The Fool Errant Being the Memoirs of Francis-Anthony Strelley, Esq., Citizen of Lucca — A Reader’s Guide
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The source record for The Fool Errant Being the Memoirs of Francis-Anthony Strelley, Esq., Citizen of Lucca — A Reader’s Guide measures this digital text at 116,877 words, 8 hr 29 min estimated reading time, and 10 detected text sections.
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Danvers was well aware. My faults, as he did not fail to remind me week by week, were obstinacy and pride of intellect; my weaknesses, lack of proportion and what he was pleased to call perversity, by which I suppose he meant a disposition to accept the consequences of my own acts. I freely admit a personal trait which will be obvious as I proceed. Trivial as it may seem, and does, at this time of writing, I must record an instance of it, the last I was to exhibit in England. Never vicious, I may sincerely say convinced, rather, that women are as far above our spiritual as they are fatally within our material reach, it was by my conduct to a woman that I fell into a way of life which nobody could have anticipated. In my twentieth year, in a moment of youthful ardour, I kissed Betty Coy, our dairymaid, over the cheese- press, and was as immediately and as utterly confounded as she was. I remember the moment, I remember her, a buxom, fresh-coloured young woman, rosy red, her sleeves above her elbows, her "La, Mr. Francis, what next?"--I remember all, even to my want of breath, suddenly cooled passion, perplexity and flight. It is a moot point whether that last was the act of a coward, but I can never allow it to be said that in what followed I showed a want of courage. I devoted a day and night to solitary meditation; no knight errant of old, watching his arms under the moon, prayed more earnestly than I; and when I had fully made up my mind to embrace what honour demanded of me, I sought out the girl, who was again in the dairy, and in solemn form, upon my knees, offered her my hand. Father Danvers, walking the terrace, was an accidental witness of my declaration, and very properly told my father. Betty Coy, unfortunate girl, was dismissed that evening; next day my father sent for me. [Footnote: I need only say further of Betty that she, shortly afterwards, married James Bunce, our second coachman at Upcote, and bore him a numerous progeny, of whose progress and settlement in the world I was able to assure the worthy parents.]
It would be idle to rehearse the interview between an angry father and an obdurate son. The more I said the angrier he got: the discrepancy between us made a reasonable conclusion hopeless from the first. When he cried, Did I mean to disgrace my name? and I replied, No, but on the contrary I had been wishful to redeem it--"How, you fool," said he, "by marrying a dairymaid?" "Sir," I answered, "by showing to the world that when a gentleman salutes a virtuous female it is not his intention to insult her." I was too old for the rod or I should have had it. As it was, I received all the disgrace he could put me to--dismissed from his presence, confined to my room, forbidden any society but that of Father Danvers and my own thoughts. My infatuation, however, persisted, and threatened to take the dangerous form of FRAUD. I could not for the life of me see what else I could do to recover the girl's fair fame, hopelessly compromised by me, than exhibit to the world at large the only conceivable motive of my salute. I knew, immediately I had done it, that I could not love Betty Coy, but I believed that I could prove the tender husband.
Correspondence to this effect--all on my side--with her parents decided mine to hasten my removal abroad. It had always been intended that I should study in Padua, rather than in Paris or Salamanca, if for no better reason than that that had been Father Danvers' University, and that he knew many of the professors there--among others, Dr. Porfirio Lanfranchi, who became my host and guardian, and had been class-mate and room-mate of our chaplain's. These things matter very little: I was not consulted in them, and had no objections, as I had no inclinations, for any particular residence in the world. Before my twenty-first birthday-- I forget the exact date--the hour arrived when I received on my knees my mother's tearful blessing, embraced my brothers and sisters, kissed my father's hand, and departed for Oxford, where I caught the London mail; and, after a short sojourn in the capital, left England for ever.
The memoir opens with a precise temporal and spatial marker: the arrival of a coach from Vicenza in Padua on the night of October 13, 1721. This anchoring in a specific date and place sets the tone for a narrative that will frequently shift between Italian cities and landscapes. The protagonist, Francis Strelley, immediately presents himself with formal courtesy, addressing a doctor as 'so much learning'—a voice that signals both his Englishness and his tendency toward elaborate speech.
The structure of the work is episodic, with chapter titles that announce key actions ('I Commence Pilgrim', 'I Slay a Man', 'I Take Sanctuary') rather than thematic summaries. This suggests a story driven by incident and consequence, where the narrator's own commentary on his folly is woven into the unfolding events.
Recurring Motifs of Disguise and Misrecognition
Throughout the excerpts, characters are frequently misidentified or mistaken in their intentions. The narrator himself is 'misconceived' at a hospital (chapter VII) and again later (chapter XIX). The servant Virginia, after being transformed by new clothes, becomes 'a young woman of noble appearance and refined beauty'—a change that startles the narrator and underscores how appearance can deceive. The pedlar of crucifixes (chapter VIII) and the players (chapter XXXIV) further introduce figures who trade in disguise or performance. These episodes suggest a world where identity is unstable, and where the narrator's own self-knowledge is repeatedly tested.
Movement Between Confined and Open Spaces
The narrative alternates between enclosed settings—convents, inns, hospitals, villas—and open roads or city streets. The opening scene in Padua is followed by a 'dangerous progress' (chapter III), and later the narrator 'commences pilgrim' (chapter VI). The convent where Aurelia is confined and the villa San Giorgio (chapter XLIII) represent spaces of constraint, while the fair (chapter XVII) and the journey to Lucca (chapter XXX) offer release. This spatial oscillation mirrors the protagonist's inner conflict between duty and desire, and between the roles of gentleman and wanderer.
The Role of Servants and Intermediaries
Servants like Scipione and Virginia act as go-betweens, carrying messages, arranging meetings, and sometimes acting on their own initiative. Virginia's unauthorized intervention with Aurelia—'she stamped her foot and flew into a passion'—reveals how the narrator's plans can be derailed by those he trusts. Scipione's 'jaunty rogue' demeanor and his role in dressing Virginia highlight the servants' agency in shaping events. The narrator's repeated failure to control these intermediaries suggests a broader theme: that his 'common sense, imagination and charity' (chapter XI) are often insufficient to manage the complexities of human relationships.
The Narrator's Voice: Self-Justification and Retrospection
The memoir is framed as a 'justificatory piece' (chapter I), and the narrator frequently pauses to comment on his past actions. He admits to being 'unthinking fool' and 'the most cruel of her oppressors' when reflecting on his treatment of Virginia. Yet he also insists on telling his story without extenuation: 'I must not extenuate myself, nor forestall my history.' This tension between self-blame and self-justification gives the narrative a confessional quality, while the chapter titles—such as 'I Exercise Common Sense, Imagination and Charity'—suggest a deliberate, almost ironic, structuring of his moral education.
The reader should attend to the way the narrator's retrospective judgments interact with the immediate drama of each scene. The memoir's episodic structure rewards attention to recurring patterns—disguise, misrecognition, the intervention of servants—rather than a single plot arc. The incomplete excerpts leave open how the narrator's 'fool errant' persona resolves, but the consistent focus on his own fallibility invites a reading that questions the reliability of his self-portrait.
That rainy afternoon, Strelley’s disguises and near-misses stayed with me long after I closed the book. The way he kept arriving at houses where everyone mistook him for someone else—it felt less like comedy, more like a quiet ache. Later, reaching for warmth, I found Stories of Red Hanrahan — Reading Companion, and recognized that same slippage between who we are and who others see.
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