…from America: The Brownings’ American Correspondents

         from America-Brownings' Amer.Corr.The cataracts and mountains you speak of have been, are, mighty dreams to me—and the great people which, proportionate to that scenery, is springing up in their midst to fill a yet vaster futurity, is dearer to me than a dream. America is our brother-land, and though a younger brother, sits already on the teacher’s seat, and expounds the common rights of our humanity. It would be strange indeed if we in England did not love and exult in America—if English poets, of whom I am least if at all, did not receive with peculiar feeling of gratitude and satisfaction the kind welcoming word of American readers. Believe me grateful to America— . . . .

We have one Shakespeare between us—your land and ours—have we not? And one Milton, and now we are waiting for you to give us another. . . .

 You would wonder a good deal—but would do so less if you were aware of the seclusion of my life, when I tell you that I never consciously stood face to face with an American in the whole course of it. I never had any sort of personal acquaintance with an American, man or woman. Therefore you are all dreamed dreams to me “Gentle dreams” I may well account you.

Elizabeth Barrett Browning to Cornelius Mathews
3 November 1842

In fact, Elizabeth and Robert Browning did meet many Americans face to face. Their American acquaintances included publishers, editors, journalists, poets, novelists, socialites, sculptors, painters, actresses, social activists, and politicians. Although Elizabeth and Robert never traveled to America, they corresponded with these American friends and met many of them socially in their home in Italy and during their stays in England and Europe.

This blog will introduce several of the Americans with whom the Brownings corresponded including:

Katharine DeKay Bronson
Moncure Daniel Conway
Daniel Sargent Curtis
Kate Field
James T. Fields
Harriet Goodhue Hosmer
Susan Howard
Elizabeth Clementine Kinney
James Russell Lowell
Cornelius Mathews
Hiram and Elizabeth Powers
The William Wetmore Story Family
Harriet Beecher Stowe
John Greenleaf Whittier
Edward Oliver Wolcott

More Literary Allusions in Downton Abbey — Stowe and Byron

dowager

There were two more literary allusions in this week’s episode of Downton Abbey, both of which connect to the Brownings.

When Lord Grantham and Mr. Drewe, the son of the recently deceased tenant farmer, are discussing whether or not he will be allowed to remain as a tenant, Lord Grantham says he is no “Simon Legree.” This, of course, is a reference to the cruel slave dealer in Harriet Beecher Stowe’s Uncle Tom’s Cabin. Uncle Tom’s Cabin was the best-selling novel of the 19th century and the second best-selling book of that century, following the Bible.

harriet-beecher-stoweThe author, Harriet Beecher Stowe, was one of the many American correspondents of the Brownings. (Soon the Armstrong Browning Library will shortly be featuring an exhibit, “…from America: The Brownings’ American Correspondents.) There are six recorded letters between the Brownings and Harriet Beecher Stowe between 1857 and 1861, and Elizabeth Barrett Browning makes references to Stowe in six more letters. One of these letters is in the collection at the Armstrong Browning Library.

Stowe Elizabeth Barrett Browning to Harriet Beecher Stowe
[?24 March 1860]

Fifteen Harriet Beecher Stowe books are in the ABL’s collection, including a first edition of Uncle Tom’s Cabin. Among the books are two volumes of Stowe’s poetry, which are in the digital collection of 19th Century Women Poets

The other literary allusion focused on Lord Byron. Lord Grantham is complimented on his rather pithy statement about the past and the future. His dowager mother responds, “It was too good. One thing we don’t want is a poet in the family.” When Isobel Crawley asks if that would be a bad thing, the dowager answers, “The only poet peer I am familiar with is Lord Byron. And I presume we all know how that ended.” The dowager was referring to Byron’s divorce, remarriage, accusations against him of sodomy and incest, his affairs, and his eventual flight from England to Italy. Obviously, his lifestyle was not the sort that the dowager would approve.

The Brownings, however, admirers of Byron’s poetry owned ten copies of Byron’s work, two portraits of the poet, and a copy of Byron’s verses in an unidentified hand.

Robert makes this reference to Byron in a love letter he wrote to Elizabeth Barrett Browning on August 22, 1846:

Ba, Lord Byron is altogether in my affection again .. I have read on to the end, and am quite sure of the great qualities which the last ten or fifteen years had partially obscured- Only a little longer life and all would have been gloriously right again. I read this book of Moore’s [Letters and Journals of Lord Byron: with Notices of His Life by Thomas Moore, 1830] too long ago: but I always retained my first feeling for Byron in many respects .. the interest in the places he had visited, in relics of him: I would at any time have gone to Finchley to see a curl of his hair or one of his gloves, I am sure–while Heaven knows that I could not get up enthusiasm enough to cross the room if at the other end of it all Wordsworth, Coleridge & Southey were condensed into the little china bottle yonder, after the Rosicrucian fashion .. they seem to “have their reward” and want nobody’s love or faith.

Byron 1 Byron2

Robert Browning to Elizabeth Barrett Browning
22 August 1846

Robert Browning’s life offers some parallels to Lord Byron’s and some differences. Although his marriage to EBB was clandestine, he was a devoted and loving husband. He did leave England to live in Italy, but his leaving was not under duress, and he did return to England often and freely.

Notes and Queries:

Could other similarities and differences be found in the lives of these great poets?

Melinda Creech

Literary and Historical Allusions in Downton Abbey, Season 4

kiriContinuing to tease out a bond between the historical milieu of Highclere Castle, which is the setting for the PBS drama Downton Abbey, and the real world of Robert Browning, I have found a literary and an historical allusion in Season 4 of Downton Abbey that may provide a tenuous connection to Robert Browning.

Trying to draw Isobel Crawley, mother of recently deceased Matthew Crawley, out of her mourning, Violet, Dowager Countess of Grantham, quotes the last two lines of Christina Rossetti’s poem, “Remember:”

remember-1

Christina Rossetti. “Remember”
from Goblin Market and Other Poems.  
Cambridge, London: Macmillan and Co., 1862, p. 58

Isobel reminds Dame Crawley that in the poem Christina Rossetti is talking about her own death, not the death of her child.

Robert Browning corresponded with Christina Rossetti. In fact, the Armstrong Browning Library owns a letter written by Christina Rossetti to Robert Browning, dated 21 December 1869, in which she extends an invitation to attend a gathering at her home. “Remember” was published in Goblin Market and Other Poems, which was part of Robert Browning’s library. The frontispiece and vignette title page were illustrated by Christina’s brother, Dante Gabriel Rossetti, who also corresponded with the Brownings. The ABL’s advance copy of this work was sent to Robert Browning by the Rossetti family and remained in his library until his death.

Goblin-Market-1Christina Rossetti. Goblin Market and Other Poems.  
Cambridge, London: Macmillan and Co., 1862.

Also in Episode 1, a famous Australian opera singer, Dame Nellie Melba, sings “Songs My Mother Taught Me,” a song for voice and piano written in 1880 by Antonín Dvořák. It is the fourth of seven songs from his cycle Gypsy Songs. The English lyrics for the song are:

Songs my mother taught me, In the days long vanished;
Seldom from her eyelids were the teardrops banished.
Now I teach my children, each melodious measure.
Oft the tears are flowing, oft they flow from my memory’s treasure.

Antonín Dvořák, “Songs My Mother Taught Me,” (No. 4 in: Zigeunermelodien, Op. 55),German  words, Adolph Heyduk; English words, Mrs. Natalia Macfarren, Berlin: N. Simrock [1880].

Robert Browning and Antonín Dvořák were contemporaries. According to Musical World, 28 February 1885, the song, which was very popular at the time, was to be performed at St. James Hall that very afternoon. Antonín Dvořák visited England nine times in all, but I have yet to find evidence that their paths crossed.

Dame Nellie Melba, the character portrayed by Dame Kiri Te Kanawa, is the first historical character to be featured on Downton Abbey. In the episode, she sang Dvorak’s “Songs My Mother Taught Me” and a selection from Puccini. Dame Nellie was a famous performer during Browning’s lifetime. In fact, Melba toast and peach Melba were created in her name by famed chef Auguste Escoffier. Her debut in London at Covent Garden was in May 1888, the year before Browning’s death. She was twenty-seven years old.

Dame-Nellie-Melba-as-Ophelia1_11402134_tcm11-17655Dame Nellie Melba as “Ophelie,” circa 1889.

Courtesy of the National Archives of Australia

Melinda Creech

Notes and Queries: Thus far I have not been able to directly connect Robert Browning to either Dvorak or Dame Nellie. Does anyone know of a connection?

Browning at Downton Abbey: The Rest of the Story

As the new season of Downton Abbey begins, I thought I should bring you up to date on the discoveries that have resulted from my investigation into Robert Browning’s visits at Highclere Castle.

My curiosity about Browning at Downton Abbey led me to begin a correspondence with David Rymill, archivist for both the Hampshire Record Office and the Highclere Estate. Mr. Rymill’s research revealed that there were three previously unrecorded Browning letters among the Earl of Portsmouth’s archives, a carte de visite of Browning in an album of photographs from Highclere Castle, and four signatures of Robert Browning in the Castle’s guest books.

Among the three letters from Robert Browning are two letters to Lady Portsmouth, Lady Eveline Alicia Juliana Herbert, first daughter of Henry John George [Herbert], 3rd Earl of Carnarvon. She married Isaac Newton Fellowes Wallop, 5th Earl of Portsmouth and became Lady Portsmouth.The other letter is to her daughter, Lady Catherine Henrietta Wallop, who married the Right Honorable Charles George Milnes-Gaskell.

These letters, which are part of the Wallop Papers in the Hampshire Record Office, were provided by the Earl of Portsmouth through David Rymill.

Robert Browning to Lady Portsmouth, 14 May 1877

Courtesy of the Earl of Portsmouth

Robert Browning to Lady Portsmouth, 14 January, 1870

Courtesy of the Earl of Portsmouth

Robert Browning to Lady Catherine, 26 May, 1887

Courtesy of the Earl of Portsmouth

Lord Carnarvon gave permission for Mr. Rymill to send the Armstrong Browning Library scans of Robert Browning’s signatures in the Highclere Castle guestbooks. These occur on December 13, 1869, November 16th and 21st of 1873 and March 10, 1878. This discovery has already helped scholars more accurately date Robert Browning’s chronology.

Highclere Castle Guestbook, 13 December 1869

Courtesy of the Earl of Carnavon, Highclere Castle Archives

Highclere Castle Guestbook, 16 November 1873

Courtesy of the Earl of Carnavon, Highclere Castle Archives

Highclere Castle Guestbook, 21 November 1873

Courtesy of the Earl of Carnavon, Highclere Castle Archives

Highclere Castle Guestbook, 10 March 1878

Courtesy of the Earl of Carnavon, Highclere Castle Archives

A signed photograph of Robert Browning  was also discovered in an album among the castle archives, and a scan was graciously forwarded to the ABL from Lord Carnarvon.

Courtesy of the Earl of Carnavon, Highclere Castle Archives

 I would like to express my sincere thanks to David Rymill. On December 2, Cynthia Burgess, Librarian/Curator of Books and Printed Materials at the Armstrong Browning Library, and Pattie Orr, Vice-President of Information Technology and Dean of University Libraries, Baylor University, were joined by Mr. Rymill as they attended a ceremony at the grave of Robert Browning in Westminster Abbey, commemorating his death on December 12, 1889, one hundred and twenty-four years ago.

Who knows what connections the new season might bring to light?

Melinda Creech

 Notes and Queries:

Can anyone add additional information about the signatures in the guestbooks or the other photographs on the album page?

A Christmas Card from Robert Browning

 

The Armstrong Browning Library has in its collections a Christmas card send by Robert Browning to Emily Marion Harris, a poet and writer of romance novels, who corresponded with Robert Browning during the last decade of his life. The inscription reads: “To Miss E. M. Harris, With more love and respect than need accompany so poor a gift. Robert Browning.” The Christmas card is not what you would expect a traditional card to look like. The scene is a landscape painting on an easel, with a palette bearing the solitary word “Remembrance.” The greeting on the card reads: “With best wishes for a Happy Christmas.” The logo on the back of the card indicates that it was published by J. F. Schipper & Co., Art Publishers, London and that the item, No. 860, has a copyright. There is no date printed on the card ; and, unfortunately, Browning did not include a date on his greeting, but it is likely that it was sent sometime between 1884 and 1888.

The J. F. Schipper Publishing Company was dissolved or struck off the register of Joint Stock Companies in 1906. According to the London Gazette, May 9, 1890, the company folded on the 6th day of May, 1890. Periodical articles mentioning the company date from 1882. The company was formerly Herman Rothe Publishers which operated from 1874 until early 1881. Mr. Rothe died in 1881 at the age of 36. The card therefore dates sometime between 1881 and 1889. Another source describes the set of Christmas cards for 1885, saying “one of the most notable series consists of Reproductions of eight of Turner’s Masterpieces.”

Does anyone recognize the painting on the easel as a J. M. W. Turner reproduction? Or where we might get a copy of the sample book of Christmas cards published by J. F. Schipper & Company? Do you have any other information that might help us to date the Christmas card?

Melinda Creech

Merry Christmas from everyone at the

Armstrong Browning Library

We wish you great joy during this beautiful season

and every happiness

throughout the New Year.

Giving Nineteenth Century Women Writers a Voice and a Face — Daisy Ashford (1881-1972)

Margaret Mary Julia ‘Daisy’ Ashford was born on 7 April 1881 in Petersham, Surrey. At the age of nine, she wrote her first novel, The Young Visiters (or Mr Salteenas Plan), a comic story involving both class and romance in nineteenth-century England. Though Daisy wrote the novella in 1890, it was not published until 1919, at which time it gained immense popularity and was deemed a masterpiece, original spelling mistakes and all. The short book was received warmly by the public because of Daisy’s unique perspective on society seen through the eyes of a child, so much so that it was adapted into a play in 1920 and then into a musical in 1968. Although The Young Visiters was Daisy’s first book, it was not her first stab at story-telling. At the age of four, she began dictating stories to her father who would write them down for her.

Daisy Ashford. The Young Visiters. New York: George H. Doran Company, 1919.

Daisy ceased writing during her teenage years as her family moved around, and she began working as a secretary in London. Daisy married James Devlin and moved with him to Norfolk. After the publication of Visiters in 1919, several of her other stories were published the following year. But Daisy did not begin writing again until much later when she began her autobiography, which she would destroy before her death in 1972.

Perhaps the most fascinating note about Daisy’s career is her status as a child prodigy. Although some have criticized her early work as naïve and juvenile, it is not often that one becomes famous based on their work as a nine year old girl.

Elizabeth Barrett Browning, born seventy-five years earlier than Daisy Ashford, displayed an even more exceptional aptitude for her craft at a remarkably early age. Elizabeth began writing poetry at the age of four and became one of the most revered female writers of the nineteenth century. Just as Daisy was creating stories with her family at an early age, Elizabeth Barrett Browning spent her childhood years creating poetry whenever she had the opportunity. At the age of twelve, Elizabeth wrote the following poem while riding in a carriage with her family to visit her sister who was recuperating at the beach. The last line of the poem presents an interesting twist. The Armstrong Browning Library holds the unpublished poem written in one of Elizabeth’s delicate notebooks.

The transcription follows:

Ye nymphs I know not all your names by rote
Bear to your King the cargo of my boat
And as you e Heavenly spirits light of Neptune’s Daughters
Hang on each wave & frolic on the waters
Pray Attend my prayer oh ye of birth divine
And let the talisman desired be mine
That I may not your sanction beg in vain
Oh let me riot in thy your wide domain
Ah bid your [Sire] not take some other whim
Attend my prayers! And teach me now to swim

Two young women with the ambition, dreams, and abilities to create such poignant and lasting works of art while still in their childhood are a testament to the power of imagination. These amazing women were able to create and share their art, overcoming the different obstacles they faced along the way, including trying to gain merit as female writers and being taken seriously  as children with profound thoughts to share.

Chicanya Njeh
Bethany Navarre
Melinda Creech

Giving Nineteenth Century Women Writers a Voice and a Face — Charlotte Endymion Porter (1857-1942)

Charlotte Endymion Porter, originally named Helen Charlotte Porter, was born on January 6, 1857 in Towanda, Pennsylvania.  Charlotte adopted the middle name Endymion after a poem by John Keats.  In 1885 she graduated from Wells College in Aurora, New York.

Eight years later Porter became the editor of the journal Shakespeariana, where she met her life partner Helen Clarke.  Clarke submitted an article to Shakespeariana and Porter accepted it.  Their friendship was built upon their mutual love for Shakespeare and Robert Browning.

Porter and Clarke also founded the American Drama Society, and together they edited volumes of both Robert and Elizabeth Barrett Browning’s poetry. Porter published a theatrical version of Robert Browning’s tragedy, The Return of the Druses, which she directed in 1903. She was one of the brightest literary critics and editors of her time.         Below is a signed copy of Porter’s script, featuring notes in the margin. The notes most likely were written there by a stage manager, as they list props and sound cues.

Charlotte Porter. Stage Version of Browning’s Tragedy: The Return of the Druses. New York: Thomas Y. Crowell & Company, 1902.

D. G. Brinton, “Facettes of Love From Browning,” in Poet-Lore, Vol. 1 (1889), pp. 25-26.

 In 1889 Porter and Clarke founded Poet Lore, a literary journal focused on Shakespeare, Browning, and comparative literature.  Their mission in establishing Poet Lore was to “bring Life and Letters into closer touch with each other…in a new spirit that considers literature as an exponent of human evolution.”  Although it was an American journal, it rarely featured any works written by Americans; therefore, it often introduced new writers and works to its American audience.  Poet Lore still exists today and is maintained by five editors who strive to keep the journal at the high standards set by Porter and Clarke emphasizing “openness to discovery” (http://www.writer.org/page.aspx?pid=664).  Poet Lore editor Genevieve DeLeon’s favorite quote from Porter comes from Porter reflecting on Poet Lore several years after its founding:

“Our standards were evolutionary and relative in principal in a day when the static and the has-been rather than the dynamic and coming-into-birth constituted the measure in criticism….We were champions then for what is still needed, it may be the standards that relate all aesthetic expression to evolving life.”

In 1903 Porter and Clarke sold Poet Lore and worked on many other projects together, including several editions of Browning’s poems, a six volume edition of Elizabeth Barrett Browning’s poetry, and a twelve volume “Pembroke” edition of Shakespeare.

Porter and Clarke committed to each other with a ring ceremony and lived together until Clarke died in 1926.  Porter continued living at their summer home in Maine until she passed away on January 16, 1942.  This poem from the first edition of Charlotte Porter’s book, “Lips of Music.” speaks about the island in Maine where she and Clarke spent their summers and where she eventually died at the age of 85.

Charlotte Porter. “Isle Au Hait” in Lips of Music. New York: Thomas Y. Cromwell & Company, 1910.

The Armstrong Browning Library has two letters written to Charlotte Porter, six books and articles by Porter, and numerous Browning volumes edited by her.

 Kimberly Dykema
Carly Connally
Melinda Creech

Giving Nineteenth Century Women Writers a Voice and a Face — Mary Augusta Arnold Ward (1851-1920)

“You invite me to break the first law of storytelling, Miss Rose,” said the doctor, lifting a finger at her. “Every man is bound to leave a story better than he found it.”

  Mrs. Humphry Ward. Robert Elsmere.
London: Smith, Elder, & Co., 1888, p. 63.

Mary Augusta Ward was an English novelist, journalist, philanthropist, and anti-suffrage leader who wrote under the name of Mrs. Humphry Ward. During her lifetime, she wrote three plays, nine non-fiction works, and twenty-five novels. Many of her novels depict contemporary theological and moral debates. Her most famous novel, Robert Elsmere, focuses on religious issues.

Mary Augusta Ward. Robert Elsmere. London: Smith, Elder, & Co., 1888.

This novel was Ward’s most famed work due to the controversial “deconversion” of its main character from Anglican Christianity to “a liberal, antidogmatic theology.” The story was inspired in part by her own experience with the Victorian religious crisis and by the religious indecision of her father, Thomas Arnold. W. E. Gladstone, a prominent English politician and a fourtime Prime Minister, wrote a response to Ward’s work, noting that Mrs. Ward’s aim was to “expel the preternatural element from Christianity, to destroy its dogmatic structure, yet to keep intact the moral and spiritual results.”

Her social and political novels portray her conservative beliefs, concerning both liberalism and feminism. According to Judith Wilt, Professor of English Emerita at Boston College, Ward was concerned with “…the ideal of domesticity crossed by currents of personal ambition and clear-eyed impatience with the limitations of a woman’s life evident in the ideology of separate spheres.” Wilt continues stating, “As a young matron Ward was ‘all afire’ for women’s education…and she continued to see as part of the inherited ‘domestic’ territory to be legislated and run by women as well as men not only all branches of education but also all health and social service professions, and even “local government,” including school boards, municipal boards, and other offices and activities that had become gender-neutrally votable and electable by the 1880’s. For her, ‘domesticity’ included virtually all the national business.  When in her anti-suffrage campaigns she drew the line at giving women the vote for Parliament members it was partly a not-unhealthy impatience with what we might now call the fetishization of that object, and partly a curtsy before Empire, a hesitation before the international ministries for finance, heavy industry, and war.” (Judith Wilt, Behind Her Times: Transition England In The Novels Of Mary Arnold Ward, Charlottesville: University of Virginia Press, p. 14.)

The Armstrong Browning Library owns forty-one volumes authored by Mary Ward, including Fenwick’s Career, which was published in London by Smith, Elder, & Co. in 1906. This edition was printed on hand-made paper. Only two hundred and fifty copies were for sale with each copy autographed by the author. The ABL’s copy is No. 36, and is signed “Mary A. Ward” on the first front leaf. The book tells the story about “a boorish, conceited, masterful young countryman…[whose] supreme longing is ‘to make a name for himself and to leave his mark on English art.”

 

Autograph by the author, Mary Augusta Ward, on the first front leaf of Fenwick’s Career, London: Smith, Elder, & Co., 1906.

Fannie Browning, wife of Robert Barrett Browning, owned a copy of Amiel’s Journal (1896), which was translated by Mrs. Ward; Robert Barrett Browning, Robert and Elizabeth’s son, owned a copy of The Marriage of William Ashe (1905), with the author’s inscription. Although the Armstrong Browning Library does not own this book, it does have a copy of the same edition once owned by Robert Barrett Browning.

 Tiffany Huynh
Maegan Rocio
Michael Moreno
Melinda Creech

Giving Nineteenth Century Women Writers a Voice and a Face — Margaret Fuller (1810-1850)

Male and female represent the two sides of the great radical dualism. But, in fact, they are perpetually passing into one another. Fluid hardens to solid, solid rushes to fluid. There is no wholly masculine man, no purely feminine woman.

  Margaret Fuller. From Woman in the Nineteenth Century. Boston: John P. Jewett, 1845.

 Dr. Charles Capper, Professor of History at Boston University, who has published a two volume biography of Margaret Fuller, suggested the above quotation.

Margaret Fuller, also known as Sarah Margaret Fuller, was a renowned journalist, pioneer feminist, and women’s rights activist. She is associated with the transcendentalist movement and taught at various girls’ schools during her younger years. Following her research at Harvard—where she was the first woman to study—she worked as a literary critic for Horace Greeley, publisher and editor of the New York Tribune, and her collected criticism is found in Papers on Literature and Art, 1846. Her chief work, Woman in the Nineteenth Century, 1845, is considered the first major feminist work in the United States. Her influence on the American feminist movement is unparalleled, and she continues to be remembered as a champion for human rights to this day.

Margaret was born on May 23, 1810, in Cambridge, Massachusetts. Her father, Timothy Fuller, a prominent Massachusetts lawyer, educated her scrupulously, but it wasn’t until 1819 that Fuller began her formal education at the Port School in Cambridgeport. She later attended the Boston Lyceum for Young Ladies in Groton in 1824. Fuller returned home two years later at the age of 16, and while at home she trained herself in several foreign languages, studied the classics, and read world literature. Her intellectual precociousness gained her the acquaintance of various Cambridge intellectuals. In 1833, Margaret’s father moved the family to a farm in Groton, Massachusetts. It was after this transition that she found herself isolated and forced to educate her siblings while also carrying out household tasks for her ailing mother.

 Margaret Fuller. Woman in the Nineteenth Century. Boston: John P. Jewett, 1855.

 In 1845 Margaret published her feminist classic, Woman in the Nineteenth Century.  This book, her chief work, stressed that men deliberately kept women in subordinate positions, and thus women had to help themselves toward independence. It was originally published in the transcendentalist magazine, The Dial, as “The Great Lawsuit. Man versus Men. Woman versus Women,” but it was expanded and published in book form in 1845 and reprinted in 1855. In addition to writing several critical reviews and essays, Fuller became active in various social reform movements. In 1846 she went to Europe as a foreign correspondent for the Tribune, and in England and France she was recognized as an outstanding intellectual.

During her travels, Fuller made her way to Italy in 1847. It was here that she met her husband Giovanni Ossoli. They became lovers, had a son in 1848, and were wed the following year. Fuller had supported the attempt to unify Italy as a Roman republic, but after the Pope was restored to power and the short-lived political experiment had failed, Fuller, her husband and their child fled to Florence in 1849. The next year they boarded a ship set for the United States, but due to a storm off Fire Island, New York, the ship never made it to port and they were lost at sea. Sadly, their bodies were never recovered.

Margaret Fuller Ossoli, The Memoirs of Margaret Fuller Ossoli. Boston: Phillips, Sampson and Company,  1852. Two volumes.

The Memoirs of Margaret Fuller Ossoli (1852) was published posthumously by her one-time friend and colleague Ralph Waldo Emerson, with James Freeman Clarke and William Henry Channing. Because Fuller’s friendship with Emerson had deteriorated, the book was heavily edited. Therefore her myriad accomplishments took a backseat to Emerson’s portrayal of her as a cold and snobbish old maid, rather than as the warm, loving personality her friends and acquaintances knew her to be.

The Armstrong Browning Library owns eight books by Margaret Fuller published in the nineteenth century, including several first editions and rare copies. Of particular importance is Conversations with Goethe in the last years of his life, translated from the German of Eckermann. By S.M. Fuller (1839), which was the first book in which Margaret Fuller’s name appeared.

Erica Heath
Kristyan Pak
Christina Fajardo
Melinda Creech

Giving Nineteenth Century Women Writers a Voice and a Face — Caroline Sheridan Norton (1808-1877)

I have, as I said before, learned the English law piecemeal, by suffering under it. My husband is a lawyer, and he has taught it me, by exercising over my tormented and restless life every quirk and quibble of its tyranny; of its acknowledged tyranny; acknowledged, I say, not by wailing, angry, despairing women, but by Chancellors, ex-Chancellors, legal reformers and members of both Houses of Parliament.

Caroline Norton.  From A Letter to the Queen on Lord Chancellor Cranworth’s Marriage and Divorce Bill. London: Longman, Brown, Green and Longmans, 1855.

 Dr. Kieran Dolin, professor of English and Cultural Studies at the University of Western Australia, has written several articles on Caroline Norton. He is particularly interested in Caroline Norton’s writings and her activism to reform the law relating to women in Victorian England. He suggested the quotation above.

Born on March 22, 1808, the third child of seven, Caroline Elizabeth Sarah Sheridan seemed destined to become an established writer.  Her mother was a novelist and her grandfather was a famous playwright, Richard Brinsley Sheridan.  Not surprisingly, the young Caroline expressed a knack for literature.  At age thirteen, she had already written her first booklet, The Dandies Rout. At Shalford boarding school in Surrey, George Norton noticed the beautiful Caroline, which resulted in their marriage in 1827.

Caroline and George Norton seemed an almost perfect couple. Caroline was beautiful and smart and George Norton was the brother of her friend, also a barrister, and a Member of Parliament.  However, her personal life soon became riddled with strife. To Caroline’s surprise, Norton turned out to be a drunk with a violent temper, and he often mismanaged money.  In English Laws for Women in the Nineteenth Century (1854), Caroline Sheridan Norton gives accounts of being beaten as early as two weeks into their marriage.  She writes about harsh experiences, such as having a hot tea-kettle purposely set on her hand.  Through it all, she was still able to publish her first poetic work titled The Sorrows of Rosalie: A Tale with Other Poems in 1829.  This work was well received by the public.  Despite the troubles, the marriage produced three sons named Fletcher, Brinsley, and William. Caroline was even beaten weeks before she gave birth to her third son William.

English law made it extremely hard to get a divorce, especially since Caroline had endured such harsh treatment for so long. After she was accused of having an affair with the Prime Minister, Lord Melbourne, George Norton became even more vicious.  He took both Melbourne and Caroline to court, but both were found innocent of adultery.  Although Caroline Norton was found innocent, she could not divorce George Norton, and the abuse continued.  Norton took away Caroline’s children, and the fight began.  Advocating for women’s rights became Caroline Norton’s primary concern.  She wrote a pamphlet titled “The Separation of Mother and Child,” which promoted The Infant Custody Act of 1839.  The more Caroline campaigned, the more she was able to get accomplished.  Caroline Norton is well-known for writing A Letter to the Queen which advocated for the rights of married women in 1855.  She also helped to pass acts such as the 1857 Matrimonial Act and the Married Woman’s Property Act (1870).  Caroline eventually got custody of her two living children after they were twenty-one.  Her success as an activist eventually led to her ability to divorce George Norton, but she did not remarry until after his death.  At the advanced age of sixty-nine, Caroline Sheridan married a Scottish politician named William Maxwell Stirling.  She only enjoyed three months of a blissful marriage before she died in 1877.

Caroline Norton. “The Invalid” in The Keepsake. London: Hurst, Chance, and Company, 1840.

Caroline Norton’s short story, “The Invalid,” published in the 1840 edition of The Keepsake, displayed above, tells the story of a young lady, Mariana, who is on her deathbed when her sister, Tersa, comes to visit. The story not only highlights education for women, but Norton also exposes the tragedy that can befall a woman who is wrongly in love. Educated by her uncle, Mariana learns to “lay a bridge stone by stone” between her mind and that of her learned uncle.  Norton further makes the claim that the best “education comes through free intercourse with superior and cultivated companions.” This focus on the education of women provides a major theme in the short story. Though Count Arnstein, a man who comes to live with Mariana and her uncle, dislikes her intellect at first, he quickly begins to love her for it. Consequently, Norton builds her case for a prominent role of women in politics through the character and competence of Mariana. In addition, a major theme of the short story is that of improper love. Mariana falls in love with Count Arnstein, and he reciprocates. However, after he tells her that he is married and begs her to accompany him to visit his wife, she is heartbroken and becomes very ill. She later recalls to Tersa just before her death, “It is that I have seen at one dreadful glance the shattering of earth’s best illusion.” Ultimately, Mariana dies alone and forgotten. Norton’s portrayal of Mariana’s demise is a strong social commentary on the lack of options for a woman without a husband or any prospects. The story she writes echoes much of her own experience.

The Armstrong Browning Library has seven nineteenth-century books authored by Caroline Norton, including this unusual copy of The Sorrows of Rosalie.

Caroline Norton.  “A Royal Christmas Gift to the Duchess of Clarence, Christmas 1828.” Autograph Manuscript, in The Sorrows of Rosalie: A Tale with Other Poems. London: J. Ebers, 1828.

This volume, with Norton’s poem inscribed on the front leaves, was presented to the Duchess of Clarence by August Fitz-Clarence, the illegitimate son of her husband, the Duke of Clarence. In June of the following year the Duke succeeded to the throne of England as William IV and the Duchess became Queen Adelaide.

                                                                     Nancy Gross
Bianca Arechiga
Mary Philippus

Melinda Creech