---------- Forwarded Message ----------
Date: 17 November 2002 00:00 -0500
From: Automatic digest processor <[log in to unmask]>
To: Recipients of VICTORIA digests <[log in to unmask]>
Subject: VICTORIA Digest - 15 Nov 2002 to 16 Nov 2002 (#2002-315)
There are 17 messages totalling 746 lines in this issue.
Topics of the day:
1. Gas Lights
2. Tattoos and the Victorian Body (10)
3. 'Four-and-nine hat' (3)
4. Scott's reading--query
5. When were problem novels 'problem novels'?
6. job postings
----------------------------------------------------------------------
Date: Sat, 16 Nov 2002 00:20:36 -0500
From: "Jan R. Reber" <[log in to unmask]>
Subject: Re: Gas Lights
Wolfgang Schivelbusch's _Disenchanted Night The
Industrialization of Light in the Nineteenth Century_ covers the
introduction of gas lighting (and later electrification) in England and
includes detailed discussions of its psychological effects, including
its role in crime prevention. The chapter "The Street" concludes with
reference to Stevenson's analysis of the effect of light on crime. There
is also a useful bibliography.
Jan R. Reber [log in to unmask]
------------------------------
Date: Sat, 16 Nov 2002 05:46:06 +0000
From: Liz Miller <[log in to unmask]>
Subject: Re: Tattoos and the Victorian Body
Hi:
There is a chapter on tattoos as markers of criminality in Havelock Ellis's
_The Criminal_, and a reference to tattooing as a means of blackmail in L.T.
Meade's story "The Blood-Red Cross" (from the series _The Sorceress of the
Strand_).
Best, Liz
Elizabeth Carolyn Miller
University of Wisconsin - Madison
[log in to unmask]
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------------------------------
Date: Sat, 16 Nov 2002 05:25:39 EST
From: [log in to unmask]
Subject: Re: 'Four-and-nine hat'
I don't know if it helps but Lewis Carroll's poem 'Thr Three Voices'
published in 1855 contains the following lines:
He trilled a carol fresh and free
He laughed aloud for very glee
There came a breeze from off the sea
It passed athwarth the glooming flat
It fanned his forehead as he sat
It lightly bore away his hat
All to the feet of one who stood
Like maid enchanted in a wood
Frowning as darkly as she could
With huge umbrella lank and brown
Unerringly she pinned it down
Right through the centre of the crown
Then with an aspect cold and grim
Regardless of its battered rim
She took it up and gave it him
Awhile like one in dreams he stood
Then faltered forth his gratitude
In words just short of being rude
For it had lost its shape and shine
And it had cost him four and nine
And he was going out to dine
In light of the reference to the 'four and nine hat', I wonder if there was
some sort of cultural meaning to the term that Carroll is also employing
her. Was it slang for quite a cheap hat, which would make the words 'And it
had cost him four and nine' a little bit if jokey irony we no longer
understand.
Karoline Leach
------------------------------
Date: Sat, 16 Nov 2002 11:52:57 +0100
From: neil davie <[log in to unmask]>
Subject: Re: Tattoos and the Victorian Body
Hello Emily,
On tattoos and crime, Havelock Ellis drew heavily on Cesare Lombroso's =
*Criminal Man* (1876). The 1887 French edition (*L'homme criminel*) - =
with a long chapter on tattoos - is available online on the "Gallica" =
website of the Biblioth=E8que Nationale, Paris : http://gallica.bnf.fr.
Best wishes,
Neil
Neil Davie, Universit=E9 Paris 7, Paris, France.
([log in to unmask])
------------------------------
Date: Sat, 16 Nov 2002 07:29:07 -0500
From: David Wayne Thomas <[log in to unmask]>
Subject: Re: Tattoos and the Victorian Body
One twist in the generally amazing Tichborne legal sensation turned on an
absent tattoo as trial evidence. An irony here is that the tattoo was in
fact claimed to be on the body of a disappeared gentleman and found
lacking on the body of the apparently low-born imposter claiming to be
that gentleman. (The impostor was widely thought to be the estranged
offspring of an East-London butcher.) Useful evidence about Victorian
views on tattoos might come from a survey of London newspapers and
magazines reporting on this case from February 1872 on into March and
beyond, when the introduction of the tattoo evidence seems to have brought
the case to a halt.
This all-too-real case, for those on VICTORIA who are unsure, unfolded
from the late 1860s into the 1870s. An obese and, by many accounts,
uncouth impostor turned up to declare himself to be Sir Roger Tichborne,
the lost heir to a Hampshire estate and baronetcy. Sir Roger had fled
family and England for world adventures in the 1850s, not long after having
served a stint in the military, at which time (it was later claimed) he
had got a tattoo. The LACK of tattoo on the Claimant was then a decisive
bit of evidence, but the Claimant's supporter widely doubted the
veracity of the well-born individual who brought the evidence out.
The big book on this topic is Douglas Woodruff, The Tichborne Claimant
(1957) and he discusses this evidence there (216-17).
David
________________
David Wayne Thomas
Assistant Professor
Department of English
3187 Angell Hall Office tel: (734) 764-4140
University of Michigan Dept. Fax: (734) 763-3128
Ann Arbor, MI 48109-1003 e-mail: [log in to unmask]
------------------------------
Date: Sat, 16 Nov 2002 12:38:29 -0000
From: Susan Hoyle <[log in to unmask]>
Subject: Re: Tattoos and the Victorian Body
I am intrigued by the apparent fact that tattooing was 'OK' amongst the
aristocracy and the lower working class -- but taboo (then as pretty
well now, though it is changing) amongst the middle-class, and indeed
the respectable working class. It reminds me of other matters where the
upper and lower classes were united: for example the 'u' and 'non-u'
division (popularized by Nancy Mitford as I recall) which caused some
sensation in Britain in the fifties. The middle class would regard
'napkin' with some horror as a vulgar way of referring to what they
called a 'serviette'; however, or so we were told, and I am in no
position to know, the upper class regarded 'serviette' as a vulgarity
and called it a 'napkin'. (What I do know is that hardly anyone refers
to 'serviettes' any more.)
To the extent that there is this alliance between the upper and lower
classes, I have heard aristos claim that it demonstrates the persistence
of the old alliance between the _real_ Brits -- the persistence of
feudal loyalties and such stuff. The Victorians were aware of similar
usages being deprecated and shared (Dickens has lots of it, I think) --
perhaps even some of the same as Ms Mitford catalogued?
Does this feed into a study of tattoos and the Victorian body?
Susan Hoyle
[log in to unmask]
------------------------------
Date: Sat, 16 Nov 2002 09:34:28 -0500
From: Charles Robinson <[log in to unmask]>
Subject: Re: 'Four-and-nine hat'
Although I was the one to suggest a "fur-and-ermine hat," Leach's last
posting about the four and nine hat made me go to LION, where I did find
supporting evidence [a half dozen mid-century references] for the 4/9 hat:
In Bailey, Philip James, 1816-1902: THE AGE; A Colloquial Satire. [from
The Age (1858)]
on page 89 we find:
AUTHOR.
1853 Suppose friend Broadbrim made some grand discovery,
1854 Whereby the world might grow one vast drab dovery;
1855 Some universal solvent of disputes,
1856 Wars, disagreements, strifes, and legal suits;
1857 And to announce the same should think advisable,
1858 Through any medium (not, of course, excisable);
1859 How many auditors, or applicants,
1860 Called Christian---Catholics, or Protestants,---
1861 Would he have, guess? I bet a four-nine hat, XXXXXXXXX
1862 He polls no more than would go under that.
1863 But if some Prince should cursorily say,
1864 He's plans he meant to prove, and thought would pay;
1865 Whereby he could, at telescopic distance,
1866 Annihilate a peaceful town's existence;
1867 To share his plans, and eager to unfold them,
1868 Would flock such numbers, Hyde Park could not hold them.
---------------------------------------------------------------------
ALSO SEE
Calverley, Charles Stuart, 1831-1884 [Author Record]
APRIL OR, THE NEW HAT 3Kb, [from The Complete Works (1901)]
Found 1 hit:
...he'd drink to my new Four-and-nine In a
glass of his...
Prologue
1 My Boots had been wash'd---well wash'd---in a show'r;
2 But little I griev'd about that:
3 What I felt was the havock a single half-hour
4 Had made with my costly new Hat.
5 For the Boot, tho' its lustre be dimm'd, shall assume
6 Fresh sprightliness after a while:
7 But what art may restore its original bloom,
8 When once it hath flown, to the Tile?
[Page 126]
9 I clomb to my perch, and the Horses (a bay
10 And a brown) trotted off with a clatter:
11 The Driver look'd round in his affable way
12 And said huskily "Who is your hatter?"
13 I was pleas'd that he'd notic'd its shape and its shine,
14 And as soon as we reached the Old Druid
15 I begg'd that he'd drink to my new Four-and-nine XXXXXXXXXXX
16 In a glass of his favourite Fluid.
17 A gratified smile sat, I own, on my lips
18 When the Landlady called to the Master
19 (He was standing hard by with his hands on his hips)
20 To "look at the gentleman's Castor!"
21 I laugh'd, as an Organ-man paus'd in mid-air
22 ('Twas an air that I happen'd to know
23 By a great foreign Maestro) expressly to stare
24 At ze gent wiz ze joli chapeau.
25 Yet how swift is the transit from laughter to tears!
26 Our glories, how fleeting are they!
27 That Hat might (with care) have adorned me for years;
28 But 'twas ruin'd, alack, in a Day!
29 How I lov'd thee, my Bright One! I wrench in Remorse
30 My hands from my Coat-tail and wring 'em:
31 "Why did not I, why, as a matter of course,
32 When I purchas'd thee, purchase a Gingham!"
----------------------------------------
ALSO SEE
Brougham, John, 1810-1880: Life In The Clouds, Or, Olympus
In An Uproar (1840)
LIFE IN THE CLOUD, OR, OLYMPUS IN AN UPROAR; A
Burlesque Burletta, AS PERFORMING AT THE
ENGLISH OPERA HOUSE. CORRECTLY PRINTED FROM THE PROMPT
COPY, WITH EXITS ENTRANCES,
ETC. And for the First Time that any Dramatic Work has
possessed the same advantages in publication
PLOTS OF THE SCENERY, PROPERTIES, CALLS, COPY OF
ORIGINAL BILL, INCIDENTS, &c.
Main text
ACT I.
SCENE IV.
SONG.
["All round my Hat."]
[10] All round my gossamer, I wears a green vine leaf,
[11] All round my gossamer, in very spicy style,
[12] And if any body wants to know the reason that I wears it,
[13] It's just because I think that it's becoming to my tile.
[14] In Bread Street, Cheapside, where I once was forc'd to cash a
bill,
[15] In Bread Street, Cheapside, I bought this ventilator fine,
[16] It beats the chapeau francaise, likewise the beaver washable,
[17] It beats them all by chalks, and only cost me four and nine!
-----------------------------------------------
ALSO SEE
Morton, John Maddison, 1811-1891: Chaos is come again
[1838]
CHAOS IS COME AGAIN; OR, THE RACE-BALL! A FARCE, In
One Act, AS PERFORMED AT THE THEATRE
ROYAL, COVENT GARDEN.
Main text
SCENE II.
against the liberty of the subject! What's to be done? Oh / for an idea! I
have it---hit or miss, here goes. (Runs to table and writes.) / "Fifty
pounds reward! Missing, a short, / stout elderly gentleman, deranged in
his intellect; had on when / last seen, a broad-brimmed hat, maker's name
(Looks into hat) / Townend, Bread-street, Cheapside---four-and-nine-penny!
/ (Throws it across the stage.)---and drab great coat. Whoever / will
secure the above unfortunate individual, and return him, / undamaged, to
Mr. Doublelocks, Lunatic Asylum, London, / will receive the above reward."
(Rises, and folds up the paper in the envelop of his own letter.) / So
much for Blazes! Here / comes Tottenham! /
-------------------------------------
ANOTHER POSSIBLE REFERENCE IN
Moncrieff, W. T. (William Thomas), 1794-1857:
A BATCH OF BALLADS. [from An original
collection of songs [1850]]
FIRST ENCORE.
103 'All round my hat!' 'If thou'lt be mine'
104 'I'm Figaro, the Barber!'
105 The cove that sports a four-and-nine---
106 'Come and take tea in the arbour!'
107 'Who'll buy a heart? Who'll buy a heart?'
108 I hear the people cry out.
109 Of all the girls that are so smart'---
110 'There you go with your eye out!'
111 Then buy my ballads, &c.
Charles E. Robinson Tel: (302) 831-3654 (with voice mail)
English Department Fax: (302) 831-1586
University of Delaware email: [log in to unmask]
Newark, DE 19716-2537
U.S.A.
---------- Forwarded message ----------
Date: Sat, 16 Nov 2002 05:25:39 EST
From: [log in to unmask]
Reply-To: VICTORIA 19th-Century British Culture & Society
<[log in to unmask]>
To: [log in to unmask]
Subject: Re: 'Four-and-nine hat'
I don't know if it helps but Lewis Carroll's poem 'Thr Three Voices'
published in 1855 contains the following lines:
He trilled a carol fresh and free
He laughed aloud for very glee
There came a breeze from off the sea
It passed athwarth the glooming flat
It fanned his forehead as he sat
It lightly bore away his hat
All to the feet of one who stood
Like maid enchanted in a wood
Frowning as darkly as she could
With huge umbrella lank and brown
Unerringly she pinned it down
Right through the centre of the crown
Then with an aspect cold and grim
Regardless of its battered rim
She took it up and gave it him
Awhile like one in dreams he stood
Then faltered forth his gratitude
In words just short of being rude
For it had lost its shape and shine
And it had cost him four and nine
And he was going out to dine
In light of the reference to the 'four and nine hat', I wonder if there was
some sort of cultural meaning to the term that Carroll is also employing
her. Was it slang for quite a cheap hat, which would make the words 'And it
had cost him four and nine' a little bit if jokey irony we no longer
understand.
Karoline Leach
------------------------------
Date: Sat, 16 Nov 2002 09:43:40 -0600
From: Tracey S Rosenberg <[log in to unmask]>
Subject: Re: Tattoos and the Victorian Body
I don't have any citations handy, but when I was preparing to interview
Oliver Parker (the director of _The Importance of Being Earnest_), I dug
around for information on upper-class tattoos, as many reviewers seemed up
in arms about Gwendolen getting a tattoo, modernizing the play, bad Oliver
Parker, etc. There was, in fact, an Oriental gentleman who tattooed the
crowned heads of Europe - or, in the case of the movie, the bottoms of
Europe - so it was historically accurate. Perhaps someone on the list has
more scholarly references?
--Tracey S. Rosenberg
----------------------------------------
Tracey S. Rosenberg -- [log in to unmask]
Ph.D. candidate, University of Edinburgh
The Mona Caird web page: http://www.imsa.edu/~tsr/mona/
------------------------------
Date: Sat, 16 Nov 2002 10:51:36 -0500
From: JULIA GRELLA <[log in to unmask]>
Subject: Re: Tattoos and the Victorian Body
This is not my field, but I seem to recall hearing or reading that Victorian
prostitutes were also tattooed; I don't know where or with what emblems.
Can anyone confirm this?
Julia Grella
CUNY-Graduate Center
[log in to unmask]
------------------------------
Date: Sat, 16 Nov 2002 17:19:22 -0000
From: Gill Culver <[log in to unmask]>
Subject: Re: Tattoos and the Victorian Body
Re. the 1880's craze for tattoos amongst the wealthy and aristocratic in
London, see 'Body Commodification? Class and Tattoos in Victorian Britain'
by James Bradley, in Jane Caplan ed. *Written on the Body: The Tattoo in
European and American History*.(London: Reaktion Books, 2000). Much useful
material in this fascinating collection.
Re. tattooing and prostitutes see Jane Caplan's article "Educating the Eye:"
The Tattooed Prostitute' in Lucy Bland and Laura Doan eds.,*Sexology in
Culture* (London, 1998).
Gill Culver (KCL)
[log in to unmask]
------------------------------
Date: Sat, 16 Nov 2002 13:00:47 EST
From: [log in to unmask]
Subject: Re: Tattoos and the Victorian Body
In a message dated 11/15/2002 9:19:08 PM Pacific Standard Time, Margot K.
Louis writes:
>
> In L. M. Alcott's _Little Men_, Chapter VII, one of the ways Nan asserts
> her unconventionality is by persuading Silas to "tattoo an anchor on her
> arm like his" (she begs for one on each cheek, but he sensibly refuses
> that).
>
Wasn't it a blue star she wanted on each cheek? I suppose that means she
must have seen sailors with such decorations.
Helen Schinske
------------------------------
Date: Sat, 16 Nov 2002 11:13:14 -0800
From: Genie Babb <[log in to unmask]>
Subject: Re: 'Four-and-nine hat'
Aside from the question of 4/9 hats, this passage has
a startling relevance for our present moment in
history.
Genie Babb
>
> In Bailey, Philip James, 1816-1902: THE AGE; A
> Colloquial Satire. [from
> The Age (1858)]
>
> on page 89 we find:
> AUTHOR.
> 1853 Suppose friend Broadbrim made some grand
> discovery,
> 1854 Whereby the world might grow one vast drab
> dovery;
> 1855 Some universal solvent of disputes,
> 1856 Wars, disagreements, strifes, and legal
> suits;
> 1857 And to announce the same should think
> advisable,
> 1858 Through any medium (not, of course,
> excisable);
> 1859 How many auditors, or applicants,
> 1860 Called Christian---Catholics, or
> Protestants,---
> 1861 Would he have, guess? I bet a four-nine
> hat, XXXXXXXXX
> 1862 He polls no more than would go under that.
> 1863 But if some Prince should cursorily say,
> 1864 He's plans he meant to prove, and thought
> would pay;
> 1865 Whereby he could, at telescopic distance,
> 1866 Annihilate a peaceful town's existence;
> 1867 To share his plans, and eager to unfold
> them,
> 1868 Would flock such numbers, Hyde Park could
> not hold them.
>
=====
Genie Babb
Associate Professor of English
Co-Director of Women's Studies
University of Alaska Anchorage
907.786.4380 (phone)
907.786.4383 (FAX)
[log in to unmask]
__________________________________________________
Do you Yahoo!?
Yahoo! Web Hosting - Let the expert host your site
http://webhosting.yahoo.com
------------------------------
Date: Sat, 16 Nov 2002 19:16:09 -0000
From: Gill Culver <[log in to unmask]>
Subject: Re: Tattoos and the Victorian Body
Emily,
This might be of interest? 'An English Tattooer: Interview with Mr.
Sutherland Macdonald' in the *Pall Mall Gazette*, 1st May 1882., p.2.
The journalist visited tattooist Macdonald in the basement of the Jermyn
Street Hammam Turkish baths. Macdonald's clients included army officers,
civilians, 'many noblemen and also several ladies. The latter go in chiefly
for ornamentation on the wrist or calf, or have a garter worked on just
below the knee'. He also mentions one woman having a beauty spot tattooed on
her face (and wanting it removed the next day!)
Cocaine was injected under the skin to dull pain and he talks about his
designs, pattern books, equipment, pigments etc.
Gill Culver
[log in to unmask]
------------------------------
Date: Sat, 16 Nov 2002 13:05:36 -0500
From: juliedon <[log in to unmask]>
Subject: Re: Scott's reading--query
Scott pays tribute to Maria Edgeworth in his introduction to Waverley, and
Katie Trumpener has been among scholars who suggest that he may have read
other women novelists but failed to give them credit--Sydney Owenson (Lady
Morgan), for example (although he apparently called his daughter's donkey
Lady Morgan!). Scott obviously read tons of Shakespeare, but I think that I
Henry IV recurs the most.
Julie Donovan
===== Original Message From VICTORIA 19th-Century British Culture & Society
<[log in to unmask]> =====
>The very enjoyable thread on scenes of reading Scott prompts the question:
>so what did Scott himself read? Austen and S. T. Coleridge, I know; Burns,
>presumably; ballads in profusion, certainly; history, doubtless...but who
>were his favourite novelists and poets?
>
>
>Margot K. Louis
>[log in to unmask]
------------------------------
Date: Sat, 16 Nov 2002 13:58:05 -0600
From: [log in to unmask]
Subject: When were problem novels 'problem novels'?
I'm trying to discover whether social problem novels of the 1840s and 1850s
were actually referred to as 'problem novels' at the time, or whether this
was a label applied by subsequent generations. I've begun looking at modern
criticism on problem novels but haven't yet found an answer. Any
suggestions will be gratefully appreciated - I'm not used to working at
this end of the Victorian period....
Tracey S. Rosenberg
[log in to unmask]
------------------------------
Date: Sat, 16 Nov 2002 19:15:18 -0500
From: Sarah Canfield Fuller <[log in to unmask]>
Subject: Re: Tattoos and the Victorian Body
Doesn't Darwin have some comments on the tattoos of the Maori he
encountered when the Beagle visited what is now known as New Zealand?
As I recall, facial tattooing is one of the reasons he didn't like them
much--it was difficult to read their expressions.
Sarah Canfield Fuller
Associate Instructor
English Department
Indiana University
[log in to unmask]
Emily Biggs wrote:
>Hello. I am looking for information on Victorian tattooing. I am writing
>on Mr's Meeson's Will (Haggard) and I was hoping someone could give me some
>info on 1)primary sources that might talk about the practice of tattooing
>2) Victorian gender or class attitudes toward tattooing (I know it is
>mentioned as a practice at boy's public schools in Tom Brown's School Days
>and with sailors in travel or adventure stories and I saw a mention in the
>archives about some aristocrats who had tattoos, but I am wondering who
>else had tattoos?- Was this a class or gender specific practice?) and/.or
>3) Victorian literary references to tattoos.
>Thanks so much!
>Emily Biggs
>PhD Student
>University of Kentucky
>
>
------------------------------
Date: Sat, 16 Nov 2002 21:17:58 -0500
From: Susan Brown <[log in to unmask]>
Subject: job postings
Positions 1, 2, 3, and 5 listed below may be of interest to Victoria
list members:
The School of Literatures and Performance Studies at the University of
Guelph invites applications for the following faculty positions, to
begin 01 July 2003:
Search 1: Tenure-track assistant professorship in eighteenth-century
British literature & culture; interests in transatlantic and/or Scottish
studies desirable. PhD by 7/03 required.
Search 2: Tenure-track assistant professorship in nineteenth-century
British literature & culture; interests in transatlantic and/or Scottish
studies desirable. PhD by 7/03 required.
Search 3: Contractually-limited assistant professorship in Modernism
broadly construed, including transnational literary and cultural
movements. Interests in Caribbean and/or African-American studies
desirable. PhD by 7/03 required.
Search 4: Contractually-limited assistant professorship in Acting and
Directing. MFA or PhD by 7/03 OR equivalent professional experience
required.
Search 5: Tenure-track assistant professorship in nineteenth-century
American literature & culture; PhD by 7/03 required.
Teaching responsibilities: Flexible teaching interests essential. For
all positions, undergraduate courses in areas of expertise as well as
for first-year students and non-majors; directed readings and/or
productions as appropriate. For tenure-track appointments, teaching
will include graduate courses and supervisions.
In 2003 the School will have 37 full-time faculty and 5 staff, 600
undergraduate majors and 20 graduate students in residence. We offer BA
and MA degrees in both English and Drama, and we offer a PhD in Literary
Studies/Theatre Studies jointly with Wilfrid Laurier Univ.
Interdisciplinary work is possible with Women?s Studies, the Centre for
Cultural Studies, and Scottish Studies.
Committed to progressive teaching and research, we offer a lively,
productive, research-oriented environment. Guelph is a mid-sized,
highly ranked comprehensive university, one hour?s drive west of
Toronto. More information is available at
http://www.uoguelph.ca/englit/.
To apply: send application letter and c.v. only to Prof. Alan Shepard,
Director, School of Literatures and Performance Studies in English, 427
MacKinnon, Univ. of Guelph, Guelph ON N1G 2W1.
The closing date for receipt of applications is January 6, 2003 or until
the position is filled. Please specify the number of the search to
which you are applying.
The University of Guelph is committed to an employment equity program
that includes special measures to achieve diversity among its faculty
and staff. We therefore particularly encourage applications from
qualified aboriginal Canadians, persons with disabilities, members of
visible minorities and women.
All qualified candidates are encouraged to apply; however, Canadian
citizens and permanent residents will be given priority.
_____________
Susan Brown
University of Guelph
[log in to unmask]
------------------------------
End of VICTORIA Digest - 15 Nov 2002 to 16 Nov 2002 (#2002-315)
***************************************************************
---------- End Forwarded Message ----------
|
