow of his college. He was subsequently dean of arts and vice-president, taking his degree of D.C.L. in 1847. His name was entered at Lincoln's Inn in 1836; he was elected Vinerian Fellow in 1842, and was called to the bar in 1843. He kept his fellowship at Magdalen all his life but, after taking his degree, he spent most of his time in London. William Winwood Reade, the influential historian, was his nephew.
Reade began his literary career as a dramatist, and he chose to have "dramatist" stand first in the list of his occupations on his tombstone. As an author, he always had an eye to stage effect in scene and situation as well as in dialogue. His first comedy, The Ladies' Battle, appeared at the Olympic Theatre in May 1851. It was followed by Angela (1851), A Village Tale (1852), The Lost Husband (1852), and Gold (1853).
But Reade's reputation was made by the two-act comedy, Masks and Faces, in which he collaborated with Tom Taylor. It was produced in November 1852, and later was expanded into three acts. By the advice of the actress, Laura Seymour, he turned the play into a prose story which appeared in 1853 as Peg Woffington. The same year he wrote Christie Johnstone, a close study of Scottish fisher folk. In 1854 he produced, in conjunction with Tom Taylor, Two Loves and a Life, and The King's Rival, and, unaided, The Courier of Lyons (well known under its later title, The Lyons Mail) and his adaptation of Tobias Smollett's Peregrine Pickle. In the next year appeared Art (1855), afterwards known as Nance Oldfield.
He made his name as a novelist in 1856, when he published It Is Never Too Late to Mend, a novel written to reform abuses in prison discipline and the treatment of criminals. The truth of some details was challenged, and Reade defended himself vigorously. Five more novels followed in quick succession: The Course of True Love Never Did Run Smooth (1857), White Lies (1857), Jack of all Trades (1858), The Autobiography of a Thief (1858), and Love Me Little, Love Me Long (1859). White Lies started as a translation of Auguste Maquet's play Le Château de Grantier. After managers declined the manuscript, Reade adapted the story, weaving it into a novel which was serialised in The London Journal and published in three volumes the same year. He produced an adaptation of this on stage as The Double Marriage in 1867.
In 1861 Reade published what would become his most famous work, based on a few lines by the medieval humanist Erasmus about the life of his parents. The novel began life as a serial in Once a Week in 1859 under the title "A Good Fight", but when Reade disagreed with the proprietors of the magazine over some of the contentious subject matter (principally the unmarried pregnancy of the heroine), he abruptly curtailed the serialisation with a false happy ending, Reade continued to work on the novel, and published it in 1861, thoroughly revised and extended, as "The Cloister and the Hearth". It became recognised as one of the most successful historical novels. Returning from the 15th century to modern English life, he next produced Hard Cash (originally published as Very Hard Cash)(1863), in which he highlighted the abuses of private lunatic asylums. Three more such novels followed: Foul Play (1869), in which he exposed the iniquities of ship-knackers, and paved the way for the labours of Samuel Plimsoll; Put Yourself in His Place (1870), in which he dealt with trade unions; and A Woman-Hater (1877), in which he continued his commentary on trade unions while also tackling the topic of women doctors. The Wandering Heir (1875), of which he also wrote a version for the stage, was suggested by the Tichborne Case.
Reade also published three elaborate studies of character: Griffith Gaunt (1866), A Terrible Temptation (1871), A Simpleton (1873). He rated the first of these as his best novel. At intervals throughout his literary career, he sought to gratify his dramatic ambition, hiring a theatre and engaging a company for the production of his plays. An example of his persistence was seen in the case of Foul Play. He wrote this in 1869 in combination with Dion Boucicault with a view to stage adaptation. The play was more or less a failure; but he produced another version alone in 1877, under the title of A Scuttled Ship, which was a notable failure. His greatest success as a dramatist attended his last attempt – Drink – an adaptation of Émile Zola's L'Assommoir, produced in 1879.
In that year his friend Laura Seymour, who may have been his mistress and had kept house for him since 1854, died. Reade's health failed from that time. On his death, he left behind him a completed novel, A Perilous Secret, which showed he was still skilled in the arts of weaving a complicated plot and devising thrilling situations. Reade was an amateur of the violin, and among his works is an essay on Cremona violins with the title, "A Lost Art Revived." Reade is buried alongside Laura Seymour, in the churchyard of St. Mary's Church, Willesden, in north-west London.
Reade sub-titled a number of his novels "A matter-of-fact romance;" this referred to his practice of basing his novels largely on newspaper cuttings, which he began collecting for this purpose in 1848. He also conducted his own research, observing prisons personally, for example, as well as borrowing at times heavily from other novelists' works.
Reade's novels were popular, and he was among England's highest-paid novelists. But, many libraries refused to carry his works on the grounds that they were indecent.
Reade began his literary career as a dramatist, and he chose to have "dramatist" stand first in the list of his occupations on his tombstone. As an author, he always had an eye to stage effect in scene and situation as well as in dialogue. His first comedy, The Ladies' Battle, appeared at the Olympic Theatre in May 1851. It was followed by Angela (1851), A Village Tale (1852), The Lost Husband (1852), and Gold (1853).
But Reade's reputation was made by the two-act comedy, Masks and Faces, in which he collaborated with Tom Taylor. It was produced in November 1852, and later was expanded into three acts. By the advice of the actress, Laura Seymour, he turned the play into a prose story which appeared in 1853 as Peg Woffington. The same year he wrote Christie Johnstone, a close study of Scottish fisher folk. In 1854 he produced, in conjunction with Tom Taylor, Two Loves and a Life, and The King's Rival, and, unaided, The Courier of Lyons (well known under its later title, The Lyons Mail) and his adaptation of Tobias Smollett's Peregrine Pickle. In the next year appeared Art (1855), afterwards known as Nance Oldfield.
He made his name as a novelist in 1856, when he published It Is Never Too Late to Mend, a novel written to reform abuses in prison discipline and the treatment of criminals. The truth of some details was challenged, and Reade defended himself vigorously. Five more novels followed in quick succession: The Course of True Love Never Did Run Smooth (1857), White Lies (1857), Jack of all Trades (1858), The Autobiography of a Thief (1858), and Love Me Little, Love Me Long (1859). White Lies started as a translation of Auguste Maquet's play Le Château de Grantier. After managers declined the manuscript, Reade adapted the story, weaving it into a novel which was serialised in The London Journal and published in three volumes the same year. He produced an adaptation of this on stage as The Double Marriage in 1867.
In 1861 Reade published what would become his most famous work, based on a few lines by the medieval humanist Erasmus about the life of his parents. The novel began life as a serial in Once a Week in 1859 under the title "A Good Fight", but when Reade disagreed with the proprietors of the magazine over some of the contentious subject matter (principally the unmarried pregnancy of the heroine), he abruptly curtailed the serialisation with a false happy ending, Reade continued to work on the novel, and published it in 1861, thoroughly revised and extended, as "The Cloister and the Hearth". It became recognised as one of the most successful historical novels. Returning from the 15th century to modern English life, he next produced Hard Cash (originally published as Very Hard Cash)(1863), in which he highlighted the abuses of private lunatic asylums. Three more such novels followed: Foul Play (1869), in which he exposed the iniquities of ship-knackers, and paved the way for the labours of Samuel Plimsoll; Put Yourself in His Place (1870), in which he dealt with trade unions; and A Woman-Hater (1877), in which he continued his commentary on trade unions while also tackling the topic of women doctors. The Wandering Heir (1875), of which he also wrote a version for the stage, was suggested by the Tichborne Case.
Reade also published three elaborate studies of character: Griffith Gaunt (1866), A Terrible Temptation (1871), A Simpleton (1873). He rated the first of these as his best novel. At intervals throughout his literary career, he sought to gratify his dramatic ambition, hiring a theatre and engaging a company for the production of his plays. An example of his persistence was seen in the case of Foul Play. He wrote this in 1869 in combination with Dion Boucicault with a view to stage adaptation. The play was more or less a failure; but he produced another version alone in 1877, under the title of A Scuttled Ship, which was a notable failure. His greatest success as a dramatist attended his last attempt – Drink – an adaptation of Émile Zola's L'Assommoir, produced in 1879.
In that year his friend Laura Seymour, who may have been his mistress and had kept house for him since 1854, died. Reade's health failed from that time. On his death, he left behind him a completed novel, A Perilous Secret, which showed he was still skilled in the arts of weaving a complicated plot and devising thrilling situations. Reade was an amateur of the violin, and among his works is an essay on Cremona violins with the title, "A Lost Art Revived." Reade is buried alongside Laura Seymour, in the churchyard of St. Mary's Church, Willesden, in north-west London.
Reade sub-titled a number of his novels "A matter-of-fact romance;" this referred to his practice of basing his novels largely on newspaper cuttings, which he began collecting for this purpose in 1848. He also conducted his own research, observing prisons personally, for example, as well as borrowing at times heavily from other novelists' works.
Reade's novels were popular, and he was among England's highest-paid novelists. But, many libraries refused to carry his works on the grounds that they were indecent.
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