Captain Wentworth’s Letter

“He begged their pardon, but he had forgotten his gloves, and instantly crossing the room to the writing table, he drew out a letter from under the scattered paper, placed it before Anne with eyes of glowing entreaty fixed on her for a time, and hastily collecting his gloves, was again out of the room, almost before Mrs. Musgrove was aware of his being in it: the work of an instant!” Persuasion, Chapter 23

I’ve been thinking about Jane Austen’s Persuasion lately- maybe because autumnal weather puts me in mind of Austen’s most autumnal novel, or maybe because I’m heading to North America’s largest meetup of Jane Austen fans and scholars later this week.  Since I worked on letter-writing this summer, I decided I just had to make my own version of the famous letter that reunites Captain Wentworth and Anne Elliott.

It’s one of my favorite scenes in all the novels: Anne’s conversation with Captain Harville, passionately defending women’s constancy in love – Wentworth covertly writing what he feels while he listens to her words – the sudden change in Anne’s feelings as she realizes that he has understood her and has finally broken his silence about their shared past.

“The revolution which one instant had made in Anne, was almost beyond expression.  The letter, with a direction hardly legible, to “Miss A.- E.-,” was evidently the one which he had been folding so hastily.  While supposed to be writing only to Captain Benwick, he had been also addressing her!  On the contents of that letter depended all which this world could do for her.  Anything was possible, anything might be defied rather than suspense.  Mrs. Musgrove had little arrangements of her own at her own table; to their protection she must trust, and sinking into the chair which he had occupied, succeeding to the very spot where he had leaned and written, her eyes devoured the following words . . .”

And of course the letter itself is a joy to read, with unforgettable phrases like ‘I am half agony, half hope.’  Captain Wentworth’s writing is a means of participating in the conversation he overhears, and Austen’s representation of the text suggests that he begins the letter without any of the usual formalities. He just puts his pen to paper and pours out his heart.  I chose a running hand for my version of his letter. It seemed most appropriate for a Naval captain who writes so many logs, ledgers, and official reports.

“‘I can listen no longer in silence. I must speak to you by such means as are within my reach. You pierce my soul. I am half agony, half hope. Tell me not that I am too late, that such precious feelings are gone for ever. I offer myself to you again with a heart even more your own than when you almost broke it, eight years and a half ago. Dare not say that man forgets sooner than woman, that his love has an earlier death. I have loved none but you. Unjust I may have been, weak and resentful I have been, but never inconstant. ‘”

I tried to express Wentworth’s speed and furtiveness with my increasingly messy writing- at one point he adds “I can hardly write.” He does finish his letter a little more conventionally than he begins it, with his initials and a post-script.

“‘You do believe that there is true attachment and constancy among men. Believe it to be most fervent, most undeviating, in F. W.'”

The physical features of the letter itself are only barely described- we only learn that it’s hastily folded, hastily sealed, and almost illegibly addressed. I decided to seal this letter with one of the yellow wafers I made, since that is the hastiest and least conspicuous means of sealing a secret love note.

I haven’t opened the seal, but when I do I will imagine myself in Anne Elliott’s place, devouring the words of this most romantic of letters.  For now I will tuck it in my writing desk as a little Persuasion keepsake.  Do you have a favorite letter from Jane Austen’s novels? One which you would most like to receive for yourself? Let me know in the comments!

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Writing a Running Hand

Last week I shared some 18th century letter-writing advice aimed at ladies which told me that I needed to “learn to write a fluent and ready hand.” I’ve been practicing English Round-hand from copy-books like George Bickham’s The Young Clerk’s Assistant, but that “large copy-hand” is less useful for familiar letters.  So what model should I follow to write more fluently?  I looked to George Bickham, 18th century penman and engraver, and he came through for me again.

Bickham’s most famous work, The Universal Penman, includes not only many spectacular examples of the penman’s art, but also a plate of “Specimens of the Running Hand,” a more flexible, fluid handwriting style that is closely related to Roundhand.   The Universal Penman isn’t available in its entirety online, but a fine paperback reprint is available from Dover (Google Books Preview). The plate I’m working from is numbered 163 in the Dover edition, and was first published in 1739.  Let’s look at how this hand runs!

First, my rendition of the lower case letters. Note how many variations Bickham includes! If you look at his models for Roundhand, just a few letters there have variable forms.  In the running hand, most of the letters have options.  This suggests to me that even though Bickham has made a copy-book plate of this running hand, it’s a more dynamic, less rigid style than Roundhand. Different writers can choose different forms for different purposes.  Just look at the three different forms of “r” in the second line!

Another feature I noticed while preparing this sample was how easily each letter flowed into the next. To get the precise turns and hairlines of Roundhand, I often lift my pen off the paper. The ‘joins’ between some of the Roundhand letters seem a little artificial, like I’m drawing in a connection that doesn’t flow naturally from the writing.  Running hand, however, prioritizes forward motion and more natural connections.  The q, for example, stops dead in Roundhand, but runs ahead to the next letter in this style. The loops in the uprights (like the Ls and Bs in ‘legible’) similarly help the line flow rather than being constrained in sharp angled lines. And although Bickham’s Running hand specimens still have a lovely contrast between thicker downstrokes and thin hairlines, the difference in width is much smaller than in Roundhand. That means a smaller cut of the nib and a lot less careful rolling of the nib when writing.  Nonetheless, Running hand still feels like it belongs to the Roundhand family- the slant is the same, the heavy strokes and hair-strokes are in the same places.

Capital letters also show a lot more variation in Running hand.  I enjoy how flamboyant some of them are, but most of them prioritize that sense of forward motion.  Some of these different capital forms may have special uses in business, since Running hand was often used for writing statements of debt, credit, and other  transactions of money. In fact, a 1799 copy-book I found recently refers to Running-hand as “Currency”!  Where the Roundhand alphabets are followed by moral maxims for practice, the Running-hand plates have phrases like “Borrowed at 4 1/2 Per Cent from Mr. John Connor £512” and “Sold Joseph Champion 2701 Pounds Maryland Tobacco.”

That copybook, titled The Academical Instructor, is a bit of a puzzle. Although its author is proudly designated as “Duncan Smith of London” and all of the text is in English, the book was printed in Nürnberg in Germany.  The Google Books scan comes from the Bavarian State Library, and not a lot of other libraries seem to hold copies (according to WorldCat).  This is unfortunate for many reasons, one of them being that the Google Books scan is of terrible quality.  I was overjoyed to discover a new copy-book from right in the middle of my chosen time-period, but my joy diminished significantly when I saw how low-res this scan is. 

George Bickham says that “a legible and free Running hand is indispensibly Necessary in all Manner of Business,” but its fluid lines should also speed my letter-writing. All this business-talk did worry me a little – maybe Running hand isn’t lady-like? So I turned back to The Polite Lady for reassurance.   Her advice was to learn Round-hand first, as I have done, “for when you are a mistress of that, you may, with great ease, learn either a neat running, or Italian hand; but if you begin with the latter, you never can arrive at any degree of perfection in the former.”  A neat running hand it is!