The Wanderer; or, Female Difficulties (Volume 1 of 5) — A Closer Reading

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Burney, Fanny, 1752-1840 Project Gutenberg 2011 Not confirmed
Historical fiction; War stories; Refugees -- Fiction; France -- History -- Revolution, 1789-1799 -- Refugees -- Fiction Readers of public-domain and historical texts
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Words 75,397
Reading time 328 min
Text sections 7

The source record for The Wanderer; or, Female Difficulties (Volume 1 of 5) — A Closer Reading measures this digital text at 75,397 words, 5 hr 28 min estimated reading time, and 7 detected text sections.

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Fanny Burney's 1814 novel opens with a mysterious young woman landing on the English coast, her identity concealed. Through the first volume's social encounters, Burney uses withheld information, conflicting perceptions, and the heroine's silence to build suspense around her past and her 'female difficulties.'
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Rage had elevated his voice; the petitioner heard it, and called--screamed, rather, for mercy.

'Nay, since she is but a woman, and in distress, save her, pilot, in God's name!' said an old sea officer. 'A woman, a child, and a fallen enemy, are three persons that every true Briton should scorn to misuse.'

The sea officer was looked upon as first in command; the young man, therefore, no longer opposed, separated himself from a young lady with whom he had been conversing, and, descending from the boat, gave his hand to the suppliant.

There was just light enough to shew him a female in the most ordinary attire, who was taking a whispering leave of a male companion, yet more meanly equipped.

With trembling eagerness, she sprang into the vessel, and sunk rather than sat upon a place that was next to the pilot, ejaculating fervent thanks, first to Heaven, and then to her assistant.

The pilot now, in deep hoarse accents, strictly enjoined that no one should speak or move till they were safely out at sea.

All obeyed; and, with mingled hope and dread, insensible to the weather, and dauntless to the hazards of the sea, watchful though mute, and joyful though filled with anxiety, they set sail.

In about half an hour, the grumbling of the pilot, who was despotic master of the boat, was changed into loud and vociferous oaths.

Alarmed, the passengers concluded that they were chaced. They looked around,--but to no purpose; the darkness impeded examination.

They were happily, however, mistaken; the lungs of the pilot had merely recovered their usual play, and his humour its customary vent, from a belief that all pursuit would now be vain.

This proved the signal to general liberty of speech; and the young lady already mentioned, addressing herself, in a low voice, to the gentleman who had aided the Incognita, said, 'I wonder what sort of a dulcinea you have brought amongst us! though, I really believe, you are such a complete knight-errant, that you would just as willingly find her a tawny Hottentot as a fair Circassian. She affords us, however, the vivifying food of conjecture,--the only nourishment of which I never sicken!--I am glad, therefore, that 'tis dark, for discovery is almost always disappointment.'

'She seems to be at prayers.'

'At prayers? She's a nun, then, depend upon it. Make her tell us the history of her convent.'

'Why what's all this, woman?' said the pilot, in French, 'are you afraid of being drowned?'

'No!' answered she, in the same language, 'I fear nothing now--it is therefore I am thankful!'

Retreating, then, from her rude neighbour, she gently approached an elderly lady, who was on her other side, but who, shrinking from her, called out, 'Mr Harleigh, I shall be obliged to you if you will change places with me.'

'Willingly;' he answered; but the young lady with whom he had been conversing, holding his coat, exclaimed, 'Now you want to have all the stories of those monks and abbesses to yourself! I won't let you stir, I am resolved!'

The stranger begged that she might not incommode any one; and drew back.

'You may sit still now, Mr Harleigh,' said the elderly lady, shaking herself; 'I do very well again.'

Harleigh bit his lip, and, in a low voice, said to his companion, 'It is strange that the facility of giving pain should not lessen its pleasure! How far better tempered should we all be to others, if we anticipated the mischief that ill humour does to ourselves!'

'Now are you such a very disciple of Cervantes,' she replied, 'that I have no doubt but your tattered dulcinea has secured your protection for the whole voyage, merely because old aunt Maple has been a little ill bred to her.'

'I don't know but you are right, for nothing so uncontrollably excites resistance, as grossness to the unoffending.'

He then, in French, enquired of the new passenger, whether she would not have some thicker covering, to shelter her from the chill of the night; offering her, at the same time, a large wrapping coat.

She thanked him, but declared that she was perfectly warm.

'Are you so, faith?' cried the elderly man already mentioned, 'I wish, then, you would give me your receipt, Mistress; for I verily think that my blood will take a month's thawing, before it will run again in my veins.'

She made no answer, and, in a tone somewhat piqued, he added, 'I believe in my conscience those outlandish gentry have no more feeling without than they have within!'

The first volume of The Wanderer; or, Female Difficulties introduces its heroine through a series of withheld revelations. The narrative begins with a boat landing on the English coast, carrying a young woman whose name, history, and purpose are initially unknown. Burney sustains this mystery by filtering the woman through the reactions of other characters: the suspicious Mrs. Maple, the curious Harleigh, and the sympathetic Selina. The reader is given no direct access to the heroine's thoughts or backstory, only external observations and her own evasive or silent responses.

Burney's dedication to her father, dated 1814, frames the novel as a work composed over many years and carried across the ocean during wartime. This biographical note hints at the novel's preoccupation with displacement and scrutiny, themes that emerge immediately in the opening chapters.

The Dedication as a Key to the Novel's Composition

Burney's dedication to Dr. Charles Burney is more than a filial tribute; it provides a rare glimpse into the novel's long gestation. She states that the manuscript 'has already twice traversed the ocean' and was begun 'before the end of the last century.' The work was set aside after a family loss, then resumed in France between 1802 and 1812. This history of displacement mirrors the heroine's own rootlessness. Burney also notes that the manuscript passed through customs on both sides of the English Channel 'without demur, comment, or the smallest examination,' a detail that underscores the novel's concern with surveillance and trust. Readers attentive to this preface will recognize that the novel's themes of exile and hidden identity are not merely plot devices but reflections of the author's own experiences.

The Heroine's Silence and the Burden of Perception

From her first appearance, the Wanderer is defined by what she does not say. When praised by Lord Melbury and Lady Aurora Granville, she 'courtsied the acknowledgements which she could not pronounce.' Later, when Selina visits her chamber, she is found 'absorbed in deep thought, and neither able nor willing to converse.' This silence is not merely shyness; it is a strategic withholding that forces other characters—and the reader—to interpret her through external signs. Mrs. Maple concludes that the heroine is 'already so spoiled' by aristocratic attention, while Harleigh wonders, 'Who, who, can'st thou be?' The narrative thus becomes a study in how a woman without a known history is read by a suspicious society. Burney's technique of filtering the heroine through multiple perspectives creates a layered portrait built from conjecture and prejudice.

Social Maneuvering and the Threat of Exposure

The excerpts reveal a pattern of social evasion and near-exposure. When Lady Aurora Granville calls to thank the Wanderer for her performance, Mrs. Maple tries to prevent the meeting, first claiming the heroine is indisposed, then that she has 'walked out.' Selina is forced to lie, reporting that Miss Ellis is 'taken suddenly ill.' Mrs. Maple's anxiety stems from the heroine's ambiguous status: she is neither servant nor gentlewoman, and her presence threatens the household's respectability. The need to borrow a gown from Selina for a second appearance underscores her material dependence. Burney uses these domestic maneuvers to dramatize the 'female difficulties' of the title—the constant negotiation between visibility and concealment required of a woman without protection or means.

Recurring Motifs: The Glow and the Gaze

Burney employs a subtle pattern of physical reactions to signal emotional undercurrents. When Lord Melbury inquires after the Wanderer, Harleigh is described with 'the glow of satisfaction which illumined his face,' while Mrs. Maple is marked by 'a glow of a far different sort.' These contrasting glows—one of pleasure, one of vexation—highlight the divergent responses the heroine provokes. Similarly, the narrative repeatedly emphasizes watching and being watched: the company 'imbibed the same notion' about the heroine's pride, and Mrs. Maple's 'perplexed situation' arises from her inability to control how others see her guest. These motifs of light and surveillance reinforce the novel's central tension between the desire for recognition and the need for concealment.

As you read Volume 1, pay particular attention to what the heroine does not say or do. Burney withholds her interiority almost entirely, so every gesture, hesitation, and borrowed gown becomes a clue. Notice how each character's opinion of the Wanderer reveals more about the observer than the observed. The novel's title promises 'female difficulties,' and the first volume delivers them not through dramatic events but through the quiet, relentless pressure of social scrutiny.

The way Burney’s wanderer guards her name, circling every room like a held breath, stays with me long after closing the volume. It made me think of quieter battles, the ones fought without witnesses. There is a certain ache in that silence, a feeling Vittoria — Volume 8 — Key Ideas to Explore seems to understand, though its shadows fall differently. Both feel like old friends who kept their secrets kindly.

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