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Fairy Fingers a Novel by Anna Cora Ritchie
Publisher: Geo. W. Carleton (New York) Publication Date: May,1865
Brief
Synopsis: (From Marius Blesi’s 1938 Dissertation “The Life
and Letters of Anna Cora Mowatt”)
The story opened in a drawing room of an ancient chateau in
Brittany where the Gramonts (who represent impoverished royalty) were in
conference concerning their precarious financial situation. The Countess Dowager de Gramont, a violent
and domineering person, and her only son, Count Tristan, who was haughty and
wily by nature, had never sullied their hands with toil of any sort, and they
fervently hoped that they would never have to associate with persons who work
for a living – the common people. The
Dowager and the Count plotted to get the Count’s son, Maurice, to marry Bertha
de Merrivale, an orphan heiress who resided with them. Bertha, a sweet but rather ineffectual girl,
did not love Maurice, but was attracted toward a likable young nobleman, Gaston
de Bois, who, unfortunately, had an impediment in his speech.
Maurice was in love with Madeleine de Gramont, a poor
relation of the family. Like Bertha, she
was an orphan. Because of her ability to
sew for the Dowager, Madeleine had received the appellation, “Fairy
Fingers.” But sewing was only one of the
thousand tasks that Madeleine capably performed. “Hers was a nature peculiarly susceptible to
the pure delight of serving, aiding, sparing trouble to those whom she loved.”1
When the Dowager and the Count learned from the lips of
Maurice that he intended to make Madeleine his wife, they were not only
furious, but they villainously persecuted the girl until she secretly took her
departure from the chateau.
The first half of the novel concerns Maurice’s wanderings in
search of his lost Madeleine. Ill in
Paris, he unknowingly was nursed at nights by Madeleine, who was disguised as a
sister de bon secours. When he had
recovered from his sickness, he once again set out on his travels and after
some years had elapsed, came to America to study law. “In America, he saw men, self-made and
self-educated, at an age when young Frenchmen have scarcely begun to be aware
that they have any independent existence.”2
Madeleine, after the Paris episode, had come to the United
States and had established herself as a fashionable dress maker in Washington,
and had changed her name to Madame Melanie.
Her shop soon became famous in the city.
Senators’ wives fought for the privilege of wearing Madame’s
“creations.” Madeleine’s “fairy fingers”
rapidly made her a rich woman. “There
was something in her own nature which responded to the spirit of self-reliance,
energy, and industry, which are so essentially American characteristics.”3
When at long last Maurice found his lost Madeleine, he is
sure that she would reward his diligence and his love with marriage. However, she bluntly told him she could never
become his wife.
The Dowager and the Count, who followed Maurice to America,
did not rejoice to learn that a de Gramont – and a poor relation – had stooped
so low as to become a working woman. At first they refused to have anything to do
with her but a series of circumstances forced them to acknowledge her.
Maurice had inherited from his uncle, the Count’s brother, a
Maryland estate on which a railroad company wished to put through its
trackage. This estate was held in trust
by the Count, who had power-of-attorney over Maurice’s money. The Count had never used this power until he
became heavily in debt; then, unknown to Maurice, he mortgaged the estate,
gambling on the company’s putting through the railroad to repay his
losses. In the meantime, Madeleine put
up her own money to protect the Count and keep Maurice from becoming involved. Then she also used her influence with the
wives of the executives – her dress shop patrons – to get their husbands to
vote for the trackage through Maurice’s estate.
Finally, when the Count suffered a stroke at Madeleine’s residence,
Madeleine nursed him so carefully and devotedly that she expelled from his
heart the last bit of hatred towards her.
Later he gladly gave his consent for her marriage to Maurice.
Although Madeleine revealed her love for Maurice, she
refused still to marry him until the Dowager gave her consent. When, at last, Madeleine saved the old lady’s
life, almost at the expense of her own, the Countess de Gramont recognized the
fact that “the hand of God” had shamed her, and she gave her consent to the
marriage.
The story ends with the double marriage of Maurice to
Madeleine, and of Gaston to Bertha.4
Major Themes: Labor is redemptive Friendships between women are
powerfully nurturing True love overcomes all challenges
Characters: Countess
Dowager de Gramont: proud and inflexible matriarch of the Gramonts Count
Tristan de Gramont: son of the Countess Viscount Maurice de Gramont: son of Tristan, grandson of the Countess Madeleine
de Gramont: orphaned cousin of the Gramonts Bertha de Merrivale: pretty young cousin of the Gramonts Marquis
de Merrivale: Bertha’s uncle, a gourmand
who sees all the world through the lens of appetite Gaston
de Bois: neighbor of the Gramonts, friend to Madeleine and Maurice,
secretly in love with Bertha Baptiste: the Gramonts’ gardener Baron
and Baroness de Tremazan: neighbors of the Gramonts Marchioness
de Fleury: fashion-obsessed noblewoman Mr.
Hilson: an American businessman visiting Brittany, becomes an important
contact for the Gramonts when they travel to the U.S. Ronald
Walton: an artist who aids and befriends Maurice and Gaston in Paris
then helps them make connections in the U.S. Mr.
and Mrs. Walton: Ronald’s parents Ruth
Thorton: Madeleine’s protégé, her chief assistant at her Washington
dress shop Mademoiselle
Victorine: forewoman in Madeleine’s
dress shop Mrs.
Gilmer: fashionable young wife of
a wealthy banker, becomes bitter rival of Madame de Fleury after her arrival in
the U.S. Lord
Linden: English visitor to the U.S., becomes infatuated with Madeleine Lady
Augusta: Lord Linden’s sister, married to the English ambassador to the
U.S. Mrs.
Lawkins: Madeleine’s no-nonsense
housekeeper Mrs.
Gratacap: comically plain-spoken Yankee nurse hired to care for the
Countess Publication
History:
Although not overtly credited as such, Fairy Fingers is a novelization of Eugene Scribe and Ernest
Legouve’s 1860 play “Les Doigts de Fee.”
Anna Cora Mowatt Ritchie took the one hundred and forty pages of
dialogue and scene descriptions that make up the five-act comedy and expanded
it into a sprawling four hundred and sixty page novel, adding an entirely new
second half to the plot taking place in the U.S. with scores of characters and
events that do not appear in the original. Rather than stealthily concealing
her source, she dubbed her novel with an English translation of the French
title and retained several place and character names. In a few instances, the author re-christened characters
with the name of the actor who had played the role in the play’s premiere at
the Comedie Francaise. International copyright laws were quite different in the
1850s and 60s. It was not uncommon for
even established and well-respected playwrights in England and the U.S. to
adapt French or German scripts without formally acknowledging their source
material. Since Anna Cora Mowatt Ritchie’s Fairy
Fingers was not simply an English adaptation of Scribe and Legouve’s play,
but a re-working to a different literary format that significantly changed and greatly
expanded the source material, she may not have felt any legal or ethical
obligation to credit the French comedy. After the successful serialization of The Mute Singer in The New
York Ledger in early 1861, Editor Robert Bonner touted a forthcoming novel
from Anna Cora would soon commence a number of times in the columns of his
paper. This work never materialized. Playwright Eugene Scribe died on February
20, 1861. If Fairy Fingers was the novel she was working on at that time and if
there were negotiations going on for
permission to adapt “Les Doigts de Fee,” Scribe’s death could have possibly
complicated those dealings and delayed publication of the work in serialized
form with Bonner in the Ledger. The book was eventually published in 1865 by Geo. W.
Carleton. This New York firm had a sterling reputation for producing high
quality translations of French works. Carleton’s list of recent bestsellers at
the time included the authorized English translations of Victor Hugo’s Les Miserables, Michelet’s L’Amour and La Femme, and several works by
Balzac.5 The publishing firm was no fly-by-night operation blindly
churning out paper. Carleton’s was fully staffed with persons fluent in that
language and seemed to have a robust appetite for introducing French literature
to the U.S. reading public. It seems
unlikely that this publisher would not have been aware of Fairy Fingers’ connection to Scribe and Legouve’s “Les Doigts de
Fee” and the extent of their legal obligations to properly credit that work.
Reception: At the time of Fairy
Fingers’ publication, the U.S. Civil War had only been over less than a
month. With friends and relatives on
both sides of the conflict, Anna Cora Mowatt Ritchie had remained carefully
neutral, making no public statement of sympathy for either side (although she
had quietly done volunteer work to aid the Union Army during her stay with
relatives in New York after the outbreak of hostilities.) Separated from her
husband, the author had lived abroad for most of the war. The portions of Fairy Fingers that take place in the U.S. are set in a carefully
ambiguous pre-War time-frame from which all sorts of issues and persons who
might trigger thoughts of the all-too-recent conflict were scrupulously
scrubbed. However, discussion of how Mrs. Ritchie had spent the war years
overshadowed discussion of the merits of her novel in most of the reviews
published in May and June of 1865. The Boston papers, as usual, supported the author. Some writers did so in an indirect manner
with positive reviews like the following; Mrs. Anna Cora Ritchie, Late Mrs.
Mowatt, has given us “Fairy Fingers,” a work which will be eagerly sought
for. The scene is laid in France, where
the author at present resides, we believe, and the manner and habits of the
people are described with a happy pictorial effect not often equaled. The story leads captive both the heart and
the imagination, appeals to the highest qualities of the mind, and calls forth
none but the best sympathies; yet it is so strangely touching, so sweetly
interesting, we do not wonder at the great success of the charming and
versatile author. Just the book for
summer reading.6 Others, like Epes Sargent’s Boston Transcript, took the opportunity put their loyalty on
display with straight forward rebuttals to accusations; “Fairy Fingers,” just ready, is by
Anna Cora Ritchie, the well-known author and actress. I have not yet had the pleasure of reading
it, but hear it highly spoke of by those who have read the proof-sheets. It is a story in praise of persistent and
useful labor. The scenes are laid in
France and this country, and the main characters are included in a noble and
proud, but impoverished French family whose fortunes are minutely
described. Since the rebellion broke out
Mrs. Ritchie has been residing in Italy, and as her loyalty has been questioned
by some, I would state on the authority of her friends that she does not share
in the treasonable sentiments of her husband, the late Richmond editor, but is
loyal to the interests and principles of the North.7 Partisan feelings, however, turned some reviewers positively
nasty, though, as in this gratuitously scathing review from a Philadelphia. (Why
did Anna Cora Mowatt always get so little affection from the newspaper critics
of City of Brotherly Love?) The writer goes out of their way to include sexist ad hominem attacks on the author ad well
as bitter speculations on her lack of loyalty to the Union to their
disparagement of the novel’s merits; “Fairy Fingers,” also published by
Carleton, is the production of Anna Cora Ritchie, who may be remembered as Mrs.
Mowatt, the actress-author, among other things, of an “Autobiography,” in which
she ingeniously has evaded giving any information at all likely to let the
reader know how old she is, and, with equal adroitness, gently omitting
whatever, if truly and fully told, might not exactly raise the subject of her
work in the estimation of its readers.
When the Rebellion broke out, she was residing at Richmond, where her
husband was proprietor of the Examiner,
a daily paper which has since, in John Mitchell’s hands, been the bitterest
antagonist of law, order, and freedom.
Her political leanings keeping her from seeking an asylum in the North,
and her personal antipathy to a scarcity in silks and satins at Richmond aiding
her desire, she found her way to Europe, where she had resided for nearly four
years – latterly holding a sort of court at Florence, like the Empress
Catherine at St. Petersburg, and like her, “fat, fair, and fifty.” We freely give Mrs. Mowatt the credit of
having written the whole of “Fairy
Fingers,” which is more than we would like to say of sundry dramas which bore
her name on the title page. It gives a
lively view of society, Provincial and Parisian, in France, during the present
or restored Empire. The true heroine is
and antiquated Countess, vegetating in pride and poverty, in an old chateau in
Brittany, with as son, grandson, and two nieces. One of these, very rich, declines to fall in
love with Maurice, the grandson, and takes to a certain Gaston de Bois,
afterward secretary to the French Ambassador at Washington, whose chief
characteristic is that he stutters terrible when he does not curse awfully. The Countess Dowager de Gramont is as poor as
Job, having little more than some acres in Maryland – a projected railroad
through which will materially double their value, if it takes a particular
route. With her son, grandson and one
niece, (the other, only daughter of the Duc de Gramont, but dowerless, has been
compelled, by ill-treatment, to quit Brittany,) this old lady crosses the
Atlantic and takes up her residence at Brown’s Hotel, Washington, during the
closing years of Mr. Buchannan’s Presidency.
The time is certain, for it was before the Rebellion, and the party
stop, en route, at the Fifth-avenue
Hotel, which was opened about 1859-60.
The missing niece, Madeleine, turns up in Washington, occupying a
splendid mansion near the Capitol, and carrying on the trade of a mantua-maker,
with so much profit that she has paid for the house, all but $10,000. The Marchioness de Fleury (an extravagantly
draw character, but one of the best in the book,) patronizes and befriends her;
but the old Countess proudly stands up against recognizing a mantua-maker as
her niece. This dowager’s pride of
birth, amid actual poverty, (which yet is no bar to her occupying an expensive
suit of rooms with retinue to match, at Brown’s) is a caricature from first to
last. Indeed, the scenes of Washington
life are as absurdly drawn as if an English novelist who had never visited this
country had merely imagined them. At
last, the Count’s death somewhat subdues his very stupid old mother, and she
consents that her grandson, the Viscount Maurice, who chooses to practice the
law at Charleston, shall marry the ducal mantua-maker, the other niece
espousing the diplomatic gentleman who rarely speaks plainly, except when he
swears. There is a certain Ronald Walton,
a South Carolinian Admirable Crichton, endowed with all virtues and talents,
who though only child of rich parents, becomes a great Painter – being the
first from that State, we dare to say, who ever achieved reputation in such a
manner – but Mrs. Mowatt Ritchie desired, no doubt, to exhibit him as a
specimen of the “Southern chivalry” she so exceedingly admires. There are a few lively scenes in this novel –
between one Mrs. Gratacap, a Yankee Nurse, and the proud Countess. The noticeable point in this is that not only
the Countess, but her son, nieces, grandson and several others, all speak
English, as if by intuition, from the moment they settle down in
Washington. Our judgement upon “Fairy
Fingers” is that a more incoherent, indigested, improbable, and absurd novel
has rarely been published. It might have
been improved by judicious pruning, which would have cut it down from 460 to
about 200 pages. It is its author’s worst-written book, and very few who commence
reading it are likely to go through it to the end, as we, for our sins, were
compelled to, in order to ascertain what manner of work it was.8 Even the reviewer from New Orleans, who was never a great friend
to Mowatt during her acting career, didn’t allow themselves to get quite as
spiteful; This novel is written in a less
elegant, but much more nervous and racy style, than either “The Autobiography”
or “Mimic Life.” The plot, though
comparatively simple, is carefully planned and the interest well sustained. We prefer to see characters more fully
developed by their words and actions than is the case in “Fairy Fingers,” and
that less space should be devoted by the writer to descriptions of dispositions
and temperature. We positively object to any more love scenes being interrupted
by the unexpected arrival of an “awful third party.” It is a piece of cruelty on the heroes and
heroines of American fiction that is becoming as common as the burning of the
Richmond Theatre. The distinction Mrs.
Ritchie won in her former career as an actress, and the wide popularity of her
previous writings, will ensure an immense sale of this new production of her
pen.9 Only a few reviewers treated the novel with the sort of even
handedness it would have probably received in pre-war years as in the following,
who does, however, somewhat absurdly suggest that the author needs to spend
more time abroad in order to make her characters seem more lifelike; Fairy Fingers is the title of a novel by Anna Cora Ritchie, and is
like herself, American by blood and French by birth. Her leading character are from the old
nobility in Brittany, and, though strongly drawn, lack some little touches of vraisemblance that a closer acquaintance
with life abroad would have given them.
We have a stately old dowager, whose pride takes that brief step from
the sublime to the ridiculous, a narrow-minded son, a half-emancipated
grandson, and his two pretty cousins, one of whom, though the daughter of a
duke, is the demoiselle of the fairy fingers, and has a high character joined
to fine taste and great practical adroitness.
Urged by poverty and the unkindness of her relatives, she maintains
herself as a modiste, thereby putting
her grand-aunt to aristocratic tortures. All the parties emigrate to America,
and here the fair heroine passes through those marvelous trials which heighten
by contrast the effect of her ultimate happiness. The book shows ability and interest as novels
go, though crude in portions and overwrought throughout. The heroine is a miracle of self-sacrifice
and a marvel in her powers of adaptation.
One cannot help wondering that such prodigies should consent to at last
be happy in the ordinary way.10 Only the critic from the Scottish-American
Journal (based in New York) managed to achieve a truly upbeat tone; This new novel, by the authoress of
“Autobiography of an Actress,” (late Mrs. Mowatt, not only well known as an
author, but bearing some celebrity as an actress) will no doubt be well received. It is now some time since this lady has
appeared before the public, in either of her capacities, and from her well-earned
reputation as a novelist, her book will be much run after. The opening chapters depict life in
Brittany, and the plot is simply as follows: -- The Countess Dowager de
Gramont, an old lady with very aristocratic predilections, fully bent upon
bringing between a favorite grandson, Viscount Maurice de Gramont and Bertha de
Merrivale, her grand-niece, a wealthy heiress, is foiled in her endeavors by
the said Maurice preferring to consider himself the best judge in these
matters, and most waywardly chooses as his lady love, Madeleine, a poor but
beautiful and accomplished protégé of his scheming granddame. Madeleine’s pretty face and sweet disposition
soon make sad havoc with young Maurice’s susceptible heart, who at length
declares his passion, and is rejoiced to find that it is reciprocated, but as
the course of true love seldom runs smooth, many are the scenes of heart
rendings, cross purposes, and “all the ills that lovers are heir to.” When a happy denouement takes place,
resulting in a double marriage, which makes all parties reconciled to each
other, concluding the story, which finishes in the United States, and hinges
upon the maneuvering of the several characters trying to attain their several
objects. From the somewhat lengthened
residence of Mrs. Ritchie in France, she has been able to portray the manners
and customs of the people with admirable truthfulness and naiveté. Her story appeals to the mind, and calls
forth one’s best sympathies, creating an interest throughout, and stamping it
as the chef d’ouvre of this versatile
lady. Fairy Fingers will certainly be a prominent work in the hands of
novel readers this season and will help to while away many a pleasant hour on
the sea-beach or at the Spa.11 I think this reviewer’s cheery suggestion for an appropriate
setting for reading the novel neatly puts a pin in the explanation for the
discordant reviews Fairy Fingers
received. In May of 1865, mere weeks
after Lincoln’s assassination, while pockets of resistance still raged despite
the close of hostility in four years of the bloodiest fighting the U.S. had
ever seen -- very, very, very few people had their minds on settling down at
the beach or a spa with a frothy romance novel about comical bickering French
nobles written by someone who had sat out the war in a beautiful villa in
Italy. Anna Cora Mowatt Ritchie usually impeccable instincts for
picking projects that perfectly matched the mood of the book-buying or
theatre-going public. Fairy Fingers was one of her rare
miscalculations.
External
Links Read the novel online here: https://babel.hathitrust.org/cgi/pt?id=uc2.ark:/13960/fk3nv99f5d&view=1up&seq=9 Audiobook available here: https://librivox.org/fairy-fingers-by-anna-cora-mowatt-ritchie/ Further discussion of the novel: Anna Cora Mowatt and the Real People behind the
“Fairies” https://kellystaylor.wixsite.com/the-lady-actress/post/anna-cora-mowatt-and-the-real-people-behind-the-fairies Anna Cora Mowatt and “Les Doigts de Fee” https://kellystaylor.wixsite.com/the-lady-actress/post/anna-cora-mowatt-and-les-doigts-de-fee Gillespie, Pattie. “Anna Cora Mowatt Ritchie’s “Fairy
Fingers”: From Eugene Scribe’s?” Text and Performance
Quarterly, Vol. 9, Issue 2. Pages 125-134. Notes
1.
Ritchie, Anna Cora. Fairy
Fingers. Carleton: New York, 1866. Page 371. 2.
Ibid. Page 174. 3.
Ibid. Page 37. 4.
Blesi, Marius. The Life and Letters of Anna
Cora Mowatt. Dissertation, University of Virginia, 1938. Pages 386-390. 5.
Derby, James Cephas. Fifty Years Among Authors, Books, and
Publishers. New York: George Carleton, 1884. Pages 204-242. 6.
“New Romance.” Daily Evening Traveler. Boston. Thursday, May 25, 1865. Page 1.
Col. 7. 7.
“Carleton Publications.” Boston Evening Transcript. May 13, 1865. Page 4. Col. 4. 8.
“Notices of New Books.” The Press: Philadelphia. Friday, May 26, 1865. Page 2. Col. 3. 9.
“New Publications.” New
Orleans Times Picayune. June 1. Page 2. Col. 1-2. 10.
“A Semi-American Novel.” Springfield Republican.
May 31, 1865. Page 1. Col. 2. 11.
“Fairy Fingers.”
Scottish-American Journal. May 27, 1865. Page 4. Page 5. |
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