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CMP#128  Methodists in the Long 18th Century

1/23/2023

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This blog explores social attitudes in Jane Austen's time, discusses her novels, reviews forgotten 18th century novels, and throws some occasional shade at the modern academy. ​The introductory post is here.  My "six simple questions for academics" post is here.

CMP#128 Portrayals of Methodists in the long 18th Century, part two (with some additional comments about a now-suggestive word)
PicturePoor minister using a barrel for a pulpit
      In my previous post, I gave some examples of novels and plays of the long 18th century that depict Methodist ministers as grifters and con artists. According to these writers, Methodism appealed to the simple, the ignorant, and the credulous. Here are some examples of novels which featured poor working people who were attracted to Methodism. (We capitalize "Methodism" and "Methodists" but the early novels often didn't).
   In Secrets Made Public (1808), “a poor shoemaker, of weak intellects, but inoffensive manners” is “seduced to methodism by the eloquence of an itinerant orator.” At the end of the day, by the light of a dim rushlight, the shoemaker pores over William Huntington's books about predestination and "antinomianism." [Let's not bother with explaining what all that means, but if you want to know... I don't think Huntington was literally a Methodist but, like many other nonconformist ministers, he had no formal education. He became a popular fire-and-brimstone preacher].
​     At any rate, some young men, members of the idle rich, decide to play a prank on the cobbler. They dress up as “demons and… various poetical monsters” and one springs into his house one night as the cobbler sits reading his religious tracts. "“He entered the apartment of the cobbling enthusiast, who was devoutly lifting up his eyes and hands, and exclaiming with fervour, ‘We are all d[amne]d!” when the horrible spectre encountered his vision." The cobbler is terrified out of his wits. "With a last exertion of strength, he fell on his knees and ejaculated, or attempted to ejaculate, ‘Lord have mercy on us!’ "  (cont'd after break)


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CMP#127    Methodism and Some Memories

1/15/2023

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This blog explores social attitudes in Jane Austen's time, discusses her novels, reviews forgotten 18th century novels, and throws some occasional shade at the modern academy. ​The introductory post is here. ​

​CMP#127 Portrayals of Methodism in the long 18th century, part one
    Growing up as I did in the Methodist church, I took it for granted that we Methodists were the soul of rectitude and respectability. I had no reason to question it. See that row of men at the back of the photo below, taken at the old Cummins homestead in Southern Illinois?  Many of my ancestors were Methodist ministers, including many of the men in that photo. The extended clan--everyone dressed up in their best attire--would have enjoyed chicken and dumplings and some hand-churned ice cream, but there would have been no drinking and no smoking. My own family bent the rules in a few instances--my parents (who met at a Methodist youth conference) were good ballroom dancers. My maternal grandmother played the pump organ for her husband's congregations. During the week she enjoyed a game of gin rummy or pinochle but of course no wagering on the outcome. 
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       Growing up, I absorbed a little of the history of Methodism and again, I only heard what was good. I learned how Methodists urged working families to stop drinking gin and switch to tea instead. I pictured Methodists as a civilizing force in the 19th century. And I had respect for the passion and sincerity of Methodism’s founders, the Wesley brothers.
     That’s why, when I started my project of reading novels of the long 19th century, I was both amused and surprised to learn that Methodist preachers were portrayed as grifters who took advantage of the credulity of the poor and ignorant.

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CMP#120: The Love of a Good Woman

10/2/2022

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This blog explores social attitudes in Jane Austen's time, discusses her novels, reviews forgotten 18th century novels, and throws some occasional shade at the modern academy. ​The introductory post is here.  My "Six simple questions for academics" post is here.

Echoes of Austen: The love of a good woman
PictureDan Stevens as Edward Ferrars
​    Elinor Dashwood might forgive the man she loves for not telling her he's already engaged to Lucy Steele, but modern academics are not prepared to let Edward Ferrars off the hook. They think he’s weak at best, deceitful at worst, and Dr. Helena Kelly thinks there is a Freudian connotation to his destruction of the “sheath” and the scissors in Chapter 48. 
   Like it or not, Edward Ferrars occupies the post of the hero for Sense and Sensibility. Flatly declaring that he is not a hero confuses and muddles the entire novel. Plenty of people are “meh” about the Colonel Brandon/Marianne pairing, and if we conclude that the guy who marries Elinor at the end is a wimp, a liar and a pervert, where does that leave the message of the book and where does that leave the reader?
    I thought you might be interested in knowing about Coraly, an 1819 novel whose hero is a blend of Edward Ferrars and Colonel Brandon. The heroine in this novel unquestionably is stronger than the hero, especially in her Spartan adherence to a rigid moral code. Yet, she loves the hero, he’s her guy, and they get married. So maybe our expectations for heroes are not quite the same as long 18th century expectations. Something to ponder...


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CMP#119   "The Negro is Our Fellow Creature"

8/15/2022

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Thanks to Debatenstein of Twitter for my new logo, "Side-eye Jane Austen"!

​This blog explores social attitudes in Jane Austen's time, discusses her novels, reviews forgotten 18th century novels, and throws some occasional shade at the modern academy. ​The introductory post is here.

CMP#119   Representations of Black Georgians: Laugh When You Can
     In my last two posts, I reviewed a forgotten 1812 novel about a Black man living in Georgian England.
​      British novelists, poets, and playwrights played an important role in the long struggle to end slavery. No-one living in the United Kingdom in the late 18th century could pretend not to notice the poems, novels, plays and essays which portrayed the cruelty and horror of the slave trade. Dramatic poems like “The Dying Negro” were intended to awaken the consciences and appeal to the emotions of British readers. A poem for children, written in the cadences of the Old Testament, associated the consolations of religion with the fight against slavery:
"Negro woman, who sittest pining in captivity,
and weepest over thy sick child;
though no one seeth thee, God seeth thee;
though no one pitieth thee, God pitieth thee: raise thy voice, forlorn and abandoned one;
​call upon him from amidst thy bonds, for assuredly he will hear thee." ​
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    Naturally enough—since these poems were intended to raise empathy and spur people to action—these representations of enslaved persons emphasized their suffering and vulnerability. In the famous Wedgewood portrait “Am I Not a Man and a Brother?” the enslaved man is pictured kneeling, raising up his shackled arms, pleading for help.
  However, Georgian playwright Frederick Reynolds took a different approach—he used the vehicle of comedy, not tragedy, to stress the humanity of people of colour...

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    More about me here. My earlier posts (prior to June 2017) are about my time as a teacher of ESL in China,(just click on "China" in the menu below.) more recent posts focus on my writing, as well as Jane Austen and the long 18th century. Welcome!


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