70 pages • 2-hour read
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Throughout The Buccaneers, buildings and houses are symbols of social status. The novel opens in the United States, and when Colonel St. George buys a house on Madison Avenue, his wife is horrified to learn that this address makes them social outcasts, as the fashionable people all live on Fifth Avenue. This house therefore represents the St. George family’s ambiguous social status in New York, for despite their wealth, they also find themselves on the periphery of the true elite. The decadence of their house symbolizes their elevation over most of the American population, but its location marks their distance from those elite circles. As such, the decision to go to Britain is in part motivated by this frustration over the linked issue of houses and social status.
Upon their arrival in Britain, however, the American characters soon realize that they have entered a world in which the buildings have just as much symbolic meaning as their residence in America. However, these meanings are less clear to them. The grand houses of the British aristocracy, for example, seem dingy and cold at first glance, and when Virginia first views Allfriars, she compares it to a jail because it lacks the ornamentation and luxury that she associates with wealth. By contrast, Nan thinks of the building as a palace, because it stands as a symbolic link to the rich history of Great Britain. The girls’ contrasting reactions to Allfriars illustrate their competing worldviews.
Nan’s stay with the Testavaglia family offers an entirely different vision. The family home is modest and rustic, but Nan quickly gains an affection for its authenticity, appreciating the fact that its relative poverty remains undisguised. Whereas the stately homes of the British elite feel like museums or mausoleums, Nan finds that the small Italian household feels alive. In the various houses owned by her husband, Nan constantly felt out of place, but in the Testavaglia home, there is no such pomposity, and this setting gives Nan a glimpse of the more authentic future that she might spend with Guy.
Throughout the novel, art and books play a significant role in the culture of the characters, and Miss Testvalley has a strong influence on this dynamic. In her role as governess, she infuses her charges with an admiration for literature, as book learning represents the difference between an educated young woman and just another rich daughter of a wealthy American businessman. Nan is particularly enthused by her governess’s fondness for art and books because she sees literature as an essential part of life. As the younger daughter, she often feels overshadowed by Virginia, and books provide her with a way to escape her world’s social pressures and to distinguish herself from her more attractive sister. When they both visit Sir Helmsley, for example, he remarks endlessly about Virginia’s appearance but compliments Nan’s sincere interest in history, culture, and art.
For the British aristocracy, art is often regarded as something that is simply lying around the house. Many of the large family homes are filled with valuable heirlooms that have been passed down across the generations. In the era in which the book is set, many of these aristocrats, such as Sir Helmsley have fallen on hard times and have been forced to sell their artwork to remain afloat. Notably, Sir Helmsley is still ashamed of himself for selling a work by the famous painter Titian, whose works in the modern era can sell for hundreds of millions of dollars. He then clings to a painting by Holbein, showing a sentimental attachment to it because to sell it would force him to acknowledge that he has no choice but to sell his heirlooms to solve his financial difficulties. The collections of the great houses are a demonstration of wealth, history, and status, and the much-diminished aristocrats strive to cling to their art even as the financial realities of their world become increasingly unavoidable.
Art is not limited to the elite, however, as Miss Testvalley’s cousin, Rosetti, is a famous painter in his own right. Sir Helmsley is a fan of Rosetti and grows intrigued by Miss Testvalley’s relationship with him. This keen interest turns into a business relationship as he becomes one of many painters who helps to create a production line for Rosetti’s work. Rosetti recruits other painters to provide sketches or even complete whole canvasses, to which he then applies the finishing touches before selling them at full price. This scheme relies on Rosetti’s fame as an artist but also on the clients’ lack of knowledge about art. Rosetti is able to sell what nearly amounts to counterfeit pieces because the aristocrats who purchase his work are only interested in the art as a status symbol.
Titles such as Duke and Lord become increasingly prominent as markers of status in The Buccaneers. Elite American society may be just as stratified as British society in terms of wealth, but the Americans proudly distinguish themselves from their European counterparts by the absence of a formalized aristocracy. Even so, characters such as Mrs. St. George cannot help but be impressed by Conchita’s marriage to Lord Marable. This fascination foreshadows the decision to decamp to Britain, where the daughters of the American elite will try to exchange their wealth for aristocratic titles. The existence of titles thus symbolically separates the American and European cultures, even as the Americans’ continued reverence for titles suggests that the cultures are not as far apart as many would imagine.
When the characters arrive in Britain, figures like Miss March and Miss Testvalley become essential to the American girls’ ability to master matters of etiquette and explain how to tell the difference between a Sir, a Lord, and a Duke. To have a title is significant, but the explicit internal hierarchy of the aristocracy can feel alien to outsiders. Furthermore, those girls who do marry into the aristocracy discover that these titles come with an onerous list of duties. Nan’s mother-in-law tells her that to be a Duchess is to adhere to a set of unwritten rules and expectations, and her husband stresses that as a Duchess, Nan has only one real purpose: to provide him with heirs. Nan is shocked to discover these social realities that everyone around her seems to understand implicitly, and for her, the title becomes a burden too heavy to uphold.



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