An Improbably Life
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Christabel Lady Aberconway
CHRISTABEL LADY ABERCONWAY She was born into a distinguished family of Irish Macnaghtens in 1890. I was born into a family of Scottish/Australian McNaughtons fifty years later. It seemed unlikely we would ever meet. But we had some common interests and eventually did meet—in London in the Swinging Sixties. My mother, Lilian May Besant, and my father, Charles Dudley McNaughton, built a double-brick house in Burwood, eight miles from the center of Melbourne, Australia, and moved in when they married in December 1935. When my sister, Eril Margaret, was born on 8 April 1938, she occupied the second bedroom at the back of the house. After I arrived on 22 July 1940 a third bedroom was added by building a “sleep-out” of fibro-cement behind Eril’s room, punching a door through her brick wall and putting a second door from the sleep-out onto the back verandah. Our rooms were not large. Eril had to put up with traffic from inside the house to my room. The sleep-out became a refuge for some difficult-to-place furniture, including my mother’s large foot-operated Singer sewing machine, a large dark-stained secretaire that belonged to my father, and a large sailing-ship print. My father died of a brain tumor in 1944 and when my step-father joined us in 1946, his cedar chest of drawers landed in my room. I lived in this room through high school, college and a two-year master’s degree and never thought about redecorating. The brick wall between our two bedrooms was painted on my side once or twice, and the curtains on the narrow strip of windows to the south were replaced. -
Love, Law and Oscar Wilde by Jerry James
Love, Law and Oscar Wilde by Jerry James At thy martyrdom the greedy and cruel Crowd to which thou speakest will assemble; All will come to see thee on thy cross, And not one will take pity on thee. — James Rennell Rodd, Inscription to Oscar Wilde in Songs in the South, 1880 Oscar Wilde When The Importance of Being Ernest There is no indication Wilde did not opened on Valentine’s Day, 1895, Oscar deeply care for Constance Lloyd when they Wilde was at the pinnacle of his success. He were wed on May 29, 1884. Indeed, had his had two plays running in London, and aptly intentions been mercenary, he would have for the day, he was in love. Inconveniently, married a much wealthier woman. But to the beloved was not his wife of ten years, what would be their ultimate regret, Wilde but Lord Alfred Douglas. That love would did not yet know himself. Before he did, be the reason why, a little over three months they would have two sons. later, Wilde would find himself bankrupt In 1886, Wilde, 32, began an affair with and imprisoned. Robbie Ross, 17. There has been much He had been a celebrity for fifteen years, speculation about Wilde’s claim that this “…the natural pet of the aristocracy whose was his first same-sex experience. (He selfish prejudices he defended and whose didn’t call it homosexual, because the term leisure he amused,“ as his friend Frank wasn’t coined until 1892.) But all agree it Harris put it. To these, leading a double life changed his life. -
The Oscar Wilde Collection Author Index 1
The Oscar Wilde Collection Author Index A.N.S. to Christopher Millard regarding the Archer, William. caricature of Sir William Wilde which appeared in "About the theatre. The English drama in German the periodical, Ireland's Eye. -- A talk with Dr. Meyerfield -- Oscar Wilde, Bernard August 29, 1974.; English; Wildeiana Box 7.8B. Shaw, Gordon Craig -- German managers and Reel: 39, Item No. 12 authors -- The kaiser and the theatre.". From an unknown newspaper, 1906. Clipping "According to the Pall Mall gazette, aestheticism has concerning German translations and productions of broken out again, and in the interval since the last Oscar Wilde's plays.; English; Wildeiana Box 2.17C. outbreak its devotees have grown mortal and stout.". Reel: 36, Item No. 55 December 18, 1890. Caricature from Moonshine (?).; English; Wildeiana Box 7.27A. Archer, William. Reel: 39, Item No. 40 "A drama and its story.". [Review for the German translation of A Duchess of "All London' at the Haymarket.". Padua, translated by Max Meyerfield]. In an In The Westminister budget, April 28, 1893, p. 17. unknown newspaper, 1904. Bibliographical material, (Review of the costume designs in the Haymarket 1880-1939.; English; Wildeiana Box 4.1J. Theatre production of A woman of no importance. Reel: 37, Item No. 28 With 3 illustrations of the actors).; English; Wildeiana Box 2.15A. Archer, William. Reel: 36, Item No. 47 "Lord Arthur Savile's crime.". From an unknown magazine, 1891? (Review of "The American lady who purchased our Oscar's Oscar Wilde's Lord Arthur Savile's crime and other tresses and banged the chignon with them.". -
Abigail Joseph Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate Schoo
QUEER THINGS: VICTORIAN OBJECTS AND THE FASHIONING OF HOMOSEXUALITY Abigail Joseph Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Abigail Joseph All rights reserved ABSTRACT Queer Things: Victorian Objects and the Fashioning of Homosexuality Abigail Joseph “Queer Things” takes the connections between homosexuality and materiality, and those between literary texts and cultural objects, as major repositories of queer history. It scrutinizes the objects that circulate within the works of Oscar Wilde as well as in the output of high fashion designers and the critics and consumers who engaged with them, in order to ask how gay identities and affiliations are formed and expressed through things. Bringing recent critical interest in the subtleties of nineteenth-century “thing culture” into contact with queer theory, I argue that the crowded Victorian object-world was a crucial location not only for the formation of social attitudes about homosexuality, but also for the cultivation of homosexuality’s distinctive aesthetics and affective styles. In attending to the queer pleasures activated by material attachments that have otherwise been deployed or disavowed as stereotypes, my project reconsiders some of the most celebrated works of the gay canon, and inserts into it some compelling new ones. Furthermore, in illuminating the Victorian origins of modern gay style and the incipiently modern gayness of Victorian style, it adds nuance and new substance to our understanding of the elaborate material landscapes inhabited by Victorian bodies and represented in Victorian texts. $ The first part of the dissertation uses extensive archival research to excavate a history of queer men’s involvement in women’s fashion in the mid-nineteenth century. -
Max Beerbohm
Max Beerbohm: An Inventory of His Collection at the Harry Ransom Center Descriptive Summary Creator: Beerbohm, Max, 1872-1956 Title: Max Beerbohm Art Collection Dates: 1880s-1946, undated Extent: 5 boxes, 2 oversize folders, 2 framed paintings (154 items) Abstract: The collection consists of 151 original works by Beerbohm and one reproductive print. The works consist mainly of caricatures of early twentieth century London celebrities and political figures. In addition, there are two drawings of Beerbohm done by Sir Osbert Lancaster and by Frank Richardson. Access: Open for research. A minimum of twenty-four hours is required to pull art materials to the Reading Room. Administrative Information Acquisition: Purchases (R307, R938, R1901, R2077, R2391, R2683, R2738, R3011, R3318, R3732, R3774, R3890, R4228, R4903, R5180, R5331) 1960-1970 Processed by: Alice Egan, 1997, and Helen Young, 2002 Repository: Harry Ransom Center, The University of Texas at Austin Beerbohm, Max, 1872-1956 Biographical Sketch Max Beerbohm, considered by some to be the best essayist, parodist, and cartoonist of his age, was born Henry Maximilian Beerbohm on August 24, 1872, in London, to Julius Ewald Beerbohm and his second wife, Eliza Draper Beerbohm. His early education was at a preparatory school in Orme Square, and then at Charterhouse. He attended Merton College at Oxford, 1890-1894, but did not receive a degree. While at Oxford, Beerbohm published caricatures and essays in the Strand and other periodicals. In 1893 he became acquainted with Sir William Rothenstein, who introduced him to Aubrey Beardsley and other members of the literary and artistic circle connected with the Bodley Head. -
Robert Ross Memorial Collection: Envelopes Box 1: Ross Env
Robert Ross Memorial Collection: Envelopes Box 1: Ross Env b.2 - Ross Env b.10; Ross Env c.1 - Ross Env c.35 Ross Env b.2 (Ross b.2: Pan, Vols. 19, 31, 32). Contents (5 items): 4 letters, 1 set of notes. Ross Env b.2.i A letter (1 leaf, manuscript) from H.V.S. [Hedley Vicars Storey, author and bookseller, manager of the Shelley Book Agency, 1870-1929] to Christopher Millard [Christopher Sclater Millard, author and bookseller, 1872- 1927]; dated 14th February 1912. Storey writes that he has been unwell and has gone to Brighton to recover. He explains that he has written to a friend in Oxford who will look at Pan and get the information Millard wants, noting that he was not well enough to go to the Bodleian before he left Oxford but will write again when he hears more. He also writes that he has something to send to Millard and that he recently read Millard’s letter about Oscar Wilde’s letters [the title of the publication not deciphered] and that he bought one of Wilde’s letters two years ago and, although he sold it, kept a copy which he asks if Millard would like to see. He concludes by sympathising with Millard over his financial situation and explaining that he too has yet to make his fortune, noting that his partnership was the ‘biggest trouble of my life’ [the name of Storey’s partner could not be deciphered]. Ross Env b.2.ii A letter (1 leaf, manuscript) from Hedley Storey to Christopher Millard; dated 3rd March 1912; written on headed stationery: “Shelley Book Agency for social reform literature…books, pamphlets, blue books, and periodicals…Gloucester Street, Oxford”. -
SPECIAL ARTICLE OPEN ACCESS Traditions of S.T
Zhatkin & Ryabova. Space and Culture, India 2019, 7:3 Page | 40 https://doi.org/10.20896/saci.v7i3.430 SPECIAL ARTICLE OPEN ACCESS Traditions of S.T. Coleridge’s ‘The Rime of the Ancient Mariner’ in ‘The Ballad of Reading Gaol’ by O. Wilde Dmitry N. Zhatkin†* and Anna A. RyabovaÌ Abstract This article aims to analyse the poetic traditions of The Rime of the Ancient Mariner by S.T. Coleridge, which migrated into The Ballad of Reading Gaol by O. Wilde. A comparative analysis of original poems and their Russian translations reveals a thematic and structural link that connects these two poems. The article highlights the common features and the differences in literary devices used by Coleridge and Wilde to transmit the complex concepts of suffering and forgiveness through their characters and to declare values and philosophical ideas. The literary devices in point define how these concepts are covered, and serve a common theme in the work of Coleridge and Wilde. The article also provides arguments to confirm the social situation described in the works. The lyrico-epic genre allows using both poetry analysis tools and prose research methods, which ensures high-quality research. The article frames values of the modern culture and creates conditions for discovering a conceptual similarity in the symbolism of The Rime of the Ancient Mariner and The Ballad of Reading Gaol. Keywords: Poetry, Reminiscence, Literary Tradition, English Romanticism, Ballad, Intercultural Communication, Literary Detail † Doctor of Philological Sciences, Professor, Head of the Chair, Translation and Translation Study in Penza State Technological University, Russian Federation *Corresponding Author, Email: [email protected] Ì Doctor of Philological Sciences, Professor of the Chair, Translation and Translation Study, in Penza State Technological University ©2019 Zhatkin & Ryabova. -
Buffalo Autumn Excursions: Nine European-Inspired Towers and Tales of Terror
Buffalo Autumn Excursions: Nine European-Inspired Towers and Tales of Terror The COVID-19 pandemic continues, but one silver lining has been the opportunity to spend more time outdoors. As summer turns to autumn, September and October are glorious months to experience the outdoors with cooler temperatures, gentle breezes, and leaves that change from green to brilliant shades of pumpkin orange and crimson red. It’s also a traditional time of year to experience the harvest and associated cross-cultural phenomenon of mysterious folk tales. I’ve curated nine towered architectural sites in Buffalo that can be enjoyed individually or linked together on a walk or bike ride. Each has green space nearby, a pleasant place to read or listen to spooky literary tales written to inspire shivers! This is a self- guided tour. You can visit each site on your own, or with a small group of (socially distanced) friends. Read to yourself, read aloud, or make it high-tech and listen to a LibriVox audio recording. Most of all, enjoy Buffalo’s beautiful weather, scenery, and architectural wonders. St. Michan's Church tower in Dublin inspired Dracula's castle. Towers. The mention of them conjures images of European medieval castles and battlements. The tallest structures in a town, they provided protection from potential threats by allowing townsmen to survey the surrounding grounds. But they had a darker, sinister aspect too. Because they are high off the ground, they could also be prisons. Even in fairy tales, Rapunzel was imprisoned in a tower by an evil witch. In Genesis, the builders of the Tower of Babel who sought to reach heaven were punished for their attempt. -
C K Scott Moncrieff
October/November 2014 The world in brief 5 things C K Scott Moncrieff 1. C K Scott Moncrieff was born into a 3. In 1919, he began to translate Proust’s manoeuvres, naval bases and Brits well-to-do Scottish family in the late 19th À la recherche du temps perdu. By 1929 with suspected Fascist sympathies. century. While a schoolboy, he received he had translated seven volumes – and 5. Virginia Woolf described reading an entree into the gay literary coterie was kept from the eighth and last only Scott Moncrief’s Proust as an ‘erotic centred on Robbie Ross, Oscar Wilde’s by his death from stomach cancer in experience’; F Scott Fitzgerald called it a lover, leading to a lifelong friendship with 1930, at 40. His translation, daringly ‘masterpiece in itself’; and Joseph Conrad Wilde’s son, Vyvyan Holland. retitled Remembrance of Things Past declared Scott Moncrieff’s version 2. After being sent home with a leg badly and published in 1922, was criticized to be better than the French original. broken by a British shell during fighting for taking too many liberties. A new translation did not appear until in April 1917, he was given a desk job 4. In 1923 he was recruited by the British the 1980s. at the War Office, from where he tried intelligence service and moved to Italy, ‘Chasing Lost Time: The Life of C K Scott to secure Wilfred Owen a home posting where he used his writing as a cover Moncrieff – Soldier, Spy and Translator’, to save him from a return to the front. -
Dramaturgy Packet
IOWA SUMMER REP PRESENTS The Importance of Being Earnest By Oscar Wilde Directed by Josh Sobel Production Dramaturgy by Alyssa Cokinis “God knows; I won’t be an Oxford don anyhow. I’ll be a poet, a writer, a dramatist. Somehow or other I’ll be famous, and if not famous, I’ll be notorious.” A Note from the Dramaturg Actors and team-- I know this isn’t typically standard, but I wanted to place a note here so you know my main interests as I pursued research on Oscar Wilde and The Importance of Being Earnest for this production. My two most valuable and heart-wrenching resources have been biographies of Wilde by his son Vyvyan Holland and grandson Merlin Holland. Wilde never knew his grandson and was estranged from his oldest son and Vyvyan in the last years of his life due to his wife Constance taking the children away from England following Wilde’s court sentence for homosexual acts, moving to Switzerland and then changing the family’s name to “Holland.” Wilde never saw Vyvyan and his other son Cyril after the fact. These works have touched me the most because in the text they write it is clear of their passion to know their father/grandfather despite all that transpired before, during, and after his prison sentence. It is clear that through it all, no matter what decisions Wilde made or what came his way, he loved his sons and cherished his family bond deeply; Constance forbidding Wilde to see his children is what broke his heart near the end of his life, perhaps even more than the betrayal by his lover Lord Alfred Douglas that landed him in jail. -
Robert Ross Memorial Collection Miscellanea in Boxes Box 1
Robert Ross Memorial Collection Miscellanea in boxes *Transferred to new boxes and envelopes: May 2014. Old Bodleian box marked: ‘Date 2/85…damaged’. Box 1: Ross Box 1.1 Contents (3 items): 1 envelope containing: 1 letter; 1 pamphlet. Envelope addressed to Walter Ledger; postmark dated 23rd June 1927. 1.1.i - Letter (1 leaf) from Vyvyan Beresford Holland (1886-1967, author & translator, son of Oscar Wilde) to Walter Ledger; dated 23rd June 1927; written on headed notepaper: ‘41, Carlyle Square[e] Chelsea, S.W.3. Kensington 2916’. Manuscript note: ‘With very best wishes from Vyvyan Holland’. 1.1.ii - Pamphlet (8 leaves, 7 p., sewn): ‘A Few Odd Reflections on Idleness’ compiled by Vyvyan Holland. Title page: ‘A few odd reflections on idleness Collected by Vyvyan Holland Idler To the sette [sic] of odd volumes and presented by him on Ladies’ Night Jun 22, 1927’. Edition: ‘227 Copies of these Reflections have been printed for presentation only. This is No. 145 [number in manuscript]. Manuscript note on verso of second leaf: ‘Walter Ledger from Vyvyan Holland 23.vi.27’. Includes printer’s mark: ‘Idler’. Ross Box 1.2 Contents (5 items): 1 envelope containing: 2 photographs; 2 newspaper cuttings. Envelope addressed to Walter Ledger from ‘The Investment Trust Corporation Limited, Gresham House, Old Broad Street, London, E.C. 2.; no postmark; postage paid stamp on reverse. Manuscript note in ink on front: ‘402’. 1.2.i - Photograph (postcard) showing Salomé performed by Tilla Durieux (born Ottilie Godeffroy, 1880-1971, actress) as Salomé and Max Eisfeldt ([Eisfeld?] 1863 – 1935?, actor) as Jochanaan. -
Oscar Wilde (1854-1900)
OSCAR WILDE (1854-1900) Oscar Fingal O’Flahertie Wills Wilde was born in Dublin on 16 October 1854 to one of Ireland’s most distinguished professional, nationalist families of Protestant descent. His father was William Robert Wills Wilde (1815-1876), an eminent eye doctor, travel writer, and amateur ethnographer. He became Surgeon-Oculist-in-Ordinary to Queen Victoria in 1863 and was knighted a year later. Wilde’s mother, best known by the pseudonym “Speranza” (‘Hope’) (1821- 1896), came to prominence in the late 1840s, when her inflammatory political poetry and letters, published in the Nation, affiliated her with the Young Ireland movement. W. & D. Downey. Mr. Oscar Wilde. 1889. Photograph. The Clark Library, UCLA, Los Angeles. At Trinity College Dublin, Wilde studied Classics with John Pentland Mahaffy (1839-1919), whose Social Life in Greece from Homer to Menander (1874) took a surprisingly liberal view of homosexuality in ancient Greece. Wilde won a Demyship in Classics to Magdalen College, Oxford, where he excelled in Literæ Humaniores (“Greats”), graduating with a Double First in 1878. At Magdalen, he made several important contacts, including Lord 1 Ronald Sutherland-Gower (1845-1916), who most probably introduced Wilde to the homosexual subcultures of Oxford and London. During this period, Wilde’s interests were oriented toward Roman Catholicism, particularly through his friend, David Hunter-Blair (1853-1939), a recent convert to Rome. In 1877, he travelled with Mahaffy to Greece. On his return through Italy, Wilde was granted an audience with Pope Pius IX at the Vatican. At Oxford Wilde became deeply acquainted with the writings by John Ruskin (1819- 1900), who served as Slade Professor of Art at the university from 1869 to 1879, as well as Walter Pater's (1839-1894) Studies in the History of the Renaissance (1873) and John Addington Symonds's (1840-1893) Studies of the Greek Poets (2 vols.1873, 1876) and Renaissance in Italy (7 vols.