Writing about women in the past

Grand Duchess Natalia Alexeievna
shown pregnant and happy
in a portrait by Alexander Roslin, 1776. 

The position of women in the historical novel is problematic for authors like me. Exploring the strengths and weaknesses of my characters and how they cope with the historical world is what interests me and I want to show women in a positive and realistic light. However when it comes to writing about women in past I am confronted with some tricky problems.

The main problem is that for most of history women were legally, socially and economically subject to the will of men.

As my November blogs show even queens and princesses had very little control over their own lives.

Woman by Francesco Gasparini

In a strange way poor women were the freest to be themselves as they worked even when they were married and had children and earned their own money. The problem for these women was that their earnings were always vastly inferior to men’s and a woman alone was almost invariably a poor and exploited one. It's true in London and other towns where social anonymity was the norm many women turned to prostitution as a more lucrative way of staying alive.

For women of the middling sort, I hesitate to use the word class here, as for most of history there was no middle class as we know today, financial dependence on men was the norm even into the middle of the last century. Of course financial dependence on men has not gone away as women are still paid on average 16% less than men for the same work!

With no meaningful contraception, women were almost always burdened with pregnancy, subject to premature death in childbirth and responsible with almost all childcare unless a woman was wealthy enough to employ a nurse or nanny.

A single 'free' woman in the past was the exception and was almost certainly viewed as unsuccessful. Marriage and children were the markers of success for a woman in past and still are for most men and women today although more women are going it alone than ever and are happy with their decision. For the majority of us who marry it's a struggle to manage a demanding career and a family no matter how successful a we are in our chosen profession.




So how does the modern author go about creating their female historical characters?

Well some authors focus their attentions on the few women who broke the mould in the past while other abandon any sense of historical verisimilitude. Some use the Cinderella formula while others make their female characters masculine, sassy and ruthless. All of these forms can work if the story is good but they are not for me in the Tales of Tooley Street as the main characters are inspired by actual people who lived and worked at 65 Tooley Street for three generations.

Some argue that The Fortunes and Misfortunes of the Famous Moll Flanders (commonly known simply as Moll Flanders) a novel by Daniel Defoe, first published in 1722 is the prototype for a female character who by the end of the novel controls her own life and is financially independent. Moll achieves what many feminists call success.

Alex Kingston in the BBC
 adaptation of Moll Flanders

Feminist writer Diana Del Vecchio says, "By the end of the book, Moll has completely appropriated the role of the husband, the provider, the masculine, the seeker, the adventurer, the leader, the thinker, and has figuratively donned the clothing of man, while keeping her nature as woman intact. She makes the final decision to enter and sign a legal contract with her son, where he manages her inherited land and gives her an annual compensation of the lands’ produce. When she returns to Jemy, it is she that supplies him with a dowry of a gold watch, a hundred pounds in silver, a deer skin purse, Spanish pistols, three horses with harnesses and saddles, some hogs, two cows, and other gifts for the farm. She enters this relationship with the fortune of her inheritance and the many accoutrements that she has acquired and accumulated in her years as a thief. For the first time in her life, she forms a relationship with a man, where she is the one in control."

The fact that Moll has to step outside the law to become independent is the problem for me but it is probably a realist one as Defoe was fully aware of the way society worked in the early 18th century. Prostitution and thieving were rife in London in the 18th century but most women involved in the trade did not end up like Moll. Most ended in an early grave, at the end of a noose or transported for life if caught. My character is inspired by a respectable widow who raises her son to be a successful doctor so prostitution and thieving are not options for her.

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Historian Lucy Worsley's most recent BBC TV series on the Wives of Henry III offers an alternative approach to the female character and narrative in history.





In the series she looked at the events of Henry's reign through the eyes of the women involved. She cleverly managed to breath new life into this over worked territory by showing Katherine of Aragon as a competent and popular queen not as the obsessively religious woman of traditional portrayals who was intelligent, ambitious and for much of her 24-year marriage gave as good as she got. Anne Boleyn too was shown as a clever and ambitious woman betrayed by her husband and removed on trumped up charges of adultery. Jane Seymour was a young and tragic a woman fed to the old lecher of a king by her male relatives only to die in childbirth. Ann of Cleaves was a smart political operator who negotiated herself out of disaster and ended up one of the richest women in England. Catherine Howard was what we would call an abused child who did not know how to say no to powerful and determined men; and, Katherine Parr was a wily woman of great learning and intellect who used her position to promote the establishment of the 'new religion' Protestantism and managed to out manoeuvre and outwit her enemies at court. See a clip by following the link. Six Wives of Henry VII clips.

In my own writing I have taken the Lucy Worsley approach. My heroine, Charlotte Leadam, the widow of the Tooley Street Surgeon Christopher Leadam is intelligent and resourcefulness but she is an 18th century woman living in 18th century London. She faces financial oblivion when her husband dies as she cannot run the apothecary shop she owns becasue as a woman she cannot hold a licence and becasue she has to pay her husband's debts.

As a widow she yearns for the return of the feeling of financial security and independence she enjoyed when she was married but she does not want to remarry, not at the start with at least. As grief slowly disappears she finds that she needs to love and be loved again. Charlotte achieves her desires by complying with some social conventions of the day and by ignoring others but she's always well within the law. Here's an excerpt.

Tales of Tooley Street - Charlotte Leadam
 (Portrait of an unknown woman c. 1780)

 “You and John will stay here with us now that Christopher has gone,” her mother said, in a tone that indicated it was not a matter for discussion.

“That’s very kind of you and father, but Christopher has not gone, as you put it. He died; my husband is dead. I am a widow, not an abandoned child.”

“We know that, dearest. Your father and I comprehend the situation all too clearly,” she said, handing her daughter a fresh towel and a bar of soap. “You’re a woman without a husband and without an income. You cannot simply go back to your old life, Charlotte; it no longer exists. Your father and I have discussed the matter, and we have decided that it is best that you and John stay here where we can provide for you. That is until you marry again.”

The flame of ire burning in Charlotte’s chest was rekindled and refuelled. Whilst she could not dispute her mother’s analysis of the situation, she was nonetheless livid with her for expressing it so clearly. She bit her lip, held her tongue and breathed the long slow breaths that Christopher had taught her to use in such situations. Experience told her that this was not the time or the place to have an argument with her mother. Losing her temper never worked; she had to be more cunning than that. As calmly as she could she said, “Mother, I have no plans to remarry.”

“I’m not saying that you have to forget Christopher. I’m not that cruel and insensitive. ” She pointed to the bath. “Your father took this in lieu of payment from a whore in St James’s. The poor woman could not pay her rent either, so your father took the bath before the landlord did. My friend Mrs Peacock says that bathing is of great benefit for the nerves, so I thought you might like to try it. I shall not be doing so: I’m too old to change the habits of a lifetime. Besides, they cost a fortune in hot water – which is all very well for Mrs Peacock: her husband is a banker. And I can’t use poor Millie like this again; she is exhausted with carrying the pails from the kitchen.”

When her mother had gone Charlotte launched herself face down onto the bed and let out a long, low scream of frustration. How dare her mother decide what she was going to do with her life without even talking to her about it? And why had she told her about the whore? Was she trying to warn her what happens to women who are left on their own?

Volume 1 of the Tales of Tooley Street, "Sinclair", will be available in March 2017

Outlander's Clair Fraser has jumped from second world war nurse, to eighteenth century healer cum witch to surgeon and that's what's great about fiction but the real story of female doctors, in Britain at least, is one of profound struggle and individual persistence. 

When Charlotte Leadam, in my up coming novel Sinclair, a story based on the real Leadam family who lived and worked as apothecary surgeons in Tooley Street from the late 18th century to the mid nineteenth century, inherits her husband's apothecary shop she was not allowed to run the shop on her own account - only men were allowed to be licensed as apothecaries.

Elizabeth Garrett Anderson (1836 – 1917) was the first woman in Britain who qualified as a physician and surgeon and she did this when in 1865, she finally obtained a licence (LSA) from the Society of Apothecaries.

Garrett's life's work was opening the medical profession to women. She started her quest by working as a surgery nurse at Middlesex Hospital, In 1860 she attempted to enrol in the hospital's Medical School. She was not accepted but was allowed to attend private tuition in Latin, Greek and materia medica with the hospital's apothecary, while continuing her work as a nurse.

She employed a tutor to study anatomy and physiology three evenings a week. Eventually she was allowed into the dissecting room and the chemistry lectures.

Gradually, Garrett became an unwelcome presence among the male students, who in 1861 presented a memorial to the school against her admittance as a fellow student, despite the support she enjoyed from the administration.

She was obliged to leave the Middlesex Hospital but she did so with an honours certificate in chemistry and materia medica.

Garrett then applied to several medical schools, including Oxford, Cambridge, Glasgow, Edinburgh, St Andrews and the Royal College of Surgeons, all of which refused her admittance.

Having privately obtained a certificate in anatomy and physiology and in 1862, she was finally admitted by the Society of Apothecaries who, as a condition of their charter, could not legally exclude her on account of her sex.

She continued her battle to qualify by studying privately with various professors, including some at the University of St Andrews, the Edinburgh Royal Maternity and the London Hospital Medical School.

She co-founded the first hospital staffed by women, was the first female dean of a British medical school, the first female doctor of medicine in France.

She was the first woman in Britain to be elected to a school board and, as Mayor of Aldeburgh, she was the first female mayor and magistrate in Britain.

Pictures: 1. Claire Randall (Caitriona Balfe) in Outlander Season Two Finale "Dragonfly in Amber"
2. Elizabeth Garrett Anderson

The Unfortunate Captain Peirce: When is a Hero not a Hero?

The wreck of the 'Halsewell', Indiaman, 1786, Thomas Stothard

Two and twenty years ago the merchant marine got its first hero; Captain Richard Peirce of the ill-fated East Indiaman the Halsewell. The ship which left Gravesend docks on the first day of January 1786 with a manifest of 240 people and was wrecked six days later of the Dorset coast with the loss of over 170 lives. The tragedy rocked the nation to its core and the ship’s captain became a national hero with stories and eulogies[1] appearing the London press and magazines like The Gentleman and The European praising his self-sacrifice for the sake of his family. The ship was not the first to go down and it certainly was not the last but this wreck captured the nation’s imagination for some reason.

Built by Wells of Blackwall in 1778 the 758 ton ship was on route to Madras armed with 12 cannon and carrying a cargo of 53 chests of small arms, 25 tons of copper plate, 500 tons of lead for shot, and general merchandise including pitch, grindstones, tar, chains and bellows but the main consignment was the men of the 2^nd Battalion and the 42^nd Regiment of the East India Company’s army who were being sent to replace men lost in Company’s war with the last mogul emperor with any clout, Hydra Ali, three years earlier.

 In addition to these soldiers the Haleswell has civilian passengers, including the two daughters Eliza and Mary-Ann; and two nieces of the captain Amy and Mary Paul, a Miss Elizabeth Blackburn,a  Miss Mary Haggard, a Miss Ann Mansell and a Mr John Shultz. The first mate, Thomas Burston, was a member of the Peirce family and was also lost in the incident. None of the women were able to escape and were among about 170 who died in the ship, which disintegrated within two hours of striking the rocky promontory. 

The Loss of the Haleswell, J.M.W Turner.

Accounts[2] given by two surviving officers Meriton and Rogers said that Peirce heroically remained with them and is shown on the right of the painting above, seated between and comforting his daughters. Meriton and Rogers stand on the left, on the point of departure, as calm observers of the group.

During the eighteenth century a number of men achieved the status of national hero, the most famous of them being the legendary Captain James Cook (1728-1779), the man who spent his life exploring and mapping; Newfoundland, Australia, the Hawaiian Islands and New Zealand for the British Crown.

During the Seven Years' War, Cook served in North America as master of Pembroke (1757) In 1758 he took part in the major amphibious assault that captured the Fortress of Louisbourg from the French, after which he participated in the siege of Quebec City and then the Battle of the Plains of Abraham in 1759. He showed a talent for surveying and cartography, and was responsible for mapping much of the entrance to the Saint Lawrence River during the siege, thus allowing General Wolfe to make his famous stealth attack on the Plains of Abraham.

In 1766, Admiralty engaged Cook to command a scientific voyage to the Pacific Ocean. The purpose of the voyage was to observe and record the transit of Venus across the Sun for the benefit of Royal Society inquiry into a means of determining longitude. Once the observations were completed, Cook opened his sealed orders and started the second part of his voyage: to search the south Pacific for signs of the postulated rich southern continent of Terra Australis. He sailed around New Zealand and landed on Australian soil on 19 April 1770, and in doing so his expedition became the first recorded Europeans to have encountered its eastern coastline. 

Two years later as the commander of HMS Resolution with his companion ship HMS Adventure he circumnavigated the globe at an extreme southern latitude, becoming one of the first to cross the Antarctic Circle on 17 January 1773.

On his last great voyage Cook was charged with looking for a north-west passage around the American continent. He sailed via Cape Horne and into the Pacific Ocean stopping off at Hawaii and the Sandwich Islands. Cook sailed as far north as Vancouver Island than turned back and was killed in an altercation with the local Hawaiian chief on 14 February 1779.

The Death of Captain James Cook,  Johann Zoffany, circa 1795.

So, how was it that Captain Peirce of the East India Company could be compared with the heroic Cook? 

In the latter part of the eighteenth century as tariffs were lowered on tea, brandy and other luxury goods the amount of smuggling along the coast was at last beginning to fall. Wrecks too were becoming less attractive to looters. The rescuers of the survivors were hailed by the King and the Company provided a reward of 50 guineas for their efforts. The survivors who were mainly crew had to walk all the way back to London through snow and rain, there was no reward for them. In fact the crew were lambasted[3] in some sections of the London press for failing to do their duty and for disobeying their captain and it became a commonly held view that the reason for the disaster was the lax attitude of the crew and their failure to follow their captain’s orders.

Thompson[4] argues that placing Peirce in the company of a man like Cook elevated him to an example of the national character, the embodiment of British courage and virtue in war. But Pierce was not at war and neither was he a servant of the state like Cook and other heroes such as Wolfe and Andre he was engaged in trade and a lucrative one at that. On a successful voyage a captain like Pierce could expect to make £10,000, and extra-ordinary amount of money compared to his pay which would have been something in the order of £300 a year and he was hoping to marry his daughters and nieces to rich officers or merchants along the way. But for a nation hungry for commercial success and wealth Pierce was their man, a jewel in their social crown and an example of familial loyalty and enterprise in the area of the world they were most interested in, India. “In death, Peirce becomes implicitly iconic not only for British courage and manly virtue but also the East India Company’s paternalism and its mission to form stronger bonds of affection and sociability both within British society and between Britain and its colonial dominions.

However, the legal implications of the commonly held view that the crew was the chief cause of the disaster were to have lasting significance for seamen who found themselves under the control of brutal officers, as both commercial owners and the British Crown were able to cite the example of the Halsewell as a reason for the maintenance of strict order, by force if necessary by officers on the lower orders.

The story of the Haleswell (renamed the Sherwell) inspired the beginning of my up- coming novel, Sinclair which will be available later this year.

[]] Monody, On the death of Captain Peirce, 1786.

[2] A circumstantial narrative of the loss of the Halsewell, East-Indiaman .Henry Meriton (second mate of the Halsewell.), John Rogers (third mate of the alsewell.)http://www.responsites.co.uk/halsewell/

[3]The London Recorder, January 15^th, 1786.

[4] Ship Wreck in Art and Literature, Carl Thompson, Routledge, 2013