As soon as she learnt to read, she recited the epitaphs and inscriptions on the tombstones and monuments. Before she was 7 years old, she had memorized several elegiac poems that were typical of the verse of the eighteenth century. Her taste in music was as mournful as her taste in poetry.
Mary confessed that the events of her life had been ‘more or less marked by the progressive evils of a too acute sensibility’. One thinks here of Jane Austen’s first published novel, Sense and Sensibility, with its satirical portrait of the ultra-sensitive Marianne Dashwood: she bears more than a passing resemblance to the melancholy young Mary Darby, quoting morbid poetry and thoroughly enjoying the misery of playing sombre music and being left in solitary contemplation. As a writer, Mary was always acutely aware of her audience: her image of herself in the Memoirs as a child of sensibility was designed to appeal to the numerous readers of Gothic novels and sentimental fiction. At the same time, her self-image appealed to the romantic myth of the writer as a natural genius who begins as a precociously talented but lonely child escaping into the world of imagination.
Though Mary presented herself as a ‘natural’ genius, she was the beneficiary of improvements in education and the growth of printed literature aimed at a young audience. This was a period when private schools for girls of middling rank sprang up all over England. Bristol was the home of Hannah More, playwright, novelist, Evangelical reformer, and political writer. Though Hannah became famous for rectitude and Mary for scandal, their lives were curiously parallel: born and bred in Bristol, each of them had a theatrical career that began under the patronage of David Garrick and each then turned to the art of the novel. In the 1790s they both became associated with contentious debates about women’s education.
Mary attended a school run by Hannah More and her sisters. An upmarket ladies’ academy, it had opened in 1758 in Trinity Street, behind the minster, just a few hundred yards from Mary’s birthplace. The curriculum concentrated on ‘French, Reading, Writing, Arithmetic, and Needlework’. A recruitment advertisement added that ‘A Dancing Master will properly attend.’9 The school was immensely popular and four years later moved to 43 Park Street, halfway up the hill towards the genteel district of Clifton. When Mary Darby attended, the enrolment had risen to sixty pupils. Each of the More sisters took responsibility for a different ‘department’ of the curriculum, with – in Mary’s words – ‘zeal, good sense and ability’. The earnest and erudite Hannah ‘divided her hours between the arduous task “of teaching the young ideas how to shoot,” and exemplifying by works of taste and fancy the powers of a mind already so cultivated’.10
In the summer of 1764 Bristol was in the grip of theatre mania. The famous London star William Powell played King Lear with a force said to rival that of the great Garrick himself. Within two years Powell was combining management with performance at a new building in the city centre. The first theatre in England to be built with a semicircular auditorium, it had nine dress boxes and eight upper side boxes, all inscribed with the names of renowned dramatists and literary figures.
The highlight of the first season in this new Theatre Royal was another King Lear, with Powell in the lead once again and his wife Elizabeth playing Cordelia. Powell had become very friendly with Hannah More, and she wrote an uplifting prologue for the performance. The whole school turned out for the play. It was the 8-year-old Mary Darby’s first visit to the theatre. She vividly remembered the ‘great actor’ of whom Chatterton said ‘No single part is thine, thou’rt all in all.’11 She was less taken by the performance of his wife who played Cordelia without ‘sufficient éclat to render the profession an object for her future exertions’.12 Among Mary’s school friends were Powell’s two daughters and the future actress Priscilla Hopkins, who would later become the wife of John Kemble and sister-in-law of Sarah Siddons, the most famous actress in Britain. The girls developed a passion for theatre together.
Hannah More continued to be fascinated by the theatre. She wrote a pastoral verse comedy called The Search after Happiness, which was acted by the schoolgirls. It advocates a doctrine of female modesty and submission that would be echoed in the anti-feminist tracts she wrote in later life. One of the characters is an ambitious girl who longs to ‘burst those female bonds, which held my sex in awe’ in order to pursue fame and fortune: ‘I sigh’d for fame, I languished for renown, / I would be prais’d, caress’d, admir’d, and known.’ It is tempting to see the young Mary Darby playing this part, and hearing her aspirations rebuked by another character: ‘Would she the privilege of Man invade? …/ For Woman shines but in her proper sphere.’13
By the end of the century Hannah More had turned herself into one of the most formidable conservative propagandists of the age. She deeply resented her connection with her old pupil, the infamous Perdita. That one of the most reviled women of the era was taught by one of the most revered was an irony not lost on the bluestocking Mrs Thrale: ‘Of all Biographical Anecdotes none ever struck me more forcibly than the one saying how Hannah More la Dévote was the person who educated fair Perdita la Pécheresse.’14 Mary, in turn, made it abundantly clear that her literary gifts owed little debt to Hannah and her sisters. She stressed that the education she received from the school was merely in feminine accomplishments of the sort that were required for the marriage market. Women were expected to be ornaments to society and, once married, to be modest and retiring creatures confined to the domestic sphere rather than competing with men in the public domain.
As the daughter of a prosperous merchant, Mary benefited from the privileges that could be bought by new money. The distinguished musician Edmund Broderip taught her music on an expensive Kirkman harpsichord bought by her father. The family moved to a larger, more elegant house as Nicholas Darby, keen to show off the fruits of his upward mobility, insisted upon living like a gentleman, buying expensive plate, sumptuous silk furniture, foreign wine, and luxurious food, displaying ‘that warm hospitality which is often the characteristic of a British merchant’.15 He ensured that his daughter lived in the best style. Her bed was of the richest crimson damask; her dresses, ordered from London, were of the finest cambric. The family spent the summer months on gentrified Clifton Hill in order to benefit from the clearer air. Darby’s appetite for ‘the good things of the world’ would be inherited by his daughter.
Mrs Darby, meanwhile, provided emotional security. Unlike many of the other girls at the More sisters’ school, Mary never boarded: she did not ‘pass a night of separation from the fondest of mothers’. In retrospect, she considered herself overindulged, suggesting that her mother’s only fault was ‘a too tender care’, a tendency to spoil and flatter her children: ‘the darlings of her bosom were dressed, waited on, watched, and indulged with a degree of fondness bordering on folly’.16 Given that Nicholas Darby was absent abroad for much of the time, it is not surprising that