Charlotte Turner Smith (1749 – 1806) was an English Romantic poet and novelist. She initiated a revival of the English sonnet, helped establish the conventions of Gothic fiction, and wrote political novels of sensibility. Stuart Curran, the editor of Smith’s poems, has written that Smith is “the first poet in England whom in retrospect we would call Romantic.” She helped shape the “patterns of thought and conventions of style” for the period. Romantic poet William Wordsworth was the most affected by her works, saying in the 1830s that she was “a lady to whom English verse is under greater obligations than are likely to be either acknowledged or remembered.” By the second half of the 19th century, Smith was largely forgotten.
Smith’s novels have been republished at the end of the 20th century, and “critics interested in the period’s women poets and prose writers, the Gothic novel, the historical novel, the social problem novel, and post-colonial studies” have argued for her significance as a writer. They looked to the contemporary documentation of her importance, discovering that she helped to revitalize the English sonnet, a fact recognized by Coleridge and others. Scott wrote that she “preserves in her landscapes the truth and precision of a painter” and poet, and Barbauld claimed that Smith was the first to include sustained natural description in novels.
Over faded heath-flowers spun, or thorny furze,
The filmy gossamer is lightly spread;
Waving in every sighing air that stirs,
As fairy fingers had entwined the thread:
A thousand trembling orbs of lucid dew
Spangle the texture of the fairy loom,
As if soft sylphs, lamenting as they flew,
Had wept departed summer’s transient bloom:
But the wind rises, and the turf receives
The glittering web:–So, evanescent, fade
Bright views that youth with sanguine heart believes:
So vanish schemes of bliss, by fancy made;
Which, fragile as the fleeting dews of morn,
Leave but the withered heath, and barren thorn!
Smith was born into a wealthy family and received a typical education for a woman during the late 18th century. However, her father’s reckless spending forced her to marry early. In a marriage that she later described as prostitution, she was given by her father to the violent and profligate Benjamin Smith. Their marriage was deeply unhappy, although they had twelve children together. Charlotte joined Benjamin in debtor’s prison, where she wrote her first book of poetry, Elegiac Sonnets. Its success allowed her to help pay for Benjamin’s release. Benjamin’s father attempted to leave money to Charlotte and her children upon his death, but legal technicalities prevented her from ever acquiring it.
Charlotte Smith eventually left Benjamin and began writing to support their children. Smith’s struggle to provide for her children and her frustrated attempts to gain legal protection as a woman provided themes for her poetry and novels; she included portraits of herself and her family in her novels as well as details about her life in her prefaces. Her early novels are exercises in aesthetic development, particularly of the Gothic and sentimentality. “The theme of her many sentimental and didactic novels was that of a badly married wife helped by a thoughtful sensible lover” (Smith’s entry in British Authors Before 1800: A Biographical Dictionary Ed. Stanley Kunitz and Howard Haycraft. New York: H.W. Wilson, 1952. pg. 478.) Her later novels, including The Old Manor House, often considered her best, support the ideals of the French Revolution.
Smith was a successful writer, publishing ten novels, three books of poetry, four children’s books, and other assorted works, over the course of her career. She always saw herself as a poet first and foremost, however, as poetry was considered the most exalted form of literature at the time. Smith’s poetry and prose was praised by contemporaries such as Romantic poets William Wordsworth and Samuel Taylor Coleridge as well as novelist Walter Scott. After 1798, Smith’s popularity waned and by 1803 she was destitute and ill—she could barely hold a pen. She had to sell her books to pay off her debts. In 1806, Smith died. Largely forgotten by the middle of the 19th century, her works have now been republished and she is recognized as an important Romantic writer.
Smith signed herself “Charlotte Smith of Bignor Park” on the title page of Elegiac Sonnets, claiming the role of gentlewoman. Smith’s father encountered financial difficulties upon his return to England and he was forced to sell some of the family’s holdings and to marry the wealthy Henrietta Meriton in 1765. Smith entered society at the age of twelve, leaving school and being tutored at home. On 23 February 1765, at the age of fifteen, she married Benjamin Smith, the son of Richard Smith, a wealthy West Indian merchant and a director of the East India Company. The proposal was accepted for her by her father; forty years later, Smith condemned her father’s action, which she wrote had turned her into a “legal prostitute.”
Smith’s marriage was unhappy. She detested living in commercial Cheapside (the family later moved to Southgate and Tottenham) and argued with her in-laws, who she believed were unrefined and uneducated. They, in turn, mocked her for spending time reading, writing, and drawing. Even worse, Benjamin proved to be violent, unfaithful, and profligate. Only her father-in-law, Richard, appreciated her writing abilities, although he wanted her to use them to further his business interests. Richard Smith owned plantations in Barbados and he and his second wife brought five slaves to England, who, along with their descendants, were included as part of the family property in his will. Although Charlotte Smith later argued against slavery in works such as The Old Manor House (1793) and “Beachy Head,” she herself benefited from the income and slave labor of Richard Smith’s plantations. The plot of Jane Austen’s Mansfield Park reflects this story, though it may be unrelated.
Smith assisted in the family business that her husband had abandoned by helping Richard Smith with his correspondence. She persuaded Richard to set Benjamin up as a gentleman farmer in Hampshire and lived with him at Lys Farm from 1774 until 1783. Worried about Charlotte’s future and that of his grandchildren and concerned that his son would continue his irresponsible ways, Richard Smith willed the majority of his property to Charlotte’s children. However, because he had drawn up the will himself, the documents contained legal problems. The inheritance, originally worth nearly £36,000, was tied up in chancery after his death in 1776 for almost forty years. Smith and her children saw little of it. (It has been proposed that this real case may have inspired the famous fictional case of Jarndyce and Jarndyce, in Dickens’s Bleak House.) In fact, Benjamin illegally spent at least a third of the legacy and ended up in King’s Bench Prison in December 1783. Smith moved in with him, and it was in this environment that she wrote and published her first work, Elegiac Sonnets (1784), which achieved instant success, allowing Charlotte to pay for their release from prison.
After Benjamin Smith was released from prison, the entire family moved to Dieppe, France to avoid further creditors. Charlotte returned to negotiate with them, but failed to come to an agreement. She went back to France and in 1784 began translating works from French into English. In 1787 she published The Romance of Real Life, consisting of translated selections from François Gayot de Pitaval’s trials. She was forced to withdraw her other translation, Manon Lescaut, after it was argued that the work was immoral and plagiarized. In 1786, she published it anonymously.
In 1785, the family returned to England and moved to Wollbeding House near Midhurst, Sussex. Smith’s relationship with her husband did not improve and on 15 April 1787, after twenty-two years of marriage, she left him. She wrote that she might “have been contented to reside in the same house with him”, had not “his temper been so capricious and often so cruel” that her “life was not safe.” When Charlotte left Benjamin, she did not secure a legal agreement that would protect her profits—he would have access to them under English primogeniture laws. Smith knew that her children’s future rested on a successful settlement of the lawsuit over her father-in-law’s will, therefore she made every effort to earn enough money to fund the suit and retain the family’s genteel status.
Smith claimed the position of gentlewoman, signing herself “Charlotte Smith of Bignor Park” on the title page of Elegiac Sonnets. All of her works were published under her own name, “a daring decision” for a woman at the time. As Sarah Zimmerman explains in the Oxford Dictionary of National Biography, “She prized her verse for the role it gave her as a private woman whose sorrows were submitted only reluctantly to the public.
Smith began her career as a novelist during the 1780s at a time when women’s fiction was expected to focus on romance and to foreground “a chaste and flawless heroine subjected to repeated melodramatic distresses until reinstated in society by the virtuous hero”. Although Smith’s novels employed this structure, they also incorporated political commentary, particularly support of the French Revolution, through the voices of male characters. At times, she challenged the typical romance plot by including “narratives of female desire” or “tales of females suffering despotism.” Smith’s novels contributed to the development of Gothic fiction and the novel of sensibility.
Antje Blank writes in The Literary Encyclopedia, “few exploited fiction’s potential of self-representation with such determination as Smith”. For example, Mr. and Mrs. Stafford in Emmeline are portraits of Charlotte and Benjamin. The prefaces to Smith’s novels told the story of her own struggles, including the deaths of several of her children. According to Zimmerman, “Smith mourned most publicly for her daughter Anna Augusta, who married an émigré…and died aged twenty in 1795.” Smith’s prefaces positioned her as both a suffering sentimental heroine as well as a vocal critic of the laws that kept her and her children in poverty.
The Young Philosopher was Smith’s last novel and a piece of “outspoken radical fiction”. Smith’s experiences prompted her to argue for legal reforms that would grant women more rights, making the case for these reforms through her novels. Smith’s stories showed the “legal, economic, and sexual exploitation” of women by marriage and property laws. Initially readers were swayed by her arguments and writers such as William Cowper patronized her. However, as the years passed, readers became exhausted by Smith’s stories of struggle and inequality. Public opinion shifted towards the view of poet Anna Seward, who argued that Smith was “vain” and “indelicate” for exposing her husband to “public contempt”.
Smith moved frequently due to financial concerns and declining health. Smith became involved with English radicals while she was living in Brighton from 1791 to 1793. Like them, she supported the French Revolution and its republican principles. Her epistolary novel Desmond tells the story of a man who journeys to revolutionary France and is convinced of the rightness of the revolution and contends that England should be reformed as well.
In order to support her family, Smith had to sell her works, thus she was eventually forced to, as Blank explains, “tone down the radicalism that had characterised the authorial voice in Desmond and adopt more oblique techniques to express her libertarian ideals”. She therefore set her next novel, The Old Manor House (1793), during the American Revolutionary War, which allowed her to discuss democratic reform without directly addressing the French situation. However, in her last novel, The Young Philosopher (1798), Smith wrote a final piece of “outspoken radical fiction.” Smith’s protagonist leaves Britain for America, as there is no hope for a reform in Britain.
The Old Manor House is “frequently deemed [Smith’s] best” novel for its sentimental themes and development of minor characters. Novelist Walter Scott labeled it as such, and poet and critic Anna Laetitia Barbauld chose it for her anthology of The British Novelists (1810). As a successful novelist and poet, Smith communicated with famous artists and thinkers of the day, including musician Charles Burney (father of Frances Burney), poet Samuel Taylor Coleridge, scientist and poet Erasmus Darwin, lawyer and radical Thomas Erskine, novelist Mary Hays, playwright Richard Brinsley Sheridan, and poet Robert Southey. A wide array of periodicals reviewed her works, including the Anti-Jacobin Review, the Analytical Review, the British Critic, The Critical Review, the European Magazine, the Gentleman’s Magazine, the Monthly Magazine, and the Universal Magazine.
Smith earned the most money between 1787 and 1798, after which she was no longer as popular; several reasons have been suggested for the public’s declining interest in Smith, including “a corresponding erosion of the quality of her work after so many years of literary labour, an eventual waning of readerly interest as she published, on average, one work per year for twenty-two years, and a controversy that attached to her public profile” as she wrote about the French revolution. Both radical and conservative periodicals criticized her novels about the revolution. Her insistence on pursuing the lawsuit over Richard Smith’s inheritance lost her several patrons. Also, her increasingly blunt prefaces made her less appealing to the public.
In order to continue earning money, Smith began writing in less politically charged genres. She published a collection of tales, Letters of a Solitary Wanderer (1801–02) and the play What Is She? (1799, attributed). Her most successful new foray was into children’s literature: Rural Walks (1795), Rambles Farther (1796), Minor Morals (1798), and Conversations Introducing Poetry (1804). She also wrote two volumes of a history of England (1806) and A Natural History of Birds (1807, posthumous). She also returned to writing poetry, and Beachy Head and Other Poems (1807) was published posthumously. Publishers did not pay as much for these works, however, and by 1803, Smith was poverty-stricken. She could barely afford food and had no coal. She even sold her beloved library of 500 books in order to pay off debts, but feared being sent to jail for the remaining £20
Smith complained of gout for many years (it was probably rheumatoid arthritis), which made it increasingly difficult and painful for her to write. By the end of her life, it had almost paralyzed her. She wrote to a friend that she was “literally vegetating, for I have very little locomotive powers beyond those that appertain to a cauliflower.” On 23 February 1806, her husband died in a debtors’ prison, and Smith finally received some of the money he owed her, but she was too ill to do anything with it. She died a few months later, on 28 October 1806, at Tilford and was buried at Stoke Church, Stoke Park, near Guildford. The lawsuit over her father-in-law’s estate was settled seven years later, on 22 April 1813, more than thirty-six years after Richard Smith’s death.
Thank you for sharing this remarkable woman’s story. The poem was beautiful way and a wonderful way to start my day.
Thanks for stopping by. These writers are very inspiring for me…and will be featured all this week. How can I not pursue my writing with them as role models?
It is always good to learn about a creative soul. Thanks for sharing Charlotte.
She truly sounded like a woman ahead of her time! THanks for sharing with us about her!
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