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The author of The Tour of Dr. Syntax in Search of the Picturesque was William Combe (1741 – 1823) , whose real life is more interesting than most of his fictional subjects.  Combe earned his living for a long time as a writer for various publications in London; many of his works were published anonymously, as was the custom for many periodicals of the time. Some sources term him a “hack,” perhaps meaning he wrote whatever assignments he was given or more probably that his work was of undistinguished literary merit.

His origins are foggy, but he did attend Eton and was a classmate of such luminaries as Charles James Fox and William Beckford.  He inherited a small fortune which he squandered, and later, he apparently served in several capacities from servant to soldier. He was a law clerk in London, a student of the law and  a bookseller, but nothing kept up with his expenses. He published some satirical works but soon his debts sent him to the King;s Bench Prison where he lived from about 1780 to his death.  He wrote pamphlets, treatises, satires  for Ackermann’s publications, from unsigned pieces to the famous Tours and other works that were popular and brought him some measure of fame. Apparently he remained in his relatively comfortable quarters at the prison and received payment by means of an account from which he could draw small amounts rather than directly as fees, which might have been taken away and applied to his a accumulated debts.  It seems he was satisfied with his prison life — he was free to come and go most of the time.  Strange, but his choice!

Artist Thomas Rowlandson (1756-1827) worked for Rudolph Ackermann for more than a quarter century, illustrating many of his publications and providing many caricatures sold in Ackermann’s shop.  Dr. Syntax brought him great success, building on his considerable reputation.  He provided a drawing or two for each installment of Combe’s poem, and other illustrations for Combe’s subsequent works.  We also know him as an irreverent social and political critic whose drawings were both popular and biting.

(Dr. Syntax is off to begin his search, riding his mare Grizzle and looking for scenes to sketch…)

…Syntax, with his scheme besotted,
Along the village gently trotted…

Through the deep vale, and up the hill.
By rapid stream or tinkling rill.
Grizzle her thoughtful master bore.
Who, counting future treasure o’er.
And, on his weighty projects bent,
Observ’d not whither Grizzle went. …

But, ah ! too soon the vision passes,
Confounded by a pack of asses !
The donkeys bray’d ; and lo ! the sound
Awak’d him from his thought profound;
And as he star’d, and look’d around,
He said — or else he seem’d to say —
” I find that I have lost my way.
Oh! what a wide expanse I see,
Without a wood, without a tree!

Thus as he pondered what to do,
A guide-post rose within his view ;
And, when the pleasing shape he spied,
He prick’d his steed, and thither hied ; …

The mangled post thus long had stood,
An uninforming piece of wood;
Like other guides, as some folks say.
Who neither lead, nor tell the way.
The Sun, as hot as he was bright.
Had got to his meridian height;
Twas sultry noon — for not a breath
Of cooling zephyr fann’d the heath;
When Syntax cried — ” ‘Tis all in vain
To find my way across the plain;
So here my fortune I will try.
And wait till some one passes by…

But, ah! how false is human joy! When least we think it, ills annoy:
For now, with fierce impetuous rush,
Three ruffians issued from a bush;
One Grizzle stopp’d, and seiz’d the reins.
While they all threat the Doctor’s brains.
Poor Syntax, trembling with affright.
Resists not such superior might.
But yields him to their savage pleasure.
And gives his purse, with all its treasure.
Fearing, howe’er, the Doctor’s view
Might be to follow and pursue
The cunning robbers wisely counted
That he, of course, should be dismounted;
And still that it would safer be
If he were fastened to a tree.
Thus to a tree they quickly bound him;
The cruel cords went round and round him;
And, having of all power bereft him.
They tied him fast — and then they left him.
By the road side, within the wood,
In this sad state poor Syntax stood.

End of Canto II
to be continued

Victoria here. I was fortunate enough to attend a talk by Lady Henrietta in Chicago recently, under the auspices of The Royal Oak Foundation and the Chicago branch of the English-Speaking Union, held at The Casino, a private club renowned for its ambiance and neo-regency decor.

The Royal Oak Foundation supports the National Trust of Britain and presents programs in New York, Chicago, Washington, and other cities, featuring leading experts on history, architecture, landscape and related subjects.  Members also receive free admission to all NT properties, a perk I have often benefited from, as well as sponsoring tours and special events.

Lady Henrietta presented a fascinating account of  how domestic architecture has changed over the years and yet survives, sometimes after considerable changes.  She talked of houses from Melford Hall in Norfolk, built in the 16th century…

…to Homewood, in Surrey, a modernist structure built in 1958.  Both are National Trust properties.

Lady Henrietta also talked about a number of her projects in Britain and in the U.S., and one was of particular interest to me, the story of Easton Neston, a stately home in Northamptonshire. It was built in 1702 by architect Nicholas Hawksmoor. A few years ago, the 3rd Baron Hesketh sold the house to Max Leon, a Russian American fashion executive.  Some of us will remember when the furnishings of this great home were sold by Sotheby’s auction in May, 2005.

The designer shared some of her projects in renovating the great house, which ranged from the need to re-do plumbing and wiring to integrating Max’s collection of contemporary art into the classic interiors.

After the talk, I found an interesting article about the renovations, which you can read here. The article, with many pictures, tells about the house and Max’s lavish lifestyle as well.

The author/speaker is the eldest daughter of the 11th Duke of Marlborough and spent much of her life at Blenheim Palace; no wonder she is so well known as an interior designer!  You can access her website here.

Below are some of Lady Henrietta’s previous books, all quite lovely and worth anyone’s coffee table, even if the surrounding decor its not quite up to her example!

Victoria here, admitting to a complete lack of grace on the dance floor.  Though I once loved dancing and took lessons as a kid, I am now nothing but a klutz, so I would rather watch than particpate when the orchestra tunes up — at all the elegant balls I attend.  Not!

However, that does not prevent me from enjoying others dancing — even in the form of this delightful volume, A Dance with Jane Austen: How a Novelist and her Characters went to the Ball by Susannah Fullerton.

A Dance with Jane Austen by Susannah Fullerton was published in October 2012, with a foreword by Deirdre LeFaye, by Frances Lincoln Limited, $24.95.

Two hundred years ago, local assemblies and balls were popular with the gentry, as were folk dances in the countryside. Jane Austen herself loved to dance and in her letters to her sister Cassandra often told about her encounters at various parties. Susannah Fullerton has turned her attention to this happy form of expression – after her previous book, which certainly surveys a darker side of life. Her Crime in Jane Austen is an excellent source for students of JA’s work as well as for the casual reader.

According to Fullerton, “Dances in the Regency era were almost the only opportunity young men and women had to be on their own without a chaperone right next to them, and dancing provided the exciting chance of physical touch.”  Fullerton’s favorite dance scene “is the Crown Inn ball in Emma…when Emma first starts to view Mr. Knightley as an attractive male, rather than as an old friend and family connection…it thrills me every time.”

Fullerton analyzes each dancing scene in Austen’s novels, including her unfinished The Watsons which has an extensive scene set at a dance. In each case, she summarizes the scene and explains its role in the development of relationships among the characters and its role in the plot. Many of the novels have several dancing scenes, from country house parties to county assemblies to large private balls. Dancing offered the young lady a place to exhibit her charm, her fine person and her grace, or it offered an opportunity to be slighted, to be only a wallflower, or to choose the wrong partner, whether it meant having toes crushed or a blot upon one’s reputation by allowing the attentions of a rake.  Jane Austen’s characters have experience of all forms of delight as well as disappointment.

In addition, Fullerton tells us about that most exclusive subscription dance series at Almack’s, the height of social achievement in London. She describes the role of the Bath master of ceremonies, such as Beau Nash and his successor Mr. King. Other sidelights tell us of the music and musicians, ball attire, and typical suppers at a ball.

Susannah Fullerton is president of the Jane Austen Society of Australia. In addition to her writing and speaking engagements, she has led literary tours in her home country, in Britain, and in the U.S.



A little over a year ago, we posted a blog about Emily Davison, the suffragette who was killed by the King’s horse at the 1913 Derby. There has always been speculation as to whether Davison’s death was a terrible accident or a planned suicide. You can find our original post here. Recently, new evidence about the incident has come to light and there was an article in the Daily Mail which raises new questions and proposes further theories. We thought you might be interested in these developments and so offer a link to the article here. What is perhaps most surprising is that the entire incident was caught on film, which can be viewed at the end of the article.