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The Prose, Verse and Graphic Images of William James Linton (1812-1897)

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The Prose, Verse and Graphic Images of William James Linton (1812-1897) Durham E-Theses Creative aspiration and public discourse:: the prose, verse and graphic images of William James Linton (1812-1897) Alastair Philip Lovett, How to cite: Alastair Philip Lovett, (2003) Creative aspiration and public discourse:: the prose, verse and graphic images of William James Linton (1812-1897), Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3742/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ',. Creative Aspiration and Public Discourse: The Prose, Verse and Graphic Images ofWilliam James Linton (1812-1897) Abstract This thesis sets out to show that William James Linton's writing as a coherent body of material is defined by his long-term preoccupation with authorship as a vocation. The argument concentrates on how this sense of vocation created the potential to combine personal creative aspiration as a form of self-fulfilment with the forms of public discourse attendant on his construction of models of culture which embraced and were adaptable to the emotional needs of the self in a society based on concepts of innate human equality. In recognising both Linton's understanding of authorship in these terms, and the cultural significance of his work as a nexus of influences, the argument offers a balanced view of his development as a writer while dealing with the ramifications of his political and cultural affiliations on the form of his \\;;riting. This contribution to current interest in Victorian artisan-class culture is balanced by an equal emphasis on perceiving Linton' s work, particularly his later writing, as valuable in its own terms. Organized into an Introduction and six chapters, the thesis begins with a discussion of the rarely utilised primary sources from which the argument.has developed, and an evaluation of the rapidly growing body of critical studies on Linton's work. Chapter One deals with the biographical and cultural context of Linton's creative aspiration and public discourse as features of his political philosophy and as themes within his writing. The subsequent five chapters are a chronological survey of Linton's writing. Chapters Two to Four are particularly concerned with Linton' s view of the role of individual creativity in political reform. Chapters Five and Six examine how he found an increasingly personal motivation for his writing while maintaining a search for an authorial voice through which to express his ideas of culture. 2 Creative Aspiration and Public Discourse: The Prose, Verse and Graphic Images of William James Linton (1812-1897) Alastair Philip Lovett A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. A thesis submitted for the degree of PhD University of Durham Department of English Studies 2003 = 2 JUN 200~ 3 Acknowledgements Thanks are due to the Arts and Humanities Research Board for generous financial support of this PhD and for funding my research trip to America in 2002. The coherence of this thesis would not have been possible without supervisorial assistance from Professor Andrew Sanders whose patient guidance has allowed me to negotiate the challenges attendant on concentrating the variety of Linton's work into a relatively small space. I am grateful to Professor J. R. Watson, Professor David Fuller and Julian Hall for spending time reading drafts of chapters and for offering valued advice. In the early stages of research I was fortunate to enjoy access to Newcastle University and Leeds University special collections, and the rare treasures in the Newcastle Literary and Philosophical Institute. The British Library has been an important source of printed material. I have also had the privilege of using the considerable resources of American libraries, particularly New York Public Library, the Houghton Library at Harvard, the Beinecke Rare Books and Manuscripts Library and John Hay Library at Brown University. The curator of manuscripts at John Hay, Mark Brown and his team of librarians represent perhaps all that is best about academic research. Their help and advice in dealing with even the smallest of queries and requests is truly appreciated. Thanks also to Mark for a fascinating tour of the library, to Andy for the time he spent listening to my perceptions of America, and to Jean Rainwater for the photographs. Elizabeth Cotoia at the Brown accommodation services also allowed my research to develop by providing the best kind of surroundings in which to work. Similar assistance was offered by the librarians at the Fondazione Giangiacomo Feltrinelli, Milan, who opened up the entire Archivio Linton for my use, despite my inability to speak anything more than the most basic Italian. Elizabeth Lovett, whose name appears last only because of convention, has been a source of consistent encouragement and emotional support throughout the duration of the research despite the daily presence of the work in our home life over the past couple of years. Her practical assistance in lending fastidious proof-reading skills and uncompromising but balanced criticism in the later stages of writing has made the completion of the thesis a valuable and pleasant experience. 4 Statement of copyright The copyright of this thesis rests with the author. No quotation from it should be published without their prior written consent and information derived from it should be acknowledged. 5 Contents Pages List of Illustrations 6-8 Introduction 9-35 Chapter One: Linton's Creative Aspiration and Public Discourse in a Biographical Context 36-88 Chapter Two: 1833-1839 89-134 Chapter Three: 1840-1848 135-182 Chapter Four: 1849-1855 183-228 Chapter Five: 1856-1874 229-259 Chapter Six: 1875-1896 260-326 Conclusion 327-332 Sources and Bibliography 333-347 6 List of Illustrations Subject and source Preceding page 1 W. J. Linton, writer, artist and engraver, detail from 'Letter 68 from Lord Brougham', Red Republican (1850), British Library 2 W. J. Linton, artist and engraver, title page of Eliza Lynn 73 Linton's The Lake Country (1864), British Library 3 W. J. Linton, 1863 study for The Lake Country, John Hay Library NC1075 L68 1 4 W. J. Linton, mtist and engraver, Striding Edge, from The Lake Country, British Library 5 W. J. Linton, a11ist and engraver, page from Claribel (1865) 74 Newcastle University Library Special Collections 6 W. J. Linton, mtist and engraver, 'Travellers Lost in the Snow' 77 from Leslie's Illustrated Newspaper (1867), reproduced from an album compiled by Linton in 1895, John Hay Library NE 1143.5.L5 A3 7 W. J. Linton, engraver, self-p011rait, printed in Leslie's Illustrated Newspaper (1867), album, John Hay Library NE 1143.5.L5 A3 8 W. J. Linton, p011rait of William Cullen Bryant, John Hay 79 Library NE 1143.5.L5 A32 1 9 W. J. Hennessey, mtist, and W. J. Linton, engraver, broadsheet 84 advertisement from American Enterprise (1870), album, John Hay Library NE 1143.5.L5 A3 10 Linton at the Appledore Press (c. mid 1880s), photographer 85 unknown, John Hay Library HA 5327 (9) 11 W. J. Linton, draughtsman and engraver, after Titian (1881), 87 New York Public Library, Prints Division 12 W. J. Linton, artist and engraver, illustration for a poem in Nikolai Alekseevich Nekrasov's Moroz krasnyi-nos (Red­ nosed Frost, 1887), New York Public Library, Slavic and Baltic Division 13 Samuel Peny, p011rait of W. J. Linton, oil on canvas (1884), reproduced from a photograph in 'Clipping File on W. J. Linton', New York Public Library, Prints Division, MDGZ 14 Linton in his Appledore studio (c. 1890), photographer unknown, John Hay Library HA 5327 (8) 7 15 Title page of Songs, Hymns and Objurgations by S12artacus 88 (1897), Beinecke Rare Books and Manuscripts Library 16 W. J. Linton draughtsman and engraver, wood engraving 'after 91 Rafaelle' (1833), Engravings on Wood: My Own Work in England, an album presented by Linton to A. V. S. Anthony, New York Public Library, Prints Division, MEYI 17 W. J. Linton (and Henry Linton), engraver and draughtsman, 107 'Storming of the Bastille', from the National (1839), Leeds University Library Special Collections 18 W. J. Linton (and Henry Linton), engraver and draughtsman, 127 'Lowther Castle', from the National (1839), Leeds University Library Special Collections 19 William Bell Scott, mtist, W. J. Linton, engraver, page from 161 The Poor House Fugitive (1845), Beinecke Rare Books and Manuscripts Library 20 Thomas Sibson, artist, W. J. Linton, engraver, page from Bob 165 Thin (1845), Beinecke Rare Books and Manuscripts Library 21 W. J. Linton, attist and engraver, page from Claribel (1865) 196 showing the text of 'Eurydice', Newcastle University Library, Special Collections 22 'The Imperial Prince in his Cradle', wood engraving, 235 Illustrated London News (1856), Durham University Library 23 W. J. Linton, mtist, engraver and ptinter, page from Broadway 266 Ballads (1893) showing his adaptation of an image from Blake' s America and part of 'God is not Dead', John Hay Library 24 W. J. Linton, attist and engraver, page from Broadway Ballads 274 showing illustration and head note of 'Somewhile in Hell', John Hay Library 25 W.
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