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The Domestic Crummles: Regency and Victorian in Nicholas Nickleby
The young men of the day [now] seem without any prominent feature of character; indifferent instead of fastidious; careless in their manner to the women, and making it the fashion to afficher [display] a heartless, selfish tone of feeling, such as would not be tolerated in French society, where the women certainly maintain a social influence that is not to be observed here... steam has here dissolved the exclusive system, and seems to have substituted the love of wealth for both the love of amusement and of social distinction.6 Note variously here the lament for times past ('it's not like it was'); the representation of a decadent society, fallen from raikes's time and standards; note too how steam and money are the great powers, and also that even as raikes laments the passing of a superior regency society, he paints for us a shadow of that regency world - defined in terms of negatives - which Dickens, amongst many others, was seeking to challenge and transform, whether the regency of its high and palmy days or the shadowy parody of it that raikes lamented. if steam and love of wealth have their down sides, then undoubtedly for the Victorians the love of amusement as an end in itself was suspect if not reprehensible.
Journal Article
John Alfred Victor Chapple (1928-2019)
In Mary Barton, Ruth, Sylvia's Lovers, and Wives and Daughters, Mrs Gaskell was established as Elizabeth Gaskell, not a provincial one-book Jane Austen, but a major author and engaging personality. To end, I stress again not only John's personality, but also his crucial work in altering the perception of Gaskell, by that edition of the letters, and also by a number of Gaskell-related books, including biography, further letters, and diaries. In 1996, John, now Emeritus Professor of English at the University of Hull, published Private Voices, containing Elizabeth Gaskell's diary for three years of Marianne's life and a similar diary of Sophia Holland's - both are rare glimpses of Victorian childhood. 1997 saw the publication of Elizabeth Gaskell: The Early Years, an in-depth study of 500-plus pages which covered Gaskell's life up to her marriage.
Journal Article
A Generous (if Unlucky) Gift: Wills and the Brougham
The name comes from lord Brougham (1778-1868), politician and former lord chancellor, who required a covered carriage and outlined to coachmakers what he wanted. it was regarded, rightly, as smart and convenient, a winning combination.2 For Dickens, who was shuttling between the london office of All the Year Round and Gad's hill, to be met, often at night, at higham station for the drive home, the brougham offered protection against rain and cold, lightness for the horse, and smooth running. so what did this gift cost wills? a series of advertisements on the front page of The Times, 22 april 1864, indicates the kind of price, for while these advertisements offer second-hand broughams for sale, some give the original price - about 140 guineas - so suggesting the strength of wills's feelings for Dickens.
Journal Article
Going in to Dinner: Elizabeth Gaskell & W. H. Russell at Chatsworth
Gaskell entertainingly describes a visit with her daughter Meta to Chatsworth in September 1857.1 The Duke of Devonshire, learning she was in the house, invited her to lunch, provided rooms for her and Meta, and to Gaskell's amused embarrassment, extended the invitation to dinner. Since they were staying in Rowsley and had come, as they thought, only to see the house, naturally neither Gaskell nor Meta had any evening clothes with them. When on a break from his reporting of the Indian Mutiny, at the hill station of Simla, he was reading Charlotte Brontë's Villette and noting, Î wish I could know more about C.B than my good friend who edits her life tells us.'3 Yet as his diary entry for 13 September 1857 shows, Russell too was at Chatsworth and took Gaskell into dinner: 'I, leading in Mrs Gaskell, who with her daughter was one of the guests'.4 Clearly, Gaskell would be concerned to 'pump' Russell about his Crimean experiences and anything he could tell her about Florence Nightingale, whom he had supported practically and in print. Gaskell herself refers to the Duke's disability - she sat next to him at the after- dinner music: 'he can hear talking whenever music is going on so he talked pretty incessantly.5 Russell noted that during dinner, 'the servants behind the screen relying on the Dukes [sic] deafness made rather too much noise'.6 Of Gaskell and Meta, all he says is 'Mrs Gaskell fearfully blue.
Journal Article
'We have all of us one human heart': Elizabeth Gaskell and William Wordsworth
The other Roman- tics were marginalized: the sensuous Byron (rather than the ironic comedian of Don Juan), with his oriental splendour, cruelty, and sexuality, was powerful but dangerous; Coleridge, while a poet of the supernatural, was seen mainly as a teacher, in retirement on the heights of Highgate; Shelley was an impractical idealist, while Keats was scarcely remembered, until Richard Monkton-Milnes's Life and Letters were published in 1848. so Wordsworth it was: he lived among the Victorians until 1850, was created Poet Laureate in 1843, while his home at Rydal Mount, between Ambleside and grasmere, became a place of pilgrimage, a shrine long before he was dead. elizabeth gaskell knew his work early in her writing life: she describes, in 1836, 'getting up' the Romantic Poets: I have brought Coleridge with me [to sandlebridge], & am doing him & Wordsworth [ - ] fit place for the latter! I sat in a shady corner of a field gay with bright spring flowers - daisies, primroses, wild anemones, & the 'lesser celandine,' ... and the air so full of sweet sounds, & wrote my first chapr of W. yesterday in pencil . and my heart feels so full of him .. The 'lively' greeks looked to the sun and the moon for their gods, while in the tangled woods, glimpses of the horns of deer or goats became . the lurking satyrs, a wild brood Of gamesome Deities; or Pan himself, The simple shepherd's awe-inspiring god! (II, p.145, ll.885-87) such an account might be admired by gaskell, but can hardly be seen as relevant to her fiction, though she may have responded to the story of the Ruined Cottage: Margaret's outwardly unremarkable life, her distress shadowed by the gradual decline and fall of the cottage itself, the whole tale triggered by the fragment of a drinking bowl by a spring, a fragment which is not a mere thing, inert and meaningless, but forms the kernel of a human story.7 Nowadays, the great central Wordsworthian poem, rightly, is The Prelude, published in July 1850, shortly after the poet's death. [...]three strands of Romantic influence upon Gaskell, primarily Wordsworthian, may be distinguished. [...]the Romantic tradition, with its stress upon a sensibility which has been fostered by beauty and by fear - the experience valued for its intensity, not just its delight - ties in with ways of telling stories, ways very different from the social realism developed by the traditional novel.
Journal Article
The Letters of Charles Dickens: Supplement XIX
Two Indentures of Copyright, 2 & 3 February 1858 between CD, Edward Chapman, William Bradbury, Frederick Mullett Evans and Frederic Ouvry.1 MS University of Reading, Special Collections.\\n day of January 1875 of the within named Frederic Chapman the sum of One thousand Eight hundred & thirty nine pounds 13/- [being the] last payment due under the [?said Agree]ment (after allowing two [?sums ?of] fifty pounds paid in May last [?year ?by Fr]ederic Chapman) and in full discharge of] principal & interest due by Virtue [of the here]in agreement £1839-13.- Georgina Hogarth The Agreement is on two sides of a single sheet.
Journal Article
The Letters of Charles Dickens: Supplement XVIII
To THOMAS MITTON, [?20 NOVEMBER 1834] Note 5, col. 2, line 11 for on 20 Feb 24 and imprisonment in the Marshalsea read and imprisonment (he was committed to the Marshalsea Debtors' Prison, 20 Feb: MS PRO Prisons: Commitment Book), After 28 May 24 delete rest of sentence and substitute , having gone through the Insolvency Court: a legacy from his mother went towards payments to his creditors. [...]in these times, when the tendency is to be frightfully literal and catalogue-like - to make the thing, in short, a sort of sum in reduction that any miserable creature can do in that way - I have an idea (really founded on the love of what I profess), that the very holding of popular literature through a kind of popular dark age, may depend on such fanciful treatment. 1 Forster gives this extract in his critical assessment of CD's distinctive qualities as an artist, not least his powers of imagination.
Journal Article
The Letters of Charles Dickens: Supplement XVII
The Armstrong Browning Library, Texas; David Clegg; Duane de Vries; Mark English; Sandra B. Gelaro (University Archives, Westport, Connecticut); Beryl Gray; Paul Hopkins; The Huntington Library; Roger Hull (Liverpool Record Office); Nicholas Kneale; Mrs G. Morris; David Paroissien; Klaus Schappert; Laurence Senelick; Michael Silverman; Rick Simmons (Louisiana Technical University); Janet Snowman (Royal Academy of Music); Allan Sutcliffe; Takashi Terauchi; Eve Watson (Royal Society of Arts). To MR HUTCHINS, 31 MAY 1855 Note 1 replace final sentence with William Hutchins, surgeon dentist, of 25 Hanover Square, was collecting subscriptions for Mrs Burbury (below), described in the 1851 Census as Hutchins 's sister, though the age gap (he 68, she 32) suggests some confusion or different mothers. Note 2 replace Mrs E. J. Burbury with Mrs Edwina Jane Burbury after miscellaneous writer; insert her publications included How to Spend a Week Happily ( 1 848) and two novels ( 1 85 1 , 1 854) after p.636, n.2) insert ; the 1851 Census, when she was living at 25 Hanover Square, has no reference to Mrs Burbury's children VIII, 411.29.
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