In these witty, personal letters, Frances Burney writes to Samuel Crisp (1707‒1783), the struggling playwright and family friend who became her second ‘daddy’. The letters raise thorny questions about marriage and independence, social performance and genuine feeling, which Burney explored in her fiction. In some places, Burney has scribbled through or crossed out large sections; elsewhere she has over-written the words to make them more legible. This reveals the extent to which she monitored and edited her own ideas and image.
A defence of the single life
In the first letter, Burney defends her choice to reject a marriage proposal and argues for the value of women’s liberty.
Burney met Thomas Barlow, when she was 22 and he was 24, at a family party on 1 May 1775. Four days later, he wrote to declare his love, admiring her ‘Affability, Sweetness & Sensibility’. But Burney resisted Barlow’s attempts to idealise and pursue her. In this letter she says she has ‘no idea why the single Life may not be happy. Liberty is not without its value – with women as well as with men’. She would rather continue in her work as a scribe for her musicologist father than marry without affection. It was not until she was 41 that Burney married Alexandre D’Arblay and they had a son the next year.
‘Our Concert proved to be very much the thing’
Later in the letter, Frances describes a concert held by Dr Burney for a distinguished audience including the Danish ambassador. She offers witty portraits of the different characters: Charlotte Ord is ‘inanimate & insipid’ and Mary Lake is an ‘agreeable old maid. I … wish to imitate her’.
On 27‒28 March 1777, Burney describes a ‘Thursday morning party’ at her father’s home, attended by Johnson, Hester Thrale and other members of their literary circle. These are Burney’s first impressions of the influential people who would help her achieve success after Evelina was published in 1778.
Burney paints a compelling picture of the 67-year-old Johnson, ‘shockingly near sighted’, his ‘mouth ... almost constantly opening & shutting’ and his body ‘see sawing up & down’. He largely ignores the company, pouring over Burney’s books and ‘almost touching … them, with his Eye lashes’. Even when he joins the conversation, over chocolate in the dining room, he ‘never speaks at all, but when spoken to’.
Later, talk turns to the celebrity actor and playwright David Garrick, who has recently performed his own play Lethe, before the royal family. Garrick was reportedly ‘hurt at the coolness of the King’s applause’, and they discuss whether he’s guilty of ‘vanity’ and ‘avarice’.
 Barlow’s letter is in the British Library, Egerton MS 3698, ff. 19r‒20v.
- Full title:
- BARRETT COLLECTION. Vol. V (ff. 138). Correspondence of Frances d'Arblay with Samuel Crisp, dramatist; 1773-17 Oct. 1781.
- 1773-17 Oct 1781, London
- Manuscript / Letter
- Frances Burney, Also known as Fanny Burney
- Usage terms
Public Domain in most countries other than the UK.
- Held by
- British Library
- Egerton MS 3694
- Article by:
- Louise Curran
- Rise of the novel, Language and ideas, Politeness, sensibility and sentimentalism
Louise Curran explores the real and fictional letters published in the 18th century, from the correspondence of Alexander Pope and Ignatius Sancho to Samuel Richardson's hugely popular epistolary novel Pamela and the works it inspired.
- Article by:
- David Crystal
- Language and ideas
David Crystal looks past the myths surrounding Samuel Johnson's Dictionary to discover a work of remarkable precision, sensitivity and attention to social and regional variation.
- Article by:
- Chloe Wigston Smith
- Rise of the novel, Politeness, sensibility and sentimentalism, Satire and humour, Gender and sexuality
Frances Burney’s Evelina unveils the dizzying and dangerous social whirl of Georgian London, where reputations and marriages are there to be made and broken. Dr Chloe Wigston Smith investigates Burney’s critique of fashion culture and the demands it places on women, in a novel that prizes feminine resilience.
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