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Date: 02 March 2002 00:00 -0500
From: Automatic digest processor <[log in to unmask]>
To: Recipients of VICTORIA digests <[log in to unmask]>
Subject: VICTORIA Digest - 28 Feb 2002 to 1 Mar 2002 (#2002-61)
There are 15 messages totalling 585 lines in this issue.
Topics of the day:
1. Alfred Elmore (3)
2. George Gissing story
3. Tennyson's "... down in hell / Suffer endless anguish...." (3)
4. MVSA 2002 Conference
5. TTHA Poem of the Month for March
6. Hannah Crafts and Bleak House
7. C19 German Names (was Teaching research skills)
8. Blunt & Ouida
9. (no subject)
10. bondage in Kipling
11. INTRODUCTION: Harry Anderson
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Date: Fri, 1 Mar 2002 10:18:09 -0000
From: Paul Barlow <[log in to unmask]>
Subject: Re: Alfred Elmore
Dear Ms Godfrey,
I gave a research paper about 'The Invention of The Combing Machine'
(Cartright Hall, Bradford) some years ago, I also wrote a lot about Elmore
in my docoral thesis. I'd be grateful if Rebecca Virag can tell me anything
about this study day at the Tate. The 'Combing Machine' was a follow-up to
Elmore's earlier success 'The Invention of the Stocking Loom' (Nottingham
Castle Museum). There was also a popular engraving of it - the 'Stocking
Loom' that is. See the book 'Great Victorian Engravings'. There is also an
engraving of 'The Wife's Portrait' (depicting Pepys flirting with another
woman while his wife's portrait is painted). 'The Novice' (depicting a
would-be nun with doubts about her vocation) is in Bury Art Gallery. There
is also a picture called 'Prayer', I think, in Preston. 'The Emperor Charles
V at Yuste' is in Royal Holloway College (Ruskin is amusingly dismissive of
this picture in Academy Notes, 1856). A picture called 'The Tuilleries,
1792', was sold by Sotheby's a few years ago and is reproduced in colour in
their catalogue. 'Peace: 1651' was also in a sales catalogue in 1989, I
think. Elmore moved away from these kinds of historical and domestic
subjects in the 1860s towards a more Poynter/Leighton classical and
mythological style in his later years. You can find references to him in J
Maas's book, the 'Victorian Art World in Photographs' - where he is seen
working on 'The Wife's Portrait'. There is little published recent
literature. However, Lindsay Errington's doctorate on 'Social and Religious
Themes' in Victorian art is published by Garland (1984). This discusses his
painting 'Religious Controversy in the Age of Louis XIV'.
In my opinion 'The Combing Machine' is one of the great almost unknown works
of Victorian art.
Paul Barlow
[log in to unmask]
------------------------------
Date: Fri, 1 Mar 2002 13:59:59 +0000
From: rebecca virag <[log in to unmask]>
Subject: Re: Alfred Elmore
Paul Barlow wrote:
'I'd be grateful if Rebecca Virag can tell me anything
about this study day at the Tate'.
Help! Did I say 'study day'? I simply meant that Tate Britain have a study
of Elmore's *The Invention of The Combing Machine* which was bequeathed
c.1934.
By the way, Sir Henry Thompson (surgeon who, among other things, specialised
in the removal of gall bladder stones) studied painting for a while under
Alma Tadema and Alfred Elmore. You may (or may not) find some information on
Elmore in a biography of Thompson by Sir Vincent Zachary Cope, *The
Versatile Victorian: Being The Life of Sir Henry Thompson* (London, 1951)
best wishes
Rebecca Virag
(Courtauld Institute)
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp.
------------------------------
Date: Fri, 1 Mar 2002 14:22:34 +0000
From: Chris Baggs <[log in to unmask]>
Subject: George Gissing story
Can anyone help me trace the title of a short story by George Gissing?
I have come across a few references to it in the British professional
library literature around 1900 to 1903 (although it may have been written
earlier), but no-one actual gives the story's title. In this story,
Gissing talks about the stench of the average newsroom in British
public libraries of the period, a stench which apparently drags its
victims back again and again to the degrading study of low newspapers
and against which the victim is powerless.
I would be grateful for any help.
Chris Baggs,
University of Wales, Aberystwyth
------------------------------
Date: Fri, 1 Mar 2002 10:27:56 -0500
From: "Terry L. Meyers" <[log in to unmask]>
Subject: Tennyson's "... down in hell / Suffer endless anguish...."
I recall reading many years ago that in revising "The Lotus
Eaters" Tennyson anachronistically included more a Christian
reference than a classical one in the following lines:
Till they perish and they suffer--, 't is whisper'd--down in hell
Suffer endless anguish, others in Elysian valleys dwell . (ll. 168-169)
But I can't recall where I read that, and a quick check of a
couple of standard editions suggests editors don't see much worth
saying about the lines or their source.
Do readers generally see these lines as anachronistic or do
they have some classical origin?
Many thanks for the anticipated illumination.
_________________________________________________________________________
Terry L. Meyers voice-mail: 757-221-3932
English Department fax: 757-221-1844
College of William and Mary
Williamsburg, VA 23187-8795
_________________________________________________________________________
------------------------------
Date: Fri, 1 Mar 2002 15:37:53 -0000
From: Paul Barlow <[log in to unmask]>
Subject: Re: Alfred Elmore
Ah, wishful thinking on my part! Rather unlikely, I admit, that the
Tatewould devote a day to study this rather little-known picture! In my
dreams.
A portrait of Millais by Thompson is reproduced in Millais's son's biography
of his father. It's not bad.
Paul Barlow
[log in to unmask]
------------------------------
Date: Fri, 1 Mar 2002 11:22:58 -0500
From: Herbert Tucker <[log in to unmask]>
Subject: Re: Tennyson's "... down in hell / Suffer endless anguish...."
At 10:27 AM 3/1/02 -0500, you wrote:
> I recall reading many years ago that in revising "The Lotus
>Eaters" Tennyson anachronistically included more a Christian
>reference than a classical one in the following lines:
>
>Till they perish and they suffer--, SOME, 't is whisper'd--down in hell
>Suffer endless anguish, others in Elysian valleys dwell . (ll. 168-169)
I insert a syllable omitted from the quotation as given, and suppose that
the account of hell in Aeneid 6.426ff may have come into Tennyson's
mind. That's nearly as anachronistic, where a Homeric epyllion is
concerned, as anything Christian would be, of course; but it's classical
all right.
> But I can't recall where I read that, and a quick check of a
>couple of standard editions suggests editors don't see much worth
>saying about the lines or their source.
>
> Do readers generally see these lines as anachronistic or do
>they have some classical origin?
Herbert Tucker
Department of English
219 Bryan Hall
University of Virginia 22904-4121
[log in to unmask]
434 / 924-6677
FAX: 434 / 924-1478
------------------------------
Date: Fri, 1 Mar 2002 12:11:05 -0600
From: Anne Windholz <[log in to unmask]>
Subject: MVSA 2002 Conference
The 26th annual MIDWEST VICTORIAN STUDIES ASSOCIATION CONFERENCE will be
held April 19th and 20th at the University of Illinois-Chicago.
Registration forms have been sent to all current MVSA members; others may
request them from me at [log in to unmask] By mid-March, the
conference program and registration form will be available on our WEB
site: www2.ic.edu/mvsa/#Midwest
Conference accommodations will be at the Holiday Inn Hotel and Suites, 506
West Harrison Street, Chicago. Call (312) 957-9100 to make
reservations. Rooms are being held for Friday and Saturday night.
Our MVSA program this year is full and varied. Please check it out
(below) and join us if you can!
Anne M. Windholz
MVSA Executive Secretary
***************
FRIDAY, APRIL 19
UIC Humanities Institute (basement of Stevenson Hall)
12:00-1:00 Registration
1:00-2:30 BORDER CROSSINGS: THE CHANGING NATURE OF ART AND IMPERIALISM
"Indian Art under the Raj: Crossing Racial, National, and
Geographic Borders" Julie Codell, Arizona State University
"Crossing the Boundaries of Time: The Changing Nature of Public
Commemoration, Queen Victoria, Queen Elizabeth II, and Princess
Diana" Mary Ann Steggles, University of Manitoba
"Orientalism and the Victorian Nostalgic Gaze" Christine Roth,
University of Wisconsin-Oshkosh
2:45-4:15 DRAWING THE LINE: THE BOUNDARIES OF ART, AESTHETICS, AND
HEALTH
"Crossing the Line: John Ruskin, the 'Turner Gallery,' and the
*Art Journal* in Mid-Victorian England" Katherine Haskins, University of
Chicago
"Dado or Dust Trap? Aesthetic Borders and the Late-Victorian
Healthy House" Eileen Cleere, Southwestern University, TX
"The Good Samaritan" Suzanne Nunn, University of Exeter, Devon,
UK
4:15-4:30 Announcement of 2002 Arnstein Prize winner
5:00-7:00 Off campus dinner in Greek Town: Costa's, 340 South Halstead
7:30-9:00: AN EVENING OF MUSIC WITH VICTORIA, ALBERT, AND MENDELSSOHN
Presented by Walter Arnstein and Nicholas Temperley, University of
Illinois. Musical illustrations by Elizabeth Antle (soprano), Timothy
Welch (baritone), and Nicholas Temperley (piano)
SATURDAY, APRIL 20
UIC CHICAGO CIRCLE CENTER
7:30-8:15 Continental Breakfast
MVSA Executive Committee Meeting
8:30-10:00: ON THE EDGE: GENDER AND SEXUALITY
"Transgressing Masculine Borders: Caucasian Men/Oriental
Dress" Joseph Kestner, University of Tulsa
"The Man in the Melodrama: The Violent Borders of the Penitent
Woman Tableau" Melissa Valiska Gregory, Indiana University
"The Queer Politics of Pleasure Seeking: Victoria Cross's *Six
Chapters of a Man's Life*" Christina Parish, Syracuse University
10:15-11:45 POLITICAL BORDERS: SELF AND STATE
"Politics as Self-Reconception: Crossing the Border to Republic
Citizenship" Beth Browning Jacobs, University of Illinois-Chicago
"The Political is Personal: Literary Elections in Historical
Context, 1840-1865" Michael Markus, Washington University-St. Louis
"Redefining the Bounds of Property, Re-enforcing the Borders of
Empire: Ulster Custom, *Ancient Law*, and the Land Act of 1870" Sara
L. Maurer, Indiana University
12:00-1:00 Lunch and MVSA Business Meeting
1:00-2:00 KEYNOTE SPEAKER: PETER BAILEY, UNIVERSITY OF MANITOBA
"Victorian Railway Erotics"
2:15-3:45 BRITONS AND AMERICANS: LOOKING ACROSS BORDERS
"Crossing the Border of Hell: Jack London and Charles Masterman
Represent the *Abyss*" Daniel Bivona, Arizona State University
"The American Civil War through British Eyes: Diplomatic
Dispatches from the United States" James J. and Patience P. Barnes,
Wabash College
"Border as Highway: Martin Tupper and the Promotion of
Anglo-North American Identities" Denis Paz, University of North Texas
4:00-5:30 TRAVERSING BORDERS IN VICTORIAN FICTION
"Margaret Oliphant's Pilgrims on the Borders of the Unseen" John
Reed, Wayne State University
"Indexing Criminality before Criminology: Gender Borderlands and
the Mid-Victorian Novel" Carrie Etter, University of California-Irvine
"George Eliot's Negotiation of Cultural Borders in *Daniel
Deronda*" John McBratney, John Carroll University
ADJOURNMENT
------------------------------
Date: Fri, 1 Mar 2002 14:24:21 -0500
From: "Terry L. Meyers" <[log in to unmask]>
Subject: Re: Tennyson's "... down in hell / Suffer endless anguish...."
Thanks, Chip. I'm thinking too that it might relate to
Plato's Gorgias too--Swinburne's friend John Nichol uses "suffer
endless anguish" as he relates and translates the final myth in that
dialogue and I'm curious to know if anyone else has made that
connection.
Thanks for putting "some" back in too--it makes a difference.
>At 10:27 AM 3/1/02 -0500, you wrote:
>> I recall reading many years ago that in revising "The Lotus
>>Eaters" Tennyson anachronistically included more a Christian
>>reference than a classical one in the following lines:
>>
>>Till they perish and they suffer--, SOME, 't is whisper'd--down in hell
>>Suffer endless anguish, others in Elysian valleys dwell . (ll. 168-169)
>
>I insert a syllable omitted from the quotation as given, and suppose that
>the account of hell in Aeneid 6.426ff may have come into Tennyson's
>mind. That's nearly as anachronistic, where a Homeric epyllion is
>concerned, as anything Christian would be, of course; but it's classical
>all right.
>
>
>> But I can't recall where I read that, and a quick check of a
>>couple of standard editions suggests editors don't see much worth
>>saying about the lines or their source.
>>
>> Do readers generally see these lines as anachronistic or do
>>they have some classical origin?
>
>
>
>Herbert Tucker
>Department of English
>219 Bryan Hall
>University of Virginia 22904-4121
>[log in to unmask]
>434 / 924-6677
>FAX: 434 / 924-1478
_________________________________________________________________________
Terry L. Meyers voice-mail: 757-221-3932
English Department fax: 757-221-1844
College of William and Mary
Williamsburg, VA 23187-8795
_________________________________________________________________________
------------------------------
Date: Fri, 1 Mar 2002 13:43:03 -0600
From: Bill Morgan <[log in to unmask]>
Subject: TTHA Poem of the Month for March
Earlier today, I posted Hardy's "A Drizzling Easter Morning" as the
TTHA Poem of the Month for February 2002. This month's discussion will be
the third and last in a short series dedicated to Hardy's holiday poems. I
invite your
contributions to a month-long on-line conversation about one of Hardy's
lesser-known lyrics.
You can find the TTHA Poem of the Month Discussion by following the
links from the main TTHA page at
http://www.yale.edu/hardysoc/Welcome/welcomet.htm
or by going directly to
http://webboard.ilstu.edu/~TTHA_POTM_DISCUSSIONS
Whichever route you take, when you arrive at the Poem of the Month site,
you will encounter a program called WebBoard, which will give you the
opportunity to read the poem as well as any comments it may have generated,
compose a response, preview your response, edit it further if you wish, and
then post it by using the button labeled Post the Message. If you are
composing an intricate or long response, you may want to prepare your
message in a word processing program, then copy it to your clipboard before
pasting it into the message area of WebBoard. And if you prefer, feel free
to send me your contribution as an e-mail, and I will post it for you:
[log in to unmask]
At the present time, this month's discussion and those for January
("A New Year's Eve in War Time") and February ("The Oxen") are the only
ones available at the site. I intend, however, to reconstruct the earlier
discussions of poems with female narrators ("The Dark-Eyed Gentleman," "She
At His Funeral," "Her Confession," "Tess's Lament," "The Pine-Planters,"
"The Pink Frock," "The Beauty," "I Rose and Went to Rou'tor Town," "An
Upbraiding," "The Chapel-Organist," "A Sunday-Morning Tragedy," and "A
Trampwoman's Tragedy") as well as those concerning Hardy's memorial poems
("The Last Signal," "Rome: At the Pyramid of Cestius near the Graves of
Shelley and Keats," "Shelley's Skylark," "At a House in Hampstead," "At
Lulworth Cove a Century Back," and "To Shakespeare After Three Hundred
Years") and post them at the site until such time as they are edited and
published in either *The Hardy Review* or in one of TTHA's Occasional
Papers.
The discussions for February, 1998 through November 1999 have been
"closed" and their contents edited and published in *The Hardy Review* [I:1
(July 1998) and 2:1 (Summer 1999)]. Likewise, the conversations from 1999
about the "Emma" poems have been published as the second of the TTHA
Occasional Series. And those concerning "Channel Firing," "Satires of
Circumstance in 15 Glimpses," "After the Visit," "To Meet, or Otherwise,"
and "A Singer Asleep" have been published in *The Hardy Review*, III
(Summer 2000). All of these publications are available and may be ordered
using an on-line form available at the main TTHA page (see the URL above).
The discussions of "Nature's Questioning," "The Mother Mourns,"
"The Subalterns," "The Lacking Sense," "In a Wood," "To Outer Nature,"
"June Leaves and Autumn," "Wagtail and Baby," "On a Midsummer Eve,"
"Afterwards," "Shut Out That Moon," "The Last Chrysanthemum," "The Year's
Awakening," and "The Night of the Dance" are currently being edited and
will be published shortly in *The Hardy Review*, IV.
Welcome to the March 2002 TTHA Poem of the Month Discussion.
cheers,
Bill Morgan
------------------------------
Date: Fri, 1 Mar 2002 15:45:18 -0600
From: "Newman, Beth" <[log in to unmask]>
Subject: Hannah Crafts and Bleak House
I haven't been keeping up with my Victoria digests as regularly as I would
like, and missed the discussion of Bleak House and Hannah Crafts's _The
Bondswoman's Narrative_ via Henry Louis Gates, Jr. and _The New Yorker_. I
did, however, send a letter to the New Yorker about the parallels between
Crafts's description of gloom on the Potomac and Dickens's famous
description of the London fog.
I'm inclined NOT to see what Hannah Crafts was doing as plagiarism, but (as
I said in my letter--maybe they'll even print it?), as a form of
_imitatio_--the kind of exercise by which students used to learn the arts of
composition by copying, sometimes _verbatim_ and sometimes as a structure to
be filled with new "content," passages from accomplished, established
writers. (One of my colleagues suggests that we incorporate this into our
contemporary composition pedagogy, and having tried my own hand at it I see
the merits.)
After all, she had every reason to be conscious of herself as an apprentice
writer, a member of a group whose literacy was not to be taken for granted.
I'm inclined to think, further, that Crafts, had she actually written with
the intention of publishing her manuscript, would have expected many of her
readers to recognize her borrowings from what was after all a very recently
published novel by a very widely read novelist.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Beth Newman
Associate Professor &
Director of Undergraduate Studies
Department of English
Southern Methodist University
Dallas, Texas 75275
PH: 214-768-2955
FAX:214-768-1234
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
------------------------------
Date: Fri, 1 Mar 2002 17:25:29 -0500
From: Ellen Casey <[log in to unmask]>
Subject: Re: C19 German Names (was Teaching research skills)
I presume that Br. Schnabel would be Brother Schnabel. That, at least,
is what it would be today.
Ellen Casey
U of Scranton
------------------------------
Date: Fri, 1 Mar 2002 20:25:28 -0600
From: Barbara Quinn Schmidt <[log in to unmask]>
Subject: Re: Blunt & Ouida
William T. Going, an authority on Blunt but who does not have
e-mail, recommends that you read Edith Finch's study of Blount, which
includes some biography.
Although married to Byron's granddaughter, the love of his life and
heroine of his early sonnet sequence was Skittles. He and Ouida wrote
about similar characters.
Barbara Quinn Schmidt
connection between Wilfred Scawen Blunt & Bertie
Cecil of Ouida's Under Two Flags?
I know that ZuZu is based heavily upon Skittles (a great favorite of
Blunt's). Perhaps just a general popularizing of Arabic
culture with their Crabbet Park Stud and exotic dress?
>
> Any thoughts on the subject would be greatly appreciated.
------------------------------
Date: Fri, 1 Mar 2002 18:53:55 EST
From: Jennifer Newman <[log in to unmask]>
Subject: (no subject)
I am taking a Readings in Imperialism Class and we have been reading "White
Man's Burden," by Rudyard Kipling. I have been trying to find out of the
following lines are a literary allusion.
"Why brought ye us from bondage,
"Our loved Egyptian night?"
Any help on this matter would be greatly appreciated!
Thank You,
Jennifer Newman
University of Northern Colorado
------------------------------
Date: Fri, 1 Mar 2002 19:49:34 -0800
From: "Margot K. Louis" <[log in to unmask]>
Subject: bondage in Kipling
Jennifer Newman writes:
>I am taking a Readings in Imperialism Class and we have been reading "White
>Man's Burden," by Rudyard Kipling. I have been trying to find out of the
>following lines are a literary allusion.
>
>"Why brought ye us from bondage,
>"Our loved Egyptian night?"
It's a Biblical allusion. The children of Israel, liberated from
slavery in Egypt by Moses, frequently complain that Moses has led them into
a worse condition: see Exodus 14.10-12, 16.3, and Numbers 14.1-4 (although
there are other examples).
Margot K. Louis
[log in to unmask]
------------------------------
Date: Fri, 1 Mar 2002 19:20:40 -0800
From: Harry Anderson <[log in to unmask]>
Subject: INTRODUCTION: Harry Anderson
hello all. am a grad student at university at albany,
and am thinking about next fall's master's thesis.
love victorian history, particularly identity and
education. am not sure what sort of thesis to present
though. have several great secondary sources, some
decent primaries. anyone point me in the right
direction? appreciate it...forgive my amateur e-mail
style... Harry Anderson
[log in to unmask]
__________________________________________________
Do You Yahoo!?
Yahoo! Sports - sign up for Fantasy Baseball
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------------------------------
End of VICTORIA Digest - 28 Feb 2002 to 1 Mar 2002 (#2002-61)
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