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Evelyn; or a Heart Unmasked A Tale of Domestic Life
Publisher: G.B. Zieber ( Philadelphia) Publication
Date: 1845 Brief
Synopsis: (From
Imogene J. McCarthy’s 1953 Master’s Thesis “Anna Cora Mowatt and Her
Audience”) Much of
the tale takes place in that nineteenth century phenomenon of American society
– the fashionable boarding house. Upon
taking up residence there, Kate Bolton, our narrator, a spinster of energetic
and charitable nature, renews acquaintance with the Willards, who, with nothing
to live on are yet living in style. Mr.
Willard, a defeated little man, fears loss of caste less than his wife’s
displeasure; Mrs. Willard, a woman of beauty, shrewdness, and no scruples, is
admirably fitted to live by her wits; their daughter Evelyn is a sixteen year
old beauty, charming in her immaturity, affectionate, light-hearted, and
light-headed; Ellen, the older daughter, is crippled physically by a curvature
of the spine and emotionally by the knowledge that she is a rejected child;
Dick, the only son, is an impoverished and eccentric lawyer affected in times
of stress by a form of nervous palsy, and his functions in the story seem only
to be that of embarrassing his family and the more serious one of introducing
the villain to his sister. Among
their fellow boarders was a prosperous young merchant named Merritt, dull,
conventional to a fault, and marked for success. So adroit was Mrs. Willard in her matchmaking
that at the time Merritt and Evelyn were wed they believed she gave her consent
only with reluctance. The young Merritts
were soon installed in their new home on Union Park, and shortly thereafter Mr.
and Mrs. Willard and Ellen joined the ménage so that Mrs. Willard might relieve
her scatter-brained Evelyn of the housekeeping duties for which she was so
ill-equipped. (The author gives her own compilations a mischievous puff by her
descriptions of Mrs. Willard as talking like “Mrs. Ellis’ housekeeping books.”) This arrangement had much to commend it and
might have become permanent had not Dick made one of his untimely returns,
bringing with him a new friend, Col. Damoreau, from the South. The colonel was a wealthy and bored libertine
whose only interest was in recounting his amorous conquests in long letters to
a confidant in Georgia. Never was a
woman’s virtue assailed by a more deliberate, patient, discreet campaign than
that which he now waged for a period of two years. He destroyed Evelyn’s peace of mind, but
failed in his objective; in fact his villainy might have been of little moment
if it had not been supplemented by the equally wicked machinations of Laura
Hilson, another resident of the boarding house.
Laura had hoped to marry Merritt herself; and when Evelyn married him,
Laura did not put away her mask of friendship but neither did she lay aside her
ambition. She now persuaded Evelyn that
her sins were much more than occasional wandering thoughts and troubled sighs,
that in fact in the eyes of society she was an unfaithful wife, her husband
shamed, her infant daughter disgraced forever.
Evelyn suddenly disappeared and was seen no more until from her deathbed
two years or so later she sent for her family and Kate Bolton. Woven in
with the pathetic little history of Evelyn is the brighter thread of Kate
Bolton’s romance with Ernest Elton, and the rehabilitation of Ellen Willard by
means of financial independence earned by her own labor as a school mistress,
and the sublimation of her starved affections in charitable works. There is also a darker thread in the
passionate tale of one of Damereau’s earlier victims who pursues him to New
York and at last obtains revenge by blinding and disfiguring him with acid.1 Major
Themes: Infidelity Surface
appearances versus true character The redemptive power of labor
Characters: Katherine Bolton
– friend of the Williard family who serves as the book’s primary narrator Mrs. Willard
– Ellen and Evelyn’s manipulative mother Mr.
Willard – Ellen and Evelyn’s disengaged father Ellen Willard
– the oldest Willard daughter, rejected by her mother because her potential to
make a good marriage is marred by the curvature of her spine Evelyn Willard Merritt – the younger, beautiful, impulsive Willard
daughter Richard Willard
– Ellen and Evelyn’s socially inept brother Mr. Merritt
– wealthy young lawyer who marries Evelyn Colonel Hubert Damereau – an adventurous rogue from New Orleans who serves
as the book’s antagonist and secondary narrator Frederick Ruthven
– Damereau’s friend Claudine/Blanche
– a troubled young woman who has lost most of her memory but is bent on deadly
vengeance Amy Elwell
– a virtuous friend of the Willard sisters Laura Hilson
– another acquaintance of the Willards who is secretly a rival for Mr.
Merritt’s affections Publication
History: At the
time she wrote Evelyn, Mowatt was
reading the novels of Frederika Bremer.
Bremer, often called “the Swedish Jane Austin,” enjoyed a wave of
popularity in the U.S. in the early 1840s after her novels were translated into
English by Mary Howitt. The distinctive epistolary
style of Evelyn is one
representation Bremer’s influence. In her
autobiography, Mowatt reports that she first negotiated a sale of the two
volume novel with a London publisher.
However, the deal fell through when the gentleman insisted that she must
extend the work to a third volume as was the current fashionable length. Since Mowatt’s heroine had died at the end of
the second volume, she felt unable to comply.2 It is possible that Mowatt might have originally intended Evelyn to have been published under her pseudonym “Helen Berkeley” just as her first novel Fortune Hunter had been. However, there was a delay in the publication date. Evelyn was published in 1845 after Mowatt had become famous as the author of “Fashion” and had debuted as an actress. Publishers Carey & Hart were quick to cash in on her newly-minted celebrity and print the novel under the name “Anna Cora Mowatt.”
Reception: Although
the timing of the book’s publication may have boosted sales, the fact that
Evelyn followed so closely on the heels of the premier of “Fashion” and
Mowatt’s debut as an actress probably prevented the book from getting the kind
of sober critical consideration the work deserved. The Albion,
whose critiques usually took Mowatt’s efforts as a playwright and a performer
quite seriously, seems to lightly dismiss the novel as just another part of the
publicity campaign surrounding the actress’ debut; The
authoress of “Fashion” bids fair to be as successful in making agreeable books
as in writing delightful comedies. In
the work before us, the scene of which is laid in New York, a thrilling
interest is excited and admirably kept up throughout its pages, to say nothing
of the name of the authoress, which is amply sufficient to give it an unlimited
currency.3 Graham’s Magazine, in which Mowatt had published
many poems and short stories and therefore should have known better, scolded
the novelist for being so prolific and varied in her talents in this peevish
post; We
have the authority of several critics for pronouncing this an excellent novel,
but as we have not had time to give it a careful perusal we can say nothing
concerning it. If we may venture a hint,
we will say that we think the author is attempting too many things at once to
attain very high excellence in all. In a
little more than a month, we have had a comedy, a novel, and a debut as an
actress. The public has been startled by
the series of efforts, but cannot yet be said to have given a decided approbation
to any one of them. Our own opinion is,
that Mrs. Mowatt is a woman of genius, and that she wants but careful study and
diligent application to succeed eminently as a writer of fiction.4 The next
month, though, the writers at Graham’s seem to have gotten over their
pique. After having actually read the
book, their reaction to the novel was much more positive than their response to
the hoopla surrounding Mowatt had been. Mrs.
Mowatt is well known as the author of the Comedy of “Fashion” and as a prominent
contributor to the various periodicals of the day. The present novel is in every way worthy of
her reputation. The style is flowing and
sparkling, well adopted for narration, and full of spirit and grace. The plot is deeply interesting, and is developed
with great skill and boldness. The
passions are represented with much power.
The characters are well drawn, some of them displaying an insight into
the heart at once keen and comprehensive. Evelyn,
the heroine, is delineated with most graphic skill. The whole novel evinces more mental resources
than usually characterize works of the kind.
Some scenes are wrought up with tragic force, and there are passages of
exquisite pathos. It is a work which
will outlive the ephemeral romances of the day, for it is grounded deep in
human passion and affection.5 By far
the most thoughtful contemporaneous review was from journalist and early
Women’s Rights advocate, Margret Fuller.
Fuller, writing for the New York
Tribune, contrasts the work with that of Balzac and Godwin. She finds it to be an imperfect in its
portrayal of passion. I would agree that Fuller is correct in classing Evelyn
with these authors from the early Realistic school, but I would argue that the
passion portrayed in this novel is supposed to feel empty and hollow. Fuller’s
comments read as follows; This
is a very well written tale. The
characters and events are taken from our every-day experience and described
with nature and simplicity. The story is
remarkably well told, and the catastrophe brought on with but little semblance
of improbability. There is a little; for
these strange results which the workings of the passions produce in real life
are incredible in fiction, unless the inward cause can be made as palpable as
the outward phenomenon. Not to mention
works of the highest genius; in those of Godwin and Balzac – the most singular
facts do not surprise us, because we are led to expect them through the minds
of the agents. But “the true is not
always the probable,” and, in the tale before us, the difficulty in making it seem probable is not always met. We cannot conceive of Evelyn rejoining her
lover, after returning home to see her child; this might happen; but we are not
made to feel the possibility of it in this instance. – The tone of thought and
feeling is very good. The tale is a
moral tale; but its morality is animated by a gentle and feeling heart. Many details show that the writer makes her
observations with the aid of good sense, good taste and discretion.6 Evelyn was a novel that critics seemed
to appreciate more when looking back retrospectively on Mowatt’s career as a
writer than they did when the work was originally published just as this
reviewer writing in 1850 does; These
tales give us a higher idea of Mrs. Mowatt’s talents as an authoress than her
plays did. Taken in conjunction with those dramas and with the pleasing powers
as an actress displayed by the lady – they not only establish a case of more
than common versatility, but indicate that with labor and concentration so
gifted a person might have taken a high place whether on the library shelf or
on the stage. In another point of view they are less agreeable. Alas, for those primitive souls who with a
perverse constancy may still wish to fancy America a vast New England of simple
manners and superior morals! The society which Mrs. Mowatt describes – whether
in “Evelyn”… or in “The Fortune Hunter”.. is as sophisticated as any society
under which this wicked only world groans, and which our Sir E. Lytton and Mrs.
Gore have satirized – or Balzac (to shame the French) has shown up! … There are
character, smartness, and passion in both these tales – though a certain
looseness of structure and incompleteness of style prevent us from being
extreme in praising them, or from recommending them by quotation – and though,
as has been said, the tone and taste of the life which they describe must jar
on the feelings of those who are unwilling to see the decrepitude of elderly
civilization coming down upon a new country, ere its maturity has been reached
– or even ere its youth has been sufficiently and steadily trained.7 Although overshadowed by the spectacular success of theatrical pursuits, Evelyn is one of Mowatt’s most interesting literary efforts.
External
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Text Online Here: https://archive.org/details/evelynoraheartu00ritcgoog/page/n6/mode/2up Audiobook
Available Here: https://librivox.org/mimic-life-by-anna-cora-mowatt-ritchie/
Notes: 1.
McCarthy,
Imogene J. “Anna Cora Mowatt and Her Audience.” Thesis. University of Maryland,
1953. Pages 35-37. 2.
Mowatt,
Anna Cora. Autobiography of an Actress;
or Eight Years on the Stage. Boston: Ticknor, Reid, and Fields, 1854. Pages
187. 3.
“Evelyn,
or a Heart Unmasked.” The Albion.
July 12, 1845. Page 336, col. 1 4.
“Evelyn,
or the Heart Unmasked.” Graham’s Magazine.
Vol. XXVIII, No. 2. August, 1845. Page
96. 5.
“Evelyn:
Or, A Heart Unmasked. A Tale of Domestic Life.” Graham’s Magazine, Vol. XXVIII, No. 3. September, 1845. Page 144. 6.
“Evelyn,
or a Heart Unmasked – A Tale of Domestic Life.”
New York Weekly Tribune. July 12, 1845. Page 6. 7.
London Athenaeum. November 23, 1850. Quoted in The Life and Letters of Anna Cora Mowatt
by Marius Blesi. University of Virginia, 1938. Page 138-139.
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