Victorian Writers, Remembered & Forgotten
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Charles Darwin: a Companion
CHARLES DARWIN: A COMPANION Charles Darwin aged 59. Reproduction of a photograph by Julia Margaret Cameron, original 13 x 10 inches, taken at Dumbola Lodge, Freshwater, Isle of Wight in July 1869. The original print is signed and authenticated by Mrs Cameron and also signed by Darwin. It bears Colnaghi's blind embossed registration. [page 3] CHARLES DARWIN A Companion by R. B. FREEMAN Department of Zoology University College London DAWSON [page 4] First published in 1978 © R. B. Freeman 1978 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the permission of the publisher: Wm Dawson & Sons Ltd, Cannon House Folkestone, Kent, England Archon Books, The Shoe String Press, Inc 995 Sherman Avenue, Hamden, Connecticut 06514 USA British Library Cataloguing in Publication Data Freeman, Richard Broke. Charles Darwin. 1. Darwin, Charles – Dictionaries, indexes, etc. 575′. 0092′4 QH31. D2 ISBN 0–7129–0901–X Archon ISBN 0–208–01739–9 LC 78–40928 Filmset in 11/12 pt Bembo Printed and bound in Great Britain by W & J Mackay Limited, Chatham [page 5] CONTENTS List of Illustrations 6 Introduction 7 Acknowledgements 10 Abbreviations 11 Text 17–309 [page 6] LIST OF ILLUSTRATIONS Charles Darwin aged 59 Frontispiece From a photograph by Julia Margaret Cameron Skeleton Pedigree of Charles Robert Darwin 66 Pedigree to show Charles Robert Darwin's Relationship to his Wife Emma 67 Wedgwood Pedigree of Robert Darwin's Children and Grandchildren 68 Arms and Crest of Robert Waring Darwin 69 Research Notes on Insectivorous Plants 1860 90 Charles Darwin's Full Signature 91 [page 7] INTRODUCTION THIS Companion is about Charles Darwin the man: it is not about evolution by natural selection, nor is it about any other of his theoretical or experimental work. -
Teodor Mateoc Editor
TEODOR MATEOC editor ------------------------------------------------ Cultural Texts and Contexts in the English Speaking World (V) Teodor Mateoc editor CULTURAL TEXTS AND CONTEXTS IN THE ENGLISH SPEAKING WORLD (V) Editura Universităţii din Oradea 2017 Editor: TEODOR MATEOC Editorial Board: IOANA CISTELECAN MADALINA PANTEA GIULIA SUCIU EVA SZEKELY Advisory Board JOSE ANTONIO ALVAREZ AMOROS University of Alicante, Spaian ANDREI AVRAM University of Bucharest, Romania ROGER CRAIK University of Ohio, USA SILVIE CRINQUAND University of Bourgogne, France SEAN DARMODY Trinity College, Dublin, Ireland ANDRZEJ DOROBEK Instytut Neofilologii, Plock, Poland STANISLAV KOLAR University of Ostrava, Czech Republic ELISABETTA MARINO University Tor Vergata, Rome MIRCEA MIHAES Universitatea de Vest, Timisoara VIRGIL STANCIU Babes Bolyai University, Cluj-Napoca PAUL WILSON University of Lodz, Poland DANIELA FRANCESCA VIRDIS University of Cagliari, Italy INGRIDA ZINDZIUVIENE Vytautas Magnus University, Kaunas, Lithuania Publisher The Department of English Language and Literature Faculty of Letters University of Oradea ISSN 2067-5348 CONTENTS Introduction Cultural Texts and Contexts in the English Speaking World: The Fifth Edition ............................................................................. 9 I. BRITISH AND COMMONWEALTH LITERATURE Adela Dumitrescu, Physiognomy of Fashion in Fiction: Jane Austen ..... 17 Elisabetta Marino, “Unmaidenly” Maidens: Rhoda Broughton’s Controversial Heroines ................................................ 23 Alexandru -
Graphic Interlude Are You Game?
Angles New Perspectives on the Anglophone World 11 | 2020 Are You Game? Graphic Interlude Are you Game? Winslow Homer, Ambrose Andrews, Briton Rivière, Sharon Lockhart, Anonymous, Marcus Gheeraerts I, Gawen Hamilton, Sir John Everett Millais, Thomas Rowlandson, Marion Post Wolcott, John Rogers, Mary Sargant Florence, Thomas Anshutz, Sir William Reynolds-Stephens and George Cruikshank Electronic version URL: http://journals.openedition.org/angles/3117 DOI: 10.4000/angles.3117 ISSN: 2274-2042 Publisher Société des Anglicistes de l'Enseignement Supérieur Electronic reference Winslow Homer, Ambrose Andrews, Briton Rivière, Sharon Lockhart, Anonymous, Marcus Gheeraerts I , Gawen Hamilton, Sir John Everett Millais, Thomas Rowlandson, Marion Post Wolcott, John Rogers, Mary Sargant Florence, Thomas Anshutz, Sir William Reynolds-Stephens and George Cruikshank, « Graphic Interlude », Angles [Online], 11 | 2020, Online since 01 November 2020, connection on 13 November 2020. URL : http://journals.openedition.org/angles/3117 ; DOI : https://doi.org/10.4000/ angles.3117 This text was automatically generated on 13 November 2020. Angles est mise à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. Graphic Interlude 1 Graphic Interlude Are you Game? Winslow Homer, Ambrose Andrews, Briton Rivière, Sharon Lockhart, Anonymous, Marcus Gheeraerts I, Gawen Hamilton, Sir John Everett Millais, Thomas Rowlandson, Marion Post Wolcott, John Rogers, Mary Sargant Florence, Thomas Anshutz, Sir William Reynolds-Stephens and George Cruikshank Game as Amusement, Fun, Pleasure Angles, 11 | 2020 Graphic Interlude 2 Winslow Homer (1836-1910), Snap the Whip (1872) - Oil on canvas (30.5x 50.8cm) This outdoor scene is one of many painted by Winslow Homer, one of the most famous American artists of the nineteenth century. -
George Eliot and the Mill on the Floss
PART III: George Eliot and The Mill on the Floss 189 CHAPTER EIGHT George Eliot and Her Suitors: the “Hatched Chick” Becomes a Rooster The story of The Mill on the Floss, which is very much a story about the emergence of Marian Evans/George Eliot as a professional author, actually began a few years before the appearance of that pivotal book with the anonymous publication of Eliot’s first novel (really a series of novellas) in the pages of Blackwood’s Edinburgh Magazine (Maga). Lewes first submitted Evans’s work to the venerable Scottish publisher, John Blackwood, on 6 November 1856, when Evans was still editing John Chapman’s Westminster Review.1 The submission was “The Sad Fortunes of the Reverend Amos Barton,” the first of three novella-length sketches that would eventually form the whole of Scenes of Clerical Life. Of this first sketch Lewes boasted to Blackwood that “such humour, pathos, vivid presentation and nice observation have not been exhibited (in this style) since the ‘Vicar of Wakefield’— and in consequence of that opinion I feel quite pleased in negotiating the matter with you.”2 During this first interaction on Evans’s behalf, Lewes aimed to convince Blackwood that this unknown author was someone whose work was worth adding to 1 In addition to a long essay entitled “Worldliness and Otherworldliness: the Poet Young,” Eliot would write a segment called “History, Biography, Voyages, and Travels,” as well as her standard “Belles Lettres” section for her final contributions to the Westminster Review, 67 (January 1857). See Letters II, 274, n. -
How They Wrote About It in Novels: Emma Jocelyn's and Char Hankey's Literary Aspirations
Young Aspiring Women Writers, Romantic Love and Disillusionment in Rhoda Broughton’s A Beginner (1894) and A Fool in her Folly (1920) Graziella Stringos Abstract Despite significant writing by women in the seventeenth and eighteenth centuries, it was in the nineteenth that fiction by women became extensive and widely published, prompting numerous – sometimes prejudiced – evaluations of their works. The popular writer Rhoda Broughton (1840-1920), herself subject to adverse and biased criticism, addresses the notion of female imagination and creativity and the Victorian conception of the female writer in her two novels, A Beginner (1894) and the posthumous A Fool in her Folly (1920). Broughton relates the arduous journey of young first-time writers, Emma Jocelyn and Charlotte Hankey respectively, and exposes the limited opportunities open to them in both the private and public spheres. Two novels focus on the two young heroines – women, lovers and writers – in such a way that initiation becomes a major site for the exploration of female consciousness and experience. The convergence of the fictive and the real in the two texts also serves to highlight the relevance of literature by women. This is achieved firstly through the juxtaposition of the two heroines’ vicissitudes with those of real women, including Broughton herself; secondly, through the heroines’ admiration for other women writers, particularly Charlotte and Emily Brontë and George Eliot; and thirdly, in the echoes of texts by women writers including Jane Austen and Anne Brontë. Contemporary society’s prejudice against unconventional women is confirmed but clearly not endorsed in the endings of the two texts. -
Catalogue of the Library and Autographs of William F. Johnson
* Copy / I - V CATALD DUE 30 X Ilibr&ry • &nd - OF WILLIAM F. JOHNSON, ESQ., w OK BOSTON, MASS. fVERY VALUABLE and Interesting Collection of English and American Literature comprising, under the title Americana, a num¬ ber of scarce works by the Mathers, Eliot and other authors of their day ; in General Literature, many Standard and Popular Works of Biography, History and Romance, and worthy of especial notice and attention, a Collection of FIRST EDITIONS of REMARKABLE INTEREST AND VALUE BY REASON OF BOTH RARITY AND BEAUTY OF CONDITION, including the most desired specimens of the works of Coleridge, Hunt, Lamb, Keats, Shelley, Thackeray, Browning, Bry¬ ant, Emerson, Hawthorne, Longfellow and others. Also to be mentioned a charming lot of CRUIKSH ANKIANA, and books illustrated by Leech and Rowlandson. In addition to all the book treasures there are Specimen Autographs of the best known and honored English and American Authors, Statesmen and others, many of them particularly desirable for condition or interesting con¬ tents. TO BE SOLD AT AUCTION Monday, Tuesday, "Wednesday and Thursday, JANUARY 2T—30, 1890, BANQS & 60.,,. , * i A ■» 1 > > > • «. it1 > » i ) >) > ) ) > 5 > 1 J > * ) » > 739 & 741 Broadway, New York. 7 ~ % > n > > ) t> ) >7 > SALE TO BEGIN AT 3 O’CLOCK!’ ' > 7 > ' 7 ' > > 7 ) 7 *7 >v > ) , 7 {y Buyers wl~io cannot attend tloe sale me\y have pcir- chases made to tlieir order toy ttie Auctioneers. •* \ in 3 7 . '" i 'O'b ■ 9 c 1 ( f' * ( 0 « C. < C I < < < I / I , < C l < C » c 1 « l ( 1C. C f «. < « c c c i r < < < < 6 < C < < C \ ( < « ( V ( c C ( < < < < C C C t C. -
A Beginner Macmillan's Two Shilling Library
lA BROUGIfi"ON lERARY NIVE^v.^lTY or CAll ^^^^'T^^.-^^-^^^-Z.^ /^1e^^^^C'— Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/detajls/beginner00brourich A BEGINNER MACMILLAN'S TWO SHILLING LIBRARY. 1899. I. Rhoda Broughton. Cometh up as a Flower. Ready. 2. M » Grood-bye, Sweetheart! 3- Jessie Fothergill. Kith and Kin. 4- >> »» Probation. 5- Rhoda Broughton. Joan. 6. » » Not Wisely but Too Well. 7- Jessie Fothergill. Borderland. 8. )> >> Aldyth. 9- Rhoda Broughton. Red as a Rose is She. lO. „ „ Scylla or Charybdis? II. Mrs. Alexander. The Wooing o't. 12. >) >> Her Dearest Foe. 13- Rhoda Broughton. Belinda. 14. „ „ Doctor Cupid. 15- Le Fanu. Uncle Silas. 16. „ The House by the Churchyard 17- Rhoda Broughton. Second Thoughts. 18. »> >i A Beginner. 19. W. Clark Russell. Marooned. July x^th. 20. Mrs. Edwardes. Leah : A Woman of Fashion. ,, 21. Rhoda Broughton. Alas! July 2ith. 22. „ „ Mrs. Bligh. ,, 23- Montagu Williams . Leaves of a Life. August i^th. Between the Heather and) 24. Mary Linskill. " the Northern Sea. ) MACMILLAN and CO., Ltd., LONDON. A BEGINNER BY RHODA BROUGHTON author of 'good-bye, sweetheart!' 'nancy,' 'second thoughts/ etc. Hippolita. This is the silliest stufF that ever I heard. Theseus. The best in this kind are but shadows ; and the worst are no worse, if imagination amend them. MACMILLAN AND CO., Limited NEW YORK: : THE MACMILLAN COMPANY 1899 First appeared in the 'Temple Bar' Magazine, 1893-94; First Edition, in wol., C7-ff7vn Zvo., 6s., April, 1894' Reprinted xZg^', Trans/erred to Macmillan &= Co., Ltd., August, i8q8 ; Reprinted, 2s., June, 1899. -
The Canterbury Association
The Canterbury Association (1848-1852): A Study of Its Members’ Connections By the Reverend Michael Blain Note: This is a revised edition prepared during 2019, of material included in the book published in 2000 by the archives committee of the Anglican diocese of Christchurch to mark the 150th anniversary of the Canterbury settlement. In 1850 the first Canterbury Association ships sailed into the new settlement of Lyttelton, New Zealand. From that fulcrum year I have examined the lives of the eighty-four members of the Canterbury Association. Backwards into their origins, and forwards in their subsequent careers. I looked for connections. The story of the Association’s plans and the settlement of colonial Canterbury has been told often enough. (For instance, see A History of Canterbury volume 1, pp135-233, edited James Hight and CR Straubel.) Names and titles of many of these men still feature in the Canterbury landscape as mountains, lakes, and rivers. But who were the people? What brought these eighty-four together between the initial meeting on 27 March 1848 and the close of their operations in September 1852? What were the connections between them? In November 1847 Edward Gibbon Wakefield had convinced an idealistic young Irishman John Robert Godley that in partnership they could put together the best of all emigration plans. Wakefield’s experience, and Godley’s contacts brought together an association to promote a special colony in New Zealand, an English society free of industrial slums and revolutionary spirit, an ideal English society sustained by an ideal church of England. Each member of these eighty-four members has his biographical entry. -
The History of British Women's Writing, 1830–1880, Volume
The History of British Women’s Writing, 1830–1880 The History of British Women’s Writing General Editors: Jennie Batchelor and Cora Kaplan Advisory Board: Isobel Armstrong, Rachel Bowlby, Helen Carr, Carolyn Dinshaw, Margaret Ezell, Margaret Ferguson, Isobel Grundy, and Felicity Nussbaum The History of British Women’s Writing is an innovative and ambitious monograph series that seeks both to synthesise the work of several generations of feminist schol- ars, and to advance new directions for the study of women’s writing. Volume edi- tors and contributors are leading scholars whose work collectively reflects the global excellence in this expanding field of study. It is envisaged that this series will be a key resource for specialist and non-specialist scholars and students alike. Titles include: Liz Herbert McAvoy and Diane Watt (editors) THE HISTORY OF BRITISH WOMEN’S WRITING, 700–1500 Volume One Caroline Bicks and Jennifer Summit (editors) THE HISTORY OF BRITISH WOMEN’S WRITING, 1500–1610 Volume Two Mihoko Suzuki (editor) THE HISTORY OF BRITISH WOMEN’S WRITING, 1610–1690 Volume Three Ros Ballaster (editor) THE HISTORY OF BRITISH WOMEN’S WRITING, 1690–1750 Volume Four Jacqueline M. Labbe (editor) THE HISTORY OF BRITISH WOMEN’S WRITING, 1750–1830 Volume Five Holly Laird (editor) THE HISTORY OF BRITISH WOMEN’S WRITING, 1880–1920 Volume Seven Mary Joannou (editor) THE HISTORY OF BRITISH WOMEN’S WRITING, 1920–1945 Volume Eight Claire Hanson and Susan Watkins (editors) THE HISTORY OF BRITISH WOMEN’S WRITING, 1945–1975 Volume Nine Mary Eagleton and Emma Parker (editors) THE HISTORY OF BRITISH WOMEN’S WRITING, 1880–1920 Volume Ten History of British Women’s Writing Series Standing Order ISBN 978-0-230-20079-1 hardback (outside North America only) You can receive future titles in this series as they are published by placing a standing order. -
A History of English Literature MICHAEL ALEXANDER
A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting -
The Carlyle Society Papers
THE CARLYLE SOCIETY SESSION 2013-2014 OCCASIONAL PAPERS 26 • Edinburgh 2013 1 2 President’s Letter 2013-14 will be a year of changes for the Carlyle Society of Edinburgh. Those of you who receive notification of meetings by email will already have had the news that, after many years, we are leaving 11 Buccleuch Place. We have enjoyed the hospitality of Lifelong Learning for decades but they, too, are moving. So we are meeting – for this year – in the seminar room on the first floor of 18 Buccleuch Place. There is one flight of stairs (I used it for decades! It’s not bad) and we will be comfortably housed there. Usual time. The Carlyle Letters are moving steadily towards the completion of the correspondence of Thomas and Jane; with Jane’s death in 1866 we will have published all the known letters between them, and we plan to tidy off the process with some papers from the months immediately following her death, and papers more recently come to light, namely volumes 43-44. The Carlyle Letters Online are also moving steadily to catch up with the published volumes. Volume 40 was celebrated with a public lecture in Autumn 2012; volume 41 will appear in printed form in about a month’s time, and the materials for volume 42 will be going to Duke in about a week’s time from when these words are written. We are grateful to the English Literature department for access to our new premises in 18 Buccleuch Place; to Andy Laycock of the University’s printing department for Herculean efforts with our annual papers; to those members who now accept their annual mailing in electronic form, a huge saving in time and money. -
British Humour Satirical Prints of the Eighteenth and Nineteenth Centuries
British Humour Satirical Prints of the Eighteenth and Nineteenth Centuries Comics and caricatures were born in eighteenth-century Europe. While the Enlightenment8 gave rise to a culture of criticism, the bolder art of ridicule can be credited to innovative artists responding to great social changes of the eighteenth and early nineteenth centuries. This exhibition focuses on three generations of British satirists pioneering this new form: William Hogarth, James Gillray and Thomas Rowlandson, and George Cruikshank. Hogarth, the “grandfather of the political cartoon,” lampooned the mores and behaviors of the ruling class, but no class, station, or profession was above his reproach. Following his example, Gillray and Rowlandson became thorns in the sides of aristocratic and public leaders by styling a new form of caricature with exaggerated features and proportions. Cruikshank, from a family of satirists, was able to imitate the style of Gillray so closely that Gillray’s publisher, Hannah Humphrey, hired him to complete projects the older artist left unfinished, and he was hailed in his lifetime as a “Modern Hogarth.” But comedy is serious business, because it speaks truth to power. These artists were at turns threatened, bullied, and bribed; they became part of the very debates they depicted and derided. Each succeeded because they created and then fulfilled the demands of a highly engaged citizenry, which is part of any democratic society valuing freedom of debate and expression. Modern counterparts, from editorial cartoons to The Daily Show, continue their tradition. William Hogarth (British, 1697–1764) The complete series Marriage à la Mode, 1745 Etching and engraving on paper Prints made by Gérard Jean-Baptiste Scotin II Gift of Museum Associates (2008.16.1-6) Hogarth’s Marriage à la Mode was his first series of satirical images that focused on elite British society.