“Every common bush afire with God”: How Shall We Live Now?

‘Every common bush afire with God’: Divine Encounters in the Living World

The exhibition explores the intersection of religious and ecological concerns in nineteenth-century literature and art, from William Wordsworth to Gerard Manley Hopkins. You can read more about its content here. The exhibit was curated by Molly Lewis, a doctoral student of English at Baylor University during a ten-week summer internship through the Armstrong Browning Library.

How Shall We Live Now? Recognizing and Caring for the Natural World Where We Are

William Morris and John Ruskin were passionate advocates for attending to the natural world around them, from the shores of the Thames in London to the shores of Lake Coniston at Brantwood. But what mattered to writers and artists in nineteenth-century Britain may look very different for us in the places we live today. Part of recognizing the natural world means observing the unique beauties and vulnerabilities of the places we call home. In Waco, TX, home to the Armstrong Browning Library, there are many ways to respond to these artists’ call to recognize the beauty and dignity of nature, and respond with care:

Gerard Manley Hopkins’s “Binsey Poplars,” from Poems of Gerard Manley Hopkins, 1st Edition. London: Humphrey Milford, 1918.

Gerard Manley Hopkins’s “Binsey Poplars,” from Poems of Gerard Manley Hopkins, 1st Edition. London: Humphrey Milford, 1918.

Gerard Manley Hopkins’s “Binsey Poplars,” from Poems of Gerard Manley Hopkins, 1st Edition. London: Humphrey Milford, 1918.

If you’re moved by Gerard Manley Hopkins’s challenge to remember the lost Binsey Poplars, consider visiting the Carleen Bright Arboretum in Woodway. Part of the Arboretum’s mission and vision is to be “stewards of the natural environments and resources within its boundaries.” Seeing first-hand what this stewardship looks like for them provides a helpful—and beautiful—model for how to steward our own environments and resources.

 

William Morris’s “Wandle” (1884). Reproduced by Sanderson. 2019.

William Morris’s “Wandle” (1884). Reproduced by Sanderson. 2019.

William Morris was so committed to recovering the beauty of the Thames that he wrote a whole novel about it in News from Nowhere. The Brazos River could use some of Morris’s passion. Among their many campaigns for change, Keep Waco Beautiful hosts quarterly Brazos clean-up days. Try joining the next one and consider investing your time in some of their projects to beautify and restore Waco neighborhoods.

 

Christina Rossetti’s “Tread Softly!” from A Pageant and Other Poems. London: Macmillan, 1881.

Christina Rossetti’s “Tread Softly!” from A Pageant and Other Poems. London: Macmillan, 1881.

When we read Christina Rossetti’s words to “Tread softly!” because “all the earth is holy ground,” it can be difficult to imagine what that might look like practically in our daily lives—especially if we live in a city where beautiful landscapes are hard to come by. Mission Waco’s Urban REAP helps us think creatively about how we can use our resources in urban spaces, both responsibly and beautifully. Whether you live in the city or the country, your daily life relies on rural spaces—farm land, fields of cattle, waterways—increasingly at risk thanks to our industrialized agricultural system. World Hunger Relief provides educational encounters and partnership opportunities for those who would like to “tread softly” on the earth that sustains us.

What are some other ways you can recognize and care for the natural world you’re a part of?

 

Read more in this series of blog posts about the exhibit “‘Every common bush afire with God’: Divine Encounters in the Living World“:

‘Every common bush afire with God’: Recognition, Prayer & Gratitude in the ABL’s Archives

‘Every common bush afire with God’: Divine Encounters in the Living World

The exhibition explores the intersection of religious and ecological concerns in nineteenth-century literature and art, from William Wordsworth to Gerard Manley Hopkins. The exhibit was curated by Molly Lewis, a doctoral student of English at Baylor University during a ten-week summer internship through the Armstrong Browning Library.

 

Recognition, Prayer & Gratitude in the ABL’s Archives

This fall, the Armstrong Browning Library is hosting “‘Every common bush afire with God’: Recognition, Prayer & Gratitude in the Nineteenth Century,” an exhibition on the intersection of ecology and religion in the work of some of the century’s most admired poets and artists. Many nineteenth-century British writers were deeply concerned with the destructive consequences of the Industrial Revolution on their natural environment, both as artists of the written word and as deeply religious thinkers. Much of their concern with the despoliation of the natural world stems from their conviction that we encounter God through the living world of plants, animals, water, sky. These writers believed that humanity is not alone in bearing the image of God; all of creation reflects the divine. Recognizing this divine reflection in nature makes prayerful communion with God possible. But, by extension, harming the earth can further separate us from God. The writers and artists represented here were inspired in their own creative acts—works of art like poetry and painting—as they paid attention to and cared for the world of nature around them. Through their words and images, we may better understand how a robust faith encourages us towards better care for creation in the twenty-first century.

William Wordsworth’s “Tintern Abbey,” from Wordsworth’s Poetical Works. Volume 2. London: Edward Moxon, 1836. The Brownings’ Library. P. 162.

William Wordsworth’s “Tintern Abbey,” from Wordsworth’s Poetical Works. Volume 2. London: Edward Moxon, 1836. The Brownings’ Library. P. 162.

The exhibition is broken up into three parts, focusing in turn on “Recognition,” “Prayer,” and “Gratitude” as they relate to human participation in the natural world. Throughout the nineteenth century, writers like Elizabeth Barrett Browning (1806-1861), Christina Rossetti (1830-1894), Gerard Manley Hopkins (1844-1889), and others, saw that both humanity and the natural world are cared for by God. These poets warn against simply using nature rather than recognizing its value in God’s eyes, and suggest that attending to nature’s inherent dignity may lead to a better understanding ourselves of what it means to be children of a creative God. These poets encourage us to ask: What have we missed out on because of the carelessness of our nineteenth-century ancestors? What will our own children miss out on because of our carelessness today?

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The section on “Recognition,” highlights Barrett Browning’s “Patience Taught by Nature,” Hopkins’s poem, “Binsey Poplars,” and Christina Rossetti’s “Innocent Eyes Not Ours.” When Elizabeth Barrett Browning writes, “Grant me some smaller grace than comes to these,” she implies that non-human nature receives God’s grace as freely as humanity does. In “Binsey Poplars,” Gerard Manley Hopkins argues that deliberately harming nature is actually an act of violence against God. Rossetti’s poem is an excerpt revised from her longer work, “To What Purpose Is This Waste?” published by her brother William Michael Rossetti after her death. Both the excerpt and the full poem challenge readers to consider the nature’s value apart from its utility in human industry. Rossetti suggests that such value lies in nature’s inherent posture of praise: “All voices of things inanimate / Join with the song of Angels and the song / Of blessed spirits, chiming with / Their Hallelujahs.” If the natural state of the created world is continual praise of God, we are challenged to treat the natural world with the same reverence we give to the rest of his children. Moreover, we can even learn from nature how best to do praise the Creator ourselves.

The exhibition’s second section on “Prayer” compares works by Elizabeth Barrett Browning, William Wordsworth (1770-1850), Christina Rossetti, and Samuel Taylor Coleridge (1772-1834) to see how the theme of prayer through nature is carried across the century. In his poem “Tintern Abbey,” William Wordsworth suggests that the mere memory of nature can restore him when he is confined to “lonely rooms, and ‘mid the din / Of towns and cities.” Wordsworth’s dear friend Samuel Taylor Coleridge and later poets like Elizabeth Barrett Browning draw on such encounters with nature to suggest that being attentive to the created world makes us better able to pray. Whether through the limited view of a window or tramping about on the holy ground of the earth, honoring nature brings us closer to God.

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Barrett Browning’s poetic novel Aurora Leigh offers two especially helpful scenes in which the title character discovers this truth for herself. Confined, like Barrett Browning herself, to a bedroom with a single window connecting her to the natural world, Aurora is struck by the reminder (brought to her by the light of the sun) that God has heard nothing from her but tears in many days. Gradually, as she sits by the window and strokes the leaves of the woodbine just outside, her spirits awakes to life and love. “Wholly, at last,” she cries, “I wakened, opened wide my window and my soul.” Much later on a journey through Italy, Aurora continues her reflection on nature’s capacity to draw the viewer to God. “Earth’s crammed with heaven,” she writes, “And every common bush afire with God.” For Barrett Browning, the natural world is more than material. Like the human person, it bears the stamp of the divine presence. Recognizing its beauty can thus draw us closer to the Creator—even as harming nature drives us away from him.

William Morris’s “Wandle” (1884). Reproduced by Sanderson. 2019.

William Morris’s “Wandle” (1884). Reproduced by Sanderson. 2019.

The exhibition’s third section on “Gratitude” shows how artists and writers like William Morris (1834-1896), John Ruskin (1819-1900), Dante Gabriel Rossetti (1828-1882), and Robert Browning (1812-1889) respond to nature in their art and writing, reflecting the beauty of the ordinary world with gratitude and care. Art and social critic John Ruskin argues in The Seven Lamps of Architecture (1849) that “God is a household God, as well as a heavenly one,” encouraging readers to not abandon the world around them for an eternal utopia. He writes:

“God has lent us the earth for our life; it is a great entail. It belongs as much to those who are to come after us…as to us; and we have no right, by anything that we do or neglect, to…deprive them of benefits which it was in our power to bequeath.”

Ruskin’s language of attending to future generations resonates with current conversations about environmental care. In his own time, poets and painters alike were moved by his challenge to create in harmony with the natural world rather than in antagonism with it. In turn, their work inspires readers like us to respond with our own acts of creation—and creation care.

 

Read more in this series of blog posts about the exhibit “‘Every common bush afire with God’: Divine Encounters in the Living World“:

Rhyme and Reform Symposium

A group of children in dirty clothing, appearing to be from the 19th century

On October 4-5, 2018, the Armstrong Browning Library at Baylor University jointly hosted “Rhyme and Reform” with the University of Strathclyde and the University of Manchester. This symposium recognized the 175thanniversary of Elizabeth Barrett Browning’s poem “The Cry of the Children” through a series of events that fostered a critical dialogue between the poem and representations of labor by Victorian working-class authors.

A man gestures to a projector screen with two people on a video conference while an audience looks on.

Dr. Joshua King opens the “Orphans of earthly love” exhibit at the ABL. Connor Watkins and Sakina Haji, students who helped design the exhibit, join via video-conferencing.

The innovative symposium sought to bridge digital and physical spaces, with activities held at both the ABL and across the Atlantic at the University of Strathclyde in Glasgow, Scotland. Dr. Joshua King (Assoc. Prof. of English and ABL scholar in residence) and ABL Director Jennifer Borderud were the lead organizers for the ABL site, and Prof. Kirstie Blair (U of Strathclyde) and Dr. Mike Sanders (U of Manchester) were the lead organizers for the Glasgow site.

Video-conferencing allowed the two sites to interact and share events, but the “Rhyme and Reform” website also hosted an online version of the physical exhibition at the ABL and allowed participants anywhere in the world to live stream the presentations. This exhibition remains available through the website, where it is now joined by recordings of events from both symposium sites.  This will allow scholars, teachers, and students to engage with “Rhyme and Reform” long after its official end.  One teacher has already written a blog about her class’s experience of “Rhyme and Reform.”

Jennifer Reid, singing

Jennifer Reid sings a nineteenth-century working-class ballad

One of the highlights of “Rhyme and Reform” was an arresting performance of narrative and balladry by Jennifer Reid and Dr. Mike Sanders depicting nineteenth-century working-class life in Manchester, England. You can hear a 15-minute excerpt of the performance here.

The symposium also included engaging and insightful talks by top scholars including Prof. Marjorie Stone (Dalhousie U) and Prof. Beverly Taylor (UNC), both leading experts on EBB, and Prof. Florence Boos (U of Iowa), an authority on Victorian working-class women poets. You can listen to their talks on the symposium website here. Be sure explore the “Sessions” tab on the website to find recordings of the other talks from both sides of the Atlantic.

A group of scholars sit together participating in a workshop

Prof. Marjorie Stone, Prof. Linda Hughes, Prof. Florence Boos (Front L-R), Dr. Melinda Creech, and Rachel Kilgore (Back L-R) participate in the ABL COVE workshop on EBB’s poem.

Both the University of Strathclyde and ABL sites participated in workshops on digital scholarship and teaching using COVE. They used the suite of the digital tools to collaboratively annotate EBB’s “The Cry of the Children,” with the intention of ultimately building an online scholarly edition of the poem.

EBB's poem "The Cry of the Children" annotated with different colored text boxes

The working annotations of EBB’s poem following the ABL’s and University of Stathclyde’s COVE workshops.

And finally, “Rhyme and Reform” also included a physical exhibit on “The Cry of the Children” at the ABL created by Dr. Joshua King’s spring 2018 Victorian Poetry senior seminar: “Orphans of earthly love: Elizabeth Barrett Browning’s Protest for Working Children.” The exhibition also appears online on the symposium website alongside an exhibition of working-class poetry from “Piston, Pen & Press,” an AHRC-funded project directed by Prof. Kirstie Blair and Dr. Mike Sanders on the literary cultures of industrial workers in the North of England and Scotland. Click here to visit the two online exhibitions and consider how their juxtaposition invites you to compare EBB’s “The Cry of the Children” with working-class verse.

Two juxtaposed photos of two boys working at looms in factories. One is from the present and one from the 19th century. Next to the photos is a QR code accompanied by the question "Can we hear The Cry of the Children in our world?

These two young boys working looms in factories—one in the nineteenth century and one in the present—appeared in the physical exhibit at the ABL. Viewers were encouraged to engage in the exhibit by scanning the QR code to “hear” echoes of “The Cry of the Children” in the present day.

The dual-site, digitally connected nature of this symposium allowed international collaboration and participation with limited travel and thus a reduced economic and environmental impact. Further, it opened access to the events across the world. You can see some of interactions among participants by viewing the hashtag #RhymeandReform on Twitter. Over just the two days, the symposium website received nearly 200 visitors from seven countries. Some of these included groups of faculty and students, such as the self-organized viewing by the University of Regina in Saskatchewan, Canada. Thus, we estimate “Rhyme and Reform” engaged around 260 participants, the audience size of an annual conference for a mid-sized scholarly association.

A man and woman view a museum exhibit

Visitors view rare materials from the ABL at the “Orphans of earthly love” exhibit.

We encourage you to visit the “Rhyme and Reform” website yourself to take part in the symposium. And if you’re in the Waco, TX area, be sure to visit the physical exhibition at the Armstrong Browning Library, which will be on display on the main floor through April 1, 2019.

Rhyme and Reform Symposium: An Instructor’s Perspective

By Meagan Anthony, English Ph.D. Candidate, Armstrong Browning Library Graduate Research Assistant

On October 4th and 5th, the Armstrong Browning Library co-hosted our first hybrid symposium, Rhyme and Reform: Victorian Working-Class Poets and Elizabeth Barrett Browning’s “The Cry of the Children”, along with the University of Strathclyde and the University of Manchester. This multi-site, digitally-networked symposium about Victorian portrayals of industrial labor and verse coincided with the 175th anniversary of Elizabeth Barrett Browning’s poem “The Cry of the Children,” which protested the abuse of child workers in British mines and factories. Rhyme and Reform’s schedule of events included in-person and live-streamed presentations, on-site workshops featuring the digital editing tool COVE, and an exhibition. Below, Armstrong Browning Library’s Graduate Research Assistant, Meagan Anthony writes about her decision to bring her English course to the opening reception of Rhyme and Reform’s exhibit.

*****

As an instructor, I think linking classroom discussion with real world events is an important tool for students to transition classroom ideas into their everyday lives. This semester I am teaching the FAS (Freshman Academic Seminar) Protest Writing and Civil Disobedience.  We began looking at the protest writing of the American Independence Movement and will continue up to the #MeToo Movement and March for Our Lives.

Students from Meagan Anthony's English class interact with the Rhyme and Reform exhibit.

Students from Meagan Anthony’s English class interact with the Rhyme and Reform exhibit.

Coincidentally, the week Rhyme and Reform took place, my class was reading about the protest writing of the American tenement dwellers and factory workers. The symposium fit in with our discussion perfectly. Not only could the students see how other scholars presented work regarding protest literature, but they were able to see and experience that the issues with working and living conditions in 19th century America were not limited to America, or that century. Elizabeth Barrett Browning’s poetry also offered the students a new genre for discussion. Our active questions included: How does the genre of protest writing effect the message? What rhetorical techniques are unique to certain genres and which are shared by others? By what past text is this author influenced? How would readers have responded to this text at the time? How should we respond to it?

Meagan Anthony leads her class in a discussion of the Rhyme and Reform exhibit.

Meagan Anthony leads her class in a discussion of the Rhyme and Reform exhibit.

My class thoroughly enjoyed their experience at the ABL and noted that the few classmates who were unable to make class that day had truly missed out. Events like Rhyme and Reform help us to keep literature and historical writing relevant and living. Throughout the semester my class will engage with many instances of injustice and reform through historical texts and literature in order to come to the understanding that these issues are cyclical. We are not experiencing new forms of oppression or disenfranchisement; we are simply experiencing new waves of conflict. Looking back at former protest voices aids us by showing where we have come from and envisioning what our next steps should be.

The Brownings’ Literary Network: Curator Interview

The Armstrong Browning Library & Museum’s current exhibit, “The Literary Network of Robert Browning and Elizabeth Barrett Browning” will be coming down on Friday, September 28th. But before it does, we asked Dr. Kristen Pond a few questions about her course on literary networks. We hope you enjoy reading Dr. Pond’s responses and take this final opportunity to drop by and see her students’ hard work while it is still on display.

Students set up artifacts for English 3351 exhibit project.

Students set up artifacts for English 3351 exhibit project.

Where did your interest in literary networks begin and how has it grown or changed?

While periodization is always something that we debate as literary students and scholars, it still organizes the way we teach our classes and the way we divide up the work of research and teaching in each period. I did not really question the notion of periods and all of those survey courses marching linearly through time that I took as an undergraduate. Until, that is, I was taking a Nineteenth Century British Literature survey course and we were looking at William Wordsworth that day. I had just been working on a project for another class on the Victorian period and what was happening in the year 1850. In the class on William Wordsworth the professor hit the highlights of his life and then mentioned he died in 1850. I remember thinking – wait, what?! He is a Romantic poet but he was alive at the height of the Victorian period. Then I looked at the publication dates of his work and noticed how many of them were in the Victorian, not the Romantic, period. This was the beginning of the tension I feel in cordoning off time periods and putting writers in boxes accordingly.

This interest has changed in focus slightly from the issue of dating to the issue of networks itself. These authors did not write alone or in isolation, but they had important networks of friends, family, and peers that had a vital influence on the kind of works they produced. I discovered most of these networks through my interest in minor writers, usually female, that get left out of the canon. Once you start exploring these women you begin to realize just how connected they are to the “major” male writers that tend to make it on course syllabi. Dorothy Wordsworth is perhaps the most famous example, and she is in fact often included in anthologies now (though clearly as the minor counterpart to her brother William). Thinking about the Brownings or the Shelleys as couples who formed literary networks is fun, and of course there are lots of groups who were well known enough to have earned names, such as the Lake School, the Cockney School, and the Bloomsbury group.

What do you enjoy most as you teach students about authors’ literary networks?

I most enjoy teaching my literature survey courses as networks because students begin to see these authors as human beings. For some reason, I think this creates a different comfort level where students feel able to respond and critique their work. A poem no longer becomes this perfect historical artifact preserved for its perfection, but a work in progress created out of joy and pain in the company (and through the critique) of others. I also enjoy the confusion that emerges from the messiness of trying to learn in a pattern that is not linear but circular and recursive. It is a productive chaos J.

Students in Dr. Pond's English 3351 course view their exhibit.

Students in Dr. Pond’s English 3351 course view their exhibit.

How have students responded to the literary networks exhibit assignment?

Students in general seem to really enjoy a different approach to a literary time period. They always have some new insight they learn specifically from the design set-up, an insight that they would not have gleaned from a traditional march through time looking at writers in isolation. Students also gain a lot from working with the library archives and collections. I have had numerous students go on to graduate school for library science because they realized their passion for working with those kinds of materials.

Rhyme and Reform: Victorian Working-Class Poets and Elizabeth Barrett Browning’s “Cry of the Children”

a multi-site, digitally networked symposium organized by
the Armstrong Browning Library at Baylor University (US)
and the Universities of Strathclyde and Manchester (UK)

October 4-5, 2018
To register and learn more, please visit
baylor.edu/library/rhymeandreform

Many know that Victorian factories and mines were dangerous places to work, but how often do we really consider the human lives and stories they shaped?  What was it like to be a child working in these places? How did workers write about their conditions? How did authors on the outside respond to reports of labor abuse? Can these stories still speak to our times?

Please join us in considering these questions at “Rhyme and Reform” as we investigate Victorian portrayals of industrial labor in verse and narrative.  This multi-site, digitally linked series of events will be hosted by the Armstrong Browning Library in partnership with the University of Strathclyde in Scotland and the University of Manchester in England.

“Rhyme and Reform” marks the 175th anniversary of Elizabeth Barrett Browning’s poem “The Cry of the Children,” which protested the abuse of child workers in British mines and factories.

This symposium will put “The Cry of the Children” and representations of labor by Victorian working-class authors in conversation through scholarly presentations, performances of laboring-class balladry, interactive workshops, and a combination of physical and digital exhibitions by scholars and students.

The centerpiece of these exhibitions is “‘Orphans of earthly love’: Elizabeth Barrett Browning’s Protest for Working Children,” which was designed by undergraduates in my recent Victorian Poetry seminar at the Armstrong Browning Library (ABL). This exhibition will open at the ABL on the first day of “Rhyme and Reform.”  We would be especially delighted for Benefactors of the library to join us for this occasion, when students from the class will attend—in person and digitally—to discuss their work.  A version of this exhibition will also be on the event site, where it will be accompanied by displays about working-class poetry supplied by the “Piston, Pen & Press” project, which highlights the literary cultures of workers in nineteenth-century industrial Scotland and northern England.  This project is sponsored by the British Arts and Humanities Research Council, and led by faculty and staff at the University of Strathclyde, the University of Manchester, and the National Railway Museum (York, UK).

Through “Rhyme and Reform,” we hope to illuminate the contexts, concerns, and ongoing relevance of Victorian depictions of industrial labor. Calling these subjects “relevant” might seem a stretch.  Most who witness this conference will probably have no personal experience of mines or factories, which have largely moved out of eyesight in “first-world” countries.  Yet our wardrobes and powerplants still depend upon their often-inhumane operation around the globe, and far more children endure slavery and forced labor today than in Elizabeth Barrett Browning’s time.  Furthermore, people everywhere are feeling the effects of another legacy from Britain’s industrial age, dependency on fossil fuels.  How we respond to this inheritance will define our shared future.

This symposium seeks to contribute to that response by experimenting with a more sustainable form of international conferencing and collaboration.  Rather than flying everyone to one site, it will digitally link two event centers across the Atlantic, use a digital suite of tools called COVE to create a cooperative annotation of “Cry of the Children,” and invite participants around the world to access exhibitions and live-streamed presentations through the event website.

I warmly encourage you to visit this website to review the schedule and make time in yours to attend.  If you are unable to join us physically, please make a note to return to the website during the symposium for streamed and prerecorded events.

Dr. Joshua King
Associate Professor of English, Baylor University
Margarett Root Brown Chair in Robert Browning and Victorian Studies
Armstrong Browning Library

The Literary Network of Robert Browning and Elizabeth Barrett Browning

The Literary Network Of Robert Browning And Elizabeth Barrett Browning Exhibit Poster

The Literary Network Of Robert Browning And Elizabeth Barrett Browning Exhibit Poster

In fall 2017, students in Dr. Kristen Pond’s upper-level English course, “Literary Networks in the Nineteenth and Early Twentieth Centuries,” explored the relationships between writers of the Romantic, Victorian, and Modernist Periods utilizing the letters, manuscripts, rare books, and other collection materials at the Armstrong Browning Library.

The course revealed the discrepancy between the image of a ‘solitary genius’ creating art in isolation handed down from the Romantics and the act of literary creation. The nineteenth century boasts some of the most fascinating relationships between famous literary figures. Authors did not work alone but often collaborated, either directly by each person contributing something to the final piece or indirectly through the influence of conversations, interactions, or from reading one another’s works.

The students ended their semester by each curating a miniature exhibition that demonstrated connections between a Romantic, Victorian, or Modernist literary figure and Robert and/or Elizabeth Barrett Browning. Authors chosen by the students range from William Wordsworth to Charlotte Bronte and from Tennyson to T.S. Eliot. Come by the exhibit to see more authors and items chosen by the class which reveal the wide literary network of Robert and Elizabeth Barrett Browning.

White Star Lines–Titanic Connections at the ABL–Wilson Barrett and the RMS Teutonic

by Melinda Creech
Graduate Assistant, Armstrong Browning Library

The Oceanic Steam Navigation Company, more commonly known as the White Star Line, was a prominent British shipping company.  Founded in 1845, The White Star Line, operated a fleet of clipper ships that sailed between Britain, Australia, and America. The ill-fated Titanic was perhaps their most famous ship. The Armstrong Browning Library has a few connections to the Titanic. One connection relates to a set of postcards that disappeared with the Titanic and another relates to the author of the hymn, “Nearer, My God, to Thee,” the song that was purportedly playing as the Titanic sank. The Armstrong Browning Library’s collection includes a letter with the White Star logo in its heading and several letters written on board ships or while individuals were preparing to board ships. The letters, written between 1841 and 1912, are lines from people who were passengers on SS (Steamer Ships), RMS (Royal Mail Steamers), or HMS (Her Majesty’s Ship). It is interesting to note that one of the first purposes of steamers crossing the Atlantic was to deliver the mail. These lines, written from steamer ships, may shed some light on the adventure and danger presented by steamer travel in the late nineteenth century.

Wilson Barrett, British actor, theater manager, and playwright, 1883. A photograph from “The Theatre”, A Monthly Review, Volume I, January to June, 1883, David Bogue, London, 1883.

Wilson Barrett (1846-1904) was an English manager, playwright, and actor. In 1893 he packed up his touring company and came to the United States, landing at New York. Newspaper reports the company performing, interestingly enough, in New Orleans, Houston, and Galveston.

Ad in the Houston Post. 13 March 1894.

In the following letter, Barrett regretted that he could not have brought his play to London, but the White Star Line required his scenery by the 6th of November.

I should have come to London with Virginius but the White Star Steamship C’y will not take my scenery after the morning of the 6th – & as I do not finish in Liverpool until the 7th – it became impossible.

Wilson Barrett to Charles Osborne. 20 October 1893.

Wilson Barret to Charles Osborne. 20 October 1893. Page 1

Wilson Barret to Charles Osborne. 20 October 1893. Pages 2 and 3.

Wilson and his troupe made their trip to the United States on the White Star Line’s SS Teutonic.

RMS Teutonic

During the first eighteen years of service from 1889 to 1907, the Teutonic sailed on the route from Liverpool to New York City, making an average of one sailing per month. In October, 1913, the ship narrowly avoided the same fate as the Titanic when, at 172 miles east of Belle Isle off the Newfoundland coast, she ran so close to an iceberg that she avoided collision only by reversing her engines and putting the helm hard aport. According to the October 29, 1913 issue of the Chicago Tribune,

…the liner passed within twenty feet of the iceberg. The fog was so thick that even at that small distance the berg could scarcely be distinguished. It was so close that there was danger that the propeller of the ship would strike it as the vessel went around. The passengers were not aware of their peril until it had been averted. They signed a testimonial to the captain and his officers expressing their gratitude and admiration for the care and skill displayed by them.

 

White Star Lines–Titanic Connections at the ABL–Charles Sumner and the RMS Baltic

by Melinda Creech
Graduate Assistant, Armstrong Browning Library

The Oceanic Steam Navigation Company, more commonly known as the White Star Line, was a prominent British shipping company.  Founded in 1845, The White Star Line, operated a fleet of clipper ships that sailed between Britain, Australia, and America. The ill-fated Titanic was perhaps their most famous ship. The Armstrong Browning Library has a few connections to the Titanic. One connection relates to a set of postcards that disappeared with the Titanic and another relates to the author of the hymn, “Nearer, My God, to Thee,” the song that was purportedly playing as the Titanic sank. The Armstrong Browning Library’s collection includes a letter with the White Star logo in its heading and several letters written on board ships or while individuals were preparing to board ships. The letters, written between 1841 and 1912, are lines from people who were passengers on S S (Steamer Ships), RMS (Royal Mail Steamers), or HMS (Her Majesty’s Ship). It is interesting to note that one of the first purposes of steamers crossing the Atlantic was to deliver the mail. These lines, written from steamer ships, may shed some light on the adventure and danger presented by steamer travel in the late nineteenth century.

Charles Sumner

Charles Sumner (1811-1874) was an American politician, a senator from Massachusetts, and leader of the anti-slavery forces in the state. He traveled to Europe in 1872 for the last time and returned on SS Baltic.

RMS Baltic

The following letter was written while he was aboard the SS Baltic. It is addressed to Lily Benzon.

Charles Sumner to Lily Benson, 17 November 1872.

In the letter Sumner mentions the Smalleys, John Bright, and the Storys. The Benzons, Smalleys, and Storys were correspondents of Robert and Elizabeth Browning, and Sumner himself had been acquainted with Brownings in Florence in 1859[1].

Sumner described the beginning of his trip thus:

The steamer is moving with dignified calm, like a [Lord] [Morgan’s] [panama], & we have the promise of a pleasant voyage. I breakfasted this morning at the table. In no former voyage from Liverpool have I seen the table from the leaving of the Mersey to the sight of Boston Light.

However, the trip did not continue so peacefully. According to the records of the White Star Line (http://www.norwayheritage.com/p_ship.asp?sh=balt1) he arrived in New York on the morning of November 27 with severe storms having been reported.

The SS Baltic was an ocean liner owned and operated by the White Star Line, one of the first four ships ordered by the White Star Line from shipbuilders Harland and Wolff after Thomas Ismay bought the company. The Baltic was originally to be the Pacific, but her name was changed at the time of her launching due to another vessel, owned by a different shipping line, named the Pacific that had recently struck an iceberg and sank resulting in multiple deaths. White Star quickly changed the name to the Baltic, or most likely no one would have booked passage on her, because people were quite superstitious in those days. The Baltic was a state-of-the-art ship for her day, carrying 1,000 passengers and accommodating 1st, 2nd and 3rd class passengers. In 1888, this vessel came under the command of Edward J. Smith, later the Captain of the Titanic. It was his first command in the White Star Line. In 1889, after the SS Teutonic entered service, the Baltic was sold to the Holland America Line and renamed the Veendam after the Dutch city of that name. On 6 February 1898, the Veendam hit a derelict ship and sank, with all on board saved.

In 1903 another ship was built by the White Star Line and named the Baltic.

RMS Baltic (1903)

That ship sailed from 1904 until 1933. At 1.40 p.m. on 14 April 1912 the SS Baltic sent this message to RMS Titanic:

Captain Smith, Titanic. Have had moderate variable winds and clear fine weather since leaving. Greek steamer Athinai reports passing icebergs and large quantity of field ice today in latitude 41.51 N, longitude 49.52 W.

At 1:15am on 15 April the SS Baltic responded to the distress call, turned around and made its way to help with the recovery effort after the sinking of the RMS Titanic. After the ship had traveled 134 miles, it was advised to turn around and return to Liverpool. The Carpathia had picked up the 20 boatloads of survivors from the Titanic and was returning to land.

[1] Browning, Robert. Selections from the Poems and Plays of Robert Browning. Scott. Foresman, 1919, 23.

White Star Lines–Titanic Connections at the ABL–Captain Crozier and the HMS Terror

By Melinda Creech
Graduate Assistant, Armstrong Browning Library

The Oceanic Steam Navigation Company, more commonly known as the White Star Line, was a prominent British shipping company.  Founded in 1845, The White Star Line, operated a fleet of clipper ships that sailed between Britain, Australia, and America. The ill-fated Titanic was perhaps their most famous ship. The Armstrong Browning Library has a few connections to the Titanic. One connection relates to a set of postcards that disappeared with the Titanic and another relates to the author of the hymn, “Nearer, My God, to Thee,” the song that was purportedly playing as the Titanic sank. The Armstrong Browning Library’s collection includes a letter with the White Star logo in its heading and several letters written on board ships or while individuals were preparing to board ships. The letters, written between 1841 and 1912, are lines from people who were passengers on SS (Steamer Ships), RMS (Royal Mail Steamers), or HMS (Her Majesty’s Ship). It is interesting to note that one of the first purposes of steamers crossing the Atlantic was to deliver the mail. These lines, written from steamer ships, may shed some light on the adventure and danger presented by steamer travel in the late nineteenth century.

This post relates the story of another earlier steamer disaster. The remains of this wreck, HMS Terror, were found recently.

On September 12, 2016 the wreck of the HMS Terror was discovered in Terror Bay, King William Island, in the Canadian Arctic Archipelago.

Wreck of the HMS Terror

The HMS Terror had began her career as a bomb vessel, engaged in the War of 1812. In fact, it was the vision of the HMS Terror bombarding Fort McHenry that inspired Francis Scott Key to write “The Star Spangled Banner.” In 1836, the ship was refurbished for exploration, making trips to the Arctic (1836) and to the Antarctic (1839). After her trip to the Antarctic, she was again refurbished at Woolwich for a trip to the Arctic through the Northwest Passage.

HMS Erebus and HMS Terror, the two ships used by Sir John Franklin on his 1845 ill-fated search for the Northwest Passage. The ships became trapped in ice at King William Sound (Victoria Strait) for three years, leading to the deaths of all 135 men.

The HMS Erebus and HMS Terror were the two ships used by Sir John Franklin (1786-1847) on his 1845 ill-fated search for the Northwest Passage. The ships became trapped in ice at King William Sound (Victoria Strait) for three years, leading to the deaths of all 135 men.

The HMS Terror set sail on 19 May 19 1845 but never returned. A message, dated 22 April 1848, and signed by Captains Francis Rawdon Moira Crozier (1796-1848) and James Fitzjames (1796-1848?), was found at Point Victory on Prince Regent Inlet stating that they were abandoning both the Terror and the Erebus.

Sketch of HMS Terror by George Back. Courtesy of the Toronto Public Library

Mystery enveloped the fate of the ship and her crew until the discovery last year. Visit the Royal Museum Greenwich to find out more about the discovery of the HMS Terror.

Photograph of Captain F. R. M. Crozier

The Armstrong Browning Library has a fragment of a letter probably possibly written by Captain Crozier in 1842, shortly before he began his fateful voyage.

Letter from Captian F. M. R. Crozier to Sir Thomas. 28 March [1842]. Page 1.

Letter from Captain F. M. R. Crozier to Sir Thomas. 28 March [1842]. Page 2.

The letter states:

My dear Sir Thomas,

Thanks for yours of 26th which I received this day on my return from Ireland. I was before perfectly satisfied, and believe me my confidence has not been in the least shaken by Commander Beadons test, and very strange…

…write him so soon as I get a little of my bustle over.

It is possible that Sir Thomas was Sir Thomas Hamilton, 9th Earl of Haddington, who was the First Lord of the Admiralty at the time. Commander Beadon was conducting tests of lifebuoys in February and March of 1842 (Transactions of the Society, Instituted at London, for the Encouragement of Arts, Manufactures, and Commerce Royal Society of Arts Great Britain, Vol 54 (1843), 121). However, part of the letter is missing.

There is another interesting inscription in pencil in another hand at the bottom of the page:

Capt. Crozier —who commanded the same ship as Sir John Franklin’s expedition & was lost with him in 1843-6 . My brother was lost with him.

This letter was found with other letters removed from an album of letters and autographs collected by Mr. Lewis R. Lucas. However, no one with the surname Lucas was found among the crew lists of either the Terror or the Erebus.

Mystery still shrouds the letter fragment. Who was Sir Thomas? Can we date the letter by Commander Beadon’s lifebuoy tests? What was very strange? What was Captain Crozier’s bustle? Who has the rest of the letter? Whose brother was lost in the expedition of the Terror?