Love and Life: An Old Story in Eighteenth Century Costume — Themes and Context
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This digital edition of Love and Life: An Old Story in Eighteenth Century Costume — Themes and Context is described by source-level measurements including 109,599 words, 7 hr 57 min estimated reading time, and 13 detected text sections.
The text analysis averages about 19.8 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “English fiction -- 19th century,” connecting these edition facts with the source record’s subject description.
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Oft had I shadowed such a group Of beauties that were born In teacup times of hood and hoop, And when the patch was worn; And legs and arms with love-knots gay. About me leaped and laughed The modish Cupid of the day, And shrilled his tinselled shaft.--Tennyson.
If times differ, human nature and national character vary but little; and thus, in looking back on former times, we are by turns startled by what is curiously like, and curiously unlike, our own sayings and doings.
The feelings of a retired officer of the nineteenth century expecting the return of his daughters from the first gaiety of the youngest darling, are probably not dissimilar to those of Major Delavie, in the earlier half of the seventeen hundreds, as he sat in the deep bay window of his bed-room; though he wore a green velvet nightcap; and his whole provision of mental food consisted of half a dozen worn numbers of the _Tatler_, and a _Gazette_ a fortnight old. The chair on which he sat was elbowed, and made easy with cushions and pillows, but that on which his lame foot rested was stiff and angular. The cushion was exquisitely worked in chain-stich, as were the quilt and curtains of the great four-post bed, and the only carpeting consisted of three or four narrow strips of wool-work. The walls were plain plaster, white-washed, and wholly undecorated, except that the mantelpiece was carved with the hideous caryatides of the early Stewart days, and over it were suspended a long cavalry sabre, and the accompanying spurs and pistols; above them the miniature of an exquisitely lovely woman, with a white rose in her hair and a white favour on her breast.
The window was a deep one projecting far into the narrow garden below, for in truth the place was one of those old manor houses which their wealthy owners were fast deserting in favour of new specimens of classical architecture as understood by Louis XIV., and the room in which the Major sat was one of the few kept in habitable repair. The garden was rich with white pinks, peonies, lilies of the valley, and early roses, and there was a flagged path down the centre, between the front door and a wicket-gate into a long lane bordered with hawthorn hedges, the blossoms beginning to blush with the advance of the season. Beyond, rose dimly the spires and towers of a cathedral town, one of those county capitals to which the provincial magnates were wont to resort during the winter, keeping a mansion there for the purpose, and providing entertainment for the gentry of the place and neighbourhood.
Twilight was setting in when the Major began to catch glimpses of the laced hats of coachman and footmen over the hedges, a lumbering made itself heard, and by and by the vehicle halted at the gate. Such a coach! It was only the second best, and the glories of its landscape--painted sides were somewhat dimmed, the green and silver of the fittings a little tarnished to a critical eye; yet it was a splendid article, commodious and capacious, though ill-provided with air and light. However, nobody cared for stuffiness, certainly not the three young ladies, who, fan in hand, came tripping down the steps that were unrolled for them. The eldest paused to administer a fee to their entertainer’s servants who had brought them home, and the coach rolled on to dispose of the remainder of the freight.
The father waved greetings from one window, a rosy little audacious figure in a night-dress peeped out furtively from another, and the house-door was opened by a tall old soldier-servant, stiff as a ramrod, with hair tightly tied and plastered up into a queue, and a blue and brown livery which sat like a uniform.
“Well, young ladies,” he said, “I hope you enjoyed yourselves.”
“Vastly, thank you, Corporal Palmer. And how has it been with my father in our absence?”
“Purely, Miss Harriet. He relished the Friar’s chicken that Miss Delavie left for him, and he amused himself for an hour with Master Eugene, after which he did me the honour to play two plays at backgammon.”
“I hope,” said the eldest sister, coming up, “that the little rogue whom I saw peeping from the window has not been troublesome.”
“He has been as good as gold, madam. He played in master’s room till Nannerl called him to his bed, when he went at once, ‘true to his orders,’ says the master. ‘A fine soldier he will make,’ says I to my master.”
The novel announces its design in its subtitle: An Old Story in Eighteenth Century Costume. Yonge’s preface confirms she has adapted the Psyche myth—found in Apuleius and in fairy tales like Beauty and the Beast—setting it among English country gentry in the 1700s. The result is a narrative that moves between pastoral scenes, London drawing rooms, and the uneasy quiet of a married woman’s household. The story’s structure hinges on a series of separations and reunions, with recurring images of veils, locked chambers, and journeys that mirror the heroine’s inner uncertainty.
Framing the Fable
Yonge’s preface lays out her source material plainly: the tale of a wife forbidden to see her husband, a motif she traces from Apuleius through Indian and Scandinavian variants. She calls it a “legend of such universal property” that she felt free to dress it in eighteenth-century English costume. The novel’s chapter titles—The Dark Chamber, The Muffled Bridegroom, The Flutter of His Wings—keep the fable’s imagery in view. Yet the preface also signals that this is not a simple retelling. Yonge notes that some readers have seen in the myth a remnant of barbarous marriage customs, but she herself leans toward the allegorical reading: the Soul (Life) awakened by Love, grasping too soon and losing its prize. This double lens—folkloric and moral—shapes every scene.
The Heroine’s Drift
Aurelia Delavie, now Madam Belamour, does not undergo a dramatic transformation but a slow erosion. The narrator observes that after her secret marriage she “drifted away from some of the good habits enjoined on her,” feeling “less under authority.” Her religious practices slacken; her patience with the children frays. The text notes that “since Amoret’s departure some element of harmony was missing,” and that even giving up her mother-in-law’s embroidery had “scarcely a happy effect,” leaving her to “idle fretting.” A “little self-consequence” creeps in, a longing for recognition of her new rank. These are small, cumulative shifts—not a fall but a fading—rendered through domestic detail rather than grand incident.
Sisters and Letters
Correspondence becomes a barometer of distance. Aurelia writes “but briefly and scantily to her sister,” unable to give full confidence. When Harriet, now Mrs. Arden, sends an invitation from London, her letter is a set piece of social anxiety: she boasts of her host’s wholesale line, frets over Lady Belamour’s neglect, and worries that Aurelia’s husband may be “too high in his Notions” to permit a visit. The sisters’ reunion is deferred, and the gap between them widens. The novel’s later chapters—The Sisters’ Meeting, The Wanderer, Vanished—suggest that the plot will turn on these strained ties, but the excerpts leave the resolution unclear.
Movement Between Scenes
The story shuttles between several distinct settings: the rural quiet of Bowstead, the formal London household of Lady Belamour, and the mercantile world of Gracechurch Street. Each location carries its own social code. At Bowstead, the village women “abandoned the state pew” and sent “pointed and ceremonious” refusals to supper, marking Aurelia’s changed status. In London, Harriet’s letter contrasts the Alderman’s “genteel” wholesalers with Lady Belamour’s cold door. The chapter titles—The Enchanted Castle, Down the River, The Return—hint at a journey pattern that may mirror the Psyche myth’s quest structure. The excerpts do not reveal the full arc, but the movement is clearly geographic and social, not merely internal.
Readers familiar with the Psyche story will recognize the broad shape, but Yonge’s interest lies less in the supernatural than in the mundane pressures that erode a marriage. The novel rewards attention to small gestures—a curtsey, a letter left unanswered, a piece of embroidery set aside. Because the excerpts are incomplete, the exact nature of the husband’s concealment and the resolution of the sisters’ rift remain open. Approach the text as a study in slow disillusionment, dressed in brocade and set to the rhythm of country clocks and London coaches.
Years among the stacks taught me that Mrs. Yonge’s Aurelia, fading into her own marriage, shares a hushed truth with The Auction Block’s heroine—both women discovered how quietly a self can slip away when love becomes a duty. That ache, half-remembered, lingers in The Auction Block — Reading Companion, like a familiar shelf creak.
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