by Victoria Owens
In September 1836 advertisements for On the use of hot air in the Ironworks of England and Scotland […] appeared in the London newspapers. Published by the august firm of John Murray, it was a modest octavo, priced at 5s 6d. To all appearance, the English text was anonymous, the title page stating only that the work was ‘Translated from a report made to the director-general of mines in France, by M. Dufrénoy in 1834 [sic]’ without naming the translator. The entries in John Murray’s ledgers were equally uninformative about the origin of the English version, referring to the work only as ‘Hot Air (On the use of)’ with a caret mark adding the scribbled note ‘By M. Dufrénoy’. The illustrations, however, carry some mark of Lady Charlotte’s involvement. Murray’s publication re-cycles the engravings which had appeared in Dufrénoy’s Rapport, but with an addition. Examination of the English text reveals the initials ‘C.E.G.’ – Charlotte Elizabeth Guest – in her distinctive handwriting beside each picture, presumably as confirmation to the printer that the image is to be bound in with the text.
To remain anonymous may have been her choice. Not only were mid-nineteenth century publishers apt to view women writers dismissively – it was why the Bronte sisters took masculine pen-names – but her mother had been less than happy about her marriage. For all his acumen, the industrialist John Guest was not the husband she would have chosen for her daughter – she preferred Robert Plumer Ward, a barrister-cum-novelist, whose proposal Charlotte resolutely declined. Charlotte, what was more, had loved South Wales from her first sight of the ‘blazing furnaces’ of Dowlais and the ‘broad glare of the fires.’ By contrast, when Lady Lindsey visited in August 1834, she thought the Glamorganshire countryside ‘wild enough for banditti’ and likened the ironworks to ‘a den of thieves.’ It seems unlikely that she would have viewed her daughter’s work on the Rapport sur l’emploi de l’air chaud with much enthusiasm. Nevertheless, Charlotte’s achievement did not remain secret for long. In December 1836 the local newspaper jubilantly identified her as the translator of On the Use of Hot Air and carried a story full of praise for her disregard of all ‘temptations to indolence’ and ‘frivolities of fashion,’ and ready devotion of her ‘time and talents to useful […] works by which mankind may be benefitted, and the interests of Science advanced.’
Her book had a print run of only two hundred copies but in iron manufacturing circles, it sparked considerable interest. On 1 October 1836, when it had been out for less than a month, John Wilson, co-proprietor of the Clyde Ironworks and member of the syndicate which held the patent rights to the Hot Blast process, called on Lady Charlotte to request a copy of her translation. He was apparently ‘anxious to see [it], as he did not understand French.’
If it yielded little financial return, the engagement with Dufrénoy’s survey of the British iron trade nevertheless set the course of Charlotte’s future. It is no coincidence that in her journal entry for 26 September 1836 – just when the book went on sale – she should mention having ‘undertaken the office of Merthyr’s secretary, to write all his letters and keep them copied and arranged.’ It was, she thought, a ‘beginning in earnest’ for which she had ‘been training for some time.’ Her remarks were prescient indeed, for on John’s death in 1852, she succeeded him as head of the works, and would soon have to bring all her acuity to bear on resolving a strike. Disputes aside, commerce gave her immense satisfaction. ‘I am happy to see we are at the head of the iron trade,’ she wrote in April 1839. ‘Otherwise I could not take pride in my house in the City, and my works at Dowlais, and glory (playfully) in being (in some sort) a tradeswoman.’