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256:, of course, is where most of the scenes of the story take place." George Worth, in 1972, claims, "The London pleasure haunts of the day, in each of which important action takes place, are carefully described by Ainsworth The virtues of this novel are clearly recognized when it is contrasted with a much feebler late novel set at almost exactly the same period,
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182:. Scarve gets in the way of Crew's pursuit of Hilda because Scarve wishes for her to marry his nephew, Philip Frewin. Scarve also looks down on Crew for allowing creditors to take his inheritance. Crew's pursuit of Hilda is also opposed to by his uncle, Abel Beechcroft, because Beechcroft once wanted a woman that Scarve took from him.
213:, is the chief object of these pages." However, Ainsworth does not describe miserliness in any uniform manner. Likewise, the miser, Scarve, is someone who is sometimes depicted in a way that could provoke pity and sometimes depicted as someone to dislike. His death all alone takes a different tone from the rest of
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dealing with the 18th century. The subplots allow for the introduction of the period and serve to comment on aspects of London life. The events of allow for the social values held by the different characters to be revealed and discussed. A major aspect of the work deals with inheritance and wills, a
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plots, but nothing comes of these. Scarve's nephew turns to the lawyer Diggs and is able to convince Scarve to hand over his fortune. However, Frewin is not able to keep the inheritance, as a duel takes place between him and Crew, and Crew is victorious. Afterward, Scarve dies, and, with the fortune
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Cruikshank's illustrations are realistic and reveal many scenes from the novel, including a fight in one titled "The
Jacobite Club pursued by the guard". His illustrations carried over to the novel edition, besides three woodcut portraits and twenty steel etchings that were included in the magazine
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While in London, Crew is taken to social events by his other uncle, Trussell
Beechcroft. He is able to meet well known individuals and members of the theatre while attending gatherings across London. During these gatherings, the character Cordwell Firebras discusses
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Ainsworth prefaces his novel with a discussion of greed: "To expose the folly and wickedness of accumulating wealth for no other purpose than to hoard it up, and to exhibit the utter misery of a being who should thus surrender himself to the dominion of
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about the theatrical production. In the letter, Cruikshank was upset that his name was left out of credits for the play and claimed that the idea for the novel came from himself and not from
Ainsworth. This provoked a controversy between the two.
178:, as he comes to London during the early 18th century after giving up his inheritance to his father's creditors upon his father's death. While there, he becomes infatuated with a girl named Hilda, whose father, Scarve, is a
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was positive, and in a letter from
Forster to Ainsworth, 27 January 1842, he says: "I like the notion of your story. Come and tell me about it—and about your magazine Your story begins well—but we will discuss to-morrow".
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legal concept
Ainsworth knew of from his background working as a lawyer earlier in his life. The will in the novel allows for the plot to progress while also allowing for a commentary on how the law affects people.
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edition. Cruikshank later publicly disputed how much credit he deserved in terms of originating the plot and characters based on a claim that he created the illustrations before
Ainsworth wrote the novel.
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is good, from the Miser himself and the determined, plotting
Cordwell Firebras, to the stolid serving-man, Jacob Post, and his inquisitive neighbours in the Little Sanctuary.
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served as illustrator. The work was later published in novel format, but it did not include all of the illustrations used in the magazine. Sales continued into the 1880s.
124:. During this time, he was constantly working and stopped only when his mother, Ann Ainsworth, died on 15 March 1842. It was published in a serialised form in the
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A play version was put on by Edward
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The Life and Works of the
Lancashire Novelist William Harrison Ainsworth, 1805–1882
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has none of the vivid ambience we sense in the mid-eighteenth-century London of
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The references used may be made clearer with a different or consistent style of
289:""The Miser's Daughter," by William Harrington Ainsworth | Harvard Art Museums"
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According to S. M. Ellis in 1911, "All the characterization in
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67:Learn how and when to remove this message
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793:Novels first published in serial form
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768:Novels by William Harrison Ainsworth
457:. Vol II, Garland Publishing (1979)
102:serially published in 1842. It is a
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520:William Harrison Ainsworth
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483:William Harrison Ainsworth
100:William Harrison Ainsworth
788:Art by George Cruikshank
312:Carver 2003 pp. 286–287.
151:, was produced for the
128:with some overlap with
808:Novels set in Cheshire
657:The Lancashire Witches
344:"An Autumn Miscellany"
141:City of London Theatre
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293:harvardartmuseums.org
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813:Novels set in London
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417:Ellis 1979 Vol p. 52
408:Ellis 1979 qtd p. 54
399:Worth 1972 pp. 50–52
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360:on 4 September 2021
390:Harvey 1970 p. 35.
321:Carver 2003 p. 273
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641:St. James's
364:4 September
254:Westminster
57:August 2013
762:Categories
601:Guy Fawkes
274:References
110:Background
49:footnoting
713:Old Court
287:Harvard.
259:Beau Nash
162:The Times
147:, called
737:Boscobel
697:John Law
585:Crichton
577:Rookwood
298:19 April
188:Jacobite
176:Cheshire
45:citation
434:Sources
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569:Novels
543:People
527:Topics
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240:about
211:Mammon
204:Themes
358:(PDF)
347:(PDF)
180:miser
170:Story
149:Hilda
473:ISBN
459:ISBN
445:ISBN
366:2021
300:2024
264:Bath
47:and
270:."
155:by
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