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William Morris and the Resurrection of Medieval Paratextuality

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William Morris and the Resurrection of Medieval Paratextuality Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality by Miles Tittle Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Department of English, Faculty of Arts University of Ottawa. © Miles Tittle, Ottawa, Canada, 2012. ii Abstract My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future. iii Acknowledgments This work owes a great deal to scholars, colleagues, and friends, and the seeds of it were planted at several points in my past. During my early years at NSCAD I was fortunate enough to take Horst Deppe’s intensive typography design course incorporating project work with a hand-press and antique type-founts and visits to the Dawson Printshop, as well as an Arts and Crafts art history course, Lithography and Intaglio printmaking coursework taught by Dan O’Neill, and a rather avant-garde bookmaking course with Garry Neill Kennedy. During a bibliography class taught by my MA thesis supervisor Henry Summerfield at the University of Victoria, I was prompted by his love of fine press-work and careful analytical methodology to examine the Kelmscott editions in the library’s Special Collections, and to present a paper on Morris’s press while handing around the books themselves. I later presented a paper on bpNichol’s art books, again using the Special Collection’s resources so I could include the physical documents in the discussion. Rare books librarian Christopher Petter was always enthusiastic and helpful during my fruitful hours in the archives. William Whitla’s seminal article on Morris’s illuminations introduced me to the range of his calligraphic work, and I became fascinated by the strange relationship between Morris’s manuscripts, medieval texts, and the rise of paratextual awareness as a study and strategy. I am further indebted to Dr. Whitla for his helpful advice while I was determining where to pursue my thesis and for gifting me with actual samples from the Kelmscott Albion press. Richard Landon, director of the Thomas Fisher Rare Books Library, was very helpful to me, as were the staff at the Special Collections Room of the Metropolitan Toronto Reference Library, Dalhousie University’s Killam Library, the McGill University Library, the National Gallery of Canada, and the John S. Graham Library at Trinity College and Robertson Davies Library at Massey College, both at the University of Toronto. I owe a special thanks to Beloit iv College, Wisconsin, for actually sending me their copy of the elusive 1934 Anna Cox Brinton essay on the Æneid. The William Morris Society’s members, including Florence Boos, William Whitla, David Latham, Elaine Parks, and Dale Moore, have been collegial and helpful to me in many ways, not least in making me feel part of a vibrant community, as opposed to a lost scholastic hermit. At the University of Ottawa, Mary Arseneau allowed me to audit her graduate Pre-Raphaelite course, and I benefited greatly both from her instruction and from that rarest of experiences, an ongoing summer Pre-Raphaelite discussion group. Geoff Rector provided me with thoughtful and helpful advice on my thesis proposal. Michelle Weinroth has been supportive and inspiring, and invited me to an invaluable symposium. My greatest thanks, however, are due to my patient and warmly supportive thesis supervisor, David Staines, whose expertise has challenged me to improve myself through the many drafts and meetings of the past years, and to my wonderful wife Natasha Harwood, who has given her own time and expertise to this cause, and her continuous love and support. There has always been someone willing to listen and advise when I began to feel isolated or unsure of my path, and I will always be grateful for my good fortune. Sections of earlier drafts of this thesis have been adapted and presented in two conference papers. “Pre-Raphaelite Palimpsest: William Morris and the Reconfiguring of Medieval England” was presented at The Fourth Annual University of Ottawa English Department Graduate Conference: Exhumations and the Revisiting of the Past, June12-13, 2009 (University of Ottawa, Ontario). “Last Illumination: the Meaning of William Morris’s Pre-Raphaelite Æneid” was presented at the William Morris: Radicalism and Aesthetics Symposium at the Canadian Society for Aesthetics 2010 Congress of the Humanities and Social Sciences Federation of Canada (May 29, 2010 Concordia University, Montreal, Quebec). v Contents Abstract ii Acknowledgments iii Illustrations vii Chapter One: A Visible Praxis: Morris’s Artifacts of Change 1 Morrissean Artifacts 4 Recovering and Effacing the Past 16 Hybrid Language 22 Meaningful Labour 27 Chapter Two: Praisers of Past Times: The Gothic Revival’s Rewriting of Medieval and Victorian Society 32 Friedrich Schiller 38 Sir Walter Scott 44 Eugène Emmanuel Viollet-le-Duc 49 Augustus Pugin 53 Thomas Carlyle 57 John Ruskin 62 Imposing Aesthetics 70 Chapter Three: Illuminating the Word: Developing a Visual Rhetoric of the Page 77 Victorian Illuminations 81 Collecting Models 85 Rossetti’s Influence 92 The First Illuminations 102 The Italian Influence 116 A Book of Verse 125 The Rubáiyáts 131 Last Illuminations: Horace and Virgil 138 vi Chapter Four: Paratextual Renaissance: The Pre-Raphaelite Æneid 142 Reading the Æneid Manuscript 152 Lost Messages 169 Chapter Five: Morphemetic Models: The Kelmscott Solution 176 Victorian Printing 177 Practical Agendas 185 Kelmscott Paratextuality 204 The Kelmscott Chaucer 215 Chapter Six: The Changing Signal: Morris’s Paratextual Legacy 230 Sharing the Page: The Effect of Morris’s Calligraphy on Printing 234 The Ashendene Press 235 The Doves Press 237 The Eragny Press 244 The Vale Press 249 The Essex House Press 253 The Golden Cockerel Press 254 The Gregynog Press 257 The Nonesuch Press 259 Across the Atlantic: North American Presses 262 Conclusion: Modern Textuality 266 Epilogue: Radiant Paratextuality 279 Appendix A: Descriptions of Illuminations 285 Descriptive Bibliography of Printed Works 297 Works Cited 309 vii Illustrations Figures 1.1 William Morris Portrait ix 1.2 Stained-Glass Window, Boston. 19 1.3 Printing-Block Morris Portrait 26 2.1 Red House, Bexleyheath 31 2.2 The Château de Pierrefonds Castle 51 2.3 Pugin’s Medieval Court 55 3.1 The Rubáiyát of Omar Khayyám 76 3.2 13th Century Psalter detail 89 3.3 Kelmscott Froissart Page 90 3.4 Acanthus Pattern 94 3.5 The Girlhood of Mary Virgin 97 3.6 Song from Paracelsus 108 3.7 Guendolen 110 3.8 The Iron Man 115 3.9 Tagliente, Lo presente libro 121 3.10 A Book of Verse 128 3.11 The Rubáiyát of Omar Khayyám 135 3.12 The Odes of Horace 137 4.1 “Venus leads Aeneas from the ruins of Troy” 141 4.2 The Æneid Binding 151 4.3 “Venus meets Aeneas” 154 4.4 Pliny’s Natural History 157 4.5 “Turnus visited by the Goddess Iris” 159 4.6 “The Women of Troy Burn the Ships” 161 4.7 “Dido falls on Aeneas’s Sword” 163 4.8 “Aeneas slays Mezentius” 164 4.9 “Cassandra Chained” 165 4.10 “Cupid embraces Dido” 166 viii 4.11 “Lavinia, her Hair Ablaze” 168 4.12 “Juno in her Chariot” 170 5.1 Text and Margin Layouts 175 5.2 Morris’s Bed 201 5.3 Of King Florus and the Fair Jehane. 210 5.4 The Kelmscott Chaucer 220 6.1 Eros and Psyche, Gregynog Press 229 6.2 Dante’s Inferno, Ashendene Press 236 6.3 The Bible, Doves Press 238 6.4 Men and Women. Doves Press 243 6.5 Areopagitica.
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