Some Eccentrics & a Woman — A Closer Reading

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Melville, Lewis, 1874-1932 Project Gutenberg 2015 Not confirmed
Great Britain -- Social life and customs -- 18th century; Eccentrics and eccentricities; Great Britain -- History -- 18th century -- Biography Readers of public-domain and historical texts
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Words 59,727
Reading time 260 min
Text sections 11

Some Eccentrics & a Woman — A Closer Reading can be approached with a clearer sense of reading commitment from its source measurements: 59,727 words, 4 hr 20 min estimated reading time, and 11 detected text sections.

The text analysis averages about 29.3 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 “Great Britain -- Social life and customs -- 18th century,” connecting these edition facts with the source record’s subject description.

Eight biographical sketches of 18th-century British eccentrics, from Fox to Beckford, examining their social worlds through letters, anecdotes, and period detail. The title's 'woman' is Eliza Draper, Sterne's correspondent, whose story is reconstructed from surviving documents.
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ghness.” Certainly Hanger felt no grievance concerning the alleged quarrel, for in his “Memoirs” he spoke in high terms of the heir-apparent in a passage that deserves to be read, as one of the few sincere tributes ever paid to the merits of that deservedly much-abused person.

Whether through the influence of the Prince of Wales or another, Hanger was in 1806 appointed captain commissary of the Royal Artillery Drivers, from which he was allowed to retire on full pay two years later, a proceeding which drew some observations from the Commissioners of Military Inquiry in their seventeenth report, to which Hanger published an answer. As the years passed, however, the free manners and the coarse outspokenness of the Colonel jarred on the Prince, and slowly the men drifted more and more apart, after which the former moved in less distinguished and probably less vicious company.

The first Lord Coleraine had long since been dead; Hanger’s eldest brother, the second Baron, had followed his father to the grave, and the title was now enjoyed by his second brother, William, popularly known as “Blue” Hanger, from the colour of the clothes he wore in his youth. Charles Marsh declared him to be “perhaps the best-dressed man of his age,” which is an ambitious claim for any person in the days when clothes were more regarded in fashionable society than anything else in the world; but that there was some ground for the statement cannot be doubted, since “Tom” Raikes reiterates it. “He was a _beau_ of the first water, always beautifully powdered, in a light green coat, with a rose in his buttonhole. He had not much wit or talent, but affected the _vieille cour_ and the manners of the French Court; he had lived a good deal in Paris before the Revolution, and used always to say that the English were a very good nation, but they positively knew not how to make anything but a kitchen poker. I remember many years ago, the Duchess of York made a party to go by water to Richmond, in which Coleraine was included. We all met at a given hour at Whitehall Stairs, and found the Admiralty barge, with the Royal Standard, ready to receive us, but by some miscalculation of the tide, it was not possible to embark for near half-an-hour, and one of the watermen said to the Duchess, ‘Your Royal Highness must wait for the tide.’ Upon which Coleraine, with a very profound bow, remarked, ‘If I had been the tide I should have waited for your Royal Highness.’ Nothing could have been more stupid, but there was something in the manner in which it was said that made everyone burst out laughing.” “Blue” Hanger, it will be seen, was as remarkable for his politeness as for his satire!

Heavy losses at the card-table forced William Hanger to go abroad to avoid his creditors, and he remained in France until the death of his elder brother in 1794, when, able to settle his affairs, he returned, completely transformed in manners and appearance into a Frenchman. Thereby hangs the story that, shortly after he arrived in England, he went to Drury Lane, when, next to him in the dress circle sat a stranger wearing top-boots. This would have been regarded as a gross breach of etiquette in France, and Lord Coleraine was not inclined to brook this affront to the company because he was in England.

“I beg, sir, you will make no apology,” he said, with an innocent and reassuring air.

His neighbour stared in blank amazement. “Apology, sir! Apology for what?” he demanded angrily.

“Why,” said “Blue,” pointing to the offending boots, “that you did not bring your horse with you into the box.”

“Perhaps it is lucky for you I did not bring my _horsewhip_,” retorted the other, in a fine frenzy of passion; “but I have a remedy at hand, and I will pull your nose for your impertinence.” Whereupon he threw himself upon Lord Coleraine, only to be dragged away by persons sitting on the other side of him.

Cards were exchanged between the combatants, and a duel seemed imminent. “Blue” went at once to his brother to beg his assistance. “I acknowledge I was the first aggressor,” he said, in anything but a humble frame of mind; “but it was too bad to threaten to pull my nose. What had I better do?” To which the unfeeling Colonel made reply, “_Soap it well_, and then it will easily slip through his fingers!”

The eight papers collected here originally appeared in periodicals such as the Fortnightly Review and Chambers’s Journal, and they retain the essayist’s freedom to digress. Melville’s subjects range from Charles James Fox and the Duke of Wharton to the satirist ‘Peter Pindar’ and the builder of Fonthill Abbey, William Beckford. The title’s lone woman, Eliza Draper, is the ‘Eliza’ of Laurence Sterne’s letters, and her chapter draws on correspondence to reconstruct a life often reduced to a footnote.

Patterns of Patronage and Rebellion

Several sketches turn on the tension between a subject’s desire for independence and the pull of powerful patrons. The Prince of Wales, later George IV, is shown choosing companions ‘to whom he need not in any way feel inferior’—a remark that frames the collection’s interest in social climbing and its discontents. Fox is admired by the Prince partly because the King hates him, a dynamic Melville treats with dry precision. The Duke of Wharton, a Jacobite turned Freemason, exemplifies a more volatile form of rebellion, his career a series of calculated defiances that eventually exhaust their own momentum.

The Evidence of Letters and Documents

Melville builds his portraits from quoted letters, legal records, and contemporary accounts, often letting the subjects speak in their own words. The Eliza Draper chapter is the most reliant on epistolary evidence: Sterne’s letters to her are analysed for tone, and her later correspondence with Thomas Mathew Sclater is quoted at length to clarify her movements after leaving her husband. Melville is careful to distinguish what can be known from what has been assumed, noting, for instance, that the claim Sterne ‘undermined the lady’s moral rectitude’ is ‘as absurd as it is unwarrantable.’ The method is forensic rather than sentimental.

The Regency as a Stage for Performance

The essay on ‘Exquisites of the Regency’ treats fashion and behaviour as a kind of theatre, with figures like Lumley Skeffington cultivating elaborate public personas. Melville’s interest lies in the gap between the performance and the private reality: the ‘exquisite’ is a social type produced by a specific moment, not merely an individual oddity. The collection as a whole is less a gallery of curiosities than a study of how eccentricity functions within a network of rank, money, and reputation. Even the most outlandish figures are shown negotiating the same pressures that shaped more conventional lives.

Readers coming to this book for scandalous anecdotes will find them, but Melville’s tone is consistently analytical rather than gossipy. The essays reward attention to the documentary evidence he presents, especially the letters that survive from figures like Eliza Draper and John Hall-Stevenson. The collection is best approached as a set of case studies in the social history of personality, each one anchored in the specific textures of eighteenth-century British life.

Reading about Eliza Draper’s surviving letters, I remembered sitting with my grandmother’s old folio of engravings, tracing the tiny faces in the crowd. That same quiet ache of glimpsing lives half-lost to time came back with Social Pictorial Satire, where every caricature seemed to whisper a private joke I’d never fully hear. Some books don’t explain; they just keep the door ajar. Social Pictorial Satire — Inside the Classic felt exactly like that—a warm, dusty attic of human folly, left intact.

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