Tag Archives: Mary Shelley

Making Connections: Literary Networks in the 19th and Early 20th Centuries

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In fall 2016, 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 and the influences they had on each other’s works. “Authors did not, in fact, work alone,” Dr. Pond argued, “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.” Utilizing the letters, manuscripts, rare books, and other collection materials at the Armstrong Browning Library, the students ended their semester by curating an exhibition that uncovered connections between one particular literary figure and Robert and Elizabeth Barrett Browning—the centers of the literary network for the course—or another significant literary figure.

The exhibition Making Connections: Literary Networks in the 19th and Early 20th Centuries is on display in the Hankamer Treasure Room, Armstrong Browning Library, until April 21, 2017.

The Armstrong Browning Library would like to thank Dr. Kristen Pond and the students who made this exhibition possible:

Marcus Appleyard, Rebecca Causey, Victoria Corley, Annie Dang, Taylor Ferguson, Casey Froehlich, Madelynn Lee, Mollie Mallory, Anne McCausland, Emily Ober, Shannon Ristedt, Chris Solis, Alexander Stough, Alex Ueckert, Baylee Versteeg, and Jonathan White.

Giving Nineteenth Century Women Writers a Voice and a Face — Geraldine Endsor Jewsbury (1812–1880)

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courtesy of Bettina Lehmbeck

I believe we are touching on better days, when women will have a genuine, normal life of their own to lead.  There, perhaps, will not be so many marriages, and women will be taught not to feel their destiny manque if they remain single.  They will be able to be friends and companions in a way they cannot be now.  All the strength of their feelings and thoughts will not run into love; they will be able to associate with men, and make friends of them, without being reduced by their position to see them as lovers or husbands.  Instead of having appearances to attend to, they will be allowed to have their virtues, in any measure which it may please God to send, without being diluted down to the tepid ‘rectified spirit’ of ‘feminine grace’ and ‘womanly timidity’-in short, they will make themselves women, as men are allowed to make themselves men.

Geraldine Jewsbury to Jane Welsh Carlyle, [1849]
from Selections from the Letters of
Geraldine Endsor Jewsbury to Jane Welsh Carlyle,
by Mrs Alexander [Annie] Ireland, 
London and New York: Longmans, Green 1892, p. 347.

The above quotation was suggested by Aileen Christianson, senior lecturer at the University of Edinburgh, who has worked as a researcher and editor on the Duke-Edinburgh edition of The Collected Letters of Thomas and Jane Welsh Carlyle since 1967.

Geraldine Endsor Jewsbury was born on August 22, 1812, at Measham, near the Derbyshire-Leicestershire border, the daughter of Thomas Jewsbury, a cotton manufacturer, and his wife, Maria, a cultivated woman of artistic tastes.  When she was six, Geraldine and her family moved to Manchester, and her mother died the following year. Her older sister, Maria Jane Jewsbury, who had become an accomplished poet, took control of the household and her sister’s education. After Maria’s marriage in 1832, Geraldine, was charged with the care of the Jewsbury household. After her sister’s sudden death the next year,  and the illness and death of her father shortly afterward, Geraldine grew disenchanted with her milieu. She began a correspondence with Thomas and Jane Carlyle, who became her lifelong friends.

Her unconventional personality was reflected in her “novels of doubt,” which dramatized the loss of faith in orthodox Christianity and the quest for a new structure of belief. She wrote eight novels, six for adults, two for children. She also gained fame as a critic, a publisher’s reader, and a figure in London literary life. Her friends included Huxley, Kingsley, Rossetti, the Brownings, Forster, Bright, Ruskin and Lewes. Her book, The History of an Adopted Child (London: Grant and Griffith, 1853) was in the Brownings’ library.

The Armstrong Browning Library owns one letter from Elizabeth Barrett Browning, dated 11 December 1854, which anticipates Geraldine Jewsbury’s gift to EBB of her book, The History of an Adopted Child (1853). Another letter from her sister Maria Jane Jewsbury to Anna Jameson describes her impressions of Mary Shelley.

In 2012 the ABL acquired a commonplace book containing 17 pages of manuscript text and 27 very fine pencil drawings after engraved illustrations, bound in a claret morocco binding with gilt title, Gleanings, on the cover, dated 1832, and dedicated to “ā ma chēre soeur. Mars 26ēme 1832,” translated “To my dear sister March 26th 1832”. The volume is quite beautiful, and it inspired me to search for the Victorian sister who had created it. One of the first clues in the album was a poem, “The Florentine,” written by Maria Jane Jewsbury (1800-1833). A little more research led to her sister, Geraldine Jewsbury, and having compared a sample of her handwriting, our curator of manuscripts, Rita Patteson, agreed that this may well be the work of a juvenile Geraldine Jewsbury. Prior to 1830 the young Geraldine had spent several years at the Misses Darbys’ boarding-school at Alder Mills, near Tamworth, and then in 1830–31 she continued her studies in French, Italian, and drawing in London. Perhaps Geraldine demonstrated her expertise in the French language, her drawing skills, and her regard for her sister’s poetry by composing the book and giving it to Maria Jane as a wedding gift. (Another poem in the volume is “The Bride” by Felicia Hemans.) Maria Jane was married later that year, and traveled to India with her husband, where she died unexpectedly from cholera the following year. Geraldine tried to collect the rest of her sister’s unpublished works and belongings from her husband, but was unsuccessful. Geraldine’s inability to obtain her sister’s possessions could possibly account for the loss of the lovely friendship book until recently.

Melinda Creech

Giving Nineteenth Century Women Writers a Voice and a Face — Letitia Elizabeth Landon (1802–1838)

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Farewell, my lute!–and would that I
Had never waked thy burning chords!
Poison has been upon thy sigh,
And fever has breathed in thy words.

Yet wherefore, wherefore should I blame
Thy power, thy spell, my gentlest lute?
I should have been the wretch I am,
Had every cord of thine been mute.

It was my evil star above,
Not my sweet lute, that wrought me wrong:
It was not song that taught me love,
But it was love that taught me song.

Letitia Elizabeth Landon
from “Sappho’s Song”
in The Improvisatrice

The above quotation was suggested by Jill Rappaport, Assistant Professor of English at The University of Kentucky, who has published several books and articles on nineteenth century women, including Letitia Elizabeth Landon. Several women writers in the nineteenth century chose the life of Sappho, a Greek lyric poet (c.610-c.580 BCE), for the focus of their poetry, finding a resonance between her plight and their own. The fragmentary nature of Sappho’s writings allowed for creativity in the way Victorian women represented her in their works. Here Landon paints Sappho as an abandoned woman, wrestling with the conflict between art and love, profession and gender, and fame and societal pressures.

Letitia Elizabeth Landon learned to read as a toddler. She published her first poem in the Literary Gazette at the age of 18, signing it simply with the initial L. The following year, she published a book of poems, The Fate of Adelaide. She frequently signed her works L.E.L. Her biographer, Laman Blanchard remarked the initials L.E.L. “speedily became a signature of magical interest and curiosity” and Bulwer Lytton reported that he and his friends would anxiously peruse the weekly publications for “the three magical letters L.E.L.” She grew to be respected among the literary community.

In 1838, just four months after she married George Maclean, Letitia was found dead, with a bottle of prussic acid (hydrogen cyanide) in her hand. The circumstances of her death are still a mystery. It is unclear whether she overdosed on her medicine, committed suicide, or was intentionally poisoned.

Previous blogs about Felicia Hemans, Anna Jameson, and Mary Shelley have highlighted the connections between nineteenth century women writers. The blog about Felicia Hemans noted that both Elizabeth Barrett Browning and Letitia Elizabeth Landon wrote poems about Felicia Heman’s death in 1835. A few years later, in 1838, Both EBB and Christina Rossetti wrote poems about L.E.L.’s death. Christina Rossetti’s poem was simply entitled “L.E.L,” and Elizabeth Barrett Browning’s poem was entitled “L.E.L.’s Last Question.” The Armstrong Browning Library owns a manuscript copy of EBB’s poem about L.E.L.

Elizabeth Barrett Browning
Autograph manuscript,  with corrections
“L. E. L.’s Last Question”
Courtesy of Armstrong Browning Library

The Armstrong Browning Library owns four of Miss Landon’s books published in the nineteenth century: The Troubadour: Catalogue of Pictures and Historical Sketches (1825), The Golden Violet (1827), and The Improvisatrice: and other poems (1827), and The Poetical Works of Miss Landon (1838); and also Samuel Laman Blanchard’s Life and Literary Remains of L.E.L. (1841). Both The Golden Violet and The Improvisatrice can be viewed online at the 19th Century Women Poets Collection page of Baylor University Libraries Digital Collections site. Elizabeth Barrett Browning owned a copy of The Troubadour as well as a copy of Blanchard’s Life and Literary Remains of L.E.L.

Melinda Creech

Giving Nineteenth Century Women Writers a Voice and a Face — Mary Wollstonecraft Shelley [née Godwin], (1797–1851) Part 2

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Putting together this exhibition, I have been amazed by the how closely the women writers of the nineteenth century were connected to one another.  I discovered one of these connections investigating this fragment of a letter owned by the Armstrong Browning Library.

[1830, June 18]

Maria Jane Jewsbury to Anna Brownell Jameson

 Although only the last page of the letter survives in our collection, the entire letter is printed in Anna Jameson: Letters and Friendships, edited by Mrs. Stewart Erskine, published in 1915. Maria Jane Jewsbury responds to Anna Jameson’s question about her opinion of Mary Shelley:

 As you expressed a desire to know my opinion of Mrs. Shelley, I will take the present opportunity of saying, that I rarely, if ever, met with a woman to whom I felt so disposed to apply the epithet “bewitching.” I can of course merely speak of appearances, but she struck me in the light of a matured child; a union of buoyancy and depth . . . .Her hilarity, contrasted with the almost sadly profound nature of some of her remarks, somewhat puzzled me . . . . I doubt her being a happy woman, and I also doubt her being one that could be distinctly termed melancholy. . . . She reminded me of no person I ever saw but she has made me wish the arrival of the time when I am to see her again.

 Melinda Creech

 

 

 

Giving Nineteenth Century Women Writers a Voice and a Face — Mary Wollstonecraft Shelley [née Godwin] (1797–1851)

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We do not enter into society here, yet our time passes swiftly and delightfully. We read Latin and Italian during the heats of noon, and when the sun declines we walk in the garden of the hotel, looking at the rabbits, relieving fallen cockchaffers, and watching the motions of a myriad of lizards, who inhabit a southern wall of the garden. You know that we have just escaped from the gloom of winter and of London; and coming to this delightful spot during this divine weather, I feel as happy as a new-fledged bird, and hardly care what twig I fly to, so that I may try my new-found wings.

Mary Shelley
History of a Six Weeks’ Tour Through a Part of
France, Switzerland, Germany, and Holland (1817)
Letter from Geneva, 17 May 1816

 

Although Mary Shelley’s fame rests in her authorship of Frankenstein, published anonymously when she was twenty-one, her experiences and her publications were rich and varied. Mary Shelley’s mother Mary Wollstonecraft, was a feminist philosopher who died shortly after her daughter’s birth. Following in her mother’s footsteps, Mary also became a liberal feminist. She had an affair with the poet Percy Bysshe Shelley, and the two eventually married, following the death of Percy’s first wife. Mary Shelley edited some of her husband’s works, and the two also composed pieces together. She also penned short stories, travelogues, and biographies.

The Armstrong Browning Library houses the Browning Library Collection—books and periodicals which were actually owned by Robert and/or Elizabeth Barrett Browning or members of their immediate family. The ABL holds approximately one-third of 2,681 items currently listed in this category in The Brownings: A Research Guide. In an effort to recreate the library owned by the Brownings, the Armstrong Browning Library initiated the Browning Library Copies Collection. These are books which, based on the most complete information available, are the same editions as the volumes once owned and used by the Brownings.

Three books, added to the Armstrong Browning Library collection in 2011, were closely associated with Mary Shelley. All are part of the Browning Library Copies Collection. The library purchased Memoirs of the Author of A Vindication of the Rights of Woman (1798), written by William Godwin, about his wife Mary Wollstonecraft; History of a Six Weeks’ Tour Through a Part of France, Switzerland, Germany, and Holland (1817) written by Mary Shelley, Godwin and Wollstonecraft’s daughter; and Percy Bysshe Shelley’s Posthumous Poems (1824), compiled by Mary Shelley.

The quotation above is taken from Mary Shelley’s travelogue, History of a Six Weeks’ Tour Through a Part of France, Switzerland, Germany, and Holland (1817).

 Melinda Creech