y y Emma and “the children in Brunswick Square” : u : LAURIE KAPLAN Laurie Kaplan, Professor of English and Academic Director of George Washington University’s England Center, has published essays on Jane Austen, Tom Stoppard, Paul Scott, and women writers of the First World War. She is a former editor of Persuasions . “‘To give up one’s child! ’” I C O J A ’ Emma , on the evening of Miss Taylor’s marriage to Mr. Weston, when Emma and her father are feeling abandoned and bereft, Mr. Knightley arrives at Hartfield “directly from their mutual con - nections in London . to say that all were well in Brunswick-square” (9). 1 A contemporary reviewer of Emma “commended” Austen in The Champion for her choice of John and Isabella Knightleys’ neighborhood : “ when we are occa - sionally transported to London, our authoress has the originality to waive Grosvenor or Berkeley-squares, and set us down in humble Brunswick- square ” ( qtd. in Cronin and McMillan 534). While Austen’s syntax empha - sizes “Brunswick-square,” critics have commented upon the airy neighb orhood where Mr. Knightley’s brother and Emma’s sister live only in the broader con - text of London. Yet, Austen repeats Brunswick Square so many times (eleven, in fact) that the square functions as an iconic (perhaps ironic) motif . But how does this notch in a corner of Bloomsbury resonate in the context of a novel that seems to focus more specifically on Hartfield and Highbury? What is Brunswick Square to Emma , and what is Emma to Brunswick Square? The recurring reference to Brunswick Square may be one of the reasons Jane Austen was reluctant to dedicate her novel to the Prince Regent. The square is, of course, named for Princess Caroline of Brunswick, the wife the Prince despised and spurned ; nothing connected with Brunswick ever went at 236 PERSUASIONS No. 31 all “well” for the Prince. Brunswick Square may also be the centerpiece of the complex reticulation of what seem to be disparate themes in Emma . The pat - terns linking selfishness with generosity connect in subtle ways with the mul - titude of “orphans” 2 who inhabit the novel. In Highbury, many of the mothers are dead and some of the fathers are missing. Motherless Emma ,3 motherless and “adopted away ” Frank Churchill, and motherless-and-fatherless (and also “adopted away, ” to all intents and purposes) Jane Fairfa x— these young people form an uneasy triumvirate of Highbury orphans , added to which there is Har- riet, “the natural daughter of somebody” (22) , as well as Mr. Elton (father dead), Mrs. Elton (parents dead; raised by an uncle), and even Miss Taylor (fa - therless or motherless or both) .4 In conjunction with these orphans and the adoptive parents who shape their lives, depictions of fatherhood in the novel create unresolved problems and ambiguities. Finally, Mr. Woodhouse’s antipa - thy to London centers on Brunswick Square , even though his daughter Isabella and her husband John Knightle y— loving and attentive parent s— live there, at Brunswick Square, happily and comfortably with their five children . Seemingly insignificant, Brunswick Square nevertheless reverberates with meaning and reconciles these disparate themes. The reference to (Princess Caroline of) Brunswick formed part of the original text: Austen had settled Mr. John Knightley and his family at Bruns- wick Square, and Emma was already in press when she agreed to dedicate her new novel to the Prince Regent (15 November 1815) . James Stanier Clarke’s announcement of the Prince’s favor to the author has been examined in detail by Austen’s biographers and by many scholars, and it is well known that Austen agreed only reluctantly to what was, in e ffect, a royal command. As David Nokes points out, Austen was shocked by Clarke’s message from the Prince , “ a man whose gambling and debauchery were the subjects of every caricaturist’s pen and whose profligate behaviour threatened to place the monarchy itself in jeopardy ” (467). When Clarke wrote to Austen some months after the Prince had been sent his “handsome copy” of Emma , he does not mention whether the Prince liked the novel or even if he had read it (Tomalin 247). If the Prince had read only about five pages into the novel before he came across a direct refer - ence to (Princess Caroline of) Brunswick, he would not have been best pleased, and he may have put his copy of Emma aside. The dedication to “ HIS ROYAL HIGHNESS / THE PRINCE REGENT ,” by his “ DUTIFUL / AND OBEDIENT / HUMBLE SERVANT ”—a text assumed to have been sup - plied by the publisher rather than by THE AUTHOR hersel f—now stands as the first page of the novel. LAURIE KAPLAN Emma and “the children in Brunswick Square” 237 Austen’s reference to Brunswick, and therefore to the Prince’s estranged wife , supports the findings of Douglas Murray and Colleen A. Sheehan, two scholars who have explored how correspondences between the details of Emma and the exploits of the Prince Regent contributed to Austen’s dismay about the requested dedication . Murray and Sheehan reveal the novel to be more po - litical than domestic . Murray analyzes a number of James Gillray’s political cartoons depicting the Prince’s raucous life, his secre t— and illega l— marriage to Maria Fitzherbert in 1785, for example; his marriage (to pay debts) in 1795 to Princess Caroline of Brunswick, and his dumping of her the following year; his sexual exploits and illegitimate children (134-37). Murray examines “Crown Prince” correspondences between the Prince, impatient heir to the throne, and Frank Churchill, adopted heir to Enscombe and the demanding Churchills ; between the King and Mr. Woodhouse ; and between Emma’s def - erence to her demanding father and the Prince’s rebellious break with his con - trolling father. The cartoons, often scurrilous and sometimes obscene, were so ubiquitous that Austen certainly knew of them and probably saw some of them. Murray concludes that in the letters she wrote to Clarke, asking if it were “in - cumbent” upon her to submit to the royal request, Austen’s “disingenuous self- presentation as ‘uninformed Female’ insured that the book would be read as only a novel and not as the subtle analysis of the Prince that it really is” (133). In two connected essays, Sheehan finds references to the Prince in Mr. Elton’s charade, replete with an acrostic and anagram, as well as in details of the text. Sheehan shows that an alternative solution to the “courtship” charade is “Prince [of] Whales.” Pointing out that the Prince styled himself “The First Gentleman of Europe,” and that “one of the questions explored in Emma is what constitutes a true gentleman,” Sheehan comments that “Austen surely laughed at the Prince’s self-appointed title, being well aware of his deserved reputation as a gambler, a glutton, a spendthrift, and an adulterer (reputed to have fathered numerous illegitimate children by a number of women).” Shee- han notes that the names of two of the teachers at Mrs. Goddard’s schoo l— “Miss Nash” and “Miss Prince ”—refer to two of the Prince’s paramours, by whom he may have had illegitimate o ffspring . u Orphans, illegitimacy, and Brunswick Square combine in Emma to create a complex subtext critiquing the state of the nation. Social historians remark how, during “the Georgian century ,” a spirit of public and private philanthropy 238 PERSUASIONS No. 31 A Perspective View of the Foundling Hospital, With Emblematic Figures (1749). © Trus- tees of the British Museum. led to the creation of five great London general hospitals, and to a variety of specialized hospital s—for women in labor, for example, and for the treatment of venereal diseases, smallpox, and insanity. Special wards were set up for can - cer patients ; public and private charities arose in response to the plight of the poor, the insane, the blind, the destitute. As part of the reform movement, a Royal Charter was granted to Captain Thomas Coram in 1739 for the founda - tion of the Foundling Hospital, established in 1742 for the care of London’s unwanted , illegitimate, or orphaned babies. The extensive grounds of the Foundling Hospital lay to the north-east of Queen Square (built 1708-20), where Fanny Burney lived in 1771-72, and where George III stayed with Dr. Willis when he began to show symptoms of porphyria . The Foundling Hospital, supported by twenty-one Lady Patronesses, achieved special prominence as a philanthropic institution . With its open fields and clean air, the Hospital became “an Object of National Munificence” (Wein- rob and Hibbert 100) , garnering such benefactors as Hogarth and Handel. Ho- garth presented his friend Captain Coram with a portrait, and he persuaded other distinguished painters to hold annual exhibitions and to donate paint - LAURIE KAPLAN Emma and “the children in Brunswick Square” 239 Isaac Cruikshank, The Little Chimney-Sweep (1808). Note the Foundling Hospital in the back - ground. © Trustees of the British Museum. ings and other works of art to the Hospital. Hogarth’s generosity turned the Foundling Hospital into England’s first public gallery for contemporary art , and the popularity of the exhibitions led to the foundation of the Royal Academy in 1768. Handel’s contribution was also significant. In 1750 he do - nated an organ to the chapel and on it gave performances of The Messiah with the choir he had trained; he wrote the Foundling Hospital Anthem for his first concert; he conducted benefit concerts that drew large audiences; he be - queathed to the Hospital a fair copy of The Messiah . Handel’s music ensured that the Foundling Hospital became a fashionable place to worship; people rented pews and came from all over London to hear popular preachers, whose sermons were covered by the Times (“ Foundling ”; Times Archive ).