It’s time for another Georgian book review! I’ve been reading a lot lately, so I thought I would share with you my thoughts about Emma Donoghue’s Life Mask.
I was drawn to the book, not only but its eighteenth/nineteenth century setting, but the fact that one of the heroines was Elizabeth Farren. I grew interested in Elizabeth after seeing her spectacular portrait at a Thomas Lawrence exhibition. The catalogue explained that she was a famous actress who went on to become a Duchess. How could such a fairy-tale fail to capture my imagination? I was also interested to learn that Elizabeth was a great comic actress, a rival to Dora Jordan. Jordan’s long-term relationship with the Duke of Clarence, late William IV, has ensured her prolonged fame, but Elizabeth Farren has disappeared into some obscurity.
In Life Mask, Emma Donoghue brings Elizabeth to life as determined and proud character. We learn that her life was far from easy as she forged a path for herself from a poor background. Through all her trials, she is shown as guarding her hard-won reputation with jealousy. She keeps the Duke she will eventually marry at arm’s-length until he is single, defying the contemporary stereotype of actresses with loose-morals. Through Elizabeth, we get to explore the world of the eighteenth-century theater in all its bawdy glory, braving rowdy audiences and meeting some of the leading lights of the age. Donoghue shows that Elizabeth could be ruthless and was prepared to sacrifice friendships for the sake of her career. But in spite of, or perhaps because of that, I rather liked her.
Life Mask is not written entirely from Elizabeth Farren’s point of view. One of the narrators is the Duke of Derby, her future husband. His part of the story provides a fascinating insight into Georgian life and politics, especially the expectations on the Georgian man. Although Derby was caricatured for being short and ugly, his wealth and status ensured him a good position in society. He is represented as a man of his time, taking us into the bloody world of cock fights and the fast-paced arena of horse-racing. What appealed to me most about Donoghue’s portrayal of Derby was his state of flux – at once a reformer and an aristocrat, he often finds himself in a difficult position. Doggedly loyal to the Whig Charles James Fox, he is nonetheless jealous of his ancestral rights. It was interesting, from my perspective, to see the inner workings of the Whig party. After spending my time studying Pitt and George III, I got the chance to sit in the other side of the camp, where they were referred to as ‘the Eunuch’ and ‘Old Satan’. I have to say, I came to understand Fox and his party much better. Derby’s political sympathies appeal to the reader and his devotion to Elizabeth is touching. While he is shown as being somewhat harsh to his first wife and indifferent to his children, this romantic worship of an actress rather wins us to his side.
The star of this show, however, has to be the sculptress Anne Seymour Damer. A widow, estranged from her husband before his death, she has grown used to governing her own life. She is first introduced to us as she befriends Elizabeth and begins work on her bust for display at the Royal Academy. However, as the story progresses, we find that the Life Mask of the title is the mask that Anne is wearing, hiding her progressive attitudes from the world. Somewhat outcast by her single state and daring to enter the realm of the arts, Anne focuses her life on sculpture and friendships. Sadly, these friendships begin to fall away before distressing gossip. She has to re-evaluate all the relationships she has known and come to terms with the fact that the rumours about her could be true. Her struggle provides a wonderful exploration of the female state and sexuality in the eighteenth-century, covering such diverse topics as intense friendships through to the legal nonentity of a wife. It is only towards the end of the story that Anne is finally able to embrace what she truly is and live the life she wants, in spite of society. She is helped along in her journey by the blue-stocking Mary Berry and Horace Walpole.
I have to admit that Donoghue made rather too much use of her research in this book. I did feel like I was being hammered with facts at times. There were parts that dragged for me and, had I not been interested in the period to start with, may have made me give up reading. Much could have been edited, however the excellence of Donoghue’s writing shines through in some truly beautiful phrasing. What is more, she makes you truly interested in the lives of the people she writes about. I was keen to do my own research and find out more about the real historical figures straight after reading. I particularly enjoyed her representation of Horace Walpole and Strawberry Hill. I am now very eager to visit his Gothic mansion and see some of the scenes from the book with my own eyes.
On the whole, I would say that perhaps Life Mask does not work as a novel – I would struggle to tell you the story or the plot. It meanders and does not compel you in the way a novel should. Nonetheless, it is a great piece of creative biographical writing, and one I think her subjects would be very flattered by.