Come with me into the graveyard, all human life is here

Category: Writers

Fanny Burney

In the mid-1980s I lived in a flat in a Georgian conversion in Bath. In the flat above me lived a student of English literature. As I passed him in the hall one afternoon he glanced into the contents of my basket and exclaimed “Aha! You know.” I followed his gaze, but my greengrocery did not disclose any clues. In response to my blank look, he delved amongst the potatoes and carrots to extract a fat volume which he flourished. “You know about her,” he insisted stabbing his finger at my copy of Fanny Burney’s The Wanderer. The truth was that I was finding this massive tome tedious, and my knowledge of Fanny Burney was insufficient to allow me to engage with confidence in any discussion of her work with a specialist in English Literature. As I hesitated Robert enlightened me, “ She lived in your flat. You didn’t know?” I was surprised; there was no blue plaque on 23 Great Stanhope Street although there was one on 14 South Parade where Fanny had lodged with her friend Mrs. Thrale for three months in 1780.

Robert however was right: Fanny Burney lived for three years, from 1815 to 1818, in Great Stanhope Street with her husband General d’Arblay and their son Alexandre. D’Arblay, a French émigré, supporter of the constitutional monarchy, had fled France in 1792  forfeiting  his property. Fanny had already found fame  with her first two novels Evelina  and Cecilia which had earned the praise of Dr. Johnson and the admiration of Jane Austen. They met through Fanny’s sister when the emigres were living near her at Juniper Hall, and spent their first ten years together  in Surrey,  supported by the proceeds of  Fanny’s latest novel Camilla . In 1802 when an amnesty  removed  d’Arblay from the proscribed list of émigrés and permitted his return to France they hastened there  hoping to regain his property and his army pension,  but with the outbreak of  the Napoleonic Wars they became trapped. During their enforced residency Fanny completed The Wanderer. After the restoration of 1814 d’Arblay held a position in the King’s Guard and during  the Hundred Days that followed Napoleon’s escape from Elba he joined Louis XVIII but, wounded by a kick from a horse, he missed seeing action at Waterloo. The wound turned  gangrenous, and septicaemia developed. Discharged from the army d’Arblay returned to England  with Fanny who  hoped that the Bath waters would aid his recovery. As she wrote in her journal, they sought “cheap lodgings” in Bath, for The Wanderer had  not sold well, the readers who had embraced her earlier novels sharing my lack of enthusiasm for this one, and so they came to 23  Great Stanhope Street in “an unfashionable quarter of Bath.” Fanny’s diaries reveal that their drawing room  and her bedroom were on the first floor. On the second floor slept the general  (in what was now my bedroom) and their son  (in my sitting room.) A walk-in closet was a book room (my kitchen). Their landlady, Mrs. Brenan, occupied the ground floor and basement, cooking for them, cleaning, making fires, and emptying chamber pots. There was no sign of the fireplaces in my day: the rooms had been gutted. Happily there was no sign of the chamber pots either, for  the general’s bedroom had been partitioned to provide a bathroom.

The family remained in Great Stanhope Street until the general died, the Bath waters having failed to  alleviate his suppurating wound, jaundice, and limp.

I often fell asleep  conjuring up his sickly presence in what had once been his room, and that of his prolific and devoted wife busy writing below.

In search of their graves, I visited Saint Swithin’s  parish church. The church had been rebuilt on the site of an older foundation in 1775 to house its growing congregation in fashionable Bath. By 1800 it was the second largest parish in England after St. Pancras, London.

St. Swithin’s cemetery, the Lower Burial Ground, lay  across Walcot Street and down the hill from the church. Fanny buried the general there in May 1818 with a black marble headstone, which subsequently disappeared, and she had  a  memorial tablet expatiating on his virtues erected in the church.

In 1837  their son  was buried near his father, and in 1840 Fanny was placed in the same grave and another memorial tablet raised in the church. By 1906 however their gravestone was weathered and neglected, and Burney descendants replaced it with a new  tabletop  monument. In  1955 when part of the burial ground was  cleared for proposed redevelopment, the PCC moved Burney’s three-ton stone up the hill and over the road to a small enclosure beside the church, where it remains today, a lonely cenotaph separated by railings from the bustle of Walcot Street on one side and The Paragon on the other.

In 1987 remains from the cemetery, including those of Burney,  her husband and son, were exhumed and reinterred beside The Rockery  Garden in the municipal cemetery at Haycombe on the south side of Bath.

The Lower Burial Ground, its few remaining graves clustering round the mortuary chapel, remains undeveloped.

Fanny’s  memorial plaque in the church was destroyed when a new organ was installed against the wall in the twentieth century but in 2013 the Burney Society funded a new memorial reproducing the exact wording of the original from photographs.

Along with the general’s memorial  it is housed amongst a truly magnificent collection in the church for the general was not the only one for whom the Bath waters proved less than efficacious.

But Fanny’s spirit is not wandering  the church and its precincts nor  is she down in The Lower Burial Ground nor up in  Haycombe Cemetery: she is busy updating her journal, perhaps even plotting another novel, shorter this time, in her rooms at 23  Great Stanhope Street. I know, I lived with her.

Edgar Wallace

My mother loved the cinema, and it was our weekly treat in the sixties to spend Friday evenings at the pictures followed by six penn’orth of chips, hot, greasy, and wrapped in several layers of newspaper, on the way home. In those days there were five cinemas in Chester: the Gaumont was  the smartest with a huge glittering art deco foyer, magnificent auditorium,  and elegant restaurant; the Regal and the Odeon, which we most commonly frequented, had standard thirties cinema architecture; the tiny Classic, squashed between a sweet shop and a pub, favoured  foreign and X-rated films (we seldom went there); and the Music Hall’s name indicated its previous incarnation.

For 3/6d adults, 1/9d children,  we could enjoy a  programme of main feature, Pearl and Dean advertisements,  Pathe News and second feature, running continuously, and it was possible to enter at any point and remain as long as we liked. Some patrons sat or slept through several performances. Others  would suddenly leap to their feet and announcing  “we came in here” begin to collect their coats and umbrellas as they edged their way out apologising as they brushed past our knees blocking the screen at critical moments in the drama.

The permanent darkness gave the auditorium a  mysterious romance as usherettes guided us by the beam of their torches to vacant red plush seats. Between us and the screen hung a thick, blue fug of cigarette smoke and the pungent scent of tobacco and nicotine was occasionally joined by the flare and acrid fumes of a struck match. During the intermission, the Kia-Ora lady would make her way backwards down the aisle with a spotlight shining on her and a  heavy tray suspended around her neck  containing orange squash, Butterkist popcorn, salted nuts and choc ices.

When the second feature was an Edgar Wallace Mystery I was especially delighted. Born in 1875, Wallace had left school at twelve and variously worked selling newspapers, delivering milk, in a rubber factory, as ship’s cook, and as a war correspondent in the second Boer War, until he turned, very successfully, to writing. He dictated his prolific output of journalism,  poetry, historical works, plays, novels, short stories, songs, and film scripts, including the screenplay for King Kong, onto wax cylinders which his secretaries  typed up. The Edgar Wallace Mysteries were film adaptations of his crime fiction, based on the popular detective stories which he had written in the 1920s but which the studio updated and set in contemporary London. The mood for the convoluted tales of murder, blackmail, and burglary,  was set as the spookily lit bust of Wallace himself rotated slowly on the screen surrounded by swirling fog,  to the mournful, eerie sound of the theme tune, Man of Mystery. I lost myself in  the black and white thrillers which unfolded on the screen, wistfully identifying with the high heeled, pencil skirted heroine,  following  the trench coated,  trilby wearing detective as he  navigated  the London streets and nightclubs, the smoke from his cigarette mingling imperceptibly with that rising from the cinema audience. It was all satisfyingly louche, and of course the heroic detective could be relied upon to bring the disreputable villains to brook.

Disappointingly, Edgar Wallace’s final resting place is a world away from the seedy criminals and rakish detectives whom I watched enthralled on the screen; he lies in the decorous surroundings of Little Marlow cemetery in Buckinghamshire, near the country home at Chalklands which he bought with the proceeds of his seamy tales, in the most respectable and conventional of graves, with not an unsavoury villain in sight.

Edgar Wallace 1875-1932

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