By Fernanda Lai

Novels even in their names suggest something of the new. For Henry Fielding, an 18th century English novelist, the distinctiveness of novels lies in their ability write a timeless history of civilisation, instead of being interested in a particular historical moment. They are interested in ‘not men, but manners, not an individual but a species”. (Fielding, 32) In Evelina (1778), Burney uniquely positions her protagonist, Evelina, as the “offspring of Nature in her simplest attire” to assess the rules of London society. (Burney, 7) Since Evelina was brought up with no knowledge of the manners expected of her, her behaviour is without artifice. Evelina can be interpreted as a social experiment, as it is Evelina’s “ignorance of the forms, and inexperience in the manners, of the world, [that] occasion all the little incidents which these volumes record.” (7)

Evelina, or a Young Lady’s Entrance into the World, has a remarkably tidy plot. The novel begins with Lady Howard reporting to Rev. Villars that Evelina’s maternal grandmother, Mme Dual is intent on meeting Evelina. However, years earlier, Mme. Duval disinherited Evelina’s mother, Caroline, after she rashly marries Sir John Belmont, instead of acquiescing to the match that had been planned for her. An enraged Belmont burns the marriage certificate and abandons Caroline. She later dies in childbirth, and leaves the child in the care of Rev. Villars. Thus, Evelina is born without family and legitimacy. In an attempting to keep Evelina away from Mme. Duval’s influence, Rev. Villars allows Evelina to join the Howards in London. Unfortunately, since Evelina is ignorant of the customs of London society, she makes a series of faux pas, but attracts the attention of several men in the process. The most prominent of her suitors are Lord Orville, who proves himself to be worthy of admiration, and Sir Clement Willoughby, a baronet with duplicitous intentions. After a series of events, it is revealed that her father’s absence was due to a misunderstanding, because Evelina’s former wetnurse passed her own daughter off as Belmont’s legitimate daughter.

Upon first glance, the plot seems to similar to a romance, as it ultimately ends with a marriage between Evelina and Lord Orville. When Evelina’s parentage is confirmed, her marriage to Lord Orville becomes an affirmation of the confines of social class. If this is the case, then the novel becomes “a book, of the laws and customs a-la-mode [that could be] presented to all young people, upon their first introduction into public company. (107) However, through the naiveté of Evelina’s perspective, Burney reveals the arbitrariness and hypocrisy of class as a basis for action. Evelina is an “artless young creature, with too much beauty to escape notice, has too much sensibility to be indifferent to it; but she has too little wealth to be sought with propriety by men of the fashionable world.”(8) Through Evelina’s experience with London society and her various suitors, Burney critiques the overtly class-conscious world of London society.

Upon entrance into London society, Evelina encounters a world in which she does not know how to behave. ”I am too inexperienced to conduct myself with propriety in this town, where everything is new to me, and many things are unaccountable and perplexing.” (48) Her early actions are governed by her instincts, instead of an awareness of the social codes in London society. On one of her first London evenings, Evelina meets Lord Orville at a private ball populated by “half the world”. (18) She declines the advances of a foppish suitor in favour of Lord Orville, without realising the ramifications of her decision. When her spurned suitor approaches her subsequently, demanding to know “what accident [he] must attribute not having the honour of [her] hand, Evelina breaks into laughter at his “stately foppishness.” (35) Her laughter is an instinctive response, but it alerts everyone present in her company, herself included, to her ignorance of the “common customs” of London society. (34). As Evelina tells the reader, “a confused idea now for the first time entered my head, of something I had heard of the rules of an assembly, but I was never at one before,—I have only danced at school,—and so giddy and heedless I was, that I had not once considered the impropriety of refusing one partner, and afterwards accepting another” (36). In this incident, Evelina is made aware that actions in London society are governed by rules that she is not aware of, and instinct is no longer an appropriate foundation for her actions.
Evelina’s laughter is misinterpreted and the fop attributes it to the the disparity between his rank and Lord Orville, “the superior attractions of his lordship”, showing how social class informed societal relations and actions at the time. (33) In contrast to him and other men who ask her to dance, Lord Orville is the figure of graciousness, defending her, despite having recently met her. He also shows her various courtesies, such as when he “turned the discourse the amusement and occupations of the country”, after he realises her ignorance of “public place, and public performers.” (32) His behaviour towards her causes her to conclude that “the rank of Lord Orville was his least recommendation.” (32) However, she attributes his graciousness to a misunderstanding of who she is, as she writes, “How will he be provoked, thought I, when he finds what a simple rustic he has honoured with his choice! One whose ignorance of the world makes her perpetually fear doing something wrong! “(19) Even in this early encounter, Evelina is made aware of how her rank influences how other people perceive her.

A second encounter at another ball only serves to distinguish Lord Orville further from his peers. Having been instructed in that “it was highly improper for young women to dance with strangers, at any public assembly”, Evelina soon finds herself in a situation where that rule is tested. (40) She is accosted by a stranger who begs to have the honour of dancing with her. Abiding by the rules of social conduct, she pretends that she “already engaged” as a pretext for refusing him. (40) This unknown gentlemen responds callously, and his behaviour only seems the more appalling when contrasted with his flowery language. Although he “begged [her] pardon for the freedom of his supposition”, he engages her in conversation as though he was an “old and intimate acquaintance”. (44) He also interrupts her and persists in enquiring as to who is her partner in a cruel and unnecessary manner, even though Evelina’s embarrassment is evident. He persists despite Mrs. Mirvan’s reprimand that they are “strangers” (43). He eventually gets his wish, and Evelina consents to a dance with him. The rules of London society are shown to be arbitrary ones, as this gentlemen is clearly aware of his transgression, when he jokingly recommends that she “never dance in public with a stranger.” (45) The hypocrisy of class and gender is shown here, as this gentlemen uses his position to his advantage such that Evelina cannot refuse him.

This man is later revealed to be Evelina’s other suitor, Sir Clement Willoughby. Even after the dance, he continues to distress Evelina when Lord Orville happens upon them. Evelina is so overwhelmed by the situation that she bursts into tears. However, “a hint was sufficient for Lord Orville, who comprehended all [she] would have explained. (47) He tells her discreetly, “Be not distressed, I beseech you; I shall ever think my name honoured by your making use of it.” (47) Lord Orville’s behaviour speaks highly of him, as he does not harangue her as Willoughby does for her deception. In contrast, he even allows her to make use of his name to save her reputation. In a reported conversation reported to Evelina realises that appraisal of her is not based upon appearance but on action. Whereas the fop Evelina offended earlier feels justified in complaining about her her “ill-breeding” since she is a “country parson’s daughter”. (39)  Lord Orville merely narrates what has happened, and judges on the basis of what occurred. He acknowledges that he was “ignorant” of Evelina’s offence, and that her behaviour, “whether ignorant, or mischievous”, he “will not pretend to determine.” He gives her credit where it is due, as she was attentive to things that he said. Whereas the other gentlemen are intent on explaining her behaviour in terms of her class, terming it ”genius” but “rather—rustick”, Lord Orville evaluates her actions without regard to her background. (36)

Lord Orville’s conduct is not a product of his title and birth, but seems almost anachronistic in London society of the time. He is a gentleman “undoubtedly designed for the last age; for he is really polite.”(31) His “air of gallantry (296) identifies him with the chivalric codes of an earlier time. Thus when someone later remarks that  “Lord Orville is almost as romantic as if he had been born and bred at Berry Hill”, it is a fitting description. (369) He behaves in a manner that  pre-dates the social constructions of London society at the time, showing that while manner seems to govern both class and morality, they are not one and the same. True morality is independent of rank, affiliated with civilisation and not a particular historical moment.

Lord Orville also acts as an important observer of Evelina’s conduct. As Evelina becomes increasingly familiar with the manners of London society, Burney invites the to judge Evelina for themselves through her social behaviour, even as we judge other characters through her gaze. As her esteem for Lord Orville increases, she increasingly defines herself through his gaze. For example, when Lord Merton flirts with Evelina at the Pantheon, she writes that his attentions were “extremely disagreeable to me; and the more so, as I saw that Lord Orville had his eyes fixed upon us, with a gravity of attention that made me uneasy (111). When a servant announces in public that he had been unable to deliver her message to MacCartney, Evelina describes herself as being “extremely ashamed of this public message; and meeting the eyes of Lord Orville, which were earnestly fixed on me, my confusion redoubled, and I knew not which way to look. “ (301) Evelina learns to think of her behaviour “before so nice an observer”, showing that his manner appeals more to her than the feigned propriety of other suitors. (32)

In the beginning, much of Evelina’s behaviour is governed by her desire to seem a part of her company. She anticipates “great entertainment and pleasure” from joining the Mirvans at the opera, (83), and puts on an elegant headdress in order to fit in with fashionable society in the pit. However, her vulgar relatives end up viewing the performance from the gallery for financial reasons. She is worried that her clothing is “very improper for her company” and is “unwilling to be so conspicuous amongst them” (88) Evelina finds herself drawn to the music of the opera and she leans forward. However,  this causes her to become “the object of general diversion to the whole party” as her company is more interested in watching people than the opera. (89) They titter and make “signs and faces at her”, showing their contempt for what they perceive as “affectation”. In response, Evelina tries to be “in fashion” and tries to “appear as inattentive” as those in her company despite regretting that this prevents her from “enjoying the only pleasure, which in such a party, was within [her] power.” (89)Thus Evelina disregards her natural appreciation for to such music in favour of fitting in, showing that she is still learning how to navigate her manners and her natural response.

Lord Orville’s later words capture the situation precisely. He says of a later incident, ”Nay, who are most deserving of [rebuke], those who adapt the conversation to the company, or those who affect to be superior to it?” (325) Lord Orville has already proved which answer he would give early on in the novel. On two separate occasions, Evelina finds herself separated from her company, and encounters various of her suitors the presence of morally questionable people. Where Willoughby seemed to think that “that the alteration in [her] companions authorise[d] an alternation in his manners” (201), Lord Orville treated her with “the same politeness and attention with which he had always honoured” her despite his suspicions. (238) Thus Evelina’s behaviour here suggests a common ground with Lord Orville, and therefore worth  of his affection. Her actions also reveal that manners are intended to be an extension of moral codes, a consistent mode of conduct rather than something circumstantial.

One of the most critical points in the novel is a letter which causes trouble for the burgeoning romance between Lord Orville and Evelina, as it deviates from standards of “propriety.” After her lower-class relations abuse her relationship with Lord Orville to borrow his carriage as well as gain business for themselves, it is a “dagger to [her] heart” that Lord Orville would “regard [her] as an object of utter contempt”. (249) In order to explain herself, Evelina follows the dictates of her heart and breaks the rules of social conduct, by writing him a letter of apology, although epistolary exchange is forbidden between men and women neither related nor engaged. In response, she receives a letter from Lord Orville that thanks her for starting a correspondence between them. While this letter delights her at first, a second reading allows her to perceive the implied“impertinence” (257) She confides to her friend that she had been “deceived” as this letter does not fit the “high opinion” that she has of Lord Orville. “ This affair has shewn me his real disposition, and removed that partiality, which, covering his every imperfection, left only his virtues and good qualities exposed to view.” While manners dictate that she return the letter, as Rev. Villars belatedly points out, Evelina does not remember the right thing to do. Evelina’s instinctual response shows that what is right is not always what is natural.

As a result of the impropriety of the letter, Evelina decides to distance herself from Lord Orville. This is exacerbated when he sees her having a “private appointment” with another man, misunderstanding the situation. In his jealousy, he declares her to be his “sister” and “friend”, constantly repeating these words to make his point. However, his other actions and concern for her continue to prove his virtuousness to her, such as when he defends her in front of his rude sister. She finds that she still considers him “the noblest of men”, as she writes to Rev. Villars in confusion. (348) All is soon revealed, and in a moment of confrontation, it is revealed that Lord Orville did not write the offensive letter. Evelina later discovers that the letter was sent by Willoughby. Evelina’s original instincts are vindicated. Rev. Villars advises Evelina earlier, “We must suspect what we see, distrust what we hear and doubt even what we feel. (259) Rev. Villars is shown to be partially right, as Lord Orville’s actions eventually prove himself.

Lord Orville and Evelina inhabit a world in which “birth and fortune [are requisite] to the attainment of respect and civility.” (326) However, Burney clearly creates the plot structure so that Lord Orville proposes to her independent of any confirmation of Evelina’s origins. This is especially apparent in contrast to Willoughby, who refuses to contemplate Evelina as his wife on grounds of class. He sees her as “a girl of obscure birth, whose only dowry is her beauty and who is evidently in a  state of dependency” (347). However, Lord Orville is able to see beyond that, “a young woman of obscure birth, but conspicuous beauty,” is in possession of “a mind that might adorn any station, however exalted.”(362) The novel is arranged in a manner that when Evelina writes to Rev Villars that she is married to “the best of men”, it is a statement that is evidently true.  (404) Lord Orville has clearly proved himself, in a way that is similar to the quests of knights in romances, through trial and error to win the heart of his lady love. His desire to marry her is a romantic one because it is not dependent on the constructs of his time.

What distinguishes their marriage from mere chivalric romance, is that Lord Orville and Evelina had to be shown as each other’s equals.  Through their marriage and such a pairing, Burney shows that where 18th-century London society accorded their behaviour and morality to their class, true virtue is independent of birth and station and predates society of the time. When Rev. Villars “this is not an age in which we may trust to appearances”, he intends it as a warning against Lord Orville. (336) However proves to be almost a general maxim by the end of the novel, as it appears that appearances are not to be trusted in any age, and it is rather action that reveals the virtue of a man or woman. Through Evelina’s romance with Lord Orville, Burney prefigures a more modern perspective on morality, proving  virtue to be timeless basis for governing action in a civilized society independent of manners.

References:
1. Burney, Fanny, and Edward A. Bloom. Evelina, Or, The History of a Young Lady’s Entrance into the World. London: Oxford UP, 1968. Print.
2. Fielding, Henry, George Saintsbury, Herbert Railton, and E. J. Wheeler. The Works of Henry Fielding. London: J.M. Dent, 1893. Print