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Archive for the ‘PBS Movie Adaptation’ Category

Alicia Silverstone as Cher in Clueless, a modern adaptation of Emma

Alicia Silverstone as Cher in Clueless, a modern adaptation of Emma. This film still leaves me laughing, and I suspect JA would have approved of its modern Beverley Hills setting.

Do you have an account with Netflix for instant videos? How about an Amazon prime account, which offers amazing discounts as well as free postage and handling for all your prime purchases? At less than $80 per year, Prime has proven to be my best investment in entertainment.

Here are a few Jane Austen film titles that have become available for instant streaming. These keep changing every six months or so, and I am always on the look out. In the instance of From Prada to Nada, which is a nada good send off of Sense and Sensibility, I cannot tell you how lucky I felt that I watched the film for free.

Netflix Streaming Video – instantly available with your instant video membership

  • Pride and Prejudice 1980
  • From Prada to Nada
  • Aisha
  • Clueless
  • Emma 1996
  • Mansfield Park 1983
The 1995 film adaptation of Persuasion with Amanda Root and Ciaran Hinds is incomparable.

The 1995 film adaptation of Persuasion with Amanda Root and Ciaran Hinds is incomparable.

Amazon Prime, Instant videos free, for rent, or for purchase

  • Persuasion 1995 (free with Prime)
  • Pride and Prejudice 1940 (free with Prime)
  • Pride and Prejudice 1980 (free with Prime)
  • Emma 2009 (free with Prime)
  • Other Jane Austen film adaptations are available for rent or purchase at Amazon.
I find the 1940 adaptation of Pride and Prejudice excreble. While the actors are fabulous, this story has been changed and Hollywoodized to the point where the lines are laughable (Every hottentot can dance, instead of every savage can dance) and the ending is downright criminal (Lady CdeB acts as a willing instrument to get Elizabeth and Darcy together. I have a running hate-hate debate with a reader, who is apoplectic with the idea that I don't love this film. She keeps coming back to heap insults. Heap away! You cannot persuade me to like this film. Although I will honor anyone's positive opinion about it.

I find the 1940 adaptation of Pride and Prejudice execrable. While many of the supporting actors are fabulous, even brilliant in parts, this story has been changed and Hollywoodized to the point where the lines are laughable (every “hottentot can dance”, instead of “every savage can dance”), and the ending is downright criminal. I have a running almost 2-year debate with a sometime visitor to this blog who is apoplectic at the idea that I don’t love or respect this film. She keeps coming back every once in a while to inform me that I don’t know sh*t from Shinola when it comes to the fine art of 1940s  film making, and that I wouldn’t be able to discern a donkey’s ass from that of a thoroughbred’s. (My terminology, not hers, but you get the idea.) Insult away, my dear! You cannot persuade me to like this film. Although I will respect anyone’s positive opinion about P&P 1940, it simply isn’t mine.

My rant about P&P 1940 brings to mind some of the worst moments in Jane Austen film adaptations. Here they are in no particular order:

The incomparable Edna Mae Oliver as Lady CdeB, co-conspirator and romantic at heart

The stellar Edna Mae Oliver as Lady CdeB, a softie romantic at heart

1.) Pride and Prejudice 1940: Laurence Olivier (not yet a Sir) as Darcy persuades the incomparable Edna Mae Oliver as Lady CdeB to become his accomplice in winning Elizabeth Bennet over. In other words, Lady CdeB turns out to be crotchety but NICE. The writers and producers of this film should have been made to apologize to every student who watched this film to write a book report and who received an F for getting the ending so dreadfully wrong. They subverted the students’ rights to NOT read the book and opt for a C or a D by watching the movie instead. In addition, 35-year-old Greer Garson was closer to Mrs. Bennet’s age of 41 or so than Elizabeth’s age of 19. And throughout the film good old Larry O resembled a wood mannequin in posture and facial expressions. In my humble opinion, our pinch-faced Larry and his near geriatric Greer had almost no chemistry between them. Let’s not even discuss the costumes.

Billie Piper as Fanny Price as Fanny Hill

Billie Piper as Fanny Price as Fanny Hill.

2. ) Mansfield Park 2007: Billie Piper as Fannie Price. *Hahahahah*. Fanny exhibiting ample cleavage in her day gown. *Loud guffaws*. Fanny athletic and running around with wild hair. *Snorts and sniggers*. Lady Bertram rising from her couch in the last scenes and showing spirit and gumption in uniting Fanny with Edmund. *WTF!?* An energized Lady Bertram is as egregious a change in character as a nice Lady CdeB. The reviews for this film in Rotten Tomatoes are so tepid that it has yet to acquire a ratings score. One wonders why the folks at ITV bothered to adapt this very thick JA novel and compress its tale to a bare 90 minutes. Might as well read a comic book version of MP.  ’Nuff said.

The gorgeous Frances O'Conner as retiring and shyly pretty FP.

Tall, gorgeous, statuesque Frances O’Connor as Fanny Price.

3.) Mansfield Park 1999: In this adaptation, Frances O’Connor as Fanny is more beautiful and intriguing than Embeth Davidtz as Mary Crawford. In fact, one begins to wonder why Edmund is so drawn to Mary when the lovely, worshiping and nubile Fanny is his for the taking. I won’t go into detail about director and writer Patricia Rozema’s social stance on slavery and British empire exploitation in this film, since my observations in this post are meant to be tongue in cheek and light-hearted. Let’s just say that 1999 audiences were surprised to learn that somehow our dear departed Jane had quite clearly expressed her strong feelings on the topic to Patricia.

Gasping for breath and suffering a headache from that severe, unflattering updo, poor Anne hies after her man.

Gasping for breath and suffering a headache from that severe, unflattering updo, Annie goes after her man.

4.) Persuasion 2007: (Set to the theme of Rocky.) How I pitied poor Sally Hawkins as Anne Elliot. I hope that she only had to run through Bath for a few takes. Imagine if the director hadn’t been  pleased with her stride, or if a jet’s drone ruined the scene, or if … whatever. It could not have been easy for her to race over stone sidewalks and streets in those delicate slipper and in full Regency regalia, with her hair pulled back so tightly that her ears and cheeks practically met in the back of her head. Jane Austen’s Anne Elliot would NEVER have run through town like a hoyden and debased herself for a man, not even the delectable Captain W. To quote Jeremy Northam in 1996s Emma when she made a joke at poor Miss Bates’s expense, “badly done.” Badly done, indeed.

Barefoot Lizzie swinging above the muck

Barefoot Lizzie swinging above the muck

5.) Pride and Prejudice 2005: Or the muddy hem edition. Good old Joe Wright wanted to put a different spin on P&P, so he set Longbourn House in the middle of a mud field, surrounded by a moat, and overrun by pigs, geese, and all manner of dirty, smelly farm animals. Then there’s Mr. Bennet (played by 70-something Donald Sutherland) rutting after Mrs. Bennet even though his respect for her intellect is less than zero. And who can forget the film’s breathy, candle lit American ending? – “Mr. Darcy, Mrs. Darcy, Mr. Darcy, Mrs. Darcy.” I don’t know which altered ending was worse – the one in which the co-conspirator in happiness and harmony is  Lady CdeB, or all that post-coital face licking at the end of this adaptation. This film should have been titled: Pride and Prejudice: back to nature.

P Firth is no Colin.

P Firth is no Colin.

6.) Northanger Abbey 1986: Visually, this JA adaptation is quite lovely and interesting. But the music…Gawdalmity! It is so awful that this film should be seen with the sound muted. During the 70s and 80s, the male actor flavor du jour was Peter Firth. He played Angel in Tess and Henry Tilney in NA. Why? Just because he was good in Equus and for two milliseconds, when very young, looked somewhat leading mannish? I found him so off putting as Angel and Henry that P Firth single-handedly ruined those films for me. He could have played a Mr. Collins, Mr. Elton, or John Thorpe quite excellently. As he aged, P Firth began to portray villains, which is how I always saw him. But what I can least forgive this film for are those horrid gothic scenes (which the 2007 NA adaptation picked up.) I read NA and reread it, but, other than telling us about Catherine’s lively imagination and penchant for reading Gothic novels, JA included none of those scenes. To this day, I am still waiting for a decent Northanger Abbey (and Mansfield Park) film adaptation.

Can you recall scenes in JA films that made you cringe? Do share. As always, feel free to disagree with my humble opinions, but politely, please.

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Note: Plot spoilers if you have not seen the 2nd episode! PBS is streaming each episode for a number of weeks one day after the air date. Click here to view online videos.

Review: Downton Abbey, S3, Episode Two: Being tested only makes you stronger, or platitudes don’t help when your heart is breaking.

The second episode was largely devoted to Edith, her wedding and aftermath, Matthew’s dithering about Swire’s money, Mrs. Hughes’ health, and the further deterioration of ThomasanO’brien’s relationship

Lady Edith and the wedding that wasn’t

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

For once Edith is happy and the viewer is led to believe that his time it’s Edith’s turn to shine. But woe betide the middle child, especially one who is plainer than her sisters and who so openly longs for the same good fortune and happiness as were bestowed on those prettier creatures. Poor Edith. It is pathetic to see how much she yearns for equality. “Something happening in this house is actually about me”,  she states naively.

She gazes at Sir Anthony in worship, seeing freedom from Downton Abbey and the chance to be mistress of her own house, whereas her affianced is beginning to acquire a hunted look. No wonder. Hounded at first by the earl and then by Violet, he is starting to feel as second class as Edith. I have watched this episode three times and still cannot quite understand the earl’s and dowager countess’s objections. Even today, hardly anyone blinks when a Hugh Hefner or a Donald Trump marries a woman young enough to be their daughter or granddaughter. Has anyone taken a gander at Ronnie Wood’s latest bride? Hello! She’s younger than a Beaujolais Nouveau. The age gap has always favored the man, not the woman. Therefore I’ll ask it again: What is so objectionable about Sir Anthony?

The second episode starts well enough, with a Violet quipping over the wedding arrangements: “At my age one must ration one’s excitement.” That was just about the last time I liked her in this episode. I must backtrack on my last post in which I called Violet inviolate, for I despise her behavior towards the blissful couple, calling Sir Anthony a “broken down old crock” and observing,. “Edith is beginning her life as an old man’s drudge.” What strange things for granny to say in a post war world where practically any whole young man left standing couldn’t serve in the war to begin with. And Daddy Crawley is no better, although one gets the sense that he is starting to put a good face on the situation, saying to his prospective son-in-law: “I’m happy Edith is happy, I’m happy you mean to keep her happy. That is quite enough happiness to be getting on with.” Damned with faint praise, but at least he gave it.

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

And so Edith’s big day arrives It is pathetic to see how radiant she is. “All of us married. All of us happy,” she declares. How plaintive. How naïve.

Knowing how Papa and Granny Crawley feel and based on Edith’s past track record, the viewer can sense that trouble is brewing. Even the minister seems to have swallowed a sour candy as he commiserated with the still bleating Violet, who, upon seeing Sir Anthony in the pew, says: “He looks as if he’s waiting for a beating from the head master.”

She’s some sore loser and won’t quit until she’s had the last word. This trait has been charming thus far, but there is a time and a place for everything. Violet’s like a python. Once she starts twisting and choking her victim, she’s unable to let go.

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Poor Edith, looking quite beautiful walking down the aisle. Her mother and sisters are genuinely happy for her. And then Sir Anthony drops the bomb, hyperventilating and backtracking faster than the speed of light, saying: “I can’t do it. Bye, bye y’all. Take care of my little Edie” as he hightails it out of the church.

Grannie restrains Edith from going after her man, urging her: “Let him go. Don’t stop him. Don’t drag it out. Wish him well.” But if crazy glue had been invented back then, Edith would have poured some all over herself and Sir Anthony and clung to him until they were stuck for life.

A good friend of mine pointed out an implausibility. It was clear that Sir Anthony was fond of Edith and even loved her. Would he have waited until the last-minute to cry off, or would he have sought a less public, less humiliating forum? Like the night before, for instance? Or arranged to meet Daddy Crawley that morning before everyone tramped off towards the church? Or asked that someone stop Edith from walking down the aisle so that he did not have to jilt her in front of kith and kin?

The real Sir Anthony would have done anything but humiliate Edith. This plot development smacks of “deliberate melodrama” syndrome, in which, given the choice to proceed logically or throw viewers off track, the writers chose the path that promises the most gasps and cries of outrage. I almost threw my glass of Merlot at the screen, but then thought of my liver and its enjoyment.

Laura Carmichael truly shines in these scenes, going from radiant to disbelief to grief of the rawest kind, tearing off her veil as she runs to the privacy of her room, flinging aside her tiara, and then, unable to stand the sight of her two lucky sisters, wailing: “ Look at them both with their husbands … Sybil pregnant … Mary probably pregnant.”

Hers was a raw, naked emotion and a cry of longing for a husband, her own house, a family. Now, all of it gone.

No one can console her, not even her mother.

Only a day later Anna enters Edith’s room and asks her: “What would you like me to get you?” and Edith responds, “A different life.”

My heart broke for her just a little. But what placed me firmly in Edith’s camp was this resigned yet stoic quip to Anna’s question: “Can I bring you up some breakfast?”

“No, I’m a useless spinster, good at helping out. That is my role. And spinsters get up for breakfast.

Edith’s made of stern stuff and she’s going to land on top. Mark my words. Grannie Violet takes one more post wedding dig when Carson offers to take the wedding food to the poor. “If the poor don’t want it, you can bring it over to me.” The woman who admonished Sybil with “vulgarity is no substitute for wit,” certainly could have used a dose of her own medicine.

The rest of Downton Abbey’s cast:

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Thomas and O’Brien

ThomasanObrien’s dislike for each other is taking a serious turn. Thomas uses Moseley to create trouble for O’Brien with Cora. The valet informs Cora that since O’brien was leaving the Crawley’s service, could he nominate his niece for the post instead? Cora, who doesn’t like surprises, expresses her disappointment to her maid. (Cora’s shown her steely side before when it comes to servants, such as expressing her disbelief that Bates could fully perform his duties as valet when he first arrived in Season One.)

We also get a clear sense of Robert’s lack of fondness for O’Brien and his lack of support for her. O’Brien confronts Moseley, who reveals Thomas’s role in starting the rumor. In one of the better scenes in episode 2,  O’Brien promises the footman that if he wants a fight, he ain’t seen nothin’ yet.

Daisy

Daisy is the unlikely heroine in Mary’s quest to save Downton Abbey from bankruptcy and ruin, confirming that she sent the letter for a dying Lavinia to her daddy, a letter that Matthew was certain had been counterfeited. Daisy’s been angry at Mrs. Patmore for not honoring her promotion to cook’s assistant, not knowing that the Crawleys at this point have less money than William’s farmer papa. I find her anger to be cute but petulant, like a kitten not getting its way. C’mon, Daise! The tarot cards and Ouija board say that you are going to inherit a rich yeoman farmer’s assets some day. Stay the course, girl, and you’ll be able to rent Downton Place in the near future.

Lavinia Swire’s Daddy’s Money

Chemistry twixt Matthew and Mary

Chemistry twixt Matthew and Mary

Lavinia Swire’s daddy’s fortune causes a heap of troubles twixt newly wed Mary and Matthew. Am I the only one who thinks their scenes in this episode are stiffer than starch and have about as much chemistry as two brooms in a closet?

It was Robert and Matthew who provided the real romance in this episode, or, more correctly, a splendid bromance moment. When Matthew offers to fork over his inheritance to Robert, the earl rejoined teary-eyed: “Don’t be silly you’re not going to give me any money. What I will allow is for you to invest in the place.” Matthew’s scenes with Robert and Tom, with whom he plays pool, were more passionate than his with Mary. (She hasn’t been able to give off smoldering hot looks since Pamuk’s arrival in Season 1 at the hunt.)

Isobel and Ethel

Isobel Crawley remains a peripheral figure, always looking for something worthwhile to do, in this instance converting ho’s into respectable underpaid working women. Poor Ethel is in a very bad way and trapped in a downward spiral. Fallen women without a family had few choices back then, which was to starve,  sell their bodies, or enter a workhouse. Shame prevents Ethel from seeking help, yet desperation forces her to come out of hiding to ask for aid from Isobel. I wish Matthew’s mama were given a meatier role, as in Season 1. Lately she’s come off as an irritant and, frankly, I miss her stand-offs with Violet.

Downton Place

Credit: Courtesy of © Nick Briggs/Carnival Film & Television Limited 2012 for MASTERPIECE

Credit: Courtesy of © Nick Briggs/Carnival Film & Television Limited 2012 for MASTERPIECE

The poor Crawleys. The specter of having to live in a luxurious house instead of a mansion and having to let all but 8 servants go puts the lot of them in a bad mood. Off they go a-picnicking to view the grounds of their new abode and surprise the current tenant, who probably thought he had a 90-year lease. Only Cora can see the positive side of things, which makes me wonder all the more about her back story and what makes her tick. In this scene Violet is given a couple of zingers, my favorite of which is a rejoinder to her son, who tries to find room for all the family (talk about boomerang kids!)

Violet: What about me? Where am I supposed to go?
Robert: Well we still own most of the village.
Violet: Perhaps I can open up a shop?

Mrs Hughes, Mrs. Patmore, and Mr. Carson

DA3_1_2

Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE

Without these three upper servants, Downton Abbey, the series, wouldn’t be the same. Mrs. Hughes’ worry about cancer, Mrs. Patmore’s sincere concern for her friend, and Mr. Carson’s astute reading of the situation were a joy to watch. Many worry lines were lifted off Mrs. Hughes’s brow when Cora promised the housekeeper that she would always have a place at Downton and that she would be taken care of.

But my favorite scene was the last one, in which Mrs. Hughes observed Carson singing a little ditty after learning that her tumor was benign. In the first season, Carson declared that the servants were his family. This viewer wonders: is a romance brewing between Carson and Mrs. Hughes? Stay tuned, readers.

For those who have seen the full season, please feel free to comment, but, please, no plot spoilers.

More on the topic:

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I’ll admit it: The only thing that Jane Austen and Sherlock have in common, aside from their Britishness, is PBS and the BBC, who co-produce the many excellent film series and costume dramas that Jane Austen fans enjoy. That is my main excuse for reviewing a mystery set in the modern age. After watching Season One of Sherlock,  I eagerly looked forward to Season 2. I was not disappointed with the first episode, A Scandal in Belgravia. A number of viewers in the U.K., however, were outraged.

Lara Pulver as Irene Adler, dominatrix

Parents who watched the Belgravia episode with their young children wrote to the BBC complaining about the plot – which revolved around a dominatrix – and the nudity. While no female parts were anatomically shown, a great deal of bare flesh was displayed for about 2-3 minutes. I seriously doubt that young children are able to understand the double entendres spoken by Sherlock and Irene Adler (Lara Pulver), the woman whose craftiness and intelligence equals his. Much like a championship tennis game or chess match, it is great fun to watch these two characters connive, spar, tease and flirt in a game of mental and verbal one upmanship. And so, I surmise, that the irate parents were concerned about nudity, not subtext. Frankly, I’d be more angry about the explicit violence their children are exposed to in film and on television and try to put a halt to that, but what do I know?

Irene talks nonchalantly as the two men try not to react.

The plot in the first Season 2 episode is really is not so much about solving the mystery as about Sherlock finding himself  in thrall of Ms. Adler’s devious mind. A dominatrix who possesses incriminating photos of her sexual involvement with a British royal, she is able to do mental battle with Sherlock and hold her own. Upon first meeting her, Sherlock cannot make a “read” on her, for she reveals no clues about herself. How could she? She’s naked.  And so he finds her irresistibly intriguing.

Sherlock and Dr. Watson in Buckingham Palace. Unwilling to come, he refused to dress, a fact that barely surprised his roommie.

Some critics yawned at the plot, but I think they missed the point. This episode is all about Irene Adler tempting Sherlock out of his celibacy and distracting him with sexual thoughts. The episode was purportedly written to deflect any thoughts about Sherlock and Dr. Watson engaging in a homosexual relationship. I never had such a thought, but apparently many did.

Tit for tat. Cumberbatch gets to do a partial nude scene.

Once again Benedict Cumberbatch has done an outstanding job in portraying a man who, aside from his brilliant mind, is completely off his rocker. To me he is the definitive Sherlock. No other actor, past or present (even Robert Downey Jr) can match him in my eyes. By now, Dr. Watson (Martin Freeman), has grown accustomed to his strange roommie, and can anticipate how Sherlock will react at any given moment. The two odd friends have solidified into a smooth-working team.

Sherlock refuses to visit the crime scene, but is willing to study the site via WiFi. In this scene he is lecturing the inspector for suspecting the suspect.

Guest star, Lara Pulver, is one brave actress. Not only did she perform an important scene entirely in the nude, she was convincing as the woman who could outsmart Sherlock. I was highly captivated by their interplay.

Sherlock and Irene Adler discuss the crime in her sitting room. The camera zooms in on the actual scene as the two are solving the mystery. It’s these original touches that make this series so visually exciting.

If , after reading my take on the first episode, you still think the topic of A Scandal in Belgravia is too mature for your children, I suggest that you rent a movie for your offspring, trundle them off to a different room, then sit back and enjoy one of the more weirdly satisfying and witty mystery series on TV.

Sherlock will air tonight and on May 13th and May 20th for 1 1/2 hours at 9 PM EST (or check your local listing.) PBS has also arranged a twitter party during these events. Hash tag #SherlockPBS.

The episodes will stream online at PBSs website one day after the initial air date. Click here. 

Read my reviews of Sherlock Season One here.

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Tonight PBS Masterpiece Classic presents the last installment of its homage to Charles Dickens in honor of his 200th year anniversary. The Mystery of Edwin Drood is a 120 minute special about an opium-addled choirmaster, John Jasper, who believes his nephew, Edwin, stands between him and the woman he fancies, 17-year-old Rosa Bud.

Mathew Rhys as John Jasper, Tamzin Merchant as Rosa Bud, and Freddie Fox as Edwin Drood

Gwyneth Hughes wrote the ending to this adaptation. Charles Dickens died half way through writing the novel, leaving The Mystery of Edwin Drood and the question of his disappearance hanging in the air. This Dickens tales is one of the few that I don’t like, no matter how hard I try, for I simply could not care for the characters or relate to John Jasper in any way. Of course, my opinion of the book colors my lukewarm reaction to the film.

Tamzin as Georgiana

Jane Austen film fans will recognize Tamzin Merchant as young Georgiana Darcy in Pride and Prejudice 2005. In a curious coincidence, Freddie Fox (Edwin) is the real life younger brother of Amelia Fox, who played Georgiana in Pride and Prejudice 1995.

Sacha Shawan plays Neville Landless

Your thoughts?

The Mystery of Edwin Drood will air at 9 p.m. Eastern and Pacific, 8 p.m. Central and Mountain. Check your local listings to be sure. Watch the special online starting April 16th.

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Lady Almina

Lady Almina, the Countess of Carnarvon, who lived at Highclere Castle during the turn of the century and through World War 1, had many qualities in common with the fictional Cora, Countes of Grantham in Downton Abbey. Upon Lady Almina’s marriage, her fortune staved off financial ruin for the 5th Earl of Carnarvon and helped to renovate the mansion.

Like Lady Cora, she allowed her house to be turned into a hospital for wounded soldiers, running it at her own expense.

WW1 soldier recuperating at Highclere Castle

On her orders, each wounded officer had the luxury of his own room, with down pillows and linen sheets. She  made beds and dressed wounds” (The Daily Mail).

Lady Almina put together a skilled orthopedic operation at Highclere Castle and she had very good nursing skills, so good that she was often sent some of the hardest cases.

Soldiers were nursed back to health on fresh linen sheets, propped up on fat down pillows so they could gaze out over a beautiful country park. Silver service dinners were followed by a game of cards in the library while sipping a glass of beer, naturally from the house’s very own brewery. A butler was even on hand to pour the convalescents a nip of whisky before dinner. – The Real Downton Abbey: How Highclere Castle Became a World War 1 Hospital (includes a video).

Playing games at Highclere Castle and enjoying home brewed beer

In this matter, Almina showed one of her kinder sides, for she was reportedly a terrible mother and lived largely a selfish and extravagant life until her fortune ran out. The war touched all lives and all class stratas, and not a family was left standing at its end that did not experience a loss:

“All their young men are gone,” lamented the architect Sir Edwin Lutyens of the sons of  Mells Manor, one super-romantic house in Somerset. That was in 1919 when he went to help choose the site of the village war memorial – a figure of St George on a column. The pain of the Horner family at the loss of their son Edward, the last of the male line, can be seen from his monument in the church: a moving statue of the young cavalry officer by Munnings. - The Telegraph, What Next For Downton Abbey?

For several centuries during wars and conflict, great country houses had been conscripted for medical services. One of the earliest country houses to be used as a hospital was Greenwich Palace, which was converted to a navel hospital in 1694.

During World War One:

A genuine sense of wanting to help led to many owners voluntarily turning over their houses as hospitals including the Earl of Harewood offering Harewood House, Lord Howard of Glossop Carlton Towers, Lady Baillie lent Leeds Castle and the 4th Marquess of Salisbury offering Hatfield House as he had done during WWI. – Houses as Hospital: the country house in medical service

The numbers of wounded soldiers who were returned from the battlefields of northern France and Belgium were unprecedented. It was enormously difficulty to remove wounded men from battlefields riddled with shell pocks and guarded by staggered rows of  barbed wire barriers that were miles long. Scores of soldiers who could have survived under immediate medical attention were left to die unattended.  Medics practiced triage, making instant decisions and leaving behind those who stood little chance of surviving or who could not withstand the rigors of being carried to safety. Even when soldiers were successfully brought back to camp, many had to suffer a long wait, for doctors and nurses were overwhelmed, supplies were short, and field hospital conditions were ghastly. A large number died behind the front waiting to be transported.

The soldiers who were brought back to England overwhelmed the hospitals and medical staff that were available. Auxiliary hospitals exploded around England,  many of them the country homes of aristocrats. These houses were not ideally suited for their new positions. During the late 19th century, Florence Nightingale influenced the design of hospitals, noting the importance of separating unsanitary scullery sinks from patient beds, for example, and improving cleanliness and introducing hygiene. While country houses did not provide antiseptic conditions, they became ideal havens for convalescents and for those who suffered from tuberculosis, for these patients required clean country air.

In the second episode of Series 2, the less seriously wounded soldiers or those whose injuries were healing and who needed convalescence were sent to Downton Abbey.  In real life, hospitals and convalescent houses were staffed by a commandant in charge, a quartermaster in charge of provisions, a matron in charge of the nursing staff, and the local voluntary aids, who were trained in first aid and home nursing.

To accommodate the soldiers, family members were confined and restricted to certain rooms in their own home. One would assume this would not be a hardship, since the houses were so large, but the labor shortage and the need for injured soldiers to be housed in large rooms without going up the stairs would most likely necessitate some appropriation of a family’s favorite rooms.  Lord Grantham’s library was divided, so that most of the room became a recreational space and a small section was left to him. Downton Abbey’s central hall became a dining area. Such changes must have grated on the privileged class, who, while wanting to perform their patriotic duty, could not escape encountering the hoi polloi in their daily routine.

With so many men serving as soldiers, servants were stretched thin and forced to perform duties that normally were outside of their scope and that stepped over the boundaries of etiquette. Anna helped to serve at dinner, which would have been totally unacceptable during peace time. Carson, in an effort to maintain the status quo, ruins his health and thus worsens the situation when he is laid low in bed.

Due to the war and its many effects, society was in turmoil. Social change happened on many fronts and class barriers began to blur. As men fought and died in France, women, including those who formerly worked as servants, filled their positions in factories, corporations, and farms. Great houses began to feel the pinch of being short staffed, and genteel ladies who were accustomed to being served had to cook and sew for themselves.

To feed the army, country estates converted their flower gardens to grow fruits and vegetables. At Hatfield House, the Cecil family’s “fields and private golf course were filled with trenches and a man-made swamp to create a maneuvering ground for an experimental weapon under development, the tank.”*

Isobel Crawley, once a working middle class wife – until her son, Matthew, was suddenly propelled into the position of heir to the Earl of Grantham –  finds her true calling in ministering to injured soldiers. She was trained as a nurse and had performed charity work in caring for the sick. The need for her professional services made her feel like a valued woman again. Isobel’s zealousness in converting Downton Abbey into a convalescent home placed her in direct conflict with Cora, Lady Grantham, and continued her battle of wills with Violet, the dowager Countess. Isobel’s situation was not unusual, for during this war many people of the working classes who were professionally trained found themselves in positions of superiority over gently bred women who volunteered as nurses aids.  One Indian soldier remarked with some awe that a noble British lady had ministered to his wounds and treated him as an equal.*

It was only because of the war that a former footman like Thomas would dare enter through the front door or that a doctor could serve as head of the hospital and make decisions that overrode those of the owners of the house. Lady Sybil, whose support of the suffragettes was revealed in the first series, became a VAD (Voluntary Aid Detachment Nurse), for there simply weren’t enough professional nurses to go around.

VAD Poster

In many cases, women in the neighbourhood volunteered on a part-time basis, although they often needed to supplement voluntary work with paid labour, such as in the case of cooks. Medical attendance was provided locally and voluntarily, despite the extra strain that the medical profession was already under at that time. – History of British Red Cross

VADs were trained for only a few weeks before working under professional nurses.

Only the middle and upper classes could afford to work for free, and to pay for the courses and exams that were required to become a VAD. Growing up with servants, many of these young women had never had to wash a plate or boil an egg. One girl related how amusing it was to serve tea at the hospital and then return home to have her own tea served by the parlour maid. – The Great War As You May Not Know It

VADs changed linens, sterilized equipment, and served meals, but many were also exposed to the rawer side of war and at times, when the influx of casualties overwhelmed the staff, VADs were expected to perform the duties of a professional nurse.

Red Cross VADs

VADs were generally from genteel, sheltered, and chaperoned backgrounds. Some were aristocrats, like Lady Diana Manners – the “Princess Di” of her day – reputedly the most beautiful woman in England and expected to marry the Prince of Wales. Her mother was very much against Diana becoming a VAD, as Diana states in her memoir, The Rainbow Comes and Goes. “She explained in words suitable to my innocent ears that wounded soldiers, so long starved of women, inflamed with wine and battle, ravish and leave half-dead the young nurses who wish only to tend them,” The Duchess gave in, but “… knew, as I did, that my emancipation was at hand,” Diana says, and goes on to admit, “I seemed to have done nothing practical in all my twenty years.” Nursing plunged her and other young women into a life-altering adventure. - The Great War As You May Not Know It

Serving as a VAD changes Lady Sybil, giving her a direction and purpose. Lady Edith, too, finds new meaning in an otherwise predictable life consisting of dinners, parties, and long stretches of boredom. Lady Sybil advised her sister to find her talent and pursue it, which Edith did. One wonders if Lady Mary will  find a similar passion before she throws her life away and marries a man she does not love or (we suspect) respects.

The strength of Downton Abbey’s plot threads this year is how they incorporate the roiling changes in class structure during a complex political time in which the necessities of war, the dissatisfaction of the working classes, and the continued growth of the women’s movement influenced the lives of the series’ characters. More on this topic later.

If you missed Episodes 1 & 2, they can be viewed on PBS’s site through March, 2012 at this link: http://www.pbs.org/wgbh/masterpiece/watch/index.html

Please note: You can watch Downton Abbey Season 1 on Netflix as a DVD or streaming.

Other links and references:

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For those who were so unfortunate as to miss Upstairs Downstairs, PBS has made the series available online one day after the initial airing. Click here to watch Episode One.

Ten points to ponder as you contemplate the first episode of Upstairs Downstairs:

1. Rose is back. She is the bridge between the old series and the new. (Jean Marsh was one of the original creators of the show.) Time has not been kind to Rose. Although only six years have passed since the Bellamys left 165 Eaton Place, the poor maid turned housekeeper seems to have aged three decades.

Rose now runs her own business

2. Co-creator Eileen Atkins was committed to another project when filming of the original series began, but she was available for this series. Her turn as Lady Maude Holland, the dowager mama does not quite rival Maggie Smith’s Violet in Downton Abbey, but unlike Maggie, Eileen was given a most interesting, very capable, quite mysterious and handsome secretary – Mr. Amanjit Singh.

Maude dictates her memoirs to her secretary

3.  Few series feature a monkey or a fledgling in a nest. This one has both.

Mr. Amanjit Sing (Art Malik) and Johnny (Nico Mirallegro) place the egg in a linen closet

4. Agnes and Hallam are passionately in love. I wonder if her bitchiness when talking to the servants turns him on, or is it her thriftiness?

Passion in Eaton Place (Keeley Hawes and Ed Stoppard)

5. Like Downton Abbey, there seems to be a foreshadowing of a relationship between the chauffeur and his young mistress, in this instance, Agnes’s sister, Lady Persie, a rebellious though uneducated minx.

Harry (Neil Jackson) and Lady Persie (Claire Foy)

6. What self-respecting viewer can resist a series that features both the family jewels and a home renovation?

The Holland Jewels

7.  We are given one more reason to despise Wallis Simpson.

Instead of the King, Wallis brings Her Ribbentrop (Edward Baker-Duly) to the party

8. A mystery is afoot. Will Johnny the footman, whose passion for the nubile (but very underage Ivy) has put him in the clinker, be able to highfoot it back to Eaton Place?

Ivy (Ellie Kendrick) turns out to be a tease.

9. Will we ever warm up to Pritchard and Mrs. Thackeray? Or will our fond memories of Mr. Hudson and Mrs. Bridges stand in the way? And where was Georgina (Lesley Ann Downe)?


10. Shall Episodes 2 & 3 firmly answer the question: Which series is better, Downton or UpDown? Inquiring minds want to know. Vote here.

Ivy meets Lady Holland

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A good reviewer is not supposed to give the game away early, but I can’t help but gush: If you haven’t seen Any Human Heart when it aired on PBS, you will have an opportunity to watch the episodes online the Monday after its initial showing, from Feb 14 to March 22, and two more weeks to catch the last two episodes on screen (February 20 & February 27).

Some critics have dismissed this mini-series as another Forrest Gump story, wherein the fictional hero moves through the 20th century and rubs shoulders with famous people. I can assure you that this is the only trait that these two movies have in common, for one is filmed from the perspective of magic realism and the other is a gritty view of a man’s life and his failures and successes. I began to watch the first episode of Any Human Heart when I had the time to view the DVD from start to end. I was glad that I had five free hours, for I could not stop watching it. The opening credits had a similar feel to the opening of Mad Men, which clued me in that this mini-series would not offer a one-note plot (I have not read William Boyd’s book, but intend to), and that cigarettes would be used as a prop. I was right.

We meet Logan Mountstuart almost immediately in all of his personifications (in misty watercolor memories) – from childhood,

Conor Nealon as Logan Mountstuart, youth

to young man,

Sam Claflin as Logan Mounstuart, young man

to mature man,

Matthew MacFadyen as Logan, mature man

to an old man reminiscing about his life.

Jim Broadbent as an old Logan

“I’m all these different people,” he thinks as the camera pans to a misty scene of a river bank. ”Which life is truly mine?”

The three Logans on the river bank

Logan rummages through the detritus of his life, burning memories (much as Cassandra Austen burned her sister Jane’s letters) and looking over his journals. “Your past never leaves you,” he says early on.

Burning memories

There are many reasons to watch Any Human Heart, not the least of which are the performances.

Matthew MacFadyen


Logan is a flawed, egotistical man whose ambition to write his great novel eludes him. Too often he is ruled by his heart, not his head, and he is easily influenced by external events and his own and other peoples’ desires. Matthew captures this man perfectly. We see him happy and content only with Freya.

Freya (Haley Atwell) and Logan

For the rest of his life he compromises, and it becomes a struggle. Not that his love story with Freya is without fault, for Logan leaves his wife and son to be with her. I am a child of divorce whose father never bothered to come and visit, and so I thought myself incapable of feeling much empathy for a man who abandons his son and sleeps with his friend’s girlfriend and wife, but Matthew MacFadyen’s performance had me riveted.

End of Logan's first marriage with wife #1, Lottie (Emerald Fennell)

Logan’s character is complex, and Matthew portrays all his shades in such a way that, although I found Logan’s actions often repellent, I also felt sorry for the choices he made and how the plans of his youth unraveled. “Life has to be encountered with an ignorance of sheer faith.” Ah, Logan.

Jim Broadbent

During the first two episodes, Broadbent’s role as Logan in old age is largely silent, but in this actor’s skilled hands, the viewer knows exactly what is happening and why.

Mature Logan (Jim Broadbent) in France

When Broadbent finally takes center stage in the third episode, the final chapter of Logan’s life is told. Now old and bent and poor again (for his assignments as a reporter have dried up), he has taken to eating dog food to stay alive and selling newspapers for a radical group.

Logan selling radical newspapers

The older Logan reviews his life through the lens of knowledge and experience, and what he sees and remembers makes him wince. “We never stay the same person. We change as we grow older. It’s part of the story of our life.”

Gillian Anderson

With The King’s Speech up for a gazillion awards, this is a propitious time to portray Wallis Simpson, and Gillian has taken on the part with gusto.

Wallis Simpson, Duchess of Windsor

Gillian Anderson as Wallis Simpson

Gloria Swanson in Sunset Boulevard

At any moment I expected her to morph into Gloria Swanson and say “All right, Mr. DeMille, I’m ready for my closeup” or perhaps Morticia, I can’t decide. Not a single person in my social group admires Wallis Simpson, for her reputation as a sexual predator and icy fashionista, and knowledge of her dominatrix control over David have preceded her. Neither the Duchess nor Duke of Windsor come off well in this production.

Wallis spies Logan at a gathering and spews venom

The viewer can think of their story line as Chapter 2, after David abdicated as king in The King’s Speech. As for Gillian, she is carving out quite a career for herself in these spectacular BBC and PBS dramas, and I can’t wait to see more from her. Her performance in this series is over-the-top dramatic, but then wasn’t Wallis herself?

Kim Cattrall

The same goes for Kim, who has recently been flexing her acting muscles onstage in London and in substantial parts such as My Boy Jack and as Gloria Scabalius in this production. She (and Gillian for that matter) show no vanity, allowing themselves to be filmed with makeup that is too white and heavy, as middle aged women who were once beautiful are often wont to do, and play the parts of cougars.

Kim Cattrall as Gloria Scabius, predatory female

In Kim’s case this is literal, as her character, Gloria, has the habit of leaving her mark on her men. She cheats on her husband (Peter Scabius, Logan’s friend), and goes after Logan like a heat-seeking missile.

Kim as Gloria in full cougar regalia

Her final scenes with Logan are full of pathos. (I could not help but think of an ailing Liz Taylor or Zsa Zsa Gabor.) Perhaps Kim will shrug off the bad after effects of that excruciatingly awful film, Sex in the City 2, and accept only meatier roles from now on.

Tom Hollander

Gillian Anderson as Wallis and Tom Hollander as the Duke of Windsor, who needs reminding that he has met Logan before.

You just have to love an actor who is willing to play a weak, self-indulgent, and dangerous man, and capture that personality to a tee. Tom Hollander’s performance as The Duke of Windsor personifies what I think of the former king. As a teenager I read several biographies about the Windsors, thinking like so many others that the king’s willingness to abdicate his throne for the woman he loved was romantic. Well, it was not.

The odd, self-important couple in Nassau.

The Duke and Duchess of Windsor toadying up to Adolph Hitler

In this series we see the Windsors for what they are: willing to ruin other peoples’ lives and to use others in order to maintain their self-important but insignificant status. They were stupid and dangerous snobs who hobnobbed with carpet baggers, the nouveau riche and dangerous factions. Tom Hollander portrays the duke as a mighty mite, and he does it perfectly.

Haley Atwell

Haley Atwell as Freya Deverell, Logan's wife #2

One can believe that a man can lose his head, senses, and heart to a woman as beautiful as Freya (Haley). She’s smart, totally in love with her man, and too good to be true. Plus, she smokes as much as Logan. (Some of the scenes were so Bette-Davis-1930′s, where the man offers to light the woman’s cigarette, and so much can be said cinematically through the gestures of a cupped hand touching the other and looks of longing behind curtains of smoke.)

Logan meets Freya, a smoking hot newspaper woman

I don’t think I have ever seen an actress look lovelier in 1940′s dresses than Haley, and in this role she is the personification of Logan’s idea of a perfect woman. As he said,  ”Time away from Freya is time lost forever.”

Charity Wakefield as Land Fothergill (Logan's first love) and Sam Claflin as young Logan

The cast of Any Human Heart is so strong that I could continue gushing for another hour. I suppose this mini-series might not be everyone’s cup of tea, but I certainly will be watching it again. Simply put, I found it outstanding.

Tess (Holliday Grainger), Logan's first lover

Emerald Fennell as Lottie, Logan's first wife

Natasha Little as Allanah Mountstuart, Logan's 3rd wife

Logan, Gloria, and Lionel, Logan's son (Hugh Skinner)

Tobias Menzies as Ian Fleming

Julian Ovenden as Ernest Hemingway

Samuel West as Peter Scabius, Logan's successful friend

More on the topic:

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Highclere Castle as Downton Abbey was a beautiful setting

Now that the last episode of Downton Abbey has aired, I can reflect back on the series and revisit some of the most surprising scenes. Indeed, the unexpected plot developments, which kept the viewers on their toes,  helped to make this series so unforgettable. Throw luscious costumes into the mix, stunning locations, a wealth of detail about Edwardian life, and great acting and you get one of the best costume dramas in recent years. Oh, the series had its faults with one or two too many stereotypical characters, but overall I give it a grade of A.

Reader alert: Spoilers!!

Surprise #1: Thomas kisses the Duke

Thomas (Rob James-Colier) and the Duke of Crowborough (Charley Cox)

This scene, which upset parents watching with their children, helped to seal the character of Thomas, the first footman, and clued the viewer into the the Duke’s motives for hightailing it to Downton Abbey when he thinks Mary will come into a boatload of money.

The duke learns the true situation of Lady Mary's finances from Lord Grantham.

The Duke finds and burns Thomas’s letters, which were the footman’s only means of blackmailing him, and then he scurries away the moment he discovers that Lord Grantham’s estate is entailed to the closest male heir, making his chance to marry into the Grantham fortune less than zero. Thomas goes on to demonstrate his sleazy character in many more ways, but his move on the Duke packed a real punch.

Surprise #2: Lady Mary is not just another cookie cutter heroine

Michelle Dockery as Lady Mary Crawley

From the moment we meet her, Lady Mary comes off as a cold, calculating, and complex woman, whose vulnerability does not come into full view until the third episode. When the viewer meets her, she worries about having to wear black after the death of her fiance on the Titanic and only mourns the fact that she cannot mourn him. Haughty and immodestly aware of her attraction to men, her pursuit of a wealthy and titled husband begins to take on a hint of desperation, which is why her fall from grace with Evelyn Napier’s attractive Turkish friend, Kemal Pamuk (Theo James), is even more shocking.

Surprise #3: Lady Mary, Lady Cora, and Anna share a terrible secret that cannot be contained

Lady Mary is in deep trouble after Pamuk dies in her bed.

The scene in which Pamuk dies in Lady Mary’s bed and the women secretly carry him back to his bedroom could have descended into slapstick comedy, but it did not due to great directing and acting. As I watched, I didn’t know whether to laugh, cry, or whoop it up. All I knew was that in no way did I anticipate this plot development, which would affect Mary’s story arc and uneasy relationship with her mother for the rest of the mini-series.

Consequences of Lady Mary's fall from grace. Anna and Cora carry Pamuk back to the bedroom.

Handsome Pamuk is reduced to a limp corpse. And Mary? What on earth was she thinking? When Matthew finally proposes, Cora reveals to Violet that Mary wants to confess about the circumstances of Pamuk’s death, prompting the dowager to exclaim:  ”She reads too many novels. One way or the other, everyone goes down the aisle with half the story hidden!”

Surprise #4: The Enjoyable Saga of One Upmanship Between Two Well-Matched Battle Axes

Violet, the dowager countess (Maggie Smith) and Isobel Crawley (Penelope Wilton), Matthew's mama

Violet and Isobel: Two strong-willed women, both firm in their belief that they are right, one with modern notions, the other clinging to old-fashioned ways, provide a colorful but minor story line. Isobel Crawley, despite her comparative lack of social status (when matched against the Dowager Countess), manages to make her will known and felt. Violet can only sputter and rage at Isobel’s interference, and she finds scant satisfaction in proving Isobel’s diagnosis and treatment of Molesley’s skin condition wrong. But Isobel was not born yesterday, and at the Flowershow Death Match she shames Violet into giving the trophy for best roses to Molesley’s papa, instead of appropriating it as her own for the umpteenth time.

Violet graciously gives this year's prize to old Mr. Molesley.

In their scenes together,  Penelope Wilton  gave the incomparable Maggie Smith a run for her money. The enjoyable interplay between these two marvelous actresses was as surprising as it was worth watching.

Surprise #5: Cora’s Pregnancy

Lord Grantham's surprise at learning of Cora's pregnancy. (Hugh Bonneville and Elizabeth McGovern)

Did you see this scene coming? I did not, although it made sense, for this unexpected pregnancy explains much about the entail and why Matthew Crawley was only the presumptive heir and therefore essentially helpless in changing his situation. As long as the earl could possibly sire a son, Matthew’s claim to the inheritance would remain tenuous. The entail could not be broken for the Grantham was still  a healthy and virile man, as this scene shows. The pregnancy led us to discover…

Surprise #6:  O’Brien’s True Malevolent Impulses

Cora (Elizabeth McGovern) holds the fatal bar of soap

O'Brien shoves the bar of soap in harm's way.

Cora’s fatal flaw was in thinking that she and O’Brien had developed a mutual friendship and trust. While Cora receives glimpses of O’Brien’s true character, she never fully understood the anger and insecurity that her ladies maid harbored. O’Brien’s pang of conscience about shoving the broken half of the bar of soap from under the bath tub came too late, and Cora slipped and fell, losing the male heir that she and Lord Grantham so desperately wanted.  O’Brien’s dark impulse was for naught. Cora wasn’t actively looking to replace her, but only helping her mother-in-law in hiring a new ladies maid. This surprising news hit the viewer at the same time as it did O’Brien.

O’Brien’s momentary second thought comes too late. (Siobhan Finneran)

Surprise #8: The Spiteful Tug of War Between Two Sisters

Lady Edith (Laura Carmichael) realizes that her sister Mary was behind Lord Strallan's cool departure.

At first the viewer felt a great deal of sympathy towards plain Lady Edith, who was only to happy to go after Lady Mary’s leavings. But as the mini-series progressed, the viewer came to understand just how much animosity the two women felt towards one another and how far they would go to extract their revenge, Lady Edith writing the Turkish embassy about Mary’s part in Pamuk’s death, and Lady Mary sabotaging Lady Edith’s happiness with Sir Anthony Strallan, who was about to propose.

Lady Mary salutes her triumph over Lady Edith.

In the end, neither sister came up smelling like a rose. The surprise was that their story line was written so well that many viewers came away feeling sympathy towards both women.

Surprise #9: Lady Sybil’s Firm Stance Behind Women’s Rights

Lady Sybil (Jessica Brown-Findlay) urges Gwen (Rose Leslie) to keep trying to find a job as a secretary

Lady Sybil’s story arc did not truly begin until the second episode and reached its full glory in episode four, when she is struck during an election rally and is carried from the scene bleeding.

Matthew Crawley and Lady Sybil at the election rally

A smart, independent, and kind woman, one can only hope that Lady Sybil’s character gains traction in the second series that is currently being filmed. The surprise here is that quiet, sweet Lady Sybil is truly the most daring and courageous of the three sisters. Jessica Brown-Findlay has true star status, and any time she came on the small screen, she lit it up.

Lady Sybil's daring new harem pants.

 

The family reacts to Lady Sybil's harem pants. Priceless.

Surprise #10: The ending

 

Lord Grantham, "I regret to announce we are at war with Germany."

Obviously a second series is in the works, for the story line is left hanging. World War I has broken out, causing consternation among the group.

Matthew refuses Lady Mary's acceptance of his proposal after her baby brother's death, and vows to leave Downton Abbey to make his own way.

Lady Mary accepts Matthew’s proposal, but he refuses her, unsure of whether the baby’s death had anything to do with her acceptance, and he declares his intention to leave Downton Abbey and make his own way in the world. Lady Mary, in a Scarlet O’Hara moment, realizes too late that she waited too long to accept Matthew.

Lady Mary understands she has made a mistake in waiting so long to accept Matthew's proposal.

Bates,  who cares for Anna as much as she cares for him, refuses to discuss his wife’s whereabouts with her.

Bates (Brendan Coyle) and Anna (Joanne Froggat) find themselves in the throes of bittersweet love.

And so, the viewer must wait an entire year to see what will happen to the characters in Downton Abbey, testing our patience sorely.

None too soon, Thomas announces his resignation to Mr. Carson and Mrs. Hughes

In addition to my ten choices, there were other surprises and great story arcs in Downton Abbey: Cook’s failing eyesight and the operation that saved it, Daisy’s blindness towards Thomas’s true character, which leads her to lie,

Daisy is haunted by what she saw in the corridor and her lies about Bates.

Mrs. Hughes’s longing for her own family, which made her momentarily receptive to an old flame’s advances, and Mr. Carson’s past as a performer, of which he is ashamed.

Mrs. Hughes says no to Joe, an old flame (Bill Fellows).

For those of you who missed certain episodes or who would like to watch the series again, PBS has made it available for online viewing until February 22. DVD’s are also available for sale.

My question to you is this: Of all the characters and story lines, which was your favorite? Please feel free to leave a comment.

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Tea is always served by the host/hostess or a friend, never by servants. Tea is never poured out, then passed several cups at a time, the way coffee may be, because it cools very quickly. Instead, it is always taken by the guest directly from the hands of the pourer.” – Etiquette Scholar

The ceremony of making tea is almost always included in costume dramas like Downton Abbey or a Jane Austen film, such as Emma. When Maggie Smith as the Dowager Countess of Grantham invited her daughter-in-law, Cora (Elizabeth McGovern), to the Dower House for tea in Downton Abbey, the arranged time was most likely at four o’clock in the afternoon.

 

Cora and the Dowager Countess sit down to tea

In one particular scene, the two women entered the drawing room in which a small table had been laid out with an elaborate tea set, fine china, and silver spoons. An assortment of tiny sandwiches, cookies, and scones were arranged upon a beautiful batttenburg lace tablecloth that covered the table. Low tea (an Edwardian dowager would never have said high tea) was meant to blunt the appetite before dinner.

The duchess pours boiling water over the tea leaves in the tea pot

A tea ceremony provided an intimate setting between the hostess and her guests, for it was the hostess who prepared and served the tea, catering to each guest and handing them their custom-prepared tea one cup at a time. In this time honored ritual, one of the most important questions the dowager would ask was: “Would you care for weak tea or strong tea?” Cora’s preference would guide the Countess in the next stage of tea preparation, for if she said “strong tea,” then the Dowager would pour the tea as she had prepared it into Cora’s cup. Had Cora said “weak tea”, the Countess would pour a smaller quantitiy of the brew into the china cup, then top it off with hot water.

Cora eats a crustless sandwich as her mother-in-law prepares the tea

The Dowager would then ask her guest how much milk and sugar to add. She would have poured boiling water over the tea leaves in a tea pot, and steeped the leaves for three minutes, all the while conversing with her guests. At this point the water was no longer boiling. Then the Countess would pour in the milk. (If she poured it in first, she would have found it difficult to judge the strength of the tea by its color.) Hudson, the butler in Upstairs, Downstairs, said about pouring milk into tea: “Those of us downstairs put the milk in first, while those upstairs put the milk in last.”

In this instance, the Dowager leaves her guest in the middle of serving tea, a faux pas

History of Low Tea

On September 25, 1660, Samuel Pepys recorded: “did send for a cupp of tee (a China drink) of which I had never drank before.” By June 1667, tea was considered to be a healthy drink. One day Pepys arrived home to find his wife making tea, which his apothecary had found good for her cold.

Emma, 1996 (with Kate Beckinsale). Emma and Harriet drink tea during Mrs. Elton's first visit

Samuel Johnson was a self-described “hardened and shameless tea drinker, who has, for twenty years diluted his meals with only the infusion of this fascinating plant; whose kettle has scarcely time to cool; who with tea muses the evening, with tea solaces the midnight, and with tea welcomes the morning.” His chronicler James Boswell observed that “It was perfectly normal for him to drink sixteen cups in very quick succession, and I suppose no person ever enjoyed with more relisht the infusion of that fragrant leaf than did Johnson.”

Silver tea set by Odiot, Paris, circa 1880. Image @A.Pash and Sons, Mayfair

Until the 1760′s, only the rich could afford teapots, which were made of silver. Then in 1765 Queen Charlotte commissioned Josiah Wedgwood to create a tea service made from his quality cream colored earthenware, which he named Queen’s Ware (with the Queen’s permission, of course) and gave to her as a gift. From that moment on he was the Queen’s potter. Wedgwood’s creamware was thin, attractive and durable. After receiving the Queen’s patronage, his firm became quite famous. The attractive new tableware quickly became popular, and by 1775 other manufacturers, including those on the Continent, had widely copied Wedgwood, imitating Queensware and creating increasingly fanciful teapots. It is said that this tableware was instrumental in spreading the popularity of tea.

Wedgwood Queensware, c. 1790. Image @Christies

In 1840, the Duchess of Bedford began serving tea with refreshments in the afternoon to appease her appetite before dinner, and the custom of afternoon tea, or low tea, took off. To read more about drinking tea between the 18th and mid-19th centuries, read my post about Tea in the Regency Era.

Some interesting facts about tea:

  • Notice, this is a change: The difference between high tea and low tea: Low, or afternoon, tea is served at four o’clock with light snacks, such as sandwiches, cookies, and scones. High tea is a full meal served with tea, including meat, bread, side dishes and dessert on a table of regular height. Hence high tea.

16th century tea bowl, Korea

  • Tea cups at first were fashioned after Chinese bowls without handles or saucers. In the mid 1750-s, a handle was added to prevent ladies from burning their fingers.
  • A saucer was once a small dish for sauce. During the Dowager Countess’s day, it was acceptable to pour tea into a cup’s saucer to cool the beverage before drinking it.
  • In the late 17th century, a lady would lay her spoon across the top of her cup to signal that she was through drinking. Other signals included turning the cup upside down, or tapping the spoon against the side of the cup.
  • Filling the cup with tea almost to the rim is considered a faux pas.

"Might I give you this cup?" The Dowager hands her tea to Moseley while visiting Matthew Crawley.

Sources:

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Matthew Crawley and Lady Mary stroll through the town, Episode 3

While it is popularly known that the interior and exterior scenes of Downton Abbey were filmed in Highclere Castle, the market town of Brampton, where the scenes of the town were shot, is not so well known. Bampton is located in Oxfordshire and was chosen because “the village provided an authentic backdrop close to London.”*

Matthew (Dan Stevens) and Mrs. Crawley (Penelope Wilton) arrive in their new home

Yesterday, villagers gathered outside St Mary’s Church to watch Penelope Wilton, who plays Mrs Reginald Crawley, and Dan Stevens, who plays her son Matthew Crawley, arriving at the family home.

Ms Wilton said: “This is one of the prettiest villages I have ever been to. It feels like living in a timewarp.”*

The film crew was not able to hide all 21st century influences. Notice the t.v. arial

 

Drama as Modern Life Intrudes in Hit TV Show discusses the difficulty of filming a period movie in a location, and viewers “have spotted a TV aerial on a roof, electricity pylons, a modern conservatory and double yellow lines on a road.” One villager remarked, “nothing is ever perfect.”

Bampton (St. Mary's Church in the background), 1965. Image @Francis Frith

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Inquiring reader: Sit back, relax, and grab a cup of coffee or a glass of wine! This is a long post about foxhunting. (Note: because of the helpful suggestions from equestrian readers, crucial edits have been made.)

Downton Abbey (Highclere Castle) and the start of the hunt

The fox hunting scenes in PBS Masterpiece Classic’s Downton Abbey fascinated me and prompted me to ask: How accurate was the depiction of this sport? Aside from the fashions, how different was fox hunting in the Edwardian era from the Regency era? And what happened to that wily fox, whose odds of escaping a score of determined hunters and a pack of excited hounds must have been close to zero? Or were they? My research uncovered a few interesting bits of information:

Hounds milling before the hunt. Notice William with refreshments. Downton Abbey

Description of the Hunt:

In 1910, 350 hunts existed in Britain, almost twice as many as today. Foxhunting was one of the few country sports in which women played an active role. It had become so popular that foxes were even imported from Europe to meet demand. The anti-hunt movement was a fledgling organisation concerned largely with horse beating and vivisection. For the vast majority, fox-hunting was seen as a harmless and ancient tradition. – Manor House

Before the start of an Edwardian hunt. Image @The Antique Horse

The Master will sound his horn and he and the hounds will take off on the hunt. Everyone else follows. The hounds are cast or let into coverts, which are rough brush areas of undergrowth where foxes often lay in hiding during the day. Sometimes the huntsmen must move from covert to covert, recasting the hounds until a scent is discovered. Once the hounds pick up the scent of a fox, they give tongue. The hounds will trail and track for as long as possible. Either the fox will go to ground or find an underground den for safety and protection or the hounds will wear him out and overtake him in a kill. Temperature and humidity are huge factors in how well hounds keep the scent of a fox. Often the chase involves extreme speed through brush and growth. A rider will need to be skilled in racing, jumping brooks, logs, brush, and the horses must be in excellent condition as well.”  - The history of fox hunting

Moving accident by flood and field

Moving accident by flood and field

Filming the Fox Hunt for Downton Abbey:

While the crew were at the castle they filmed various scenes, inside and out. Lady Carnarvon explained that on one particular day they filmed a hunt. “It was wonderful. It was a beautiful day on the day they were doing it too. The funny thing is the one thing I asked them not to do was go across the lawns because there was to be a wedding. They started very early and they were all hanging around. They were going up and down for hours on end, and then suddenly just out of the laurel bushes went a fox – a real fox. The fox took off towards the secret gardens and the hounds turned in full pursuit. The fox wasn’t caught. It just ran off. The hounds were eventually brought back having gone through a couple of cold frames in the garden. I could see the location manager thinking that is the one thing I asked them not to do,” she laughed. – Highclere Castle is the star of the screen

Dirt dog work, circa 1560

History of the Fox Hunt:

Talk of horses, and hounds, and of system of kennel!

Give me Leicestershire nags, and the hounds of old Meynell!

While Hugo Meynell is widely considered to be the father of modern foxhunting as we know it today (his Quorn Hunt between 1753 and 1800 was quite fashionable), hunting foxes with hounds was not new. Evidence exists that fox hunting has been practiced since the 14th century. In 1534 a Norfolk farmer used his dogs to catch a fox, which consisted of hunting on foot and trailing the animal back to its den. Foxes were thought to be “vermin” and left to commoners to hunt. In those early times, royalty and the aristocracy hunted stags, or deer, which required great swathes of open land and an investment in horses, hounds, and stables. Considering the chasing and killing of vermin to be beneath their status, the aristocracy continued to chase stags until these animals became scarce.

Hunting with hounds on foot

Hugo Meynell began breeding hounds that could keep up with the foxes at the same time that an increased number of 18th century men could devote their time to leisurely pursuits. Consequently, the sport of fox hunting began to take off. (See Rowlandson, The Humours of Fox Hunting: The Dinner, 1799 for a depiction of a group of men enjoying the after effects of a hunt.)

There were no formal hunt clubs during this period. Rather, large landowners kept hounds that accompanied them on private hunts. The hunts were not very effective in controlling the number of foxes in any given area, but the sport was safer than the practice of using spring traps, which could snare a human as well as a fox. (Animal traps from the 16th century. )

 

18th century spring trap

By the early 19th century, a more formal style of foxhunting began to be organized. Roads and railways had cut the land into smaller portions, and it became more convenient for rich landowners and their guests to hunt foxes. Railways also gave a larger number of people in towns and cities easy access to the countryside and an opportunity to join in the sport.

The rising middle clases, eager to improve their social standing, joined the clubs, and by the late 19th century the sport had reached the height of its popularity. In fact, the demand for foxes was so great that some hunts were called off if the probability was high that the fox would get killed. Foxes were so scarce that a large numbers of the animals were imported from Europe to be sold in England.

The Bilsdale Hunt. Image @MSNBC.com

The oldest continuous fox hunt in England is the Bilsdale Hunt in Yorkshire, established by George Villiers, the Duke of Buckingham in 1668. Since 2005, foxhunting with hounds has been illegal in Britain, but there are groups that are still unhappy with this turn of events, for foxes are still allowed to be hunted and shot in England. Supporters of the foxhunt state that organized foxhunts never caught enough foxes to affect the total population and that the kills were clean. In addition, foxhunting supports a minor economy of farriers, grooms, horse stables, dog kennels, trainers, veterinarians, shops, inns, taverns, and the like. Since it became organized, the hunt also provided a spectator sport to local villages and market-towns and inspired railroads to expand their services so that participants could join the hunts and travel up and back within a day. The landscape also benefited from the hunt in that landowners planted low bushy coverts for the foxes and maintained their hedges to facilitate jumps. – Encyclopedia of Traditional British Rural Sports: History of Fox Hunting

 

Foxhunting Schedule:

Fox hunting began on the first Monday of November; traditionally a hunt was held on Boxing Day (Dec 26).

In the early morning workers stopped up the holes of the dens where the foxes rested, forcing these nocturnal animals to find shelter above ground during the day.

Around 11 a.m. the riders (field) would assemble, with around 40-50 hounds.

The Master of the Hounds was in charge of the hunt and supervised the field, hounds, and staff. The huntsman, who had bred the hounds and worked with them, would be in charge of the pack during the hunt.

Chasing the fox. Downton Abbey

Once the group was assembled, the hunstman would lead the pack of hounds and field to where a fox might be hiding. When the fox was flushed out into the open, the group would pursue the fox, with the huntsman leading the group. The field would follow at a gallop and watch the hounds chase down the fox.

When the fox was cornered, the hounds took over.

Hunt festivities included lawn meets, where food and drink were served to the people who gathered together, and hunt balls.The cost of horses, outfits, and operating expenses made the activity prohibitive for those with limited means, and only those with a great deal of money could afford to participate. - What Jane Austen Ate and Charles Dickens Knew, Daniel Pool – p171-173

Women and Foxhunting:

Waiting for the hunt to begin, Downton Abbey

Few women rode in a fox hunt during the Regency period. It took great skill and courage for a woman to join the hunt, for in those days the side-saddle lacked the leaping horn, which offered a more secure seat and made taking fences safer.

The Inconvenience of wigs, Carle Vernet. Image @Yale University Library

By the mid-19th century, women began to join in the sport in greater numbers. An article written by Catriona Parratt discusses women’s involvement:

“Preeminent among these activities was foxhunting, one of the few sports for which there seems to have been no rigidly prescriptive code limiting women’s participation. In fact, some women embraced the sport with a zest which was evidently not considered inappropriate. This may be explained in part by the extreme social exclusivity which attended to the leaders of the foxhunting set. Members of the aristocracy and the upper middle classes were probably sufficiently secure in their status to ignore, to some extent, more bourgeoise notions of respectability… According to one enthusiast, 200 riders was considered a poor turn out, while few meets attracted less than 100 men and women. A figure of thirty women is given in an account of the Tipperary Hunt in the 1902 season, but the overall evidence is very impressionistic…

There are also several accounts of women achieving the honour of being the first to ride in at the death of the fox, something which seems not to have offended their supposedly more delicate sensibilities. In a 1900 meeting of the Dartmoor Pack, the brush [tail] was awarded to a Miss Gladys Bulteel, of whom it was noted that her pony “was piloted with exceptional skill,” while in a previous month’s run of the same pack, a Miss Dorothy Bainbridge claimed the coveted trophy. None of this is to suggest that women participated in equal numbers or on equal terms with men… Rather, it is clear that some women were active, enthusiastic, and skillful participants who were drawn to the sport by “the enjoyment, the wholesomeness, even the nerve-bracing dash of danger.” - Athletic “Womanhood”: Exploring Sources for Female Sport in Victorian and Edwardian England Cartriona M. Parratt*, Lecturer, Dept. of Physical Educ

Kemal Pamuk (Theo James) meets Lady Mary

Comments about the Fox Hunt in Downton Abbey from the Horse and Hounds forum:

As I researched foxhunting, curiosity led me to a discussion forum at the Horse and Hounds website. I wanted to know what the experts thought of the foxhunting scenes in Downton Abbey. Here they are in a nutshell, with the names of the individuals taken off:

Master of the Hunt sounds the call

They should have told that daft lady [Mary] side saddle person to put a bloody thong and lash on her hunting whip and hold it the right way too..thong end up please. Suppose we should be grateful it was’nt filmed in high summer! And WHY film the field and hounds all mingled but apparently in full cry..UUURRRGGGHH it drives me nuts.”

“Not unless they have a leather loop on one end for the thong and lash? Do sidesaddle whips have bone “gate hooks” on the top end?? In one shot the lady did have a thong attached ..but still holding it the wrong way anyway, shortly before, no lash!! Pathetic.”

“My thoughts that the horses were not typical or hunters of that era, also would there have been a coloured, I thought that the craze for colours was a recent thing and they were frowned on in ‘those days’. “

The field follows the Master and pack

I am amazed that finally a TV programme has made the effort to show not only a hunting scene but a lady hunting on PRIMETIME TV and people are moaning about minor details! I hunt side saddle, I do it because I love it, so I was over the moon to finally see something relevant to it on t.v. Would you have preferred they didn’t show it at all and cut the hunting scenes entirely??

Lets not forget these programmes are filmed for public entertainment, they are not historical documentarys. Please could we all be a little more supportive of equines on TV regardless of the reasons, then maybe we would see more.”

“Well if you want to moan about the most minute details of the scenes (and don’t forget, what you see on screen in a STORY not a documentary !!!) why not start with the fact that the forward seat was unknown in Edwardian times?”

Master of the Hunt and pack set off ahead of the field

We noticed the coloured horse too and said no way would they have had one of them!! They only pulled carts in those days. Still – we all got excited when the hunting scene started!!”

Lady Mary and Evelyn Napier, Downton Abbey

Lady Mary and Evelyn Napier

Did anyone spot which hunt’s tail coat was being worn by Mr Evelyn Napier?”

“It was the vine and craven hunt huntsman David Trotman scarlet coat with gold vine leafs on black collar. The Vine & Craven [were] filming at Highclere Castle…”Horse and Hounds forum -

Riding hell bent for leather through the fields. Downton Abbey

Master of the Hunt and other staff:

The Master of the Fox Hounds (MFH) or Joint Master of the Fox Hounds operates the sporting activities of the hunt, maintains the kennels, works with, and sometimes is, the Huntsman. The word of the Master is the final word in the field and in the kennels.  The Huntsman is responsible for directing the hounds in the course of the hunt.

The Huntsman usually carries a horn to communicate to the hounds, followers, and whippers-in.  Whippers-in are the assistants to the Huntsman. Their main job is to keep the pack all together.”  - Human roles in fox hunting

The huntsman drinking a pre-hunt drink. Image @Icons A Portrait of England

From Baily’s magazine of sports and pastimes, Volume 2, 1861, p. 182: “As well might you assert that because a nobleman throws open his house and grounds to the public one or two days in the week from free goodwill that he has not the right to exclude any persons he may object to. A Master of fox hounds hunts his country upon the same conditions. Any landowner can prevent him riding over his fields or drawing his coverts. By the landowners he stands or falls. He recognizes no other power to interfere with his conduct in the field.”

Edgar Lubbock, Master of the Blankney Hunt

Description of the above image: Edgar Lubbock LLB was the Master of the Blankney Hunt at the turn of the 20th century. He was born on 22 February 1847 in St James, London the eighth son of Sir John William and Harriett Lubbock. Educated at Eton and the University of London he studied Law and became an accomplished lawyer. Through his career he held varying positions, including Lieutenant of the City of London, Director of Whitbread Brewery, Director of the Bank of England and in 1907 Lord Lieutenant of Lincolnshire. He died in London on 9 September 1907 aged 60 whilst Master of the Blankney Hunt. – Metheringham Area Mews

The Dogs:

The true point of riding to hounds was (and is) to watch the hounds work. Those who galloped wildly or jumped unnecessarily were termed “larkers” – an insult – and disdained by the serious hunters. - Word wenches, fox hunt

The hounds are the most vocal component of the hunt and the means by which the fox is flushed out and then chased until it was too exhausted to go farther. In England, there were two breeds of dogs that were necessary to the hunt: Harriers, which are slightly smaller than foxhounds, and who chased the fox over hill and dale; and terriers, who followed the fox into the den and dug it out.

Harriers (Hare Hounds or Heirer)


The Harrier, also known as the Hare Hound or the Heirer, is a hardy hound, with a strong nose, that was developed in England to hunt hare.  Hare hunting has always been popular in England, sometimes being even more popular than fox hunting because hunters could trail their hare hounds on foot, without the need for the many horses required to follow fox hounds on the hunt. Moreover, hare hunting was never reserved to royalty; it was always accessible to commoners, who could add their few Harriers to a “scratch pack” made up of hounds owned by different people and still participate in the sport. Reportedly, in 1825, the slow-moving Harrier – in size between the larger English Foxhound and the smaller Beagle – was crossed with Foxhounds to improve its speed and enable it to better hunt fox in addition to hare. – Harrier overview

Terriers

Fox Terrier. Image @Chest of Books

With the growth of popularity of fox-hunting in Britain in the 18th and 19th centuries, terriers were extensively bred to follow the red fox, and also the Eurasian badger, into its underground burrow, referred to as “terrier work” and “going to ground”.[1] The purpose of the terrier is that it locate the quarry, and either bark and bolt it free or to a net, or trap or hold it so that it can be dug down to and killed or captured.[2] Working terriers can be no wider than the animal they hunt (chest circumference or “span” less than 35 cm/14in), in order to fit into the burrows and still have room to maneuver.[3] As a result, the terriers often weigh considerably less than the fox (10 kg/22 lbs)[4] and badger (12 kg/26 lbs),[5] making these animals formidable quarry for the smaller dog. – Wikipedia

My terrier no longer has the slender girth to chase a fox into its den, for he eats too many doggie biscuits.

Read more about terriers:

The Kill:

Foxes were killed in one of two ways:

1) Hounds chased the foxes until they were caught and then dispatched it. There seems to be a widespread disagreement about the kill, some saying it was quick, and that the fox died from a nip to the back of the neck, and others saying that the fox was repeatedly bitten or torn apart, and sometimes died slowly from its injuries.

2) The fox went to ground (inside a hole or den), and then was dug out with terriers.

Animal rights experts also found the chase itself, with the fox hunted to the point of exhaustion, cruel.

A lurcher adopts a fox cub, the opposite of a kill. Jack and Copper are famous in the U.K. Image @Animal Tourism.com

I could not show an image of a kill, so I’ve presented you with the opposite image: This young lurcher has adopted a fox cub. Jack, the hound, and Copper, the cub, are famous in the U.K. for their playful wrestling matches. Image @Animal Tourism.com

Final Words about Foxhunting in America:

Since Cora (the Countess of Grantham) in Downton Abbey was an American heiress, the information below regarding the American fox hunt is appropriate to this post:

Description of a Fox Hunt by a New England minister

Fox hiding in the covert.

Foxhunts were imported into America in the 17th century. In 1799, a wry New England minister gave a glimpse of the sport in the New World: “From about the first of Octor. this amusement begins, and continues till March or April. A party of 10, and to 20, or 30, with double the number of hounds, begins early in the morning, they are all well mounted. They pass thro’ groves, Leap fences, cross fields, and steadily pursue, in full chase wherever the hounds lead. At length the fox either buroughs out of their way, or they take him. If they happen to be near, when the hounds seize him, they take him alive, and put him into a bag and keep him for a chase the next day. They then retire in triumph, having obtained a conquest to a place where an Elegant supper is prepared. After feasting themselves, and feeding their prisoner, they retire to their own houses. The next morning they all meet at a place appointed, to give their prisoner another chance for his life. They confine their hounds, and let him out of the bag—away goes Reynard at liberty—after he has escaped half a mile—hounds and all are again in full pursuit, nor will they slack their course thro’ the day, unless he is taken. This exercise they pursue day after day, for months together. This diversion is attended by old men, as well as young—but chiefly by married people. I have seen old men, whose heads were white with age, as eager in the chase as a boy of 16. It is perfectly bewitching. The hounds indeed make delightful musick—when they happen to pass near fields, where horses are in pasture, upon hearing the hounds, they immediately begin to caper, Leap the fence and pursue the Chase—frequent instances have occurred, where in leaping the fence, or passing over gullies, or in the woods, the rider has been thrown from his horse, and his brains dashed out, or otherwise killed suddenly. This however never stops the chase—one or two are left to take care of the dead body, and the others pursue.” - Colonial Williamsburg, Personable Pooches

Middleburg Christmas parade. Image @Washington Post

Comment made on a Word Wenches post by a reader who lives in Virginia’s hunt cup country: I live in Virginia hunt country, in fact in the Old Dominion hunt area.  My property deed has one covenant on it. We must allow the huntmaster through. We can deny the rest of the hunt if we want. The covenant was signed by King Charles (I am not sure which one). Fauquier County has 3 hunts and the U.S. largest Steeplechase race, the Gold Cup. .. Many of the more recent mansions (post US Civil War through the 1920s) in Fauquier and neighboring Loudoun were built as hunt houses. – Word Wenches, Fox Hunting

Jacqueline Kennedy. Equestrian outfit in the 1970s.

Etiquette and Dress Code of a Fox Hunt:

The etiquette of the hunt field was (and is) as intricate and strict as that of the ballroom. I imagine (and please correct me if I am wrong), that each club has its own variation of rules. Loudoun County is west of Washington D.C. and sits near the middle of the hunt country of Northern Virginia, where Jacqueline Kennedy frequently hunted when she lived in Georgetown. Click here to read the extensive rules of etiquette of the Loudoun Hunt: Etiquette and the rules of Attire.

Edwardian riding habit. Image @side saddle girl

More on the foxhunt:

Addendum to original post:

This post began innocently enough, for I had no idea about the emotions surrounding the fox ban. Various views are presented in the comment section. Tony Grant, who writes for this blog and who lives in London, said in an email:

A fox creeps in Tony's yard towards the dustbins

Because foxes are no longer hunted their population has expanded unbelievably. They no longer keep to the countryside but live in the towns and cities as scavengers. They live in dens created in parks and the bottom of peoples gardens. They scavenge dustbins. We have an epidemic where I live in South London. They walk down my road and enter my garden on a regular basis. They are not afraid of humans.

Here are some pictures taken in my back garden. This fox wanted to raid our dustbins.

Read Full Post »

Inquiring readers, from now until the U.S. airing of Downton Abbey, this blog will explore the facets of living in an English country house during the Edwardian era, and drawing upon the similarity and differences between the Edwardian and Regency eras.

Downton Abbey. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Servants await the arrival of guests. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Many of us today cannot understand why servants in country manors such as Downton Abbey would consider catering to the whims of others as a desirable occupation. In reality, service in great houses was preferred over other jobs that were available during the 18th and 19th centuries, such as tedious and often dangerous labor in factories or backbreaking work on farms.

Downton Abbey. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Siobhan Finneran as O’Brien, the countess’s ladies maid, Rose Leslie as Gwen, housemaid, and Joanne Froggatt as Anna, head maid. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Unlike their poorly paid counterparts, servants were housed and fed by their masters. They had the ability to save a large portion of their salaries, or send money to support their families back home. At the end of their stay with their hosts, guests paid servants a tip for their services. Housekeepers, as Jane Austen famously showed in Pride and Prejudice, served as tour guides when the family was absent. Mrs. Reynolds no doubt received a tip from the Gardiners after showing the public rooms of Mr. Darcy’s great estate.

Jane Austen's World

Mrs. Reynolds, the housekeeper, escorts Elizabeth Bennet and the Gardiners through Pemberley

Although servants began their careers at the bottom, working menial jobs and catering to the upper servants as well as their masters, they could move up in the servant hierarchy. It was not uncommon for a scullery maid to be promoted to kitchen maid and eventually up to a cook.

Downton Abbey. Jane Austen's World

The registry office

A good and reliable servant was a prized commodity. Young, able servants were in a constant state of flux (they worked on average for 2-3 years before moving on), always looking for a better position, which they could acquire as long as their masters gave them good references. Servants found new work in registry offices, where they would enter their name in the registry book, or through word of mouth. (Read more about this topic in my post, Hiring Servants in the Regency Era and Later.)

Downton Abbey 2010. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Anna (Head maid) and Gwen (house maid) in their room. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Upon rising, servants would labor first and eat only after the family had risen, dressed, and breakfasted. When Downton Abbey opens, the camera follows the servants as they rise and ready the house for the day. The earliest rising servant was the scullery maid, or tweeny, who sat lowest on the pecking order. She would stoke the kitchen fire for the cook and boil water. The kitchen maid would perform these offices if there were no tweeny or scullery maid.

Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Daisy, the kitchen maid, lays a fire in the library. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Housemaids would tread silently up the servant (back) stairs unseen and unheard with fresh water and carrying covered slop pails. Quietly, so as not to wake their masters, the servants – maids and footmen – would empty chamber pots, remove cold ashes in the fireplace, carry up coal and stoke a new fire, and tidy any messes away from the previous day.

The servant stairs. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Downstairs they would continue making preparations for the day, opening drapes and shutters, dusting and polishing, and sweeping floors. The only time that the servants might be visible to family or guests was when they cleaned and polished the main halls and stairway. At all other times they were expected to remain invisible as they worked around the house, using the servant’s stairs and working in a room when the family was not expected to use it.

Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Breakfast at Downton Abbey. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

With or without guests, the daily routine for a family at its country house was unalterable, due in part to the servants, whose meal-times were rigid, and in part to Edwadian era tradition. At nine 0′clock, housemaids and valets arrived to draw bedroom curtains and deliver a cup of teac as ordered by the hostess the night before.” – The End of High Society

Downton Abbey 2010. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

The servants quarters. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Servant’s dining space and table, Downton Abbey

The hierarchy among the servants was strictly defined. At the top stood the butler and housekeeper. Dowton Abbey, the series, highlights eleven servants who ran the household, but in 1912, Highclere Castle, where the exterior and interior shots were filmed, used the services of 25 maids, 14 footmen, and three chefs. Although Downton Abbey follows only 11 of the upper servants closely, one can see other servants (housemaids, a scullery maid, young boys, coal men, and the like) in the background going about their business.

Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Back of the house. In the background, a servant scoops coal.Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

In addition to the main house, servants worked in the service buildings, such as the stables, garage, dairy, bakehouse, laundry, gun room, and pantry. The kitchen in these great houses often sat away from the house (to prevent cooking smells from wafting up to the public and private rooms) and were connected to the main house via underground passages. This meant that the food often arrived at the dining table cold or, at best, lukewarm.

Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

The servant bells behind William, the second footman. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

In the lower common area, servants were summoned by the family via a system of bells connected to each room. In theory, even when servants had finished with their duties and were finally sitting down to eat their breakfast, they were subject to be called at a moment’s whim. But was this always the case? While the servants of Downton Abbey are shown to be loyal and proud of their positions, the Punch cartoon below shows a group of shiftless servants who are slow to respond to their master’s summons.

‘Oh, ah, let ‘em ring again!’ by George Cruikshank

The servants of Downton Abbey worked hard, but as shown in the series, they knew their place and were proud of their positions.

Downton Abbey 2010. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Jim Carter as Mr. Carson, the Butler. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

The Butler: Jim Carter, who you may remember as Captain Brown from Cranford, portrays Mr. Carson, the butler, with grave dignity. He is as protective towards the Crawley family as he would have been to his own. While Mr. Carson is fair, he does not hesitate to reprimand a servant or even fire one if he thinks it is for the benefit of the house. Mr. Carson was not only in charge of the male servants, but also of the wine cellar and the butler’s pantry, which contained the family plate and silver. In addition to his managerial duties, he is shown in several scenes either polishing the silver or pouring over the books and counting the bottles of wine.

Downton Abbey 2010. Jane Austen's World

Phyllis Logan as Mrs. Hughes, Housekeeper. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

The Housekeeper: Phyllis Logan as Mrs. Hughes is Mr. Carson’s counterpart. Head of the female servants, she consults with her mistress daily about the meals, family plans, and any guests that are expected. Mrs. Hughes (even if they are single, which Mrs. Hughes was, housekeepers were given the distinction of being a Mrs.) was also responsible for the linen and china. A kind and observant woman, Mrs. Hughes nevertheless keeps her female team in line. She begins to wonder if, by devoting her life to this household, she has missed out on managing one of her own.

Downton Abbey 2010.

Brendan Coyle as John Bates, the Valet. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

The Valet: (Brendan Coyle) In small households, such as Matthew Crawley’s, the position of butler and valet was combined. But Downton Abbey is a great house, and there are servants aplenty. Mr. Bates’s arrival creates a stir that causes the lady’s maid and first footman to plot against him. A stoic and capable man who served the earl as batman during the war, he must perform his duties of dressing the earl and seeing to his wardrobe regardless of the war injury that requires him to use a cane. For Mr. Bates, the flights of steep stairs can be daunting, and he is incapable of carrying large trays or helping with dinner service when more hands are needed.

Downton Abbey 2010.

Joanne Froggatt as Anna, Head Housemaid. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Head Housemaid: Joanne Froggatt as Anna is a pretty, quiet, and dependable presence. She works with a positive attitude and champions those who need defending. As head housemaid, she assists the daughters of the house with their hair and wardrobe, but she also performs the duties of a regular maid, dusting, cleaning, and changing the bed linen.

Downton Abbey 2010.

Lesley Nicol as Mrs. Patmore, the Cook. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

The Cook: Lesley Nicol as Mrs. Patmore, the cook, is hiding a secret, one that threatens her very livelihood. The viewer will be struck by the sheer volume and variety of dishes that she creates and oversees daily. Although only her kitchen maid, Daisy, is seen as her regular assistant, there would have been others in a house this size. At the very least, Mrs. Patmore would have needed a permanent person in the scullery, and other assistants to help maintain order in the kitchens.

Downton Abbey 2010. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

Siobhan Finneran as O’Brien, Lady’s Maid. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

The Lady’s Maid: Siobhan Finneran plays O’Brien as a cold, ruthless woman, who trusts no one. When the Countess of Grantham states that she and O’Brien are friends, for they are often in each others’ company,  O’Brien knows better than to disagree, but disagree she does. A lady’s maid caters to her mistresses’ every whim, making sure that not one coat button is missing or one strand of hair is out of place. Such a close daily association often develops intimacy over time. The countess mistakenly thinks that O’Brien is as fond of her as she is of her maid.

Downton Abbey 2010.

Rob James-Collier as Thomas, First Footman.Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

The First Footman: Thomas (Rob James-Collier) is a piece of work. An ambitious man, who cares only for his own advancement, he will use anyone to achieve his goals, even if it means destroying another’s reputation. A first footman will serve as valet to the male guests if they arrive without a male servant. Footmen are expected to wear livery and are generally tall and handsome. Only the very rich could afford footmen, and thus they were a form of status symbol.

Downton Abbey 2010.

Allen Leech as Tom Branson, the Chauffeur. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

The Chauffeur: Allen Leech as Tom Branson, the chaffeur, demonstrates how very different Edwardian England is from Regency England. Carriages are being replaced by automobiles, but the infrastructure for maintaining cars is not yet in place. A chauffeur not only drove the family around, but he was also its mechanic, keeping the car in top shape, acquiring parts when they were needed, and making sure there was enough petrol on hand to satisfy the family’s needs. This chauffeur can also read and has been given permission by the earl to check books out of his library.

Downton Abbey 2010.

Thomas Howes as William, the Second Footman. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

The Second Footman: (Thomas Howes) William’s position among the upper servants is low, for he must answer to the butler, housekeeper, and first footman. Young, fresh-faced, and just starting out, William misses his loving family. Yet service allows him to better himself and someday work his way up to the position of butler. One wonders if William will ever achieve that ambition, for times are changing and the aristocracy will be hard pressed to hang onto their lands and houses after the second world war.

Downton Abbey 2010.

Rose Leslie as Gwen, House Maid. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

The House Maid: (Rose Leslie) Young Gwen is a housemaid with a goal – that of becoming a typist. Towards this end, she has been secretly taking typing courses. When her secret is uncovered the other servants are astounded – how could anyone prefer working in as some faceless office over service in a great house? Yet Gwen represents the future, in which political and socio-economic changes for women will end their dependency on the men of their family and force many to start fending for themselves.

Downton Abbey 2010.

Sophie McShera as Daisy, Kitchen Maid. Credit: Courtesy of © Carnival Film & Television Limited for MASTERPIECE

The Kitchen Maid: (Sophie McShera) Poor Daisy is at the bottom of the status ladder. Subject to the cook’s every whim (and to the housekeeper’s and anyone else who happens nearby) she goes about her duties cheerfully. When disaster strikes, Daisy not only steps in but demonstrates that she is more than ready to step up the servant hierarchy.

Downton Abbey will be shown Sunday night on your local PBS station starting at 9 p.m. Click here to view the video clips.

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