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Julia Margaret Cameron's Writings And "Great Resolve Comes Flashing Thro' the Gloom": Julia Margaret Cameron's Writings and Photographic Legacy Illuminate a Resilient Vision of Victorian Women A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Melissa J. Parlin June 2010 © 2010 Melissa J. Parlin. All Rights Reserved. 2 This dissertation titled "Great Resolve Comes Flashing Thro' the Gloom": Julia Margaret Cameron's Writings and Photographic Legacy Illuminate a Resilient Vision of Victorian Women by MELISSA J. PARLIN has been approved for the English Department and the College of Arts and Sciences by _________________________________ Carey Snyder Associate Professor of English __________________________________ Benjamin M. Ogles Dean, College of Arts and Sciences 3 ABSTRACT PARLIN, MELISSA J., Ph.D., June 2010, English "Great Resolve Comes Flashing Thro' the Gloom": Julia Margaret Cameron's Writings and Photographic Legacy Illuminate a Resilient Vision of Victorian Women (199 pp.) Director of Dissertation: Carey Snyder Cameron scholars have identified Victorian photographer Julia Margaret Cameron as a poet, but her writings have received surprisingly little attention. I assert that Cameron's writings are a crucial part of literary and photographic history because they provide a multi-faceted vision of women as strong autonomous figures who also revere their roles as daughters, wives and mothers. Using twentieth and twenty-first century art- historical and feminist theory, I reflect on the ways Cameron's literary and photographic works resisted the influence of "the Victorian Cult of the Dead," the portrayal of women as objects for "the male gaze," and the stereotype of "the femme fatale." After placing her writings and photographs in dialogue with each other, I show that Cameron used her creative endeavors to dispute a restrictive gender ideology that portrayed women as idealized objects and codependent victims, and that Cameron instead depicted women as maintaining their resolution through their hardships, or their "gloom." In contrast to nineteenth-century social norms that dictated the submission and domestication of Victorian women, Cameron photographically refashioned women from male-authored texts into more complex figures of femininity that balanced resilience and independence with their roles as daughters, wives, and mothers. When Cameron began her photographic career, she was fully aware of the ongoing debate regarding 4 photography's status and strove to make photographs that would be considered art. Cameron incorporated the painterly style of symbolic narrative allegory to intervene in the male-dominated traditions of the PreRaphaelite Brotherhood, Arthurian Legend via Lord Alfred Tennyson, Shakespearean tradition and Biblical tradition photographically refashioning female characters from male-authored texts into active, self-sufficient women. Cameron communicated her perception of women through the real-life convergence of her identities as mother, wife, and artist as well as through her artistic contributions. Her correspondence and literary works reflect a life of familial and religious devotion, daring independence, and fierce self-promotion. Using other notable nineteenth-century women, including Florence Nightingale and Christina Rossetti for comparison, I assert that Cameron was part of a distinguished group of women whose lives called into question the traditional paradigm of the separate male and female spheres. Cameron pushed against limiting gender boundaries and maintained a traditionally feminine identity as mother and wife while simultaneously asserting her autonomy as an artist. My analysis of Cameron's writings provides a more complete picture of her innovative photographic contributions and her multiple identities as a Victorian woman and artist. Approved: _____________________________________________________________ Carey Snyder Associate Professor of English 5 Dedication To Sophia Parlin who will have to wade through society's definition of womanhood. May she cross the murky waters with her integrity intact. To Jorge and Sue Albornoz and Dr. Dora Revollo whose emphasis on the value of education dared me to pursue the highest degree possible. 6 ACKNOWLEDGEMENTS I could not have achieved this feat without the help of many people. I offer a hearty thanks to my dissertation committee for their expertise and encouragement throughout the draft process. I also extend my gratitude to the faculty mentors who provided much needed guidance during the thornier parts of my graduate school experience. The support I received from the Albornoz, Parlin, Revollo, and Schmidt families was invaluable, and I share this accomplishment with them. Above all, I thank my husband Steve for his innumerable sacrifices and for the love that sustained me throughout the entire undertaking. 7 TABLE OF CONTENTS Abstract ...............................................................................................................................3 Acknowledgements .............................................................................................................6 List of Figures .....................................................................................................................8 Chapter 1: Introduction .....................................................................................................10 Chapter 2: The Elevation of God, Motherhood, and Domesticity in Cameron's Writings............................................................................................................43 Chapter 3: The Mighty Female in Cameron's Poetry........................................................69 Chapter 4: Rewriting the PreRaphaelites in Cameron's "On a Portrait"............................86 Chapter 5: Reviving Arthurian Women in Cameron's Illustrations for Tennyson's Idylls of the King..........................................................................111 Chapter 6: Cameron's Refashioning of Shakespeare's Heroines ....................................145 Chapter 7: Conclusion .....................................................................................................173 Works Cited.....................................................................................................................188 Appendix A "Prayer Written When I Quickened"...........................................................195 8 LIST OF FIGURES Figure 1. Unknown Photographer, Julia Margaret Cameron............................................11 Figure 2. Julia Margaret Cameron, Self-Portrait ..............................................................11 Figure 3. Robert Faulkner, Julia Margaret Cameron........................................................12 Figure 4. Unknown Photographer, Julia Margaret Cameron and Her Sons Henry and Charles ................................................................12 Figure 5. Henry Peach Robinson, The Lady of Shalott......................................................20 Figure 6. Oscar Gustave Rejlander, Ways of Life..............................................................20 Figure 7. Julia Margaret Cameron, Mariana.....................................................................37 Figure 8. Julia Margaret Cameron, May Prinsep/PreRaphaelite Study.............................37 Figure 9. Holman Hunt, Isabella and the Pot of Basil.......................................................38 Figure 10. Julia Margaret Cameron, May as Isabel...........................................................38 Figure 11. Julia Margaret Cameron, Prayer and Praise....................................................59 Figure 12. Julia Margaret Cameron, Shepherds Keeping Watch By Night........................61 Figure 13. Julia Margaret Cameron, The Vision Of Infant Samuel....................................62 Figure 14. Julia Margaret Cameron, Study of a Magdalen................................................63 Figure 15. Dante Gabriel Rossetti, Mary Magdalen..........................................................66 Figure 16. Frederick Augustus Sandys, Mary Magdalene................................................67 Figure 17. John Everett Millais, Ophelia..........................................................................88 Figure 18. John Everett Millais, Ophelia..........................................................................89 Figure 19. Julia Margaret Cameron, Ophelia....................................................................92 Figure 20. Julia Margaret Cameron, Elaine......................................................................93 Figure 21. George Frederic Watts, Portrait Study of a Girl with Red Hair......................94 Figure 22. George Frederic Watts, Hope...........................................................................95 Figure 23. George Frederic Watts, Ophelia......................................................................96 Figure 24. George Frederic Watts, Found Drowned.........................................................97 Figure 25. George Frederic Watts, Julia Margaret Cameron...........................................99 Figure 26. Frederic Leighton, Cymon and Iphigenia......................................................103 Figure 27. Frederic Leighton, Flaming June...................................................................104 Figure 28. Edward Burne-Jones, Laus Veneris................................................................105
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