Notes Introduction: Passengers of Modernity 1. Quoted in Robert Secor, ‘Robert Browning and the Hunts of South Kensington’, Browning Institute Studies. An Annual of Victorian Literary and Cultural History, ed. by William S. Peterson, Vol. 7 (1979), 130. 2. Michael Field, Works and Days, British Library, Add. MS. 46780 f.139. When quoting from manuscript material, I have retained the original manuscript format of underlining text, implying italics. 3. Isobel Armstrong, Victorian Poetry: Poetry, Poetics and Politics (London: Routledge, 1993), 479. 4. Amy Levy, A London Plane-Tree and Other Verse (London: T. Fisher Unwin, 1889). 5. Mass transport, also called public transport or transportation, mass transportation, or mass transit in America, refers to a system designed to convey large numbers of paying people in various types of vehicles (in the nineteenth century omnibuses, trams, underground and suburban trains) from place to place along fixed routes in cities, suburbs, and larger metropolitan areas. I will use here the term mass trans- port as opposed to mass transportation to avoid any confusion with the British English use of the term ‘transportation’, which historically means ‘removal to penal colony’ (OED). 6. I will be referring throughout this book to Michael Field, not ‘Field’. The reason for this is that ‘Field’ was the name in this co-authorial partnership that referred to Edith Cooper, just as ‘Michael’ referred to Katharine Bradley. 7. Michael Field, Works and Days, British Library, Add. MS. 46780 f.89. Michael Field, Sight and Song (London: Elkin Mathews and John Lane at the Sign of the Bodley Head, 1892). 8. Michael Field, Works and Days, British Library, Add. MS. 46780 f.30. 9. Michael Field, Works and Days, British Library, Add. MS. 46780 f.47. 10. Theodor W. Adorno, ‘On Lyric Poetry and Society’ in Notes to Literature, Volume One, ed. Rolf Tiedemann, trans. Shierry Weber Nicholsen (New York: Columbia University Press, 1991), 46. 11. Margot Finn, ‘Sex and the City: Metropolitan Modernities in English History’, Victorian Studies 44:1 (2001): 25. 12. Rosamund Ball, afterwards Rosamund Armytage, afterwards ‘Graham R. Tomson’, afterwards Rosamund Marriott Watson. For a discussion of her use of names see Chapter 3. In this book I shall be referring to either Graham R. Tomson or 200 Notes 201 Rosamund Marriott Watson depending upon the name she used as a publishing author. In other words, her publications from 1887 onwards will be referenced under Graham R. Tomson, and those from 1895 under Rosamund Marriott Watson. 13. Michel de Certeau, The Practice of Everyday Life, trans. Steven Rendall (Berkeley: University of California Press, 1984), 117. 14. Walter Pater, Marius the Epicurean. His Sensations and Ideas. Vol. II (London: Macmillan, 1885), 19. 15. Arthur Symons, ‘Mr. Henley’s Poetry’, The Fortnightly Review 52 (1892): 184. The essay was later reprinted as ‘Modernity in Verse’ in his Studies in Two Literatures (London: Leonard Smithers, 1897), 186–203. 16. Richard Le Gallienne, The Romantic ‘90s. Introduction by H. Montgomery Hyde (London: Putman, 1951), 122. 17. William Ernest Henley, London Voluntaries. The Song of the Sword, and Other Verses (London: David Nutt, 1893), Second edn revised; and his London Types. Quatorzains by W. E. Henley, Illustrations by W. Nicholson (London: Heinemann, 1898); Ernest Rhys, A London Rose and Other Rhymes (London: Elkin Mathews & John Lane, 1894); Arthur Symons, London Nights (London: Leonard Smithers, 1895); Laurence Binyon, First Book of London Visions (London: Elkin Mathews’ Shilling Garland, 1896) and his Second Book of London Visions (London: Elkin Mathews’ Shilling Garland, 1899); and Alice Meynell, London Impressions. Etchings and Pictures in Photogravure by William Hyde and essays by Alice Meynell (London: Constable, 1898). 18. Alice Meynell, ‘November Blue’ in Alice Meynell, Later Poems (London: John Lane, The Bodley Head, 1902), 26–7; Lord Alfred Douglas, ‘Impression de Nuit: London’ in The City of the Soul (London: Grant Richards, 1899), 65; A. Mary F. Robinson, ‘The Ideal’ in An Italian Garden. A Book of Songs (London: T. Fisher Unwin, 1886), 11–12; Rosamund Marriott Watson, ‘London in October’ and ‘A Song of London’ in Vespertilia and Other Verses (London: John Lane, The Bodley Head, 1895), 44–6 and 41–2; Amy Levy, ‘London in July’, ‘The Village Garden’ and ‘Ballade of an Omnibus’ in A London Plane-Tree, 18, 30–1, and 21–2; John Davidson, Fleet Street Eclogues (London: Elkin Mathews & John Lane, 1893) and A Second Series of Fleet Street Eclogues (London: John Lane, 1896); Oscar Wilde, ‘Symphony in Yellow’ in Oscar Wilde Complete Poetry, ed. Isobel Murray (Oxford: Oxford University Press, 1997), 141–2; and Arthur Symons, ‘In an Omnibus’ in Silhouettes (London: Elkin Mathews & John Lane, 1892), 26–7. A second version of this poem appeared in Silhouettes. Second Edition. Revised and Enlarged (London: Leonard Smithers, 1896), 21. In this version the poem is shorter and more critical in its treatment of women passengers. 19. Jonathan Freedman, Professions of Taste: Henry James, British Aestheticism, and Commodity Culture (Stanford: Stanford University Press, 1990), 10. 20. R. K. R. Thornton (ed.), Poetry of the ’Nineties (Harmondsworth: Penguin, 1970) and G. Robert Stange, ‘The Frightened Poets’ in The Victorian City: Images and Realities, eds H. J. Dyos and Michael Wolff, Vol. 2 (London: Routledge & Kegan Paul, 1973), 475–94. 21. Thornton, Poetry of the ’Nineties, 57. 22. Stange, ‘Frightened’, 489 and 493. 23. William B. Thesing, The London Muse: Victorian Poetic Responses to the City (Athens: University of Georgia Press, 1982), 148. 24. Ibid., 147. 202 Notes 25. W. E. Henley (ed.), A London Garland. Selected from Five Centuries of English Verse by W.E. Henley with Pictures by Members of the Society of Illustrators (London: Macmillan, 1895) and Wilfred Whitten (ed.), London in Song (London: Grant Richards, 1898). 26. Henley, A London Garland, vii. 27. Frederick Locker-Lampson, ‘Piccadilly’ in London Lyrics (London: Chapman and Hall, 1857), 17–20. Graham R. Tomson, ‘In the Rain’ in A Summer Night and Other Poems. With a Frontispiece by A. Tomson (London: Methuen, 1891), 10–12. 28. Charles Whibley, ‘Poetry in Petticoats’ The Scots Observer (8 March 1890): 488–9. Henley dedicated his London Voluntaries to Whibley. 29. ‘Recent Verse’, The Athenaeum (4 April 1896): 442. 30. See Anna Adams (ed.), Thames: An Anthology of River Poems. Compiled by Anna Adams with a Preface by Ian Sinclair and Etchings by James McNeill Whistler (London: Enitharmon Press, 1999) and her London in Poetry and Prose. Drawings by Neil Pittaway (London: Enitharmon Press, 2003). It must be noted, however, that women poets’ responses to the urban experience during the twentieth century are well represented in the 2003 collection. 31. Talia Schaffer and Kathy Alexis Psomiades (eds), Women and British Aestheticism (Charlottesville: University Press of Virginia, 1999), 13. 32. Talia Schaffer, The Forgotten Female Aesthetes: Literary Culture in Late-Victorian England (Charlottesville: University Press of Virginia, 2000), 6. 33. Ibid., 7. 34. Holbrook Jackson, The Eighteen Nineties: A Review of Art and Ideas at the Close of the Nineteenth Century (London: Grant Richards, 1913), 127, 128. 35. Ibid., 135. 36. Ibid., 139. 37. See Bruce Gardiner, The Rhymers’ Club: A Social and Intellectual History (New York: Garland, 1988) and Norman Alford, The Rhymers’ Club: Poets of the Tragic Generation (New York: St. Martin’s Press, 1994). 38. For a study of literary salons see my ‘New Woman Poets and the Culture of the salon at the fin de siècle’, Women: A Cultural Review 10:1 (1999): 22–34. For a description of Paul Verlaine’s lecture at Barnard’s Inn see his ‘My Visit to London’, Savoy, ed. by Arthur Symons (2 April 1896): 119–35 and Henri Locard, ‘Michael Field et la “lecture de Verlaine” à Barnard’s Inn’, Confluents 1 (1975): 91–101; for Walter Pater’s lecture on Mérimée see Michael Field, Works and Days: From the Journal of Michael Field, ed. by T. & D. C. Sturge Moore (London: John Murray, 1933), 119–21. For (literary) clubs see Amy Levy ‘Women and Club Life’, The Woman’s World (1888): 364–7; and Sheila E. Braine, ‘London’s Clubs for Women’ in George R. Sims (ed.), Living London, Vol. I. (London: Cassell, 1902), 114–18. For discussions about women writers and the British Museum Reading Room see Christine Pullen, ‘ “Under the Great Dome”: Amy Levy, the New Journalism and the Poetic of “New Grub Street” ’, paper delivered at the Conference Women’s Poetry and the Fin de Siècle. Institute of English Studies (14 June 2002) and Susan Bernstein, ‘Salon, Club, and Library Spaces as Heterotopias of Levy’s London’ paper delivered at INCS, Nineteenth-Century Worlds: Local/Global (10–12 July 2003). 39. Schaffer, Forgotten, 1. 40. Schaffer, Forgotten, 159–96. See also her ‘A Tethered Angel: The Martyrology of Alice Meynell’, Victorian Poetry, Special Issue Women Writers 1890–1918, 38:1 (Spring 2000): 49–61; and ‘Writing a Public Self: Alice Meynell’s “Unstable Equilibrium” ’ in Ann Ardis and Leslie W. Lewis (eds), Women’s Experience of Modernity, 1875–1945 (Baltimore: Johns Hopkins University Press, 2003), 13–30. Notes 203 41. Linda K. Hughes, ‘Feminizing Decadence: Poems by Graham R. Tomson’ in Schaffer and Psomiades, Women and British Aestheticism, 119–38. 42. See, for example, Isobel Armstrong and Virginia Blain (eds), Women’s Poetry, Late Romantic to Late Victorian: Gender and Genre 1830–1900 (Basingstoke: Macmillan Press – now Palgrave Macmillan, 1999). Linda Hunt Beckman, Amy Levy: Her Life and Letters (Athens: Ohio University Press, 2000). Joseph Bristow, ‘ “All out of tune in this world’s instrument”: The “minor” poetry of Amy Levy’, Journal of Victorian Culture 4:1 (1999): 76–103. Linda K. Hughes’ work on Graham R. Tomson (Rosamund Marriott Watson) includes ‘My Sister, My Self: Networking and Self- Promotion among Fin-de-Siècle Women Poets’, Paper delivered at the conference Rethinking Women’s Poetry 1730–1930 (Birkbeck College, University of London, 1995); ‘A Female Aesthete at the Helm: Sylvia’s Journal and “Graham R.