XIX CENTURY FICTION PART I Jarndyce
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On the Provenance of Two Late “American Stories” Attributed to Wilkie Collins
早稲田大学国際教養学部 Waseda Global Forum No. 10 （ 2 0 1 4 ）抜 刷 On the Provenance of Two Late “American Stories” Attributed to Wilkie Collins Graham LAW ● Article ● On the Provenance of Two Late “American Stories” Attributed to Wilkie Collins Graham LAW Abstract The increasing availability of digital editions of historical newspapers has recently brought to light claims regarding the provenance of two tales first appearing in the American press in June and October 1889, respectively. These narratives, both with American settings, are there attributed to the British novelist, Wilkie Collins, who died on September 23, 1889. The claims regarding the first tale“, The Only Girl at Overview,” are limited to a single newspaper and can be quickly dismissed. In the case of the second tale“, One August Night in ’61,” since there is no clear-cut documentary evidence to settle the case, reaching a judgment concerning provenance involves sifting a good deal of circumstantial detail, extending well beyond literary contents. The various strands relate to the American novelist who reportedly“ wrote up” up the sketch, the journals publishing and the agency distributing it, the contemporary record of payments into and out of the author’s bank account, as well as the linguistic qualities of a letter allegedly written by him, and his physical and mental condition at the time in question. In the end, though, with the insurmountable difficulty concerning the timing of the alleged letter in relation to the author’s medical condition, the balance of evidence suggests that Wilkie Collins probably had no hand in the composition not only of“ The Only Girl at Overview” but also o“f One August Night in ’61.” Though this incident tells us little about the literary practices of the aging Wilkie Collins, it reveals a good deal about the material and ideological conditions prevailing in the American popular press towards the end of the nineteenth century. -
Wilkie Collins, a Biography
INDEX Achurch, Janet, 284n. Bancroft, Squire, 239, 253-5, Addison, Joseph, 293. 282, 286, 323. Adelphi Theatre, 205, 210, Barnaby Rudge, 258. 225-6, 304. Barrett, Wilson, 252. After Dark, 92, 313. Bartley, H. P., 288. Ainsworth, Harrison, 38. Basil, 68-72, 85, 128-9, 161, Alexander, George, 305. 239, 291, 329. Alexandra Theatre, Liverpool, Bateman, Miss, 286. 284. Beard, Francis Carr, 134, Alison, Rev. Dr., 19. 164-5, 167-8, 188, 230, 236, Allston, Washington, 14, 21, 243, 249-51, 307, 317, 46. 321-4. All the Year Round, 61, 127, Beard, Nathaniel, 230, 249-51, 142-3, 157, 159-60, 162, 265. 169, 174, 179, 187, 202, Beard, Thomas, 126, 165. 205, 207, 212, 215-17. Bedford, Duke of, 20. Andersen, Hans, 113. Beethoven, 156. Anderson, Mary, 213-4, 307-8, Belinfaute Bros., 233-5. 314. Bellini, 156. Anson, G. W., 305. Bentley, George, 53, 57, 71, Antiquary, The, 329. 75, 246-7. Antonina, 54-5, 58, 70. Benzon, Mr., 199. Antrobus, Mr., 32-3, 37-8, Beppo, 28. 40-1. Berger, Francesco, 106. Archer, Frank, 54, 133, 261, Bernard, W. B., 174. 263, 271-2, 280, 283-4, 288, Besant, Walter, 304, 321, 300, 304, 311, 313, 316, 324. 321. Black, William, 326. Armadale, 97, 163, 173, Black and White, 225-7. 187-96, 198-9, 200, 218, Black Robe, The, 298-9. 228, 239, 284, 289-91, 326. Blanchard, E. M., 189, 208. Arnold, Matthew, 261. Bleak House, 65, 75, 167. Arrowsmith, J. W., 311-2. Blind Love, 318-22. As You Like It, 99. Bolton Weekly Journal, 310. -
Popular Fiction 1814-1939: Selections from the Anthony Tino Collection
POPULAR FICTION, 1814-1939 SELECTIONS FROM THE ANTHONY TINO COLLECTION L.W. Currey, Inc. John W. Knott, Jr., Bookseller POPULAR FICTION, 1814-1939 SELECTIONS FROM THE THE ANTHONY TINO COLLECTION WINTER - SPRING 2017 TERMS OF SALE & PAYMENT: ALL ITEMS subject to prior sale, reservations accepted, items held seven days pending payment or credit card details. Prices are net to all with the exception of booksellers with have previous reciprocal arrangements or are members of the ABAA/ILAB. (1). Checks and money orders drawn on U.S. banks in U.S. dollars. (2). Paypal (3). Credit Card: Mastercard, VISA and American Express. For credit cards please provide: (1) the name of the cardholder exactly as it appears on your card, (2) the billing address of your card, (3) your card number, (4) the expiration date of your card and (5) for MC and Visa the three digit code on the rear, for Amex the for digit code on the front. SALES TAX: Appropriate sales tax for NY and MD added. SHIPPING: Shipment cost additional on all orders. All shipments via U.S. Postal service. UNITED STATES: Priority mail, $12.00 first item, $8.00 each additional or Media mail (book rate) at $4.00 for the first item, $2.00 each additional. (Heavy or oversized books may incur additional charges). CANADA: (1) Priority Mail International (boxed) $36.00, each additional item $8.00 (Rates based on a books approximately 2 lb., heavier books will be price adjusted) or (2) First Class International $16.00, each additional item $10.00. (This rate is good up to 4 lb., over that amount must be shipped Priority Mail International). -
Caricature in the Novel, 1740-1840 a Dissertation Submitted in Part
UNIVERSITY OF CALIFORNIA Los Angeles Sentiment and Laughter: Caricature in the Novel, 1740-1840 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Leigh-Michil George 2016 © Copyright by Leigh-Michil George 2016 ABSTRACT OF THE DISSERTATION Sentiment and Laughter: Caricature in the Novel, 1740-1840 by Leigh-Michil George Doctor of Philosophy in English University of California, Los Angeles, 2016 Professor Jonathan Hamilton Grossman, Co-Chair Professor Felicity A. Nussbaum, Co-Chair This dissertation examines how late eighteenth- and early nineteenth-century British novelists—major authors, Laurence Sterne and Jane Austen, and lesser-known writers, Pierce Egan, Charles Jenner, and Alexander Bicknell—challenged Henry Fielding’s mid-eighteenth-century critique of caricature as unrealistic and un-novelistic. In this study, I argue that Sterne, Austen, Egan, and others translated visual tropes of caricature into literary form in order to make their comic writings appear more “realistic.” In doing so, these authors not only bridged the character-caricature divide, but a visual- verbal divide as well. As I demonstrate, the desire to connect caricature with character, and the visual with the verbal, grew out of larger ethical and aesthetic concerns regarding the relationship between laughter, sensibility, and novelistic form. ii This study begins with Fielding’s Joseph Andrews (1742) and its antagonistic stance towards caricature and the laughter it evokes, a laughter that both Fielding and William Hogarth portray as detrimental to the knowledge of character and sensibility. My second chapter looks at how, increasingly, in the late eighteenth century tears and laughter were integrated into the sentimental experience. -
The Death of Christian Culture
Memoriœ piœ patris carrissimi quoque et matris dulcissimœ hunc libellum filius indignus dedicat in cordibus Jesu et Mariœ. The Death of Christian Culture. Copyright © 2008 IHS Press. First published in 1978 by Arlington House in New Rochelle, New York. Preface, footnotes, typesetting, layout, and cover design copyright 2008 IHS Press. Content of the work is copyright Senior Family Ink. All rights reserved. Portions of chapter 2 originally appeared in University of Wyoming Publications 25(3), 1961; chapter 6 in Gary Tate, ed., Reflections on High School English (Tulsa, Okla.: University of Tulsa Press, 1966); and chapter 7 in the Journal of the Kansas Bar Association 39, Winter 1970. No portion of this work may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review, or except in cases where rights to content reproduced herein is retained by its original author or other rights holder, and further reproduction is subject to permission otherwise granted thereby according to applicable agreements and laws. ISBN-13 (eBook): 978-1-932528-51-0 ISBN-10 (eBook): 1-932528-51-2 Library of Congress Cataloging-in-Publication Data Senior, John, 1923– The death of Christian culture / John Senior; foreword by Andrew Senior; introduction by David Allen White. p. cm. Originally published: New Rochelle, N.Y. : Arlington House, c1978. ISBN-13: 978-1-932528-51-0 1. Civilization, Christian. 2. Christianity–20th century. I. Title. BR115.C5S46 2008 261.5–dc22 2007039625 IHS Press is the only publisher dedicated exclusively to the social teachings of the Catholic Church. -
The Collection of Victor Niederhoffer Part II (1640) Lot 44
The Collection of Victor Niederhoffer part II (1640) September 19, 2019 EDT, Main Floor Gallery Lot 44 Estimate: $1000 - $1500 (plus Buyer's Premium) [Literature] [Dickens, Charles] (Browne, Charles Farrar) Artemus Ward's Lecture. (As delivered at the Egyptian Hall, London.) Edited by his Executors, T.W. Robertson & E.P. Hingston. With Numerous Illustrations from the Panorama London: John Camden Hotten, 1869. First edition, first printing. Square 8vo. With frontispiece portrait of the author and other illustrations. Publisher's original gilt-stamped green cloth, beveled boards, all edges gilt, front hinge cracked and partially separated from text block, rear hinge starting, corners bumped, spine ends scuffed, other light scattered wear; heavy foxing to title page, frontispiece, and first few leaves, light foxing scattered throughout. 4pp. publisher's ads following text. Charles Dickens's copy with his armorial book plate and his Gadshill Place library label on the front pastedown; also with a later owner's bookplate on the front free endpaper recto, which bears a manuscript note, "This book was bought on 5th of December 1878 at the Southeran's sale of Dickens' library." Charles Farrar Browne (1834-1867) known as Artemus Ward, was a popular humorist, both as writer and performer who developed a rich vernacular American style, was Abraham Lincoln's favorite contemporary writer, and came to be one of Mark Twain's closest friends. BAL 1533, "This is bibliographically one of the most extraordinary books of the 19th (or any other) century. The publisher attempted by means of varied type to indicate the rise & fall of the lecturer's voice. -
The Bibliography of Thackeray; a Bibliographical List, Arranged In
QJarnell Unioetaitg SItbrarg Stljata, Nem Inrfe FROM THE BENNO LOEWY LIBRARY COLLECTED BY BENNO LOEWY 1854-1919 BEQUEATHED TO CORNELL UNIVERSITY CORNELL UNIVERSITY LIBRARY 924 096 767 037 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924096767037 THE BIBLIOGEAPHY OF THACKERAY. THE A BIBLIOGRAPHICAL LIST ARRANGED IN CHRONOLOGICAL ORDER OF THE PUBLISHED WRITINGS IN PROSE AND VERSE AND THE SKETCHES AND DRA WINGS OF WILLIAM MAKEPEACE THACKERAY (FROM 1829 TO 1880) A COMPANION AND SUPPLEMENT TO THE EDITION DE LUXE LONDON: ELLIOT STOCK 62 PATERNOSTER ROW E.C. TO JOSIAH TEMPLE THIS LITTLE BIBLIOGRAPHY -tS AFFECTIONATELY AND GKATEEULLY INSCRIBED PREFACE. A LARGE proportion of this little Bibliography is. necessarily occupied with the enumeration of Thacke- ray's contributions to Fraser's Magazine and to Punch, both ranging over periods of ten years. As many of these are not reprinted in any edition of his Collected Works, I have endeavoured to make the list as com- plete as possible ; and in the case of the contributions to Fraser, I have every reason to believe I have suc- ceeded. But in the case of Punch (where, indeed, one is almost overwhelmed with the embarras de richesses), I have preferred rather to omit some items of minor interest than to run the risk of including anything doubtful. For although the well-known and familiar signature of the spectacles at once identifies any illustration as Thackeray's, it does not necessarily follow that the letter-press accompanying it was always his. -
World Literature
world literature Peter Harrington london This catalogue celebrates the international conversation that is literature, and the creativity that can spark when writers and texts cross national, linguistic, and cultural borders. For his lifelong commitment to literary internationalism, Jorge Luis Borges is a key figure here. One of the star items is Borges’s own annotated copy of Dante (20). Another is a man- uscript of the only poem he composed in the English language (17). We also have a scarce signed set of his Biblioteca de Babel series (21), which brought the great short stories of world literature to a South American audience. Many other items connect notable authors across place and time: Dylan Thomas’s school- boy copy of Omar Khayyám (item 179), T. S. Eliot’s Rimbaud (61), and E. M. Forster’s Chek- hov (41), for example. Among international presentations, Umberto Eco’s Name of the Rose to García Márquez is a show-stopper (58), as is García Márquez inscribing One Hundred Years of Solitude to his English publisher (67). A compelling example of international readership is found in a first American edition of Moby Dick being read by a poet in Hawaii who correspond- We are exhibiting at these fairs: ed with Melville (127). Classical literature is fundamental to our global network of inspiration, and where else to begin but with the editio princeps of Homer, printed in Florence in 1488 (83)? We also have, list- 7–9 June 2019 ed under its translator’s name, a scarce inscribed copy of T. E. Lawrence’s beautifully-printed firsts london English version (109). -
Poor Miss Finch : a Novel
MBi 1^ m^ ^m^M^' UNIVERSITY LIBRARY UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN The person charging this material is responsible for its renewal or return to the library on or before the due date. The minimum fee for a lost item is $125.00, $300.00 for bound journals. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. Please note: self-stick notes may result in torn pages and lift some inks. Renew via the Telephone Center at 217-333-8400 846-262-1510 (toll-free) or [email protected]. Renew online by choosing the My Account option at- http://www.llbrary.uiuc.edu/catalog/ FEB I i^' ?T^ POOR MISS FINCH 31 ^0\)Zl WILKIE COLLINS, AUTHOR OF THE WOMAN IN WHITE," "NO NAME," "MAN AND WIFE, ETC.. ETC. IN THREE VOLUMES, VOL. I. LONDON: RICHARD BENTLEY AND SON. 1872. /.^// Rig/its reserved.) r\ . I ^Z2 V. / TO MRS. ELLIOT, (of the deanery, BRISTOL). ILL you honour me by accepting the Dedication of this book, in remembrance of an uninterrupted friendship of many years ? More than one charming bHnd girl, in fiction and in the drama, has preceded " Poor Miss Finch." But, so far as I know, bhnd- ness in these cases has been always exhibited, more or less exclusively, from the ideal and the sentimental point of view. The attempt ^ here made is to appeal to an interest of ^ another kind, by exhibiting blindness as it hr Dedication. really is. I have carefully gathered the in- formation necessary to the execution of this purpose from competent authorities of all sorts. -
Crime and Subversion in the Later Fiction of Wilkie Collins by Lisa Gay
Crime and Subversion in the Later Fiction of Wilkie Collins By Lisa Gay Mathews Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds: School of English 1993 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. Crime and Subversion in the Later Fiction of Wilkie Collins By Lisa Gay Mathews Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds: School of English 1993 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. With Thanks To Alan Steele for supervising my work. To my parents for financial and moral support. To Ray and Geraldine Stoneham for teaching me to use a word processor. To Bill Forsythe of Exeter University for moral support and encouragement. And lastly, to my four beautiful cats for keeping me company whilst I wrote. Lisa Mathews: Crime and Subversion in the Later Fiction of Wilkie Collins Submitted for the degree of Doctor of Philosophy. October 1990 Abstract Although some good work on Collins is now beginning to emerge, complex and central elements in his fiction require fuller exploration. More consideration is due to the development of Collins's thinking and fictional techniques in the lesser-known novels, since out of a total of thirty-four published works most have received scant attention from scholars. This is particularly true of the later fiction. -
Wilkie Collins, the Woman in White
Wilkie Collins, The Woman in White Introduction to the Author: Wilkie Collins Wilkie Collins was born in London to William John Thomas and Harriet Collins January 8, 1824. Collins’ father was a well-known painter and the family changed houses and traveled overseas often during his childhood. After a few years in school and a short period of time as an apprentice for some tea merchants, he studied law at Lincoln’s Inn, “where he gained the legal knowledge that was to give him much material for his writing” (i). After the death of his father in February 1847, he published his first book, Memoirs of the Life of William Collins, Esq., RA in 1848. Unsure of what he wanted to do in life, Collins seriously considered becoming an artist and in 1849 he exhibited a painting at the Royal Academy Summer Exhibition titled The Smuggler’s Retreat. With the publication of his first novel, Antonina; or the Fall of Rome (1850), Collins found his calling. Charles Dickens was impressed by his work and they quickly became close friends; Charles Allston Collins, Wilkie’s younger brother, would eventually marry Kate Dickens, Charles’ sister. Collins is mostly known for his novels, but his works also include short stories, plays, journalism, and biography. His close friend, Charles Dickens, actually acted and helped produce some of his plays. With the publication of The Woman in White (1860), Collins moved away from theater to focus more on novels that fell under the new genre he helped create: sensation fiction. After Dickens’ death in 1870, Collins “returned to the theatre, producing stage versions of his novels” (i). -
Publishing Swinburne; the Poet, His Publishers and Critics
UNIVERSITY OF READING Publishing Swinburne; the poet, his publishers and critics. Vol. 2: Annexes 1-22 Submitted for the degree of Doctor of Philosophy Department of English Language and Literature Clive Simmonds May 2013 2 Contents Annex 1 Swinburne’s Print Runs and Publication prices 4 Annex 2 Swinburne’s Publications in the Periodical Press 14 Annex 3 Reviews of Swinburne’s books listed by journal 40 Annex 4 Statements of account from Hotten to Swinburne 82 Annex 5 Hotten’s print runs and binding records 84 Annex 6 Comparison of Hotten’s recorded print runs with accounts 88 Annex 7 Text of Chatto Agreement 1874 90 Annex 8 The Poems and Ballads press furore, July 1866- Jan. 1867 92 Annex 9 Review lists for Poems and Ballads (1889) and Studies in 103 Prose and Poetry (1894) Annex 10 Some statistics of poetry published in Victorian periodicals 104 Annex 11 Poetry published in The Nineteenth Century 1877-1902 108 Annex 12 Publishers’ Circular’s annual poetry publishing statistics 112 Annex 13 Swinburne’s earnings from Chatto royalties, 1874-1916 113 3 Annex 14 Mudie’s Select Library 117 14a: Swinburne’s titles stocked by Mudie’s Select Library, 117 1865-1884 14b: Subject breakdown of Mudie’s stock, 1869 119 14c: Poetry, reviews and journals listed in Catalogue of 120 the Principal Books in Circulation at Mudie’s Select Library, Jan. 1872 Annex 15 List of Pamphlets 124 Annex 16 Contemporary criticism of pamphlets 128 Annex 17 Contents of Selections (1887) and two later anthologies 133 Annex 18 Print runs of Selections 145 Annex 19 Contemporary reviews of Selections (1887) 146 and of Selections from A.C.