DOCSLIB.ORG

Dickens Interviews and Recollections

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dickens Interviews and Recollections Dickens Interviews and Recollections Volume 2 Also by Philip Collins A Christmas Carol: The Public Reading Version (editor) A Dickens Bibliography Charles Dickens: David Copperfield Charles Dickens: The Public Readings (editor) Dickens and Crime Dickens and Education Dickens's Bleak House Dickens: The Critical Heritage (editor) English Christmas (editor) From Manly Tears to Stiff Upper Lip: The Victorian and Pathos James Boswell Reading Aloud: A Victorian Metier The Impress of the Moving Age Thomas Cooper, the Chartist Other Interviews and Recollections volumes available on BRENDAN BEHAN (two volumes) edited by E. H. Mikhail HENRY JAMES edited by Norman Page KIPLING (two volumes) edited by Harold Orel D. H. LAWRENCE (two volumes) edited by Norman Page KARL MARX edited by David McLellan TENNYSON edited by Norman Page THACKERAY (two volumes) edited by Philip Collins H. G. WELLS edited by}. R. Hammond Further titles in preparation DICKENS Interviews and Recollections Volume 2 Edited by Philip Collins Selection and editorial matter © Philip Collins 1981 Soft cover reprint of the hardcover 1st edition 1981 978-0-333-26255-9 All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, without permission First edition 1()81 Reprinted 1983 Published by THE MACMILLAN PRESS LTD London and Basingstoke Companies and representatives throughout the world ISBN 978-1-349-04596-9 ISBN 978-1-349-04594-5 (eBook) DOI 10.1007/978-1-349-04594-5 To Jean and Arthur Humphreys with love and gratitude Contents List of Plates IX Acknowledgements X INTERVIEWS AND RECOLLECTIONS 'Quite the Best Man I Ever Knew' Marcus Stone 181 'A Faultless Host' (and a 'Delightful Hostess') Henry and Emmeline Compton 190 Office-staff Memories William Edrupt and Another 192 'My Master in Letters' George Augustus Sala 197 Another of 'Mr Dickens's Young Men' Edmund Yates 205 A Rod of Iron in his Soul Eliza ~nn Linton 21 1 Meeting Dickens: 'A Foretaste of Paradise' James Payn 215 The Conductor of Household Words John Hollingshead 218 'This Most Charming of Men' Percy Fitzgerald 223 'So Unlike Ordinary Great Men' Grace Greenwood 233 Just Like his Books Francesco Berger 238 Loving Memories of a Very Faithful Follower Charles Kent 241 A Reading of the Carol Kate Field 250 A Hero to his Readings Manager George Dolby 257 Gad's Hill: Views from the Servants' Hall Various 26g The Squire of Gad's Hill Local Residents 272 Guests at Gad's Hill Francis Finlay and Others 281 Conversations in 186o Author Unknown 289 His Knowledge of French Novelists Paul Fival 292 He 'Always Made Me Feel Rather Afraid' Justin McCarthy 294 America, 1867-8 Various 296 His Closest American Friends James and Annie Fields 304 An Informal Call upon Dickens in 1867 G. D. Carrow 323 Dickens's Characters, Talents and Limitations Edward Bulwer-Lytton 330 'Such a Man!' Sir Arthur Helps 331 Glimpses Various 337 Advice to a Beginner Constance Cross 344 Vlll CONTENTS At Lady Molesworth's Lady Dorothy Nevill and Lord Redesdale 349 One Week before his Death Herman Merivale 352 A Few Days before his Death Kate Dickens Perugini 354 Suggestions for Further Reading 359 Index 361 List of Plates 9 Portrait of Dickens by W. P. Frith ( I859) IO Photograph of Dickens by John Watkins ( I86os) I I Dickens at Gad's Hill with his family, photograph by Mason & Co. ( I86os) I 2 Photograph of Dickens by Ben Gurney (I 868) I3 Newspaper caricatures (I868) I 4 Frontispiece to Edwin Drood (I 870) I 5 Sketches by 'Spy' (I 870) I6 Dickens with Benjamin Disraeli, from The Tailor and Cutter (I 870) Acknowledgements Dr Michael Slater and Dr Andrew Sanders, past and present editors of the Dickensian, have been generous in advice and in giving me permission to reprint material from their journal, as have their contributors, Professors K. J. Fielding, Jerome Meckier and John R. DeBruyn. The trustees of the Dickens House Museum have allowed me to publish manuscript material and to reproduce portraits from their collection, and the Curator of Dickens House, Dr David Parker, has been most helpful in giving me access to its riches. Other illustrations appear through the kindness of the Forster Collection (Victoria and Albert Museum), the National Portrait Gallery, and the Mander and Mitcheson Collection. Other friends and colleagues have helped by answering enquiries or securing material for me: Professor Sylvere Monod, Professor F. W .J. Hemmings, Professor Kathleen Tillotson, Dr John Podeschi, Miss Eva Searl, Mr lain Crawford, Mr Charles Leahy and Mr Richard Foulkes. Like all students of Dickens, I am much in the debt of the editors of the Pilgrim Edition of The Letters of Charles Dickens, the annotation as well as the text of which has been invaluable. The staff of Leicester University Library have been energetic in obtaining materials for me, and the Epsom Library and the Eastgate House Museum, Rochester, have answered enquiries. I salute and thank my predecessors in this biographical field, whose researches have greatly eased mine: notably Frederic G. Kitton, William R. Hughes, Robert Langton and W.J. Carlton. I thank also the patient and skilful typists who have coped with my second and third as well as my first thoughts: Mrs Doreen Butler, Mrs Sylvia Garfield, Miss Anne Sowter, Mrs Pat Taylor and Mrs Brenda Tracy. For permission to reprint copyright material I thank the editors of The Times Literary Supplement, Harper's Magazine and Universiry (Princeton, N.J.), and the following publishers: Oxford University Press and the Clarendon Press for the extracts from the Pilgrim Edition of The Letters of Charles Dickens, ed. Madeline House, Graham Storey and Kathleen Tillotson; The George Eliot Letters, ed. ACKNOWLEDGEMENTS XI Gordon S. Haight; Arthur A. Adrian's Georgina Hogarth and the Dickens Circle; and Gordon N. Ray's Thackeray: The Age of Wisdom, I847-186J; John Murray (Publishers) Ltd for the extracts from James Milne's A Window in Fleet Street; Frederick Muller Ltd for the extracts from Gladys Storey's Dickens and Daughter; William Heinemann Ltd for the extracts from Sir Henry Fielding Dickens's The Recollections ofSir Henry Dickens, Q, C.; Harvard University Press, and Belinda Norman-Butler, literary executor for the Estate of William Thackeray, for the extracts from The Letters and Private Papers of William Makepeace Thackeray, ed. Gordon N. Ray; the Belknap Press ofHarvard University Press for the extracts from The Journal if Richard Henry Dana, Jr, I841-6o, ed. R. F. Lucid. Every effort has been made to trace all the copyright-holders, but if any have been inadvertently overlooked the publishers will be pleased to make the necessary arrangement at the first opportunity. .
Load more

Recommended publications
  • Charles Dickens 1812-1870
    THE LIFE OF OUR LORD written especially for his children by CHARLES DICKENS 1812-1870 FOREWORD TO THE 1996 EDITION By Christopher Charles Dickens “CHARLES DICKENS wrote this delightful little book in 1849 for his most private and personal readership - his own children. With no eye on publicity or pandering to any faction of his vast following, we can see here his own thoughts on the Christian Religion distilled, not only for the benefit of young readers but almost, one feels, to repeat to himself his belief in the Good News of God, and tell again the Gospel story in a pleasantly simple yet direct and accurate way. This brings a message of its own which should be important to all families of the world. Today I want to add to it a deeper understanding of who Jesus Christ was and still remains. He is, for most of us, God-made-man for our salvation, born of the Virgin Mary, and with Joseph as his chosen earthly foster father. We should strive to understand even more fully the Salvation Jesus achieved for us and how it happened and continues to happen in the Holy Eucharist, and in the life of Christ’s Church throughout the world. Though Charles Dickens had refused publication of this book during his own lifetime or that of his children, one of his sons, my great-grandfather Sir Henry Fielding Dickens set down in his Will that at his death the book might be released with the full consent of the family. This was granted and the work was published in 1934.
    [Show full text]
  • A Description of Plot in Charles Dicken's Novel
    A DESCRIPTION OF PLOT IN CHARLES DICKEN’S NOVEL OLIVER TWIST A PAPER WRITTEN BY JULIANATIKA REG.NO : 152202038 DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OF CULTURAL STUDIES UNIVERSITY OF NORTH SUMATERA MEDAN 2018 UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I am Julianatika, declare that I am sole of the author of this paper. Except where references is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for a awarded degree. No other person‘s work has been used without due acknowledgement in this main text of this paper. This paper has not been submitted for the award of another degree in any tertiary education. Signed: ................... Date : November 2018 i UNIVERSITAS SUMATERA UTARA COPYRIGHT DECLARATION Name : Julianatika Title of Paper : A DESCRIPTION OF PLOT IN CHARLES DICKEN‘S NOVEL OLIVER TWIST Qualification : D-III / Ahli Madya Study Program : English I am willing that my paper should be available for reproduction at the discretion of the Librarian of the Diploma III English Study Program Faculty of Cultural Studies, University of North Sumatera the understanding that users are made aware of their obligation under law of the Republic of Indonesia. Signed: ......................... Date: November 2018 ii UNIVERSITAS SUMATERA UTARA ABSTRACT The title of this paper is A Description of Plot In Charles Dicken’s Novel “Oliver Twist”. Plot is the literary element that contains the event has cause in a story where the event has cause and effect relation.
    [Show full text]
  • Dickens Oliver Twist As a Way to Reformation and As a Tool to Remove Social Wrong Depicting Urban England
    Notions Vol. 7 No2. 2016 ISSN: (P) 0976-5247, (e) 2395-7239 Dickens Oliver Twist as a Way to Reformation and as a Tool to Remove Social Wrong Depicting Urban England Suman Mishra* Lecturer Department of Applied Science and Humanities Subharti Institute of Engineering and Technology Swami Vivekananda Subharti University Meerut. Charles Dickens (7 February 1812 – a June 1870) was an English writer born in Portsmouth England and was a social critic, Dickens father John Dickens was a clerk in the navy pay office. He had little formal education but his life taught him the formal education of facts this impoverishment led him to a successful literary person. From the very beginning his life was not easy and he suffered a lot. He was a man of various talents. He was a social reformer and very soon he became international literary celebrity and a keen observer of the society. His novels became the dominant Victorian mode for novel publication and outlook of social injustice. Dickens last days were spends at God‟s Hill at his beloved home. It was an estate he‟d appreciated from the very beginning of his childhood. No writer since Shakespeare has occupied as important place as Dickens. No doubt, Dickens talked about social abuse in a very „realistic‟ way but also talked about the social greed in society. He mirrored the human struggles depicting London life. He says that people have lost the sense of value humanity. Charles Dickens was pleased when parliament eventually agreed to pass 1832 Reform Act____. He wanted to communicate with the society through his articles and various other means.
    [Show full text]
  • George Augustus Sala: the Daily Telegraph's Greatest Special
    Gale Primary Sources Start at the source. George Augustus Sala: The Daily Telegraph’s Greatest Special Correspondent Peter Blake University of Brighton Various source media, The Telegraph Historical Archive 1855-2000 EMPOWER™ RESEARCH Early Years locked himself out of his flat and was forced to wander the streets of London all night with nine pence in his The young George Augustus Sala was a precocious pocket. He only found shelter at seven o’clock the literary talent. In 1841, at the age of 13, he wrote his following morning. The resulting article he wrote from first novel entitled Jemmy Jenkins; or the Adventures of a this experience is constructed around his inability to Sweep. The following year he produced his second find a place to sleep, the hardship of life on the streets extended piece of fiction, Gerald Moreland; Or, the of the capital and the subsequent social commentary Forged Will (1842). Although these works were this entailed. While deliberating which journal might unpublished, Sala clearly possessed a considerable accept the article, Sala remembered a connection he literary ability and his vocabulary was enhanced by his and his mother had shared with Charles Dickens. In devouring of the Penny Dreadfuls of the period, along 1837 his mother had been understudy at the St James’s with the ‘Newgate novels’ then in vogue, and Theatre in The Village Coquettes, an operetta written by newspapers like The Times and illustrated newspapers Dickens and composed by John Hullah. Madame Sala and journals like the Illustrated London News and and Dickens went on to become good friends on the Punch.
    [Show full text]
  • My Autobiography and Reminiscences
    s^ FURTHER REMINISCENCES \V. p. FRITH. Painted by Douglas Cowper in 1838. MY AUTOBIOGRAPHY AND REMINISCENCES BY W. p. FKITH, E.A. CHEVALIER OP THE LEGION OP HONOR AND OP THE ORDER OP LEOPOLD ; MEMBER OP THE ROYAL ACADEMY OP BELGIUM, AND OP THE ACADEMIES OP STOCKHOLM, ^^ENNA, AND ANTWERP " ' The pencil speaks the tongue of every land Dryden Vol. II. NEW YORK HARPER & BROTHERS, FRANKLIN SQUARE 1888 Art Libraxj f 3IAg. TO MY SISTER WITHOUT WHOSE LOVING CARE OF MY EARLY LETTERS THIS VOLUME WOULD HAVE SUFFERED 3 {Dcbicfltc THESE FURTHER RE^IINISCENCES WITH TRUE AFFECTION CONTENTS. CHAPTER PAGE INTRODUCTION 1 I. GREAT NAMES, AND THE VALUE OF THEM ... 9 II. PRELUDE TO CORRESPONDENCE 21 III. EARLY CORRESPONDENCE 25 IV. ASYLUM EXPERIENCES 58 V. ANECDOTES VARIOUS 71 VI. AN OVER-TRUE TALE 102 VII. SCRAPS 114 VIII. A YORKSHIRE BLUNDER, AND SCRAPS CONTINUED. 122 IX. RICHARD DADD 131 X. AN OLD-FASHIONED PATRON 143 XI. ANOTHER DINNER AT IVY COTTAGE 154 XII. CHARLES DICKENS 165 XIII. SIR EDWIN LANDSEER 171 XIV. GEORGE AUGUSTUS SALA 179 XV. JOHN LEECH 187 XVI. SHIRLEY BROOKS 194 XVII. ADMIRATION 209 XVIII. ON SELF-DELUSION AND OTHER MATTERS . .217 XIX. FASHION IN ART .... - 225 XX. A STORY OF A SNOWY NIGHT 232 XXI. ENGLISH ART AND FRENCH INFLUENCE .... 237 XXII. IGNORANCE OF ART 244 Vlll CONTENTS. CHAPTER PAGE XXIII. ORATORY 253 XXIV. SUPPOSITITIOUS PICTURES 260 XXV. A VARIETY OF LETTERS FROM VARIOUS PEOPLE . 265 XXVI. MRS. MAXWELL 289 XXVII. BOOK ILLUSTRATORS 294 XXVIII. MORE PEOPLE WHOM I HAVE KNOWN .... 301 INDEX 3I5 MY AUTOBIOGEAPHY AND KEMINISCEKCES.
    [Show full text]
  • 9781107698215 Index.Pdf
    Cambridge University Press 978-1-107-69821-5 - Charles Dickens in Context Edited by Sally Ledger and Holly Furneaux Index More information I n d e x A b o r i g i n e s P r o t e c t i o n S o c i e t y , C i v i l W a r , , A c k r o y d , P e t e r , , , , , – d e m o c r a c y , – , – , a c t o r s a n d a c t i n g , , , – D i c k e n s ’ s v i s i t , , – , , adaptations and appropriations of Dickens’s D i c k e n s ’ s / v i s i t , , , , w o r k s . See fi lm adaptations ; musical p e n a l s y s t e m s , adaptations ; stage adaptations ; p r e s s , television adaptations r e v o l u t i o n o f , A d m i n i s t r a t i v e R e f o r m A s s o c i a t i o n , s l a v e r y , , Adshead, Joseph, t r a v e l o g u e s , – a ff e c t , , , , , , , , American Notes for General Circulation , , , Agnew, Sir Andrew, , , , , , , , , , A i n s w o r t h , W i l l i a m H a r r i s o n , , , – , , , , Anderson, Amanda, , Jack Sheppard , , , , A n d e r s o n , M i c h a e l , , A i t k e n , W i l l i a m , A n d r e w s , M a l c o l m , , A l b e r t , P r i n c e C o n s o r t , , a n i m a t e / i n a n i m a t e , All the Year Round , , , , , , – , , Anthropological Society of London, , , , a n t h r o p o l o g y , , ‘ A b o a r d S h i p ’ , a n t i - C a t h o l i c i s m .
    [Show full text]
  • The Printseller's Window: Solving a Painter's Puzzle, on View at the Memorial Art Gallery of the University of Rochester from August 14–November 8, 2009
    WALTER GOODMAN’S WALTER GOODMAN’S The Printseller’s Window The Printseller’s Window PETER OGDEN BROWN PETER OGDEN BROWN WALTER GOODMAN’S The Printseller’s Window PETER OGDEN BROWN 500 University Avenue, Rochester NY 14607, mag.rochester.edu Author: Peter O. Brown Editor: John Blanpied Project Coordinator: Marjorie B. Searl Designer: Kathy D’Amanda/MillRace Design Associates Printer: St. Vincent Press First published 2009 in conjunction with the exhibition Walter Goodman’s The Printseller’s Window: Solving a Painter’s Puzzle, on view at the Memorial Art Gallery of the University of Rochester from August 14–November 8, 2009. The exhibition was sponsored by the Thomas and Marion Hawks Memorial Fund, with additional support from Alesco Advisors and an anonymous donor. ISBN 978-0-918098-12-2 (alk. paper) ©2009 Memorial Art Gallery of the University of Rochester. All rights reserved. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded, or reproduced in any form or by any means, without the prior permission of the copyright owner. Every attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. Cover illustration: Walter Goodman (British, 1838–1912) The Printseller’s Window, 1883 Oil on canvas 52 ¼” x 44 ¾” Marion Stratton Gould Fund, 98.75 ACKNOWLEDGMENTS My pursuit of the relatively unknown Victorian painter Walter Goodman and his lost body of work began shortly after the Memorial Art Gallery’s acquisition of The Printseller’s Window1 in 1998.
    [Show full text]
  • Charles Dickens
    Charles Dickens Charles John Huffam Dickens 7 February 1812 – 9 June 1870) was an English writer and social critic. He created some of the world's best-known fictional characters and is regarded by many as the greatest novelist of the Victorian era. His works enjoyed unprecedented popularity during his lifetime and, by the 20th century, critics and scholars had recognised him as a literary genius. His novels and short stories are still widely read today. Born in Portsmouth, Dickens left school to work in a factory when his father was incarcerated in a debtors' prison. Despite his lack of formal education, he edited a weekly journal for 20 years, wrote 15 novels, five novellas, hundreds of short stories and non-fiction articles, lectured and performed readings extensively, was an indefatigable letter writer, and campaigned vigorously for children's rights, education and other social reforms. Dickens's literary success began with the 1836 serial publication of The Pickwick Papers. Within a few years he had become an international literary celebrity, famous for his humour, satire and keen observation of character and society. His novels, most of them published in monthly or weekly instalments, pioneered the serial publication of narrative fiction, which became the dominant Victorian mode for novel publication. Cliffhanger endings in his serial publications kept readers in suspense. The instalment format allowed Dickens to evaluate his audience's reaction, and he often modified his plot and character development based on such feedback. For example, when his wife's chiropodist expressed distress at the way Miss Mowcher in David Copperfield seemed to reflect her disabilities, Dickens improved the character with positive features.
    [Show full text]
  • Beginning Monday* March 5Ih
    of 0 The Secret •< Manuscript "The Life of Our Lord” was written when Dickens was at the peak of his creative genius A Master Writer —at about the time he wrote "David Copperfield.” It stands out among his works as a beautiful etching, most simple, most touching. our reader* Itis our privilege to announce to # that we have obtained FIRST publication right* in to the work of one of the greatest authors literature, the hitherto unpublished Dickens himself wrote in a English letter—probably the last words for a century, closely guarded he penned: “1 have always and, nearly striven in my writings to ex- press veneration for the life manuscript of and lessons of Our Saviour, because I feel It; and because 1 rewrote the history for my children—every one of whom knew it from having it repeat- ed to them—long before they could read and almost as soon as they could speak." i A While Dickens kept his deep religious feelings to himself In his lifetime, the millions of readers who have been “brought up on Dickens" rec- ognize the spirit of love that permeates his books. It is in this spirit of love that “The Life of Our Lord" is writteu I author’s Mn 1849 Charles/T)ickens set himself the task it to Henry Fielding Dickens, the son, it not be of writing, for the teaching of his children, with the stipulation that published “The Life of 6dr Lord.” Himself devout, he during his life. Hence for eighty-five years, one of all writers wished his children to be likewise; and to that work of the most beloved English denied the world.
    [Show full text]
  • Guide to the Mortlake Collection of English Life and Letters, 1591-1963
    Guide to the Mortlake Collection of English Life and Letters, 1591-1963 Accession number: 1969-0024R University Libraries The Pennsylvania State University Special Collections Library Rare Books and Manuscripts Contact Information: Pennsylvania State University University Libraries Special Collections Library 104 Paterno Library University Park, PA 16802 814/865-1793 FAX 814/863-5318 E-mail: [email protected] Processed by: Susan Hamburger Date Completed: 2004 Encoded by: Susan Hamburger ©2006 Pennsylvania State University. All rights reserved. Table of Contents 1 Descriptive Summary ............................................................................ 1 2 Administrative Information ................................................................... 1 2.1 Access ................................................................................................................. 1 2.2 Preferred Citation ................................................................................................1 3 Arrangement ...........................................................................................1 4 Scope and Content ................................................................................ 1 5 Index Terms ............................................................................................ 2 5.1 Topical Subjects ................................................................................................. 2 5.2 Geographic Subjects .........................................................................................
    [Show full text]
  • 一 十 the Brisk Treatment of Restlessmind In“Night Walks
    △ ニ Dickens and Wa!king :一 十 ▽ The Brisk Treatment of RestlessMind in“Night Walks' KojiSakimura コ 上 Ｉ ▽犬 犬 Charles Dickens was ａ great walker. His walking habit was something which was indispensa- ble in his life, and it continued from his youth to the end of his life.i 1n The Life of Ｃｈａｒleｓ Ｄｉｃｋｅｎｓ,Ｊohn Forster summarize what “walks“ meant to the novelist's life :“To all men who do much, ｒ�ｅ and order are essential; … But his daily walks were less of rule than of :enjoyment and:necessity. Inトthe midst of his writing they were indispensable” (653; Bk.寸1， Chap. 3). Usually, he did his writing work in the morning√and his daily walk took place in the afternoon (although laterにhe developed the habit of ｗ･alking at night). ▽∧ ： His walks were marked by their extraordinary length. They were long walks, and might sometimes seem excursion on foot. Henry Fielding Dickens recorded :“l have myself walked with him[Dickens], over and over again, for two or three hours at ａ stretch” (Collins 159). Mary Boyle and Georgina Hogarth accompanied theつnovelist in one of his walks, and Boyle remembered him saying, after finishing the “ｆｅｉ:”："Welldone！ ten miles in two hours and a half!"(Collins 86). The walk with him was an “ordeal" : not many friends of this brisk walker were willing to accompany him in wha卜was to him a daily routine, because “the distancむ traversed was seldom less than twelve miles, and the pace was good throughout"(Collins 209). When he fully developed his habit of excursion, the distance could be twenty-eight miles (Collins 221).
    [Show full text]
  • Coversheet for Thesis in Sussex Research Online
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details GEORGE AUGUSTUS SALA: THE PERSONAL STYLE OF A PUBLIC WRITER Peter Blake D.Phil University of Sussex September 2010 Declaration I hereby declare that this thesis has not been and will not be, submitted in whole or part to another University for the award of any other degree. Acknowledgements This thesis has been made possible by the AHRC for granting me a doctoral award and for enabling me to spend four weeks researching the Sala Papers at the Beinecke Library, Yale University. My thanks to all the staff at the Beinecke for their generous help. The School of Humanities Graduate Centre at the University of Sussex have also helped with the costs associated with graduate research. Especial thanks to Prof. Jenny Bourne Taylor at Sussex University for supervising this thesis and for all her support and guidance. I also owe a debt of gratitude to Prof. Norman Vance, Prof. Lindsay Smith and members of the C19th study group at Sussex University.
    [Show full text]