Unwanted Missives and the Spread of Vice “Curious Tings,” Slander, and Blackmail from Household Words to the Fiction of George Eliot, Charles Dickens, Wilkie Collins, and Anthony Trollope

Posting It ◽  
2009 ◽  
pp. 153-192
Author(s):  
Catherine J. Golden
Author(s):  
Kristen Pond ◽  
Elizabeth Parker ◽  
Lois Burke ◽  
Ana Alicia Garza ◽  
Helen Williams ◽  
...  

Abstract This chapter has six sections: 1. General and Prose; 2. The Novel; 3.Poetry; 4. Periodicals and Publishing History; 5. Drama; 6. Miscellaneous and Cross-Genre. Section 1 is by Kristen Pond with the assistance of Elizabeth Parker; section 2 is by Lois Burke with the assistance of Ana Alicia Garza, who writes on Dickens; section 3 is by Ana Alicia Garza; section 4 is by Helen Williams; section 5 is by Caroline Radcliffe; section 6 is by William Baker. In a departure from previous years, and in order to avoid confusion as to who has contributed what to this chapter, section 6 contains material on George Borrow, Thomas and Jane Welsh Carlyle, and Richard Jefferies previously found in the General and Prose section, and on Wilkie Collins, George Eliot, George Henry Lewes, Elizabeth Gaskell, George Gissing, Meredith, Thackeray, Anthony Trollope, and Walter Pater previously found in other sections. Also included in section 6 are miscellaneous and cross-genre items and additional items that arrived too late to be included elsewhere in this chapter. Thanks for assistance with this chapter must go to Dominic Edwards, Nancy S. Weyant, the bibliographer of Mrs Gaskell, and Patrick Scott.


Author(s):  
Ana Alicia Garza ◽  
Lois Burke ◽  
Sally Blackburn-Daniels ◽  
William Baker

Abstract This chapter has five sections: 1. General and Prose, including Dickens; 2. The Novel; 3. Poetry; 4. Periodicals, Publishing History, and Drama; 5. Miscellaneous. Section 1 is by Ana Alicia Garza; section 2 is by Lois Burke; section 3 is by Sally Blackburn-Daniels; sections 4 and 5 are by William Baker. In somewhat of a departure from previous accounts, this chapter concludes with a mixed-genre section that covers Samuel Butler Thomas and Jane Welsh Carlyle, Wilkie Collins, George Eliot and George Henry Lewes, George Gissing, Richard Jefferies, William Makepeace Thackeray, and Anthony Trollope. This is followed by a section containing additional materials that came too late to be included elsewhere. These sections have been contributed by William Baker, who thanks for their assistance Dominic Edwards, Olaf Berwald, Beth Palmer, Sophie Ratcliffe, and Caroline Radcliffe.


Author(s):  
Jessica R. Valdez

Newspapers are constantly lying in the worlds of Victorian novels, from the false report of John Harmon’s death in Our Mutual Friend (1864-1865) to allegations of extramarital affairs in Phineas Finn (1867-1868). Yet characters continue to believe what they read in the newspaper, assuming that news must be recent, relevant, and true. Victorian novels thus explore the contradictory logic of news: claims to journalistic reality sit uneasily alongside unrepresentative, malicious, or even false news. This book argues that nineteenth-century novels analysed the formal and social workings of news through a shifting series of metaphors, analogies, and plots. By incorporating newspapers and news discourse into their narratives, Victorian novels experimented with the ways that generic and formal qualities might reshape communal and national imaginings. This book shows that novelists often responded to newspapers by reworking well-known events covered by Victorian newspapers in their fictions. Each chapter addresses a different narrative modality and its relationship to the news: Charles Dickens interrogates the distinctions between fictional and journalistic storytelling, while Anthony Trollope explores novelistic bildung in serial form; the sensation novels of Wilkie Collins and Mary Elizabeth Braddon locate melodrama in realist discourses, whereas Anglo-Jewish writer Israel Zangwill represents a hybrid minority experience. At the core of these metaphors and narrative forms is a theorisation of the newspaper’s influence on society.


2019 ◽  
Vol 98 (1) ◽  
pp. 702-857
Author(s):  
Ana Alicia Garza ◽  
Lois Burke ◽  
Christian Dickinson ◽  
Helen Williams ◽  
Lucy Barnes ◽  
...  

Abstract This chapter has six sections: 1. General and Prose; 2. The Novel; 3. Poetry; 4. Periodicals and Publishing History; 5. Drama; 6. Miscellaneous and Cross-Genre. Section 1 is by Ana Alicia Garza; section 2 is by Lois Burke with assistance from Christian Dickinson, who writes on Dickens; section 3 is by Ana Alicia Garza; section 4 is by Helen Williams; section 5 is by Lucy Barnes; section 6 is by William Baker. Thanks for assistance with this chapter must go to Dominic Edwards, Steven Amarnick, Richard Bleiler, Nancy S. Weyant, the bibliographer of Mrs Gaskell, and Patrick Scott. In a departure from previous years, and in order to avoid confusion as to who has contributed what to this chapter, George Borrow, Thomas and Jane Welsh Carlyle, and Richard Jefferies, previously found in the General and Prose section, and the Brontës, Samuel Butler, Wilkie Collins, George Eliot, George Henry Lewes, George Gissing, and Anthony Trollope, previously found in the Novel section, will be found in section 6, Miscellaneous and Cross-Genre, as will materials that came in too late to be included in other sections.


Author(s):  
Patricia Cove

This chapter explores the re-imagining of the Italian refugee during the early Risorgimento. Victorian works by Robert Browning, Charles Dickens, George Eliot, Anthony Trollope and Elizabeth Barrett Browning register a new discomfort with Italian place that corresponds to the displacement of thousands of Italians from their home countries as conflict intensified in the middle of the nineteenth century. The chapter focuses on two English-language novels by Italian refugee Giovanni Ruffini, a former Young Italy member who fictionalises his own involvement in the movement in 1830s Piedmont and flight into exile in Lorenzo Benoni (1853) and depicts a returned Sicilian exile’s participation in the 1848 revolutions in Doctor Antonio (1855), to argue that Ruffini makes exile a constitutive feature of Italian political identity and re-writes the Italian landscape by mapping out the tracks of the dispossessed patriots who were expelled from their homes and communities during this period.


Author(s):  
Tom Lockwood

This chapter surveys Jonson’s impact on the nineteenth century, tracing out his substantial influence on poets, novelists and theatre professionals on the page and on the stage. In 1990, D. H. Craig wrote: ‘Jonson’s work, for the nineteenth century, was bafflingly inconsistent.’ This chapter, looking in detail at the way in which writers such as Charles Dickens, Walter Scott, George Eliot, and Anthony Trollope interacted with and learned from Jonson, argues that his work did offer a consistent point of departure for important trends in nineteenth-century writing. By examining such specific encounters, and the work done by William Poel in reviving Jonson’s plays for the professional theatre at the end of the century, this chapter continues to reshape our sense both of the power and persistence of Jonson’s literary influence in the centuries after his death.


‘It has been said by its opponents that science divorces itself from literature; but the statement, like so many others, arises from lack of knowledge.’ John Tyndall, 1874 Although we are used to thinking of science and the humanities as separate disciplines, in the nineteenth century that division was not recognized. As the scientist John Tyndall pointed out, not only were science and literature both striving to better 'man's estate', they shared a common language and cultural heritage. The same subjects occupied the writing of scientists and novelists: the quest for 'origins', the nature of the relation between society and the individual, and what it meant to be human. This anthology brings together a generous selection of scientific and literary material to explore the exchanges and interactions between them. Fed by a common imagination, scientists and creative writers alike used stories, imagery, style, and structure to convey their meaning, and to produce work of enduring power. The anthology includes writing by Charles Babbage, Charles Darwin, Sir Humphry Davy, Charles Dickens, George Eliot, Michael Faraday, Thomas Malthus, Louis Pasteur, Edgar Allan Poe, Mary Shelley, Mark Twain and many others, and introductions and notes guide the reader through the topic's many strands. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.


1928 ◽  
Vol 2 (4) ◽  
pp. 100
Author(s):  
J. P. G.
Keyword(s):  

2021 ◽  
Author(s):  
◽  
Sarah Parry

<p>In the nineteenth century, the discussion of personal health and wellbeing became almost a national pastime. With publications such as the British Medical Journal and Lancet freely accessible to the everyday reader, common medical terms and diagnoses were readily absorbed by the public. In particular, the nineteenth century saw the rapid rise of the ‘nervous illness’ – sicknesses which had no apparent physical cause, but had the capacity to cripple their victims with (among other things) delirium, tremors and convulsions. As part of the rich social life of this popular class of disorder, writers of fiction within the nineteenth century also participated in the public dialogue on the subject. Authors such as Charlotte Brontë, Wilkie Collins, Charles Dickens and Sir Arthur Conan Doyle all constructed narratives involving nervous sufferers, particularly hypochondriacs and victims of brain fever. Despite writing in a wide variety of genres ranging from Gothic to realist, the roles played by the illnesses within the texts of these authors remain a vital feature of the plot, either as a hindrance to the protagonists (by removing key players from the plot at a critical moment) or a method of revealing deeper aspects of their character. Nervous illnesses carried with them social stigmas: men could be rendered feminine; women could be branded recklessly passionate or even considered visionaries as ideas about the nerves, the supposed seat of emotion and passion, brought into sharp relief the boundaries between physical and mental suffering, and physical and spiritual experiences.  The central aim of this thesis is to examine the cultural understanding of nervous illness and how nineteenth-century texts interacted with and challenged this knowledge. It focuses on how nineteenth-century authors of different genres – particularly the Gothic, sensation and realist genres – use the common convention of nervous illness – particularly hypochondria and brain fever – to develop their protagonists and influence the plot. Through comparisons between literary symptoms and those recorded by contemporary sufferers and their physicians, this thesis analyses the way that the cultural concept of nervous illness is used by four principal Victorian authors across a range of their works, looking at how hypochondria and brain fever function within their plots and interact with gender and genre conventions to uphold and subvert the common tropes of each. Whether it aids or hinders the protagonist, or merely gives the reader an insight into their personality, nervous illness in the Victorian novel was a widely used convention which speaks not only of the mindset of the author, but also of the public which so willingly received it.</p>


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