The Heroine — Story, Setting & Ideas
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atiline was holding forth on Reform, and a Hanno was advising the recall of a victorious army.
As I walked along, a parcel of Moonites, fresh from your newspapers, just popped up their heads, nodded, and died. About twenty statesmen come to us in this way almost every day; and though some of them are of the same name, and drawn from the same original, they are often as unlike each other as so many clouds. The Buonapartes, thus sent, are, in general, hideous fellows. However, your Parliamentary Reports sometimes agreeably surprise us with most respectable characters of that name.
On my way, I could observe numbers of patients dying, according as the books that had created them were sinking into oblivion. The Foxian James was paraded about in a sedan chair, and considered just gone; and a set of politicians, entitled All the Talents, who had once made a terrible noise among us, lay sprawling in their last agonies. But the most extensive mortality ever known here was caused by the burning of the Alexandrian Library. This forms quite an æra in the Lunar Annals; and it is called The great Conflagration.
I had attempted to pluck an apple from a tree that grew near the road; but, to my surprise, grasped a vacuum; and while Don Quixote was explaining to me that this phænomenon arose from the Berkeleian system of immaterialism; and that this apple was only a globular idea, I heard a squeaking voice just beside me cry:
'I must remark, Madam, that the writer who sent you among us had far too much to say, and too little to do.'
I looked round, but saw nobody.
''Tis Junius,' observed Don Quixote. 'He was invisible on earth, and therefore must be so here. Do not mind his bitter sayings.'
'An author,' continued the satirist, 'who has judgment enough to write wit, should have judgment enough to prevent him from writing it.'
'Sir,' said Don Quixote, 'if, by his works of wit, he can attain popularity, he will ensure a future attention to his works of judgment. So here is at thee, caitiff!' and closing his visor, he ran atilt at pure space.
'Nay,' cried Junius, 'let us not quarrel, though we differ. Mind unopposed by mind, fashions false opinions of its own, and degenerates from its original rectitude. The stagnant pool resolves into putridity. It is the conflict of the waters which keeps them pure.'
'Except in dropsical cases, I presume,' said Tristram Shandy, who just then came up, with his Uncle Toby. 'How goes it, heroine? How goes it?--By the man in the moon, the moment I heard of your arrival here, I gave three exulting flourishes of my hand, thus 1 2 3 then applying my middle finger to my thumb, and compressing them, by means of the flexory muscles, I shot them asunder transversely; so that the finger coming plump upon the aponeurosis--
In short,--for I don't much like the manner in which I am getting on with the description--I snapped my fingers.
'Now, Madam, I will bet the whole of Kristmanus's, Capuanus's, Schihardus's, Phocylides's, and Hanzelius's estates,--which are the best on our disk,--to as much landed property as could be shovelled into your shoe--that you will get miserably mauled by their reverences, the Scotch Reviewers. My life for it, these lads will say that your character is a mere daub drawn in distemper--the colouring too rich--the hair too golden--an eyelash too much--then, that the book itself has too little of the rational and argumentative;--that the fellow merely wrote it to make the world laugh,--which, an' please your reverences, is the gravest occupation an author can chuse;--that some of its incidents are plastered as thick as butter on the bread of Mamma's darling; others so diluted, that they wash down the bread and butter most unpalatably, and the rest unconducive to the plot, moral, and peripeteia. In short, Madam, it will appear that the work has every fault which must convict it Aristotellically and Edinburgo--reviewically, in the eyes of ninety-nine barbati; but which will leave it not the ninety-ninth part of a gry the worse in the eyes of fifteen millions of honest Englishmen; besides several very respectable ladies and gentlemen yet unborn, and nations yet undiscovered, who will read translations of it in languages yet unspoken. Bless me, what hacking they will have at you! Small sword and broad sword--staff and stiletto--flankonnade and cannonade--hurry-scurry--right wing and left wing----'
But Tristram paused short in consternation; for his animated description of a fight had roused the military spirits of Don Quixote and Captain Shandy, who were already at hard knocks; the one with his spear, and the other with his crutch. I therefore took this occasion of escaping.
And now day begins to decline; and your globe, which never sets to us, will soon shed her pale earthshine over the landscape. O how serene, how lovely these regions! Here are no hurricanes, or clouds, or vapours. Here heroines cannot sigh; for here there is no air to sigh withal. Here, in our great pits, poetically called vallies, we retire from all moonly cares; or range through the meads of Cysatus or Gruemberget, and luxuriate in the coolness of the Conical Penumbra.
I trust you will feel, dear reader, that you now owe more to my discoveries than to those of Endymion, Copernicus, Tycho Brahe, Galileus, and Newton. I pray you, therefore, to reward my services with a long and happy life; though much I fear I shall not obtain it. For, I am told, that two little shining specks, called England and Ireland (which we can just see with our glasses on your globe), are the places that I must depend upon for my health and prosperity. Now, if they fall, I must fall with them; and I fancy they have seen the best of their days already. A parrot informs me, that they are at daggers drawn with a prodigious blotch just beside them; and that their most approved patriots daily indite pamphlets to shew how they cannot hold out ten years longer. The Sternian Starling assured me just now that these patriots write the triumphs of their country in the most commiserating language; and portray her distresses with exultation. Of course, therefore, they conceive that her glories would undo her, and that nothing can save her but her calamities. So, since she is conquering away at a great rate, I may fairly infer that she is on her last legs.
Before I conclude, I must inform you of how I shall have this letter conveyed to your world. Laplace, and other philosophers, have already proved, that a stone projected by a volcano, from the moon, and with the velocity of a mile and a half per second, would be thrown beyond the sphere of the moon's attraction, and enter into the confines of the earth's. Now, hundreds have attested on oath, that they have seen luminous meteors moving through the sky; and that these have fallen on the earth, in stony or semi-metallic masses. Therefore, say the philosophers, these masses came all the way from the moon. And they say perfectly right. Believe it piously, dear reader, and quote me as your authority.
It is by means of one of these stones that I shall contrive to send you this letter. I have written it on asbestus, in liquid gold (as both these substances are inconsumable by fire); and I will fasten it to the top of a volcanic mountain, which is expected to explode in another hour.
Alas, alas, short-sighted mortals! how little ye foresee the havoc that will happen hereafter, from the pelting of these pitiless stones. For, about the time of the millenium, the doctrine of projectiles will be so prodigiously improved, that while there is universal peace upon earth, the planets will go to war with each other. Then shall we Lunarians, like true satellites, turn upon our benefactors, and instead of merely trying our small shot (as at present), we will fire off whole mountains; while you, from your superior attraction, will find it difficult to hit us at all. The consequence must be, our losing so much weight, that we shall approach, by degrees, nearer and nearer to you; 'till at last, both globes will come slap together, flatten each other out, like the pancakes of Glasse's Cookery, and rush headlong into primeval chaos.
Such will be the consummation of all things.
My venerable Governess, guardian of my youth, must I then behold you no more? No more, at breakfast, find your melancholy features shrouded in an umbrageous cap, a novel in one hand, a cup in the other, and tears springing from your eyes, at the tale too tender, or at the tea too hot? Must I no longer wander with you through painted meadows, and by purling rivulets? Motherless, am I to be bereft of my more than mother, at the sensitive age of fifteen? What though papa caught the Butler kissing you in the pantry? What though he turned you by the shoulder out of his house? I am persuaded that the kiss was maternal, not amorous, and that the interesting Butler is your son.
Perhaps you married early in life, and without the knowledge of your parents. A gipsy stole the pretty pledge of your love; and at length, you have recognized him by the scar on his cheek. Happy, happy mother!
Happy too, perhaps, in being cast upon the world, unprotected and defamed; while I am doomed to endure the security of a home, and the dullness of an unimpeached reputation. For me, there is no hope whatever of being reduced to despair. I am condemned to waste my health, bloom, and youth, in a series of uninterrupted prosperity.
It is not, my friend, that I wish for ultimate unhappiness, but that I am anxious to suffer present sorrow, in order to secure future felicity: an improvement, you will own, on the system of other girls, who, to enjoy the passing moment, run the risk of being wretched for ever after. Have not all persons their favorite pursuits in life, and do not all brave fatigue, vexation, and calumny, for the purpose of accomplishing them? One woman aspires to be a beauty, another a title, a third a belle esprit; and to effect these objects, health is sacrificed, reputation tainted, and peace of mind destroyed. Now my ambition is to be a Heroine, and how can I hope to succeed in my vocation, unless I, too, suffer privations and inconveniences? Besides, have I not far greater merit in getting a husband by sentiment, adventure, and melancholy, than by dressing, gadding, dancing, and singing? For heroines are just as much on the alert to get husbands, as other young ladies; and to say the truth, I would never voluntarily subject myself to misfortunes, were I not certain that matrimony would be the last of them. But even misery itself has its consolations and advantages. It makes one, at least, look interesting, and affords an opportunity for ornamental murmurs. Besides, it is the mark of a refined mind. Only fools, children, and savages, are happy.
With these sentiments, no wonder I should feel discontented at my present mode of life. Such an insipid routine, always, always, always the same. Rising with no better prospect than to make breakfast for papa. Then 'tis, 'Good morrow, Cherry,' or 'is the paper come, Cherry?' or 'more cream, Cherry,' or 'what shall we have to dinner, Cherry?' At dinner, nobody but a farmer or the Parson; and nothing talked but politics and turnips. After tea I am made sing some fal lal la of a ditty, and am sent to bed with a 'Good night, pretty miss,' or 'sweet dear.' The clowns!
Now, instead of this, just conceive me a child of misery, in a castle, a convent, or a cottage; becoming acquainted with the hero by his saving my life--I in beautiful confusion--'Good Heaven, what an angel!' cries he--then sudden love on both sides--in two days he kisses my hand. Embarrassments--my character suspected--a quarrel--a reconciliation--fresh embarrassments.--O Biddy, what an irreparable loss to the public, that a victim of thrilling sensibility, like me, should be thus idling her precious time over the common occupations of life!--prepared as I am, too, by a five years' course of novels (and you can bear witness that I have read little else), to embody and ensoul those enchanting reveries, which I am accustomed to indulge in bed and bower, and which really constitute almost the whole happiness of my life.
That I am not deficient in the qualities requisite for a heroine, is indisputable. All the world says I am handsome, and it would be melancholy were all the world in error. My form is tall and aërial, my face Grecian, my tresses flaxen, my eyes blue and sleepy. But the great point is, that I have a remarkable mole just over my left temple. Then, not only peaches, roses, and Aurora, but snow, lilies, and alabaster, may, with perfect propriety, be adopted in a description of my skin. I confess I differ from other heroines in one point. They, you may remark, are always unconscious of their charms; whereas, I am, I fear, convinced of mine, beyond all hope of retraction.
There is but one serious flaw in my title to Heroine--the mediocrity of my lineage. My father is descended from nothing better than a decent and respectable family. He began life with a thousand pounds, purchased a farm, and by his honest and disgusting industry, has realized fifty thousand. Were even my legitimacy suspected, it would be some comfort; since, in that case, I should assuredly start forth, at one time or other, the daughter of some plaintive nobleman, who lives retired, and slaps his forehead.
One more subject perplexes me. It is my name; and what a name--Cherry! It reminds one so much of plumpness and ruddy health. Cherry--better be called Pine-apple at once. There is a green and yellow melancholy in Pine-apple, that is infinitely preferable. I wonder whether Cherry could possibly be an abbreviation of CHERUBINA. 'Tis only changing y into ubina, and the name becomes quite classic. Celestina, Angelina, Seraphina, are all of the same family. But Cherubina sounds so empyrean, so something or other beyond mortality; and besides I have just a face for it. Yes, Cherubina I am resolved to be called, now and for ever.
But you must naturally wish to learn what has happened here, since your departure. I was in my boudoir, reading the Delicate Distress, when I heard a sudden bustle below, and 'Out of the house, this moment,' vociferated by my father. The next minute he was in my room with a face like fire.
'There!' cried he, 'I knew what your famous romances would do for us at last.'
'Pray, Sir, what?' asked I, with the calm dignity of injured innocence.
'Only a kissing match between the Governess and the Butler,' answered he. 'I caught them at the sport in the pantry.'
I was petrified. 'Dear Sir,' said I, 'you must surely mistake.'
'No such thing,' cried he. 'The kiss was too much of a smacker for that:--it rang through the pantry. But please the fates, she shall never darken my doors again. I have just discharged both herself and her swain; and what is better, I have ordered all the novels in the house to be burnt, by way of purification. As they love to talk of flames, I suppose they will like to feel them.' He spoke, and ran raging out of the room.
Adieu, then, ye dear romances, adieu for ever. No more shall I sympathize with your heroines, while they faint, and blush, and weep, through four half-bound octavos. Adieu ye Edwins, Edgars, and Edmunds; ye Selinas, Evelinas, Malvinas; ye inas all adieu! The flames will consume you all. The melody of Emily, the prattle of Annette, and the hoarseness of Ugo, all will be confounded in one indiscriminate crackle. The Casa and Castello will blaze with equal fury; nor will the virtue of Pamela aught avail to save; nor Wolmar delighting to see his wife in a swoon; nor Werter shelling peas and reading Homer, nor Charlotte cutting bread and butter for the children.
You, too, my loved governess, I regret extremely.
It was not till this morning, that a thought of the most interesting nature flashed across my mind. Pondering on the cruel conduct of my reputed father, in having burnt my novels, and discharged you, without even allowing us to take a hysterical farewell, I was struck with the sudden notion that the man is not my father at all. In short, I began with wishing this the case, and have ended with believing it. My reasons are irresistible, and deduced from strong and stubborn facts. For, first, there is no likeness between this Wilkinson and me. 'Tis true, he has blue eyes, like myself, but has he my pouting lip and dimple? He has the flaxen hair, but can he execute the rosy smile? Next, is it possible, that I, who was born a heroine, and who must therefore have sprung from an idle and illustrious family, should be the daughter of a farmer, a thrifty, substantial, honest farmer? The thing is absurd on the face of it, and never will I tamely submit to such an indignity.
Full of this idea, I dressed myself in haste, resolving to question Wilkinson, to pierce into his inmost soul, to speak daggers to him; and if he should not unfold the mystery of my birth, to fly from his house for ever. With a palpitating heart, I descended the stairs, rushed into the breakfast-room, and in a moment was at the feet of my persecutor. My hands were folded across my bosom, and my blue eyes raised to his face.
'Heyday, Cherry,' said he, laughing, 'this is a new flourish. There, child, now fancy yourself stabbed, and come to breakfast.'
'Why,' said he, 'you keep your countenance as stiff and steady as the face on our rapper.'
'A countenance,' cried I, 'is worth keeping, when the features are a proof of the descent, and vindicate the noble birth from the baseness of the adoption.'
'Come, come,' said he, 'your cup is full all this time.'
'And so is my heart,' cried I, pressing it expressively.
'What is the meaning of this mummery?' said he.
'Hear me, Wilkinson,' cried I, rising with dignified tranquillity. 'Candor is at once the most amiable and the most difficult of virtues; and there is more magnanimity in confessing an error, than in never committing one.'
'Confound your written sentences,' cried he, 'can't you come to the point?'
'Then, Sir,' said I, 'to be plain and explicit, learn, that I have discovered a mystery in my birth, and that you--you, Wilkinson, are not--my real Father!'
I pronounced these words with a measured emphasis, and one of my ineffable looks. Wilkinson coloured like scarlet and stared steadily in my face.
'Would you scandalize the mother that bore you?' cried he, fiercely.
'No, Wilkinson,' answered I, 'but you would, by calling yourself my father.'
'And if I am not,' said he, 'what the mischief must _you_ be?'
'An illustrious heiress,' cried I, 'snatched from my parents in her infancy;--snatched by thee, vile agent of the diabolical conspiracy!'
'Tell me then,' continued I, 'miserable man, tell me where my dear, my distracted father lingers out the remnant of his wretched days? My mother too--or say, am I indeed an orphan?'
Still he remained mute, and gazed on me with a searching intensity. I raised my voice:
'Expiate thy dire offences, restore an outcast to her birthright, make atonement, or _tremble at retribution_!'
I thought the farmer would have sunk into the ground.
'Nay,' continued I, lowering my voice, 'think not I thirst for vengeance. I myself will intercede for thee, and stay the sword of Justice. Poor wretch! I want not thy blood.'
The culprit had now reached the climax of agony, and writhed through every limb and feature.
'What!' cried I, 'can nothing move thee to confess thy crimes? Then hear me. Ere Aurora with rosy fingers shall unbar the eastern gate----'
'My child, my child, my dear darling daughter!' exclaimed this accomplished crocodile, bursting into tears, and snatching me to his bosom, 'what have they done to you? What phantom, what horrid disorder is distracting my treasure?'
Eaton Stannard Barrett's The Heroine (1813) opens a satirical vein that runs through the entire work: the collision between Gothic novel conventions and the stubbornly unromantic details of everyday life. The narrator, Cherubina, speaks in a voice that is at once grandiose and self-mocking, a tone established early when she prepares for death with theatrical flourishes—sprinkling flowers, calling for wine—only to have her solemnity punctured by a physician's diagnosis of rheumatism. This pattern of raised expectations and comic deflation is the book's central rhetorical device, and it depends on a precise control of pace: the narrative lingers on Cherubina's elaborate fantasies, then accelerates into blunt reality.
The Mock-Heroic Voice and Its Targets
Cherubina's narration is a sustained parody of the sentimental heroine's interior monologue. She describes her deathbed preparations with the gravity of a tragic queen: 'I sent her and the domestics out of the chamber, that I might prepare for my approaching end.' Yet the high style is immediately undercut by her pragmatic concerns—she cannot abide wine 'in a morning,' and she has no friends to summon. The voice shifts between elevated diction and colloquial asides, creating a rhythm of inflation and collapse. Barrett targets not only Gothic clichés (the dying Heloise, the picturesque prayer) but also the moral complacency of heroines who assume their virtue guarantees salvation. Cherubina's sudden recollection of church teachings introduces a serious note, but even this is soon dissolved by the rheumatism revelation. The effect is a narrative that keeps the reader off-balance, never sure whether the next sentence will soar or stumble.
Pace and the Art of Anticlimax
The excerpt demonstrates Barrett's mastery of comic timing. Cherubina's crisis builds through a series of escalating anxieties—death, damnation, social embarrassment—only to be resolved by a mundane medical explanation. The physician's declaration that her disorder is 'nothing but a violent rheumatism' is a masterstroke of anticlimax, and Cherubina's relief is immediate and total: 'Never was transport equal to mine.' The pace then shifts again as she frets about missing a ball, a concern that reduces her earlier spiritual terror to a mere prelude. This rapid alternation between high and low registers is characteristic of the novel's structure. Barrett uses short paragraphs and abrupt transitions to mimic the heroine's volatile emotions, while longer, more elaborate sentences appear when she indulges in literary fantasy. The result is a reading experience that feels both breathless and deliberately controlled.
Recurring Details and Thematic Consistency
Several details in the excerpt recur throughout the novel, reinforcing its satirical aims. Cherubina's obsession with 'memoirs'—she promises the physician 'a place in my memoirs'—signals her desire to turn life into a publishable narrative. The motif of the 'sprinkled' chamber (flowers, perfumes) reappears whenever she tries to stage a scene. More subtly, the contrast between 'speculative and generalized' religion and the 'duteous prayers' she cannot perform points to a persistent critique of sentimental piety. Barrett also uses proper names as shorthand: 'Stuart' is mentioned without explanation, suggesting a cast of characters whose roles are already familiar to the reader. These recurring elements create a cohesive world where every gesture is a quotation from some novel, and every emotion is filtered through literary precedent. The satire is not merely parodic but cumulative, building its case through repetition and variation.
Readers approaching The Heroine should attend to the way Barrett manipulates tempo: the novel's humor depends on sudden shifts from elaborate fantasy to deflating reality. Cherubina's voice is the vehicle for this effect, and her self-consciousness about her own narration—her awareness of 'memoirs' and precedents—adds a layer of metafictional play. The excerpts suggest a work that rewards attention to its verbal texture and structural patterns, rather than to plot or character development in the conventional sense.
Years among the stacks taught me how The Heroine laughs at its own costume, knowing the pose will crumple. There is a gentler cousin in The Walking Delegate — Reading Notes, where earnest striving meets its own quiet shrug. Both whisper that our finest dramas stumble into plain rheumatism, and that is somehow enough.
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