Shadows In A Timeless Myth Presents Mary East And Her 30 Year Masquerade

MARY EAST

The story of Mary East is a pitiful one, and gives a picture of the civil life of the eighteenth century which cannot be lightly forgotten. The condition of things has so changed that already we almost need a new terminology in order that we may understand as our great-grandfathers did. Take for instance the following sentence and try individually how many points in it there are, the full meaning of which we are unable to understand:

“A young fellow courted one Mary East, and for him she conceived the greatest liking; but he going upon the highway, was tried for a robbery and cast, but was afterwards transported.”

The above was written by an accomplished scholar, a Doctor of Divinity, rector of an English parish. At the time of its writing, 1825, every word of it was entirely comprehensible. If a reader of that time could see it translated into modern phraseology he would be almost as much surprised as we are when we look back upon an age holding possibilities no longer imaginable.

“Going upon the highway” was in Mary East’s time and a hundred years later a euphemism for becoming a highway robber; “cast” meant condemned to death; “transported” meant exiled to a far distant place where one was guarded, and escape from which was punishable with death. Moreover robbery was at this time a capital offence.

In 1736, when Mary East was sixteen, life was especially hard on women. Few honest occupations were open to them, and they were subject to all the hardships consequent on a system in which physical weakness was handicapped to a frightful extent. When this poor girl was bereft of her natural hope of a settlement in life she determined, as the least unattractive form of living open to her, to remain single. About the same time a friend of hers arrived at the same resolution but by a different road, her course being guided thereto by having “met with many crosses in love.” The two girls determined to join forces; and on consulting as to ways and means decided that the likeliest way to avoid suspicion was to live together under the guise of man and wife. The toss of a coin decided their respective rôles, the “breeches part” as it is called in the argot of the theatre, falling to East. The combined resources of the girls totalled some thirty pounds sterling, so after buying masculine garb for Mary they set out to find a place where they were unknown and so might settle down in peace.

They found the sort of place they sought in the neighbourhood of Epping Forest where, there being a little public-house vacant, Mary—now under the name of James How—became the tenant. For some time they lived in peace at Epping, with the exception of a quarrel forced by a young gentleman on the alleged James How in which the latter was wounded in the hand. It must have been a very one-sided affair, for when the injured “man” took action he was awarded £500 damages—a large sum in those days and for such a cause. With this increase to their capital the two women moved to Limehouse on the east side of London where they took at Limehouse-hole a more important public-house. This they managed in so excellent a manner that they won the respect of their neighbours and throve exceedingly.

After a time they moved from Limehouse to Poplar where they bought another house and added to their little estate by the purchase of other houses.

Peace, hard work, and prosperity marked their life thence-forward, till fourteen years had passed since the beginning of their joint venture.

Peace and prosperity are, however, but feeble guardians to weakness. Nay, rather are they incentive to evil doing. For all these years the two young women had conducted themselves with such rectitude, and observed so much discretion, that even envy could not assail them through the web of good repute which they had woven round their masquerade. Alone they lived, keeping neither female servant nor male assistant. They were scrupulously honest in their many commercial dealings and, absolutely punctual in their agreements and obligations. James How took a part in the public life of his locality, filling in turn every parish office except those of Constable and Churchwarden. From the former he was excused on account of the injury to his hand from which he had never completely recovered. Regarding the other his time had not yet come, but he was named for Churchwarden in the year following to that in which a bolt fell from the blue, 1730. It came in this wise: A woman whose name of coverture was Bently, and who was now resident in Poplar, had known the alleged James How in the days when they were both young. Her own present circumstances were poor and she looked on the prosperity of her old acquaintance as a means to her own betterment. It was but another instance of the old crime of “blackmail.” She sent to the former Mary East for a loan of £10, intimating that if the latter did not send it she would make known the secret of her sex. The poor panic-stricken woman foolishly complied with the demand, thus forcing herself deeper into the mire of the other woman’s unscrupulousness. The forced loan, together with Bently’s fears for her own misdeed procured immunity for some fifteen years from further aggression. At the end of that time, however, under the renewed pressure of need Bently repeated her demand. “James How” had not the sum by her, but she sent £5—another link in the chain of her thraldom.

From that time on there was no more peace for poor Mary East. Her companion of nearly thirty-five years died and she, having a secret to guard and no assistance being possible, was more helpless than ever and more than ever under the merciless yoke of the blackmailer. Mrs. Bently had a fair idea of how to play her own despicable game. As her victim’s fear was her own stock-in-trade she supplemented the sense of fear which she knew to exist by a conspiracy strengthened by all sorts of schemes to support its seeming bona fides. She took in two male accomplices and, thus enforced, began operations. Her confederates called on James How, one armed with a constable’s staff, the other appearing as one of the “thief-takers” of the gang of the notorious magistrate, Fielding—an evil product of an evil time. Having confronted How they told him that they had come by order of Mr. Justice Fielding to arrest him for the commission of a robbery over forty years before, alleging that they were aware of his being a woman. Mary East, though quite innocent of any such offence but acutely conscious of her imposture of manhood, in her dismay sought the aid of a friend called Williams who understood and helped her. He went to the magistrates of the district and then to Sir John Fielding to make inquiries and claim protection. During his absence the two villains took Mary East from her house and by threats secured from her a draft on Williams for £100. With this in hand they released their victim who was even more anxious than themselves not to let the matter have greater publicity than it had already obtained. However, Justice demanded a further investigation, and one of the men being captured—the other had escaped—was tried, and being found guilty, was sentenced to imprisonment for four years together with four appearances in the pillory.

Altogether Mary East and her companion had lived together as husband and wife for nearly thirty-five years, during which time they had honestly earned, and by self-denial saved, over four thousand pounds sterling and won the good opinion of all with whom they had come in contact. They were never known to cook a joint of meat for their own use, to employ any help, or to entertain private friends in their house. They were cautious, careful, and discreet in every way and seemed to live their lives in exceeding blamelessness.

 Article by Bram Stoker

Compiled from sources in the public domain.

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Smiles & Good Fortune,
Teresa
************************************
It is not wealth one asks for, but just enough to preserve one’s dignity, to work unhampered, to be generous, frank and independent. W. Somerset Maugham (1874-1965) Of Human Bondage, 1915

Shadows In A Timeless Myth Presents La Maupin Mistress of Sword and Stage

C. LA MAUPIN aka Julie d'Aubigny

The majority of the readers of the English-speaking race who enjoy Théophile Gautier’s fascinating romance Mademoiselle de Maupin are not aware that the heroine was a real person. The novelist has of course made such alterations as are required to translate crude fact into more elegant fiction, and to obliterate so far as can be done the criminal or partly-criminal aspect of the lady’s venturous career. But such is one of the chief duties of an artist in fiction. Though he may be an historian, in a sense, he is not limited to the occasional bareness of truth. His object is not that his work shall be true but rather what the French call vraisemblable. In narrative, as in most arts, crudeness is rather a fault than a virtue, so that the writer who looks for excellence in his work has without losing force, to fill up the blanks left by the necessary excision of fact by subtleties of thought and graces of description, so that the fulness or rotundity of the natural curves shall always be maintained. In truth the story of La Maupin is so laden with passages of excitement and interest that any writer on the subject has only to make an agreeable choice of episodes sufficiently dramatic, and consistent with each other, to form a cohesive narrative. Such a work has in it possibilities of great success—if only the author has the genius of a Théophile Gautier to set it forth. The real difficulty which such an one would have to contend against would be to remove the sordidness, the reckless passion, the unscrupulousness, the criminal intent which lies behind such a character.

The Mademoiselle de Maupin of real life was a singer at the Opera in Paris at the end of the seventeenth century. She was the daughter of a man of somewhat humble extraction engaged in secretarial work with the Count d’Armagnac; and whilst only a girl married a man named Maupin employed in the province. With him she had lived only a few months when she ran away with a maitre d’armes (anglicè, a fencing master) named Serane. If this individual had no other good quality in matters human or divine, he was at least a good teacher of the sword. His professional arts were used in the service of his inamorata, who became herself an excellent swordsman even in an age when swordsmanship had an important place in social life. It may have been the sexual equality implied by the name which gave the young woman the idea, but thenceforth she became a man in appearance;—in reality, in so far as such a metamorphosis can be accomplished by courage, recklessness, hardihood, unscrupulousness, and a willing obedience to all the ideas which passion and sensuality can originate and a greed of notoriety carry into execution.

In a professional tour from Paris to Marseilles, in which she as an actress took the part of a man, she gained the affections of the flighty daughter of a rich merchant of Marseilles; and, as a man, ran away with her. Being pursued, they sought refuge in a convent—a place which at that age it was manifestly easier to get into than to get out of. Here the two remained for a few days, during which, by the aid of histrionic and other arts, the actress obviated the necessary suspicions of her foolish companion and kept danger away. All the while La Maupin was conscious that an irate and rich father was in hot search for his missing daughter, and she knew that any talk about the venture would infallibly lose her the girl’s fortune, besides getting herself within the grip of the law. So she decided on a bold scheme of escape from the convent, whereby she might obliterate her tracks. A nun of the convent had died and her body was awaiting burial. In the night La Maupin exchanged the body of the dead nun for the living one of her own victim. Having thus got her companion out of the convent, she set the building on fire to cover up everything, and escaped in secret to a neighbouring village, taking with her by force the girl, who naturally enough was disillusioned and began to have scruples as to the wisdom of her conduct. In the village they remained hidden for a few weeks, during which time the repentance of the poor girl became a fixed quantity. An attempt, well supported, was made to arrest the ostensible man; but this was foiled by the female swordsman who killed one of the would-be captors and dangerously wounded two others. The girl, however, made good her escape; secretly she fled from her deceiver and reached her parents in safety. But the hue and cry was out after La Maupin, whose identity was now known. She was pursued, captured, and placed in gaol to await trial. The law was strong and inexorable; the erring woman who had thus outraged so many conventions was condemned to be burned alive.

But abstract law and the executive are quite different things—at least they were in France at the close of the seventeenth century: as indeed they are occasionally in other countries and at varying times. La Maupin, being a woman and a clever one, procured sufficient influence to have the execution postponed, and so had the full punishment delayed, if not entirely avoided. More than this, she managed to get back to Paris and so to begin her noxious career all over again. Of course she had strong help from her popularity. She was a favourite at the opera, and the class which patronises and supports this kind of artistic effort is a rich and powerful one, which governments do not care to displease by the refusal of such a small favour as making the law hold its hand with regard to an erring favourite.

But La Maupin’s truculent tendencies were not to be restrained. In Paris in 1695 whilst she was one of the audience at a theatre she took umbrage at some act or speech of one of the comedians playing in the piece, and leaving her seat went round to the stage and caned him in the presence of the audience. The actor, M. Dumenil, an accomplished and favourite performer but a man of peaceful disposition, submitted to the affront and took no action in the matter. La Maupin, however, suffered, through herself, the penalty of her conduct. She had entered on a course of violence which became a habit. For some years she flourished and exercised all the tyrannies of her own sex and in addition those habitual to men which came from expert use of the sword. Thus she went attired as a man to a ball given by a Prince of the blood. In that garb she treated a fellow-guest, a woman, with indecency; and she was challenged by three different men—each of whom, when the consequent fight came on, she ran through the body, after which she returned to the ball. Shortly afterwards she fought and wounded a man, M. de Servan, who had affronted a woman. For these escapades she was again pardoned. She then went to Brussels where she lived under the protection of Count Albert of Bavaria, the Elector. With him she remained until the quarrel, inevitable in such a life, came. After much bickering he agreed to her demand of a settlement, but in order to show his anger by affronting her he sent the large amount of his involuntary bequest by the servile hand of the husband of his mistress, Countess d’Arcos, who had supplanted her, with a curt message that she must leave Brussels at once. The bearer of such a message to such a woman as La Maupin had probably reckoned on an unfriendly reception; but he evidently underestimated her anger. Not contented with flinging at his head the large douceur of which he was the bearer, she expressed in her direct way her unfavourable opinion, of him, of his master, and of the message which he had carried for the latter. She ended her tirade by kicking him downstairs, with the justification for her form of physical violence that she would not sully her sword with his blood.

From Brussels she went to Spain as femme de chambre to the Countess Marino but returned to Paris in 1704. Once more she took up her work as an opera singer; or rather she tried to take it up, but she had lost her vogue, and the public would have none of her. As a matter of fact, she was only just above thirty years of age, which should under normal circumstances be the beginning of a woman’s prime. But the life she had been leading since her early girlhood was not one which made for true happiness or for physical health; she was prematurely old, and her artistic powers were worn out.
Still, her pluck, and the obstinacy on which it was grafted, remained. For a whole year she maintained a never-failing struggle for her old supremacy, but without avail. Seeing that all was lost, she left the stage and returned to her husband who, realising that she was rich, managed to reconcile whatever shreds of honour he had to her infamous record. The Church, too, accepted her—and her riches—within its sheltering portals. By the aid of a tolerant priest she got absolution, and two years after her retirement from the opera she died in a convent in all the odour of sanctity.

Article by Bram Stoker.

Compiled from sources in the public domain.

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Smiles & Good Fortune,
Teresa
************************************
It is not wealth one asks for, but just enough to preserve one’s dignity, to work unhampered, to be generous, frank and independent. W. Somerset Maugham (1874-1965) Of Human Bondage, 1915