Stephen Copley Research Award Report:

Benjamin Robert Haydon Manuscripts at Houghton Library and Christ’s Triumphant Entry into Jerusalem at the Athenaeum of Ohio / Mount St. Mary’s Seminary

This June, thanks to a BARS Stephen Copley Research Award, I was able to visit the United States to access the collection of Houghton Library at Harvard University. My PhD thesis concerns the historical painter Benjamin Robert Haydon’s influence on the poetry and poetics of John Keats, and I devoted my time at Harvard mostly to consulting the painter’s (unpublished) materials that are specifically related to the poet’s life and writings.

Houghton Library, Harvard University (author’s photograph)

Among the rare materials that I accessed at Harvard, I was particularly pleased to be able to consult Haydon’s unpublished original draft for his Autobiography. Haydon started this draft, which he called ‘Vita’, sometime around 1815 and is assumed to have abandoned it after 1825. Resumed as late as 1839, his Autobiography was published posthumously in Tom Taylor’s Life of Benjamin Robert Haydon (1853). That is, Haydon worked on the ‘Vita’ while many of the Romantic writers were still alive. Somewhat disordered and even incomplete as it is, this voluminous manuscript (which counts more than 250 pages) not only bespeaks the vigour with which Haydon composed it, but also provides us with a version of his literary self-portrait, drawn from a perspective quite significantly different from that in the published Autobiography. Keats scholarship has previously paid very little attention to the ‘Vita’, but I believe that a close examination of this manuscript will shed new light on our understanding of the literary and artistic milieu of the Romantic period, especially in the Keats circle.

At Harvard, I was also pleased to be able to consult Haydon’s transcriptions of Keats’s letters. Most of them are addressed to Haydon himself, the rest to Keats’s brother Tom. Since all of these letters have been already published, Haydon’s transcriptions themselves are not that remarkable. Yet what makes this material singular is that Haydon ‘annotated’ some of the letters. Judging from its content, it is most plausible that Haydon sent them to Richard Monckton Milnes (later Lord Houghton) to assist him in preparing for his first biography of Keats. In fact, Milnes’s 1848 biography of the poet does seem to rely on some of Haydon’s annotations. Yet Milnes’s book does not reproduce all of Haydon’s commentary, including that on Wordsworth’s (in)famous comment on Keats’s recitation of Endymion as a ‘pretty piece of Paganism’. It now turns out that, along with the ‘Vita’, Haydon’s annotated transcriptions of Keats’s letters will indeed be indispensable for exploring their relationship in my thesis.

The Athenaeum of Ohio / Mount St. Mary’s Seminary (author’s photograph)

Leaving Boston (Harvard), my research trip in the US ended by seeing Haydon’s large painting Christ’s Triumphant Entry into Jerusalem at the Athenaeum of Ohio / Mount St. Mary’s Seminary, Cincinnati. This Catholic seminary is located a long way from the airport, and it took more than an hour by bus even from the city centre to get there. But it was a rewarding experience for me to come Cincinnati to see this painting. Visitors to this seminary can now see Haydon’s painting hung awe-inspiringly in its darksome atrium. Christ’s Entry is grand both in its scale (size) and in its conception (subject). An often vainglorious artist, Haydon modelled the face of Christ on his own, and surrounded the figure with his own contemporaries including Keats, Wordsworth, and Lamb; and the painted scene served him, virtually, as a symposium of the geniuses that gathered to commemorate his own imminent ‘entry’ into the history of English art. After all, he was then about to—but failed to—gain far-flung fame as a great historical painter. However neglected Haydon is nowadays, Christ’s Entry is still, I believe, his masterpiece. And those nearly life-sized figures in the canvas also seemed to induce me to feel as if I were a part of the picture, and to envisage further in my mind the animated scene when those luminaries—Keats, Wordsworth, Lamb, and others—enjoyed ‘the immortal dinner’ in front of this picture in late December 1817.

Benjamin Robert Haydon, Christ’s Triumphant Entry into Jerusalem (1820; photo provided by: The Athenaeum of Ohio / Mount St. Mary’s Seminary of the West in Cincinnati, Ohio U.S.A.)

I am greatly indebted to BARS for awarding me the research grant, without which this archival trip would not have been possible. And I am also very grateful to the librarians and staff at Houghton Library and the Athenaeum of Ohio / Mount St. Mary’s Seminary for their permission to allow me to take a close look at the rare materials in their collections. Thanks to all those concerned, my research trip went very well, and will undoubtedly contribute significantly to the development of my thesis.

—Hiroki Iwamoto (University of Bristol)

Find out how to apply for a BARS Stephen Copley Research Award here.

This report is by Gabriella Barnard-Edmunds (University of York). You can find out about how to apply for a BARS Copley Research Award here. 

Image via John Cairns/University of Oxford.

Thanks to the generous support of BARS and the Stephen Copley Research Award, I am freshly returned from a glorious week’s worth of rummaging through the John Johnson Collection at the Bodleian Libraries, Oxford. My PhD examines the narrative function of the horse-drawn carriage in Jane Austen’s fictions, and investigates its cultural significance in wider Georgian society. I support my literary enquiries with a few key contemporary trade sources on the design and construction of carriages, but as I’ve discovered over the course of my research, eighteenth-century coach-makers were a fiercely secretive bunch and frustratingly little archival evidence survives today. In comes the John Johnson Collection’s boxes and boxes of carriage related trade ephemera!

Print and visual depictions of private carriages, stage and mail coaches, driving disasters, stately processions and everything in between abound in libraries and archives, the carriage seems to have been a favourite target for eighteenth-century cartoonists and novelists alike to publicly lampoon. Whilst I relish the fact my doctoral work means I get to study these vibrant sources, the carriage was an incredible feat of engineering in its marriage of elegant design with technologies of motion, and to fully comprehend this I need to go back to the fundamentals. I want to get to grips with the carriage’s design and production processes and understand how these aesthetically adroit commodity objects, marketed to the polite elite, were intended to be consumed by their inventors. My intentions, therefore, for my trip to the Bodleian were to consult as many trade cards and designs as I could get my hands on. The fact that only a small portion of the holdings of carriage ephemera has been digitised made this an even more enticing prospect, and I had no idea the extent of what I was going to find.

Well, let me tell you, I was not disappointed. My favourite finds included delicate line drawings for all sorts of carriage typologies, from zippy two-wheelers like the cabriolet and curricle, to large ‘pleasure carriages’ – so-called for their use on short, leisurely trips during spring and summer – like the barouche. A common characteristic of small carriages (and many of their four-wheel cousins) was a removable or retractable hood that could be drawn back at the behest of the occupants. Until this trip, I had mostly seen trade designs for two-wheel carriages with the hood omitted, instead, they’re pictured more commonly in fashion plates, and I have always been curious as to how coach makers represented hoods in their designs. It was a really nice surprise, then, to stumble across two separate designs for a gig carriage that featured its hood on a tab that could be flipped up to reveal both aspects of the vehicle. What made these blueprints all the more special were the colourful accents in yellow and ultramarine, an unusual embellishment to what appeared to just be preliminary designs rather than promotional imagery. The collection as a whole truly shows that the artistry of the carriage wasn’t isolated to the finished article, but was inherent in the print artefacts that represented and advertised them.

All in all, my first ever visit to the Bodleian was just what I needed to give me the green light on some of the claims I have been making more tentatively in the absence of strong contemporary evidence, and I am grateful both to BARS and the staff at the Bodleian for this opportunity to expand my knowledge and strengthen my research.

– Gabriella Barnard-Edmunds

See how to apply for a Stephen Copley Research Award with BARS here.

Stephen Copley Research Award Report: John Thelwall Manuscripts at Derby Local Studies and Family History Library

by Alice Rhodes

This May, thanks to the BARS Stephen Copley Research Award, I was able to spend a week in Derby Local Studies and Family History Library. I carried out research into poet and political orator turned speech therapist, John Thelwall, and his “Derby Manuscript”. The collection, contained within three volumes of notebooks and spanning almost a thousand pages, includes poetry on subjects as diverse as Thelwall’s own career and was identified by Judith Thompson in 2004. The manuscript, begun after Thelwall’s “retirement” from political lecturing, contains not only published and unpublished poems from this period of his life, but also reworkings of earlier published work, including several poems from his 1793 “politico-sentimental journal” The Peripatetic.

Derby Local Studies and Family History Library

My PhD thesis explores speech production in British literature in the late eighteenth and early nineteenth centuries, with a particular focus on the work of Erasmus Darwin, John Thelwall and Percy Bysshe Shelley. I aim to argue that speech production becomes a focal point for these writers to explore politically and philosophically unorthodox ideas and that a specific concern with the mechanics of speech implicated their writing in politically-loaded contemporary debates about materialism, and developing conceptions of disciplinarity. The material held in Derby has been invaluable in helping me to track how Thelwall’s ideas, particularly those on materialist philosophy, continued to develop across his career(s). Excitingly, all of the amendments and crossings out that Thelwall made to his poetry have remained legible, revealing the extent of his ambivalences and anxieties about his political, philosophical, and professional allegiances, as he struggles, in places, to find the right words to express these increasingly fraught subjects. The manuscript also contains several poems which have been annotated with elocutionary markings to aid recitation and poetry on the subject of oratory and elocution, both of which have provided me with a deeper understanding of Thelwall’s elocutionary theory.

During my research trip I also had the opportunity to visit the Library of Birmingham’s Wolfson Centre for Archival Research, which houses letters written by Thelwall and correspondence between Erasmus Darwin and James Watt. Included in these collections was an 1801 letter from Thelwall to Joseph Strutt, written at the very beginning of what he describes as his “metamorphose” from republican radical to teacher of elocution, which sheds light onto what Thelwall himself saw as the continuities and discontinuities between his political and elocutionary projects.

River Derwent, Derby

I’d like to thank BARS again for this brilliant opportunity to carry out research which will form an important strand of my thesis. I’d also like to thank the staff at the Wolfson Centre for Archival Research and at Derby Local Studies Library for all their help and for allowing me access to Thelwall’s original manuscripts.

– Alice Rhodes (University of York)

For more information on how to apply for a BARS Stephen Copley Research Award, visit the BARS website.

Stephen Copley Research Report by Katie Snow

House of Lords Library: The Gillray Collection

This May, I visited the Parliamentary Archives in Westminster, London. Thanks to the generous support of BARS, I was able to undertake some key research for my PhD thesis, which explores representations of the breast in eighteenth-century visual satire. As a massive satirical print enthusiast, I’ve had my eye on the House of Lords Gillray collection for a while. Bequeathed to the library in 1899, this beautiful compilation of caricatures belonged to Sir William Augustus Fraser (1826-1898). Excitingly, some of the prints within the eleven volumes do not appear in the British Museum’s catalogue of prints and drawings – the go-to source for scholars of visual satire. The House of Lords Gillray collection is precious, and I’m grateful to the library for granting me access.

The intention of my PhD project is to progress understanding of the way in which ideological narratives of femininity, and especially motherhood, were (and still are), forged around the breast. Previous scholarship has overlooked the significance of the breast within visual satire, and my research seeks to rectify that. As expected, a lot of the prints within the eleven volumes feature bared breasts, and I collected numerous new sources. Viewing the satires in person also allowed me to notice previously missed details within familiar digitised prints. For example, a mother with an infant to her breast appears in the top left hand corner of Gillray’s famed Shakespeare Sacrificed;-or-The Offering to Avarice(1789) – an important feature that’s passed me by until now.

James Gillray, Shakespeare Sacrificed; – or – The Offering to Avarice, published by Hannah Humphrey, 1789

Detail of Shakespeare Sacrificed 

The image depicts a woman seated upon a cloud, cradling an infant. Her right breast is exposed, and the baby grasps her left nipple as she glances down. Two other figures huddle close, and the baby either urinates or passes wind into the disgusted face of the figure in blue. Every detail included in a satirical prints is significant, and I’m looking forward to digging deeper into the social, political and cultural inferences behind this representation.

Fraser was a meticulous collector, and his (huge and very heavy) volumes are almost perfectly preserved. Pasted upon blue paper with gold gilding, the prints are vivid in colour. The hobbyist habits of Fraser are interesting; he arranged his prints chronologically, inserted markers to indicate the prints that he was unable to secure, and most often devoted a double page to each print, presumably to prevent the colours rubbing off on each other. There are also occasions where Fraser has pasted in a black and white copy of a print and later added its colour equivalent, as below. This implies a preference for coloured satires, and/or for the latest version/all versions of a single print.

James Gillray, National Discourse. Published by Hannah Humphrey, 1780.

One of the highlights of the visit was the stunning print below. The Installation Supper (1788) unfolded like a concertina and stretched across the room, eliciting low whistles of appreciation from fellow reading room comrades. Depicting a dinner party given by the Knights of Bath on the 19 May 1788, The Installation-Suppercaricatures key social and political players including the Prince of Wales, Edmund Burke, and Maria Fitzherbert.^[1]

James Gillray, The Installation-Supper, as given at the Pantheon, by the Knights of the Bath on the 26th of May, 1788. Published by S. W. Fores, 1788

Detail from print. The British Museum, BM Satires 7330.

Additionally, I was able to spend some of my time in London at the British Library. Here, I found sources for an upcoming chapter about the breast and discourses of social corruption, damage and disorder.

I would like to extend my gratitude to BARS for the generous Stephen Copley bursary, which supported an inspiring and productive visit to London. Further thanks are owed to the archival staff at the Parliamentary archives and the House of Lords librarians, who were most helpful, knowledgeable and kind.

[1] Further details of the guests within the print can be found in Mary Dorothy George’s description of the piece for the British Museum Catalogue. Mary Dorothy George, ‘Catalogue of Political and Personal Satires in the British Museum’, VI, 1938.

With thanks to Eleanor Bryan for this report. Want to apply for an award? Information can be found here.

The Stephen Copley Research Award allowed me to spend four days in London attending a conference and conducting archival research at the British Library. The Open Graves Open Minds (OGOM) conference was held at Keats House in Hampstead and was entitled ‘“Some Curious Disquiet”: Polidori, the Byronic vampire, and its Progeny’. The event was prompted by the bicentenary of The Vampyre and featured papers on topics ranging from contemporary adaptations to the vampire’s folkloric and Byronic roots.

My PhD thesis concerns dramatic adaptations of Gothic novels, namely Mary Shelley’s Frankenstein(1818) and Bram Stoker’s Dracula(1897): two iconic texts which are frequently paired together in adaptations. The repeated coupling of two narratives with such vastly disparate publication dates is intriguing, as the texts deal with very different cultural contexts and social concerns. My thesis attributes this in part to Lord Byron’s ghost story competition at the Villa Diodati in 1816, the ‘year without a summer’, from which both Frankenstein’s monster and the first literary vampire originate. Attending the OGOM Polidori conference allowed me to learn more about the literary history of the vampire pre-Dracula, while simultaneously updating myself on emerging scholarship within this area. The event itself was holistic in its approach and covered a wide range of themes which will serve to inform my future readings of vampiric texts and, subsequently, the next chapter of my thesis. Particular highlights included Sir Christopher Frayling’s keynote, Marcus Sedgwick’s discussion of the links between vampirism and tuberculosis, and a paper on the stage effects used in vampiric drama by Ivan Phillips.

Image via OGOM

The latter half of my trip was spent in the British Library reading rooms, in which I passed the first day reading Bram Stoker’s manuscript for Dracula: Or, The Un-dead – a 47-scene-long dramatic reading that was performed prior to the publication of Draculain order to secure dramatic copyright. This script consists of a mixture of Stoker’s own handwritten notes interspersed with cut and pasted extracts of the publisher’s proof copy. Having the opportunity to read this document not only gave me a fascinating insight into late-Victorian theatre, but also allowed me to explore how Stoker originally envisaged his eponymous Count for the stage.

I used my second day to examine early nineteenth-century playbills of dramatic adaptations of Frankenstein and The Vampyre. I was particularly interested in specific actors’ portrayals, as some individuals represented both monsters. This trend is seen in cinematic adaptations, with actors such as Bela Lugosi, Lon Chaney Jr., and later Christopher Lee playing both Frankenstein’s monster and Count Dracula throughout their careers, but is yet to be identified in early dramatizations. I had established that nineteenth-century adaptations had featured the same actor playing both monsters. However, through my scrutiny of early playbills, I have been able to determine that the two roles were not only played by the same actor, but also, for a short period of time, played by the same actor at the same time on alternate days of the week. This piece of information will serve to reinforce my application of theatrical theory to the two texts, and further establish links between Frankenstein’s monster and the vampire.

I’m extremely grateful to BARS for this award. Without their assistance, my visit – which has proved invaluable to the progression of my thesis – would not have been possible. I would also like to thank the OGOM team for organising such a fantastic conference, and the Reference Desk team at the British Library (especially John) for all of their helpful suggestions on how to use the library’s resources to their full potential.

– Eleanor Bryan (University of Lincoln)

Read more about the latest OGOM conference via their Twitter feed, here. 

Head over to the Centre for Eighteenth Century Studies blog (University of York) to read Harrie Neal’s report on her BARS-funded trip to Chawton House Library in Hampshire.

Details of how to apply for one of these awards can be found on the BARS website here.

Lauren Christie (University of Dundee) has completed the following report on her time in Manchester this summer carrying out research on the Gothic and attending the Gothic festival and the International Gothic Association’s (IGA) biennial conference.

Research report: Gothic literature, children’s literature and the Gothic Manchester Festival/the IGA conference

The very nature and beauty of eighteenth-century Gothic is its fluidity. Originating with Horace Walpole’s The Castle of Otranto (1764) many established Gothic tropes are still present in aspects of contemporary culture: for example, fashion, architecture, and literature. We are witnessing new developments that reflect different audiences, such as Gothic gaming and post-apocalyptic fiction. Gothic remains such a prominent fibre of the twenty-first century through its inherent ability to adapt and modify for new generations. Due to the diverse scope and nature of my research (ranging from children’s to Gothic and horror literature) there are so many texts that are vital for me, from the eighteenth century to the present day. The Stephen Copley Research Award from BARS enabled me to visit the library and special collections archive at Manchester Metropolitan University in order to examine specialised texts spanning this vast time period. I combined this research trip with an offer to present at the International Gothic Association’s biennial conference. The organising committee for the IGA arranged additional events through the ‘Gothic Manchester Festival: Gothic Hybridities’ series. Exploring the hybridity of the genre from its origins to the present led me to consider and observe the popularity and diverse nature of this topic.

With assistance from Dr Xavier Aldana Reyes (Senior Lecturer) and Rachel Fell (subject librarian for English at MMU), I gained access to MMU’s departmental collection that exclusively focuses on Romantic and Gothic literary criticism of the twentieth- and twenty-first centuries. Prominent texts included: Coats, McGillis and Jackson’s The Gothic in Children’s Literature: Haunting the Borders (2008), Crawford’s The Twilight of the Gothic? Vampire Fiction and the Rise of the Paranormal Romance (2014), Tropp’s Images of Fear: How Horror Stories Helped Shape Modern Culture (1990) and Townshend’s Terror and Wonder: The Gothic Imagination (2014). I also encountered contemporary children’s literary criticism such as: Lenz’s Alternative Worlds in Fantasy Fiction (2001), Lewis’s Reading Contemporary Picturebooks (2001) and Coats’s Looking Glasses and Neverlands: Lacan, Desire, and Subjectivity in Children’s Literature (2004).

MMU houses a unique archival collection of children’s literature. This dates back to 1764, and consists of children’s annuals, fiction, picturebooks and pop-up books, to name but a few examples. Immersed in this collection, I came across an extraordinary Gothic children’s pop-up book entitled Thomson and Hartas’s Ghoul School (2001), and a bibliotherapeutic picturebook for young children: Michael Rosen’s Sad Book (2004). I also looked at several children’s Gothic texts that promote imagination such as Thompson’s How to Live Forever (1995) and Turner’s The Tree Witches (1983). There were also Gothic transitional books for education such as Waddell and Wright’s Little Dracula Goes to School (1987). One particular text that I found incredibly dark and poignant was a contemporary one: Neil Gaiman’s The Wolves in the Walls (2003). This novel emphasises the power of the imagination and questions the figure of the monster (and whether we mean wolves or humans).

Alongside my research, I was honoured to be able to attend the Manchester Gothic Festival and present at the IGA conference. This year saw the society’s biggest ever conference, hosting over 300 experts from all over the world. I attended several vibrant panels such as: Gothic Houses and Gothic selves, Gothic Monsters in children’s and Young Adult (YA) fiction, Gothic Fairy Tales, Outsiders in YA Gothic, Haunted Scotland, and Reading the Gothic in Popular Children’s Fiction. I also attended wider festival events, including Scoring Fear: An Evening of Classical Music and Gothic Horror Film Scores (BBC Philharmonic and BBC Radio 3), and a reception at the Manchester Art Gallery. In addition, the IGA Postgraduate community had organised a round table event on Gothic-studies careers in academia. This was incredibly supportive as we were able to seek advice from several experts in the field.

I would like to take this opportunity to thank the British Association for Romantic Studies for awarding me the Stephen Copley Research Award, without which this trip would not have been possible. I would also like to thank Dr Xavier Aldana Reyes and Rachel Fell for their help in organising my individual research trip to the library and archives, Dr Linnie Blake and the staff at the Manchester Centre for Gothic Studies, and the IGA organising committee for creating such a diverse and exciting conference and festival. The combination of all of the above events during my week in Manchester has helped further my research, thereby developing ideas for my thesis and publications.

Hannah Moss (PhD Candidate, University of Sheffield) reports on her research at Chawton House Library. Her trip was funded by a BARS Stephen Copley Research Award.

Stephen Copley Research Report: Hannah Moss

Chawton House in Hampshire hardly needs an introduction as it is so frequently spoken of with such great fondness by everyone who has been lucky enough to spend some time working in the Library Reading Room. Just a few minutes’ walk down the leafy lane from the cottage where Jane Austen lived and worked between 1809-17 stands the ‘Great House’ inherited by her brother Edward after being adopted by the Knight family. Chawton House Library now makes an idyllic and inspiring setting for a collection of early women’s writing, and thanks to a Stephen Copley Award, I have been able to spend a productive week conducting research towards my thesis here.

My PhD thesis seeks to reappraise the representation of female artists in women’s writing of the period 1760-1820. With a wide-ranging artistic education considered a prerequisite for being accepted as an accomplished female, novels of the period tend to be populated by women who are adept at everything from painting portraits to playing the pianoforte. However, the ideal of the accomplished female can complicate the value of artistic attainment by eliding the aesthetic appeal of the artist with that of her art. When the arts are cultivated for show – primarily as a means of attracting male attention – the appearance of producing art becomes more important than what is actually produced. My aim is to look beyond the allure of accomplishment to explore how the arts can provide an avenue for independent self-expression whilst functioning within accepted boundaries of behaviour.

Chawton House Library

I began my week at Chawton House Library extending my research into what art forms are encouraged as a mark of virtue by looking into the conduct advice written for women. The collection held at Chawton House Library includes numerous conduct manuals, from Hannah Woolley’s compendious Gentlewoman’s Companion (1673), through to an ‘improved edition’ of Mrs Hemans’ Young Woman’s Companion (1840). Whilst some works, including Mrs Hemans’ Young Woman’s Companion, provide practical advice on perspective, shading, and the dangers of putting your paint brush in your mouth (‘King’s yellow’ is basically arsenic coloured with sulphur), other texts are more concerned with which arts constitute the proper use of a young lady’s time. There is distinct anxiety around spending too much time cultivating the arts and neglecting family or household duties, and Hannah Woolley warns that the hours of recreation should be kept in moderation. However, she does recommend painting, or limning, as a suitable pastime, noting: ‘Limning is an excellent qualification for a Gentlewoman to exercise and please her fancy therein’. Woolley then goes on to acknowledge that ‘There are many foreign Ladies that are excellent Artists herein; neither are there wanting Examples enough in his Majesty’s three Kingdoms of such Gentlewomen whose indefatigable industry in this laudable and ingenious Art may run parallel with such as make it their profession’.[1] So much has been written about the supposed lack of female artistic talent and the limitations imposed upon women artists in terms of training – therefore this quotation is significant as it recognises the skill possessed by women artists at home and abroad. However, one point to note is her use of the word ‘gentlewomen’. Status is of importance when it comes to what skills women are taught, and this message is reinforced in the novels and short tales delineating virtue and vice that I consulted whilst visiting the library.

In the novel The Reward of Virtue; or, the History of Miss Polly Graham (1769), Bounty Hall is a utopian vision of female education promoted by female philanthropy akin to that presented by Sarah Scott in Millenium Hall (1762). The ‘second rank education’ is designed for those in the middling rank with ‘no prospect of considerable fortunes’. Therefore, the focus is on teaching useful rather than ornamental accomplishments: ‘Even drawing was not taught, except where so extraordinary a genius appeared as might give room to believe it might prove a useful and profitable art’.[2] ‘The Story of Melinda’ in the didactic collection The Portrait of Life (1770) promotes a similar message, warning of the dangers of educating a woman beyond her station in life. Melinda’s accomplishments make the heroine a desirable companion for her rich friends even if she lacks their wealth, but she neglects her own family and is subsequently left with no money to her name. Her so-called friends then describe millinery as the only option she has left to support herself.

The second thread to the research I conducted whilst at Chawton House Library related to the British reception of Germaine de Staël’s Corinne, or Italy (1807). The talent of de Staël’s famed improvisatrice is stifled by English manners, but in Italy her genius is celebrated. Published just two years later, The Corinna of England, and a Heroine in the Shade: a Modern Romance (1809) constitutes one of the earliest responses to de Staël’s novel and provides valuable insight into how it was received. Attributed to E.M. Foster, this parody presents its artist heroine as no more than a deluded imitator of de Staël’s woman of genius.

Clarissa Moreton is the orphaned daughter of a wealthy industrialist, whose independent fortune and equally independent manners attract a circle of sycophantic musicians and artists to her salon. Refusing to be bound by convention, Clarissa’s unorthodox conduct risks the safety and reputation of her innocent young cousin, Mary Cuthbert. Upon reading de Staël’s work, Clarissa identifies with Corinne to the extent that she calls herself Corinna and decides to go out and address the people of Coventry in the manner of Corinne at the Capitol. There is bathos in the shift from Rome to a provincial English town, and rather than being heralded as a great speaker, Clarissa unwittingly incites a riot. Clarissa’s singularity does not mark her out as a woman of genius. In fact, her talents as a musician, poet and public speaker are decidedly lacking in comparison with de Staël’s heroine.

Foster does not present a model for the female artist to thrive in England. Display is presented as particularly unfeminine, leading the exemplary Clara Davenport to hide her talent. Even though she was ‘always engaged in some piece of useful or entertaining work of invention or fancy’ she ‘carefully concealed that she had pursuits of a higher nature from the eye of common enquiry, lest she should be thought to have strayed from the path prescribed to her sex’.[3] The challenge to female modesty posed by the display of talent will definitely be an idea that I will consider further as I continue to research the influence of de Staël’s Corinne on the representation of female artists in Romantic-era novels.

Hannah at Chawton

I would like to thank BARS for the generous bursary which enabled me to undertake research which is invaluable to the progress of my PhD. The staff at Chawton House are so helpful and supportive, and I would highly recommend a research visit here to anyone with an interest in early women’s writing. The Library Reading Room is a quiet haven where you have the time, space and materials at your disposal to make research breakthroughs, and I have left feeling inspired to push on with my project and pursue the various leads that I have identified.

[1] Hannah Woolley, Gentlewoman’s Companion, or, a Guide to the Female Sex, (London: A. Maxwell for Dorman Newman, 1673), p. 84.

[2] Anon, The Reward of Virtue; or, the History of Miss Polly Graham, (London: J. Roson and William Cooke, 1769), p.209-11.

[3] [E.M. Foster], The Corinna of England, and a Heroine in the Shade: a Modern Romance, (London: B.Crosby, 1809), p. 15.

Unearthing Robert Mudie in the National Library of Scotland and Dundee University Archives

by Eva-Charlotta Mebius

My research trip to Edinburgh and Dundee, generously funded by a BARS Stephen Copley Research Award, was truly a wonderful experience. My thesis, which explores the apocalyptic imagination in literature and art in the long nineteenth century, and literary and artistic networks in London, has led me to the work of several lesser-known writers. One such writer is the prolific and self-taught reformer, historian, novelist, poet, journalist, editor and naturalist Robert Mudie (1780-1842). Born in 1780 in Forfarshire, Scotland, he moved to London at the beginning of the 1820s to continue his career as a writer and journalist.[1] Thus, the goal of this research trip was to gather more information on Robert Mudie’s life and career before he arrived in London.

Robert Mudie was a copious writer, and it has been reported that his oeuvre amounted to over 90 volumes, although it should also be noted that he was no stranger to self-plagiarizing. Tracking down his writings has proved very tricky indeed, especially as he often published his work anonymously.  For example, he used at least one pseudonym, the wonderfully Smolett-esque name of Laurence Langshank.

One new addition to the list, however, thanks to this research trip, was Mudie’s short history of Dundee, Dundee Delineated (1822). It takes its place alongside his other monumental volumes, such as The Modern Athens (1824) on Edinburgh, and his truly extraordinary achievement in the four large volumes on London, Babylon the Great (1825) and A Second Judgement of Babylon the Great (1828), that appeared in several editions throughout the 1820s and 1830s. My forthcoming article in The Dickensian on Charles Dickens and Robert Mudie explores the significance of Robert Mudie’s writing on London, and its potential connection to the Dickensian London of Oliver Twist (1837-39).

My visit to Dundee was very important for my research on the elusive and extraordinary life of Robert Mudie, as well as the works themselves. It was especially exciting to visit the city that informed and inspired much of his early work as a reformer, poet, novelist, and journalist. Mudie spent almost a decade in the city, where he worked as a schoolmaster for many years at Dundee Academy. Moreover, it was in Dundee that his writing career truly began – his poem ‘The Maid of Griban’ was published in 1810 – and it was also here that he wrote his first and only satirical novel Glenfergus (1820), about the Bonclair family and the town of Glenfergus, which at the time was mistaken by some to have been written by Sir Walter Scott. Mudie’s characters were even said by one reviewer in The Scotsman to be in competition with Scott’s creations, and I would argue that the novel, along with much of Mudie’s writing, is still well worth reading.

Due to Mudie’s radical reformist politics and attacks on fellow members of the Town Council, who he accused of corruption in the Dundee Advertiser (edited by R. S. Rintoul, founder of The Spectator), a move to London proved necessary shortly after the publication of his novel. He arrived in London around 1821 where he, like Dickens, began working for the Morning Chronicle. Yet he did return to Scotland on occasion. For example, he was asked to report on George IV’s visit to Edinburgh, published as A Historical Account of His Majesty’s Visit to Scotland (1822).

Another exciting find made in the Dundee University Archives was the first portrait that I had ever seen of this prolific and gifted, but oddly elusive, writer. I have since learned that it is probably based on a famous satirical print ‘The Executive’ (1821), by the Dundee portraitist Henry Harwood (1803-1868), in which Mudie appears.

Fig. 1 The Executive, engraving after a painting by Henry Harwood, 1821 (Photo Credit: University of Dundee Fine Art Collections). Robert Mudie can be seen wearing a light-coloured top hat in the middle, sixth from left.

Furthermore, in the National Library of Scotland I was finally able to have a look at such gems as Mudie’s early work in his two unsuccessful journals The Independent (1816) and The Caledonian (1821), both of which started in Dundee. I also examined his later book The Complete Governess (1824), on the reform of the education of women, which reveals his strikingly progressive views on education in general, and the education of girls in particular.

During my trip, I was able to conduct some research on other obscure writers that are part of the literary networks that I explore in my thesis. I had the opportunity to peruse some letters written to, and by, the now mostly forgotten editor, writer of Hyper-Miltonic epopeia, distinguished theatre critic, and chastised dramatist John Abraham Heraud (1799-1887). Heraud was another prolific writer, but his two most famous poems were the hyper-Miltonic epics The Descent into Hell (1830), and the antediluvian The Judgement of the Flood (1834). Seemingly, he was one of the more colourful figures in the literary world of London, and by all accounts Heraud had an interesting social circle that included prominent figures such as Thomas Carlyle, Douglas Jerrold, Ralph Waldo Emerson, and Charles Dickens. He was also a devout disciple of Samuel Taylor Coleridge, he was mentored by Robert Southey, and he corresponded with William Wordsworth.[2]

Thus, I am happy to report that alongside my planned research on Mudie’s early writing, this trip was full of unexpected discoveries. I would also like to take the opportunity to thank the staff of the National Library of Scotland, and the Dundee University Archives. They were all so kind, helpful, welcoming, and I cannot wait to return for more research on ‘Mudieism’ and other matters in the future. Finally, thank you again to BARS for making this research trip possible.

[1] There is some confusion as to what year Mudie was born. Most publications, such as the ODNB, use 1777. However, as I found out on this research trip, in The Mudies of Angus (1959) the authors argue that this is unlikely since he was not baptised until 1780. Arguably, more research is needed on the life of Mudie.

[2] For the curious, I highly recommend his daughter’s, the celebrated actress Edith Heraud, Memoirs of John A. Heraud (1898).