Fanny Burney (Madame D'Arblay). Dobson Austin

      Fanny Burney (Madame D'Arblay)

      The main sources for this memoir of Frances or Fanny Burney, – afterwards Madame D’Arblay, – in addition to her novels, the literature of the period, and the works specified in the footnotes, are as follows: —

      I am indebted to the kindness of Archdeacon Burney, Vicar of St. Mark’s, Surbiton, for access to his unique extra-illustrated copy of the Diary and Letters of 1842-6, which contains, among other interesting mss., the originals of Mrs. Thrale’s letter mentioned at page 86 of this volume, and of Burke’s letter mentioned at page 124. Archdeacon Burney is the possessor of Edward Burney’s portrait of his cousin (page 88); of the Reynolds portraits of Dr. Burney and Garrick from the Thrale Gallery (page 94); of a very fine portrait of Dr. Charles Burney by Lawrence; and of a group by Hudson of Hetty Burney, her husband, Charles Rousseau Burney, and her husband’s father, Richard Burney of Worcester.

      I am also indebted to Mrs. Chappel of East Orchard, Shaftesbury, granddaughter of Mrs. Barrett, the editor of the Diary and Letters, for valuable information as to Burney relics in her possession.

      CHAPTER I

      THE BURNEY FAMILY

      In the second half of the seventeenth century, there lived at the village of Great Hanwood, four miles from Shrewsbury, a country gentleman of a good estate, named James Macburney. In later life, he was land-steward to the Earl of Ashburnham; and he rented or possessed a house in the Privy Garden at Whitehall. Tradition traces his family to Scotland, whence it was said to have arrived with James i. However this may be, – and the point was not regarded as of much importance by his descendants, – James Macburney married his Shropshire rector’s daughter; begat a son; and in due time, became a widower. The son – also James Macburney – was educated at Westminster School under the redoubtable Dr. Busby. Then, taking to art, he worked as a pupil of the “eminent Face Painter,” Michael Dahl. About 1697, at the age of nineteen, he ran away with Rebecca Ellis, an actress in Giffard’s Company, and younger than himself. Thereupon his irate father disinherited him, and in further token of his displeasure, took to wife his own cook, by whom he had another son called Joseph, who, as soon as he arrived at man’s estate, removed all possible difficulties in regard to the succession by dissipating the property. Having effected this with much promptitude, he settled down contentedly as a Norfolk dancing master. Meanwhile, his elder half-brother, – who, though lacking in discretion, had many pleasing gifts (he was, in particular, an accomplished violin-player), – being left, by the death of his actress-wife, with a numerous family, wedded, for the second time, a beautiful young lady of Shropshire, Mistress (i. e. Miss) Ann Cooper. Miss Cooper was currently reported to have rejected Wycherley the dramatist, who, it may be remembered, like the elder Macburney, was desirous of disappointing his natural heir. Miss Cooper had some money; but James Macburney’s second marriage increased the number of his children. The youngest members of his family were twins, Susannah (who died early), and Charles, afterwards the well-known historian of music, and the father of Fanny Burney. Like his predecessors, he was born Macburney, but the “Mac” was subsequently dropped.

      Not long after Charles Burney’s birth, which took place on the 12th April 1726, in Raven Street, Shrewsbury (a name probably derived from the famous Raven Inn once familiar to Farquhar and “Serjeant Kite”), James Burney, as we may now call his father, settled at Chester as a portrait painter, leaving his little son at nurse in Condover, a village near Shrewsbury. Here, with an affectionate foster mother, Charles Burney throve apace, until he was transferred to the Chester Grammar School. At this date his natural gifts were sufficiently manifest to enable him at a pinch to act as deputy for the Cathedral organist. Subsequently, he became the pupil of his half-brother, James, the organist of St. Mary’s Church at Shrewsbury. Then, being again in Chester when the famous Dr. Augustine Arne was passing through the town on his return from Ireland to London, he was fortunate enough to be taken as that master’s apprentice. This was in August 1744, when he was eighteen, pleasant-mannered, intelligent, very musical, very versatile, and – as he continued to be through life – an indefatigable worker. From Arne he did not learn much except to copy music, and to drudge in the Drury Lane Orchestra, which Arne conducted; and, although he had an elder brother in London, he was left greatly to his own devices. But his abilities and personal charm brought him many friends. He was frequently at the house in Scotland Yard of Arne’s sister, Mrs. Cibber, the foremost tragic actress of her day; and here he made acquaintance with many notabilities. Handel was often among the visitors, playing intricate fugues and overtures with his pudgy fingers upon the harpsichord; and Garrick, with the wonderful eyes; and Garrick’s surly old rival, the bon-vivant, James Quin; and Mason; and Thomson the poet of The Seasons.

      With Arne, Charles Burney would probably have remained, but for a fortunate accident. At the shop of Jacob Kirkman, the German harpsichord maker in Broad Street, Golden Square, he met Mr. Fulke Greville, a descendant of Sidney’s friend, the famous Fulke Greville of Queen Elizabeth’s days. The Greville of 1746 either possessed, or affected to possess, many of the attributes of Bramston’s Man of Taste: —

      Like Bramston’s hero, he also dabbled in gardening. But his accomplishments were not confined to pugilism and field sports. He danced, fenced, drew, wrote verses, and trifled with metaphysics. Lastly, he “had an ear.” After the fashion of his day, he had doubted whether any musician could possibly be a gentleman, but Charles Burney undeceived him. The result was that Greville paid three hundred pounds to cancel Burney’s engagement to Arne, and attached his new friend to his own establishment in the capacity of musical companion. This curious conjunction, which seems to have included a fair experience of Greville’s other diversions, did no harm to Charles Burney. On the contrary, at Greville’s country seat of Wilbury House in Wiltshire, he met many interesting and some eminent people, who considerably enlarged his social aptitudes. In 1747, however, his patron married a Miss Frances Macartney, – the “Flora” of Horace Walpole’s Beauties, – making, in his impatience of the conventional, – or fogrum as it was then styled, – a perfectly superfluous stolen match. “Mr. Greville” – said the lady’s matter-of-fact father, when his pardon and blessing were formally requested – “has chosen to take a wife out of the window, whom he might just as well have taken out of the door.” Burney gave away the bride; and after standing proxy for a duke at the baptism of the first child,1 would have accompanied the Grevilles to Italy. But at this juncture he discovered that he, too, had an affair of the heart. Thereupon Mr. Greville magnanimously released him from his engagement, and left him to marry the woman of his choice.

      She was a Miss Esther Sleepe, very attractive and very amiable. Her mother, although of Huguenot origin, was a Roman Catholic. Esther herself was a Protestant. She married Charles Burney about 1748, and they went to live in the City. In 1749, her husband was appointed organist of St. Dionis Backchurch, which had been rebuilt by Wren after the Great