The Poor Clare

THE POOR CLARE BY ELIZABETH GASKELL

ORIGINALLY PUBLISHED SERIALLY IN
DICKENS’S HOUSEHOLD WORDS, 1856

THIS EDITION IS REPRINTED FROM LIZZIE LEIGH AND
OTHER TALES, PUBLISHED BY MACMILLAN & CO., 1896

COPYRIGHT © 2013 MELVILLE HOUSE PUBLISHING

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LIBRARY OF CONGRESS CONTROL NUMBER: 2013943163

eISBN: 978-1-61219-219-2

v3.1

Contents

Cover

Title Page

Copyright

Chapter I

Chapter II

Chapter III

Other Titles in the Art of the Novella Series

Illuminations for The Poor Clare

1. Publication History

Illustration: Title page of Round the Sofa by Elizabeth Gaskell (1859).

Charles Dickens as Editor—Selection from Annette B. Hopkins’s “Dickens and Mrs. Gaskell.”

2. The Great Hunger

Illustration: Ireland during the famine (nineteenth century).

Illustration: Anonymous editorial in The Guardian (1821).

Illustration: Announcement in The Gardeners’ Chronicle (1845).

3. Lancashire

Illustration: Gawthorpe Hall, Lancashire (fourteenth century).

Starkey Manor-house—Excerpt from The Poor Clare.

Illustration: Barnoldswick to Weets Hill, Lancashire (present day).

4. Elizabeth Gaskell’s Family Life

Illustration: “Elizabeth Gaskell” by George Richmond (1851).

On Visiting the Grave of My Stillborn Little Girl—Poem by Elizabeth Gaskell.

“Refuge in invention”—Excerpt from Elizabeth Gaskell’s preface to Mary Barton.

Illustration: The interior of 42 Plymouth Grove.

“And we’ve got a house”—Letter to Eliza Fox, April 1850.

Illustration: The drawing room at 42 Plymouth Grove.

Illustration: “Elizabeth Gaskell,” photographer unknown (1864).

5. Gaskell’s Literary Friendships

Illustration: Newspaper review of Mary Barton (1848).

Illustration: Envelope from Thomas Carlyle’s letter to Elizabeth Gaskell (1848).

Illustration: “Charles Eliot Norton” by J. E. Purdy (1903).

We Reached Rome—Letter by Gaskell’s daughter.

Ache of Yearning—Letter to Charles Eliot Norton.

What I Did Believe—Letter to Charles Eliot Norton.

A Relationship with George Eliot—Selected correspondence.

Wordsworth Walked—From a letter to John Forster.

Elizabeth Gaskell’s Friendship with Charlotte Brontë—Selected correspondence.

Illustration: Letter from Brontë to Constantin Heger (1844).

Reading I: “The Heart of John Middleton” by Elizabeth Gaskell, under the pen name Cotton Mather.

Reading II: “An Accursed Race” by Elizabeth Gaskell.

6. The Poor Clares

A Picture of the Virgin—Excerpt from The Poor Clare.

Illustration: “The Seven Sorrows of the Virgin” by Niklas Stoer (ca. 1500).

Illustration: “The Seven Sorrows of the Virgin,” attributed to Master of the Passion (sixteenth century).

Illustration: The Virgin, with writing in Nahuatl (sixteenth century).

Illustration: “Madonna and Child with the Seven Sorrows of the Virgin” by an anonymous member of the Flemish School (sixteenth century).

Illustration: “Madonna of Misercordia” by Boccati, Giovanni di Permatteo de Camerino (fifteenth century).

Order of the Poor Clares—Selection from the 1911 Encyclopedia Brittanica.

The Order of Poor Ladies—Selections from Father Marianus Fiege’s The Princess of Poverty: Saint Clare of Assisi and the Order of Poor Ladies.

CHAPTER I

December 12th, 1747.—My life has been strangely bound up with extraordinary incidents, some of which occurred before I had any connection with the principal actors in them, or indeed, before I even knew of their existence. I suppose, most old men are, like me, more given to looking back upon their own career with a kind of fond interest and affectionate remembrance, than to watching the events—though these may have far more interest for the multitude—immediately passing before their eyes. If this should be the case with the generality of old people, how much more so with me!… If I am to enter upon that strange story connected with poor Lucy, I must begin a long way back. I myself only came to the knowledge of her family history after I knew her; but, to make the tale clear to any one else, I must arrange events in the order in which they occurred—not that in which I became acquainted with them.

There is a great old hall in the north-east of Lancashire, in a part they called the Trough of Bolland, adjoining that other district named Craven. Starkey Manor-house is rather like a number of rooms clustered round a gray, massive, old keep than a regularly-built hall. Indeed, I suppose that the house only consisted of a great tower in the centre, in the days when the Scots made their raids terrible as far south as this; and that after the Stuarts came in, and there was a little more security of property in those parts, the Starkeys of that time added the lower building, which runs, two stories high, all round the base of the keep. There has been a grand garden laid out in my days, on the southern slope near the house; but when I first knew the place, the kitchen-garden at the farm was the only piece of cultivated ground belonging to it. The deer used to come within sight of the drawing-room windows, and might have browsed quite close up to the house if they had not been too wild and shy. Starkey Manor-house itself stood on a projection or peninsula of high land, jutting out from the abrupt hills that form the sides of the Trough of Bolland. These hills were rocky and bleak enough towards their summit; lower down they were clothed with tangled copsewood and green depths of fern, out of which a gray giant of an ancient forest-tree would tower here and there, throwing up its ghastly white branches, as if in imprecation, to the sky. These trees, they told me, were the remnants of that forest which existed in the days of the Heptarchy, and were even then noted as landmarks. No wonder that their upper and more exposed branches were leafless, and that the dead bark had peeled away, from sapless old age.

Not far from the house there were a few cottages, apparently of the same date as the keep; probably built for some retainers of the family, who sought shelter—they and their families and their small flocks and herds—at the hands of their feudal lord. Some of them had pretty much fallen to decay. They were built in a strange fashion. Strong beams had been sunk firm in the ground at the requisite distance, and their other ends had been fastened together, two and two, so as to form the shape of one of those rounded waggon-headed gipsy-tents, only very much larger. The spaces between were filled with mud, stones, osiers, rubbish, mortar—anything to keep out the weather. The fires were made in the centre of these rude dwellings, a hole in the roof forming the only chimney. No Highland hut or Irish cabin could be of rougher construction.

The owner of this property, at the beginning of the present century, was a Mr. Patrick Byrne Starkey.