Coelebs In Search of a Wife — Reading Notes
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I have been sometimes surprised when in conversation I have been expressing my admiration of the character of Eve in her state of innocence, as drawn by our immortal poet, to hear objections started by those, from whom of all critics I should have least expected it--the ladies. I confess that as the Sophia of Rousseau had her young imagination captivated by the character of Fenelon's Telemachus, so I early became enamored of that of Milton's Eve. I never formed an idea of conjugal happiness, but my mind involuntarily adverted to the graces of that finished picture.
The ladies, in order to justify their censure, assert that Milton, a harsh domestic tyrant, must needs be a very inadequate judge, and of course a very unfair delineator, of female accomplishments. These fair cavilers draw their inference from premises, from which I have always been accustomed to deduce a directly contrary conclusion. They insist that it is highly derogatory from the dignity of the sex, that the poet should affirm that it is the perfection of the character of a wife,
To study household good, And good works in her husband to promote.
Now according to my notion of "household good," which does not include one idea of drudgery or servility, but which involves a large and comprehensive scheme of excellence, I will venture to affirm, that let a woman know what she may, yet if she knows not this, she is ignorant of the most indispensable, the most appropriate branch of female knowledge. Without it, however she may inspire admiration abroad, she will never excite esteem, nor of coarse, durable affection, at home, and will bring neither credit nor comfort to her ill-starred partner.
The domestic arrangements of such a woman as filled the capacious mind of the poet resemble, if I may say it without profaneness, those of Providence, whose under-agent she is. Her wisdom is seen in its effects. Indeed it is rather felt than seen. It is sensibly acknowledged in the peace, the happiness, the virtue of the component parts; in the order, regularity and beauty of the whole system, of which she is the moving spring. The perfection of her character, as the divine poet intimates, does not arise from a prominent quality, or a showy talent, or a brilliant accomplishment, but it is the beautiful combination and result of them all. Her excellencies consist not so much in acts as in habits, in
Those thousand decencies which daily flow From all her words and actions.
A description more calculated than any I ever met with to convey an idea of the purest conduct resulting from the best principles. It gives an image of that tranquillity, smoothness, and quiet beauty, which is the very essence of perfection in a wife; while the happily chosen verb _flow_ takes away any impression of dullness, or stagnant torpor, which the _still_ idea might otherwise suggest.
But the offense taken by the ladies against the uncourtly bard is chiefly occasioned by his having presumed to intimate that conjugal obedience
Is woman's highest honor and her praise.
This is so nice a point that I, as a bachelor, dare only just hint, that on this delicate question the poet has not gone an inch further than the apostle. Nay, Paul is still more uncivilly explicit than Milton. If, however, I could hope to bring over to my side critics, who, being of the party, are too apt to prejudge the cause, I would point out to them that the supposed harshness of the observation is quite done away by the recollection that this scrupled "obedience" is so far from implying degradation, that it is connected with the injunction to the woman "to promote good works" in her husband; an injunction surely inferring a degree of influence that raises her condition, and restores her to all the dignity of equality; it makes her not only the associate but the inspirer of his virtues.
But to return to the economical part of the character of Eve. And here she exhibits a consummate specimen and beautiful model of domestic skill and elegance. How exquisitely conceived is her reception and entertainment of Raphael! How modest and yet how dignified! I am afraid I know some husbands who would have had to encounter very ungracious looks, not to say words, if they had brought home even an angel, _unexpectedly_ to dinner. Not so our general mother:
Her dispatchful looks, Her hospitable thoughts, * * * intent What choice to choose for delicacy best,
all indicate not only the "prompt" but the cheerful "obedience." Though her repast consisted only of the fruits of Paradise,
Whatever earth, all bearing mother, yields;
yet of these, with a liberal hospitality,
She gathers tribute large, and on the board Heaps with unsparing hand.
The finest modern lady need not disdain the arrangement of her table, which was
So contrived as not to mix Tastes not well join'd, inelegant, but bring Taste after taste, upheld by kindliest change.
It must, however, I fear, be conceded, by the way, that this "taste _after_ taste" rather holds out an encouragement to second courses.
When this unmatched trio had finished their repast, which, let it be observed, before they tasted, Adam acknowledged that
These bounties from our _Nourisher_ are given, From whom all perfect good descends,
Milton, with great liberality to that sex against which he is accused of so much severity, obligingly permitted Eve to sit much longer after dinner, than most modern husbands would allow. She had attentively listened to all the historical and moral subjects so divinely discussed between the first Angel and the first Man; and perhaps there can scarcely be found a more beautiful trait of a delicately attentive wife, than she exhibits, by withdrawing at the exact point of propriety. She does not retire in consequence of any look or gesture, any broad sign of impatience, much less any command or intimation of her husband; but with the ever watchful eye of vigilant affection and deep humility:
When by his countenance he seem'd Entering on thoughts abstruse,
instructed only by her own quick intuition of what was right and delicate, she withdrew. And here again how admirably does the poet sustain her intellectual dignity, softened by a most tender stroke of conjugal affection.
Yet went she not, as not with such discourse Delighted, or not capable her ear Of what was high--such pleasure she reserved, Adam relating, she sole auditress----
On perusing, however, the tete-a-tete which her absence occasioned, methinks I hear some sprightly lady, fresh from the Royal Institution, express her wonder why Eve should be banished by her husband from Raphael's fine lecture on astronomy which follows; was not she as capable as Adam of understanding all he said, of
Cycle and Epicycle, Orb on Orb?
If, however, the imaginary fair objector will take the trouble to read to the end of the eighth book of this immortal work, it will raise in her estimation both the poet and the heroine, when she contemplates the just propriety of her being absent before Adam enters on the account of the formation, beauty and attractions of his wife, and of his own love and admiration. She will further observe, in her progress through this divine poem, that the author is so far from making Eve a mere domestic drudge, an unpolished housewife, that he pays an invariable attention even to external elegance, in his whole delineation, ascribing grace to her steps and dignity to her gesture. He uniformly keeps up the same combination of intellectual worth and polished manners;
For softness she, and sweet attractive grace.
And her husband, so far from a churlish insensibility to her perfections, politely calls her
Daughter of God and man, _accomplish'd_ Eve.
I will not, however, affirm that Adam, or even Milton, annexed to the term _accomplished_ precisely the idea with which it is associated in the mind of a true modern-bred lady.
It may be objected to the poet's gallantry that he remarks
How beauty is excell'd by manly grace, And wisdom, which alone is truly fair;
let it be remembered that the observation proceeds from the lips of Eve herself, and thus adds to her other graces, the crowning grace of humility.
But it is high time that I should proceed from my criticism to myself. The connexion, and of course the transition, will be found more natural than may appear, till developed by my slight narrative.
I am a young man, not quite four and twenty, of an ancient and respectable family, and considerable estate in one of the northern counties. Soon after I had completed my studies in the university of Edinburgh, my father fell into a lingering illness. I attended him with an assiduity which was richly rewarded by the lessons of wisdom, and the example of piety, which I daily received from him. After languishing about a year, I lost him, and in him the most affectionate father, the most enlightened companion, and the most Christian friend.
The grief of my mother was so poignant and so lasting, that I could never prevail on myself to leave her, even for the sake of attaining those advantages, and enjoying those pleasures, which may be reaped by a wider range of observation, by a more extended survey of the multifarious tastes, habits, pursuits, and characters of general society. I felt with Mr. Gray that we can never have but one mother, and postponed from time to time the moment of leaving home.
I was her only child, and though it was now her sole remaining wish to see me happily married, yet I was desirous of first putting myself in a situation which might afford me a more extensive field of inquiry before I ventured to take so irretrievable a step, a step which might perhaps affect my happiness in both worlds. But time did not hang heavy on my hands; if I had little society, I had many books. My father had left me a copious library, and I had learnt from him to select whatever was most valuable in that best species of literature which tends to form the principles, the understanding, the taste, and the character. My father had passed the early part of his life in the gay and busy world; and our domestic society in the country had been occasionally enlivened by visits from some of his London friends, men of sense and learning, and some of them men of piety.
My mother, when she was in tolerable spirits, was now frequently describing the kind of woman whom she wished me to marry. "I am so firmly persuaded, Charles," would she kindly say, "of the justness of your taste, and the rectitude of your principles, that I am not much afraid of your being misled by the captivating exterior of any woman who is greatly deficient either in sense or conduct; but remember, my son, that there are many women against whose characters there lies nothing very objectionable, who are yet little calculated to taste or to communicate rational happiness. Do not indulge romantic ideas, of super-human excellence. Remember that the fairest creature is a fallen creature. Yet let not your standard be low. If it be absurd to expect perfection, it is not unreasonable to expect _consistency_. Do not suffer yourself to be caught by a shining quality, till you know it is not counteracted by the opposite defect. Be not taken in by strictness in one point, till you are assured there is no laxity in others. In character, as in architecture, proportion is beauty. The education of the present race of females is not very favorable to domestic happiness. For my own part I call education, not that which smothers a woman with accomplishments, but that which tends to consolidate a firm and regular system of character; that which tends to form a friend, a companion, and a wife. I call education not that which is made up of the shreds and patches of useless arts, but that which inculcates principles, polishes taste, regulates temper, cultivates reason, subdues the passions, directs the feelings, habituates to reflection, trains to self-denial, and, more especially, that which refers all actions, feelings, sentiments, tastes, and passions, to the love and fear of God."
I had yet had little opportunity of contrasting the charms of my native place with the less wild and romantic beauties of the south. I was passionately fond of the scenery that surrounded me, which had never yet lost that power of pleasing which it is commonly imagined that novelty can alone confer.
The priory, a handsome Gothic mansion, stands in the middle of a park, not extensive, but beautifully varied. Behind are lofty mountains, the feet of which are covered with wood that descends almost to the house. On one side a narrow cultivated valley winds among the mountains; the bright variegated tints of its meadows and corn fields, with here and there a little white cottage, embosomed in trees, are finely contrasted with the awful and impassable fells which contain it.
An inconsiderable but impetuous river rushes from the mountains above, through this unadorned but enchanting little valley, and passes through the park at the distance of about a hundred yards from the house. The ground falls beautifully down to it; and on the other side is a fine wood of birch overhanging the river, which is here crossed by a small rustic bridge; after being enlarged by many streams from the neighboring hills, it runs about half a mile to the lake below, which, from the front of the house, is seen in full beauty. It is a noble expanse of water. The mountains that surround it are some of them covered with wood, some skirted with cultivation, some rocky and barren to the water's edge; while the rugged summits of them all present every variety of fantastic outline. Toward the head of the lake a neat little village ornaments the banks, and wonderfully harmonizes with the simple beauty of the scene. At an opening among the hills, a view is caught of the distant country, a wide vale richly wooded, adorned everywhere with towns, villages, and gentlemen's houses, and backed by sublime mountains, rivaling in height, though not in their broken and Alpine forms, those that more immediately surround us.
While I was thus dividing my time between the enjoyment of this exquisite scenery, my books, the care of my affairs, my filial attentions, and my religious duties, I was suddenly deprived of my inestimable mother. She died the death of the righteous.
Addison has finely touched on the singular sort of delicate and refined tenderness of a father for a daughter: but I am persuaded that there is no affection of the human heart more exquisitely pure than that which is felt by a grateful son toward a mother who fostered his infancy with fondness, watched over his childhood with anxiety, and his youth with an interest compounded of all that is tender, wise, and pious.
My retirement was now become solitude: the former is, I believe, the best state for the mind of man, the latter almost the worst. In complete solitude the eye wants objects, the heart wants attachments, the understanding wants reciprocation. The character loses its tenderness when it has nothing to love, its firmness when it has none to strengthen it, its sweetness when it has nothing to soothe it; its patience when it meets no contradiction, its humility when it is surrounded by dependants, and its delicacy in the conversation of the uninformed. Where the intercourse is very unequal, society is something worse than solitude.
I had naturally a keen relish for domestic happiness; and this propensity had been cherished by what I had seen and enjoyed in my father's family. Home was the scene in which my imagination had pictured the only delights worthy of a rational, feeling, intellectual, immortal man:
sole bliss of Paradise Which has survived the fall.
This inclination had been much increased by my father's turn of conversation. He often said to me, "I know your domestic propensities; and I know, therefore, that the whole color of your future life will be, in a particular manner, determined by the turn of mind of the woman you may marry. Were you to live in the busy haunts of men; were you of any profession, or likely to be engaged in public life, though I would still counsel you to be equally careful in your choice, yet your happiness would not so immediately, so exclusively depend on the individual society of a woman, as that of a retired country gentleman must do. A man of sense who loves home, and lives at home, requires a wife who can and will be at half the expense of mind necessary for keeping up the cheerful, animated, elegant intercourse which forms so great a part of the bond of union between intellectual and well-bred persons. Had your mother been a woman of an uninformed, inelegant mind, virtuous and pious as she is, what abatement must there have been in the blessings of my lot! The _exhibiting_, the _displaying_ wife may entertain your company, but it is only the informed, the refined, the cultivated woman who can entertain yourself; and I presume whenever you marry you will marry primarily for yourself, and not for your friends; you will want a COMPANION: an ARTIST you may hire.
"But remember, Charles, that when I am insisting so much on mental delicacy, I am assuming that all is right in still more essential points. Do not be contented with this superstructure, till you have ascertained the solidity of the foundation. The ornaments which decorate do not support the edifice! Guarded as you are by Christian principles, and confirmed in virtuous habits, I trust you may safely look abroad into the world. Do not, however, irrevocably dispose of your affections till you have made the long-promised visit to my earliest, wisest, and best friend, Mr. Stanley. I am far from desiring that your friends should direct your choice. It is what even your father would not do: but he will be the most faithful and most disinterested of counselors."
I resolved now for a few months to leave the priory, the seat of my ancestors, to make a tour not only to London, but to Stanley Grove, in Hampshire, the residence of my father's friend; a visit I was about to make with him just before his last illness. He wished me to go alone, but I could not prevail on myself to desert his sick-bed for any scheme of amusement.
I began to long earnestly for the pleasures of conversation, pleasures which, in our small, but social and select circle of cultivated friends, I had been accustomed to enjoy. I am aware that certain fine town-bred men would ridicule the bare mention of learned and polished conversation at a village in Westmoreland, or indeed at any place out of the precincts of the metropolis; just as a London physician or lawyer smiles superciliously at the suggested merits of a professional brother in a provincial town. Good sense, however, is of all countries, and even knowledge is not altogether a mere local advantage. These, and not the topics of the hour, furnish the best raw materials for working up an improving intercourse.
It must be confessed, however, as I have since found, that for giving a terseness and polish to conversation; for rubbing out prejudices; for correcting egotism; for keeping self-importance out of sight, if not curing it; for bringing a man to condense what he has to say, if he intends to be listened to; for accustoming him to endure opposition; for teaching him not to think every man who differs from him in matters of taste, a fool, and in politics, a knave; for cutting down harangues; for guarding him from producing as novelties and inventions, what has been said a thousand times; for quickness of allusion, which brings the idea before you without detail or quotation; nothing is equal to the miscellaneous society of London. The advantages, too, which it possesses in being the seat of the court, the parliament, and the courts of law, as well as the common centre of arts and talents of every kind, all these raise it above every other scene of intellectual improvement, or colloquial pleasure, perhaps, in the whole world.
From its opening pages, Coelebs In Search of a Wife announces itself as a work of moral purpose disguised as a personal narrative. The narrator, a young man from Westmoreland, frames his manuscript as a record of 'every-day details of common life, diversified only by the different habits and tempers of the persons with whom I had conversed.' This deliberate modesty is a rhetorical strategy: the novel uses the quest for a spouse as a vehicle for extended dialogues on religion, charity, and domestic duty. The preface's mention of 'the importunity of friends' as a publishing excuse is itself a self-conscious nod to literary convention, signaling that More is writing within a known tradition while aiming to improve it.
The Narrator's Voice and Moral Framework
The narrator, Coelebs, speaks in a measured, earnest tone that never wavers. He presents himself as a gentleman of sense and principle, but his observations are filtered through a lens of moral judgment. When he praises Lucilla's 'tender attention to the sick poor,' Mrs. Stanley immediately corrects him, insisting that such behavior is 'no prodigy' but the natural result of proper education. This exchange reveals a key authorial choice: the narrator's enthusiasm is repeatedly tempered by more experienced voices, ensuring that the reader receives a calibrated moral lesson rather than unchecked sentiment. The dialogue is structured to advance arguments, not just character.
Charity as a Profession for Ladies
Mrs. Stanley's declaration that 'Charity is the calling of a lady; the care of the poor is her profession' is one of the novel's most explicit statements on gender roles. The passage argues that women of fortune have 'abundant leisure' which should be filled with 'judgment and discrimination' in administering aid. More uses Mrs. Stanley to advocate for a systematic, parish-based approach to charity, contrasting it with vague benevolence. The language is precise: charity is a 'duty both to God and man,' and assisting local laborers is 'rather justice than charity.' This is not a sentimental plea but a reasoned theological and social argument, embedded in a conversation that feels like a sermon in dialogue form.
Dialogue as a Vehicle for Doctrine
Throughout the excerpts, conversations serve as platforms for moral instruction. Mrs. Stanley's speeches are lengthy and didactic, yet they are presented as natural extensions of her character. When she explains why the bounty of the affluent should be 'most liberally, though not exclusively, extended to the spot whence they derive their revenues,' she is articulating a principle of local responsibility that More clearly endorses. The novel's structure—a series of conversations and reflections—allows for the systematic exposition of ideas without the urgency of plot. The reader is invited to listen and learn, not to be surprised by events.
The Ideal Woman: Lucilla as a Model, Not a Miracle
Lucilla is presented as an exemplar, but Mrs. Stanley is careful to demystify her: 'Ten thousand other young women, with natural good sense, and good temper, might, with the same education... acquire the same habits and the same principles.' This insistence on attainability is a deliberate authorial choice. More wants to inspire emulation, not awe. By making Lucilla 'no prodigy,' she argues that Christian virtue is accessible through proper training. The novel thus functions as a conduct book in narrative form, using a fictional example to promote real-world standards. The excerpts give no hint of romantic tension or personal flaw in Lucilla, reinforcing her role as a type rather than a fully individuated character.
Readers approaching Coelebs In Search of a Wife should expect a novel of ideas rather than action. The pleasure lies in following the narrator's moral education through debate and observation. Pay attention to who speaks at length and who corrects whom—these dynamics reveal the hierarchy of wisdom More constructs. The book rewards those interested in the intersection of fiction, theology, and social reform in early nineteenth-century England.
I remember evenings at my grandmother's house, the quiet weight of moral purpose in the air. Reading Coelebs felt like that—proper, earnest, yet tender. It made me think of Elizabeth Inchbald's fierce heroine in A Simple Story — Text and Context, so differently passionate. Both books, though worlds apart, reminded me that the heart seeks its own rationale.
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