Wow – Canada!

Canada through the eyes of world literature

Those Ghastly Colonials

NMitfordCover

Nancy Mitford, Love in a Cold Climate (1949)

Love in a Cold Climate, Nancy Mitford’s sort-of sequel to The Pursuit of Love, doesn’t just mention Canada – it features a Canadian as a major character, and both raises and then undermines a number of common ideas about our country and its citizens. The novels share several features: like The Pursuit of Love, Love in a Cold Climate is again narrated by Fanny; again has very little to do with Fanny’s life, but is rather the story of one of her acquaintances, Polly; and again makes ample use of the Mitford family in the guise of the Radletts. Many of the characters from the earlier novel recur, though seen from slightly different angles, as it were.

As for the evocative title, if it has led you to hope that the novel is all about how to get naked and stay warm in a snowbank, I’m afraid I must disappoint you: the “cold climate” of the title refers to England (which must make any Canadian laugh, but anyway).

On to the story: Polly is the beautiful but cold daughter of Lord and Lady Montdore, and the first half of the novel concerns Lady Montdore’s attempts to marry her daughter off to a suitable bachelor. One of Lady Montdore’s great disappointments is that the family’s beautiful country house, Hampton, cannot be inherited by Polly, but instead will go to Cedric Hampton, a young relative the family has never met from – wait for it – Nova Scotia.

Here is Lady Montdore laying it out:

‘Oh, dear, oh, dear! Now, if only we were a French family, they seem to arrange things so very much better. To begin with, Polly would inherit all this, instead of those stupid people in Nova Scotia – so unsuitable – can you imagine Colonials living here?’  (271)

And similarly, a few pages later:

‘The young man from Nova Scotia simply gets Hampton and everything in it, but that is an Aladdin’s Cave, you know, the furniture, the silver, the library – treasures beyond value. Boy was saying they really ought to get him over and show him something of civilization before he becomes too transatlantic.’  (281)

And this:

‘Sad, isn’t it, the idea of some great lumping Colonial at Hampton!’  (367)

Here we can see the English aristocracy’s attitude to Canada: “stupid people … so unsuitable … Colonials.” The incredulity implied by the question at the end of the first passage makes it clear that Canadians are viewed as simply not good enough to live in a stylish English house.

The second passage continues in the same vein, with the reference to showing the Nova Scotian something of civilization indicating that no one thinks there’s any civilization to be found in Canada; no doubt it’s essentially a wilderness inhabited by people not much better than animals. Only Europe can provide civilization – and there we see the one ray of hope. The boy from Nova Scotia is not beyond recovery; if he could just be rescued from Canada and brought to Europe in time, perhaps the touch of civilization could smooth out his savage nature (“too transatlantic”) and make him someone who might not be welcomed, but could at least be tolerated, in the drawing rooms of society.

I don’t want to summarize the entire plot here – too labyrinthine – but, for the sake of comprehension, I’ll hit the high points: Polly disappoints her parents by marrying her uncle, Boy Dougdale (who has also been her mother’s lover, apparently – let’s hope Park Chan-wook doesn’t make a film adaptation). In response to this inappropriate marriage, her father cuts her out of his will entirely:

‘Of course lots of people say Polly isn’t Lord Montdore’s child at all. King Edward, I’ve heard.’
‘It doesn’t seem to make much difference now, whose child she is, because he’s cut her out of his will and some American gets it all.’  (383)

This is one of the most remarkable references to Canada I’ve come across. Without even mentioning Canada, it says so much about us: even in fiction, we get taken for Americans.

In the second half of the novel we actually meet Cedric Hampton, the Nova Scotian who will inherit all of Lord Montdore’s estate, and this is where things get particularly interesting. Mitford sets us up with a few more references along the lines of what we’ve come to expect:

‘Now, fancy moving in Canada. You’d think one place there would be exactly the same as another, wouldn’t you?’  (397)

And this:

Words dimly associated with Canada kept on occurring to me, the word lumber, the word shack, staking a claim…. How I wished to be present at Hampton when this lumberjack arrived to stake his claim to that shack.  (399)

So there he is again: our old, and seemingly inescapable, friend, the Canadian lumberjack. The passage is a miniature summary of how a well-off young Englishwoman of the time would think of Canada – ironically so, it turns out, because then we meet the “lumping colonial,” the “lumberjack,” Cedric Hampton himself, and things take a turn for the unexpected:

There was a glitter of blue and gold across the parquet, and a human dragon-fly was kneeling on the fur rug in front of the Montdores, one long white hand extended towards each. He was a tall, thin young man, supple as a girl…. He was flashing a smile of unearthly perfection….  (401)

It turns out that this nominal Canadian has not been living in Canada for years; in fact, as he says himself:

‘…kindly Nature has allowed a great sea-fog of oblivion to rise between me and Nova Scotia, so that I hardly remember one single thing about it.’  (406)

He’s been living in Paris, depending on the kindness of Barons, involved with a “selfish” German “boy” named Klugge; he is “kind and thoughtful and affectionate, like a charming woman friend” (413); he turns out to be a member of quite a different tribe from what we were led to expect:

‘Aesthetes – you know – those awful effeminate creatures – pansies.’  (420)

For us as Canadians, Cedric’s actual appearance, when compared to what everyone expects of him before he arrives, marks a significant shift in the perception of Canadians in the English novel, and brings about an equally remarkable shift in the views of the English aristocrats in the book – for Cedric becomes like a son to the Montdores, especially Lady Montdore, who at the beginning of the novel loathes the very idea of his existence. He turns out to be a sophisticated aesthete with an extensive knowledge of art, architecture, poetry, fashion, furniture, personal grooming – pretty well any subject of interest to society ladies with more money and time than they know how to spend. He charms every member of high society he meets, usually by seeming to have an intimate knowledge of, and deep interest in, whatever subject the other person is most fascinated by. He is a glittering chameleon, always exactly what the other person wants him to be.

This seems to suggest that Mitford had a view of Canadians quite a bit more nuanced than many of her compatriots had – or even have today. In part the intention of the novel is satirical, of course; she builds up expectations of a coarse, unsophisticated Canadian, and then shifts the direction of the novel by introducing a completely different sort of character. And Cedric’s sophisitication is the product of his time in Europe, not in Nova Scotia – though really it’s the product of time in Europe combined with his innate nature, which suggests Canadians aren’t doomed to never be more than lumberjacks; we have at least the potential to understand and appreciate the finer things, so long as we are brought into contact with the improving influence of European civilization.

There is also the idea that “blood will out” to consider – Cedric’s mother was a Canadian woman, but his father was a member of the English aristocracy, and perhaps we are meant to understand that it is the aristocratic half of his background that makes the life he creates for himself possible.

Nevertheless, the story of Cedric Hampton represents a fascinating reversal of the view of Canada taken by Dickens, say, or Basil Bunting, as a land of new opportunity for Englishmen; in the case of Cedric, it is his leaving Canada and coming to Europe that opens up a social and cultural world where a person with his aesthetic and theatrical inclinations can succeed and become an adored figure of high society – something that surely never would have happened in Halifax or Dartmouth, where he might well have simply withered away.

Advertisements

Single Post Navigation

One thought on “Those Ghastly Colonials

  1. Pingback: A Canadian at Baskerville Hall? | Wow - Canada!

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: