Authors – Page 4 – Number One London

Dickens: Bicentenary of his birth

Charles Dickens (1812-1870), painted by Daniel Maclise (1806-1870)

Victoria here, reporting on my latest encounters with a favorite author of mine, Charles Dickens. My local PBS station is rerunning the presentation of Oliver Twist and Great Expectations they first showed last winter. I hope you have a chance to see them too.

Oliver Twist, played by William Miller

The PBS website, here, has lots of details about the BBC-Masterpiece production of Oliver Twist, including a synopsis, cast information and a Dickens timeline.

You can buy this DVD, as well as many other classics here.

I have to admit I remember the story from several of the dozens of films and television series rather than from the book, which I probably read in high school. There have been many stage versions as well, including the very popular London production of Oliver, the Musical in 1960.

The musical also ran on Broadway for a long time, and has been successfully revived in Britain and the U.S. several times. The film version won the Academy Award for Best Picture in 1969.

I think the reason for the enduring popularity of the story is mainly attributable to the wonderful characters, the innocent young Oliver, the unforgettable Fagin, Artful Dodger, Nancy, and Bill Sikes — and the family that ultimately rescues Oliver and brings a happy ending. As in all of Dickens, the details of the London scene are unmatched.

Personally, I prefer Oliver Twist to Great Expectations, probably because Miss Havisham meets such a tragic ending in the latter. But nevertheless I will watch it. Again and again. Like Oliver Twist’s, Pip’s story has been filmed many times, from silent movies to current miniseries, and has been adapted for stage as well.

One of the book groups I participate in is reading A Tale of Two Cities, another Dickens novel that has been often adapted. “It was the best of times; it was the worst of times” has to be one of the most famous opening lines in English literature.

A Tale of Two Cities, published 1859

And to top off my Year of Dickens, I am reading Claire Tomalin’s biography Charles Dickens, published in 2011. Like her previous biographies of Jane Austen, Samuel Pepys and others, this account is eminently readable. She deals with complex personalities in a realistic and engaging way.

I hope you are having your own Dickens Year in 2012…if not, you still have time!

Shakespeare's Sisters: Women Writers 1500-1700

At the Folger Shakespeare Library in Washington, D. C., I recently visited a fascinating exhibition entitled Shakespeare’s Sisters: Voice of English and European Women Writers, 1500-1700. The exhibition website is here.

The exhibition began with a famous passage from Virginia Woolf’s 1929 volume A Room of One’s Own: “(W)hat would have happened had Shakespeare had a wonderfully gifted sister, called Judith, let us say…it needs little skill in psychology to be sure that a highly gifted girl who had tried to use her gift for poetry would have been so thwarted and hindered…that she must have lost her health and sanity.”

In Woolf’s day, little was known about women who might have written — and even published — in Shakespeare’s day. But recent scholarship has brought to light a number of such writers and some of their work is shown in this exhibition.

Georgette de Montenay, Emblemes ou devises Chrestiennes, 1619

Folger Shakespeare Library Collection

Obviously, due to the age and fragility of the books shown, photographs of them were not allowed, and due to the low light level, my photographs of the text panels are sometimes rather dim. Sorry about that, but I thought you’d rather see them as is than not. Refer to the website for the texts.

The exhibition is divided into several sections covering such subjects as Religious Writing, Love and Romance, and Families and Salons. Below, a panel celebrating poetry. In the center is Veronica Franco (1546-1591), a Venetian poet and courtesan.

The portrait of Franco is said to be by Tintoretto. A biography, The Honest Courtesan, by Margaret F. Rosenthal, was the basis of a film about Franco’s life.

The film, titled in the U.S. Dangerous Beauty (1998) starred Catherine McCormick as Franco, Jacqueline Bisset and Rufus Sewell. I cannot vouch for the accuracy of the film’s story, but it does emphasize Franco’s writing talents as well as giving sumptuous views of 16th century Venice and its inhabitants.

To my knowledge, no one has filmed a life of Lady Anne Clifford, but her life would be good material for a creative screen writer and director.

A reproduction of a triptych (attributed to Jan van Belcamp) showing Lady Anne Clifford on either side; in the center panel is Margaret Russell, Countess of Cumberland, and George Clifford, 3rd Earl of Cumberland, with their two sons, is on display.

Here is a closer view of Lady Anne Clifford at age sixteen.

Lady Anne Clifford was raised in the Court of Elizabeth I; she married the Earl of Dorset and later of Pembroke. Not only is she well known for her letters and diaries, she was also a dedicated patron of the arts and literature. She fought for her legal rights to the family estates for almost forty years before she gained success. She was truly a Renaissance woman. Below, Lady Anne at age 56.

Vita Sackville-West (1892-1962) wrote about Lady Anne in her study of her family and its great estate, Knole and the Sackvilles, published in 1922, and in introducing her works.

Vita Sackville-West

Sackville-West, close friend and colleague of Virginia Woolf, also wrote a biography of another of the exhibition’s subjects, Aphra Behn (1640-1689). Best known as a playwright, Behn also wrote novels and poetry. Her plays were very popular in the Restoration era theatre in England.

Aphra Behn by Mary Beale

Gravestone of Aphra Behn, in the Cloister of Westminster Abbey, London

The inscription: Here lies a Proof that Wit can never be

Defense enough against Mortality

I recommend spending time on the exhibition’s website, Shakespeare’s Sisters, for many further insights into this fascinating topic: Voices of English and European Women Writers, 1500-1700.

Below, the Folger Shop.

I would be remiss if I did not give the website of the Folger Shop which has wonderful books, catalogues, cards, and assorted items relating to the Woman Writers exhibition as well as to Shakespeare and his era. I highly recommend a visit to the Folger when you come to Washington, D.C. And what’s more: admission is free!

The Folger Shakespeare Library

Near the U.S. Capitol and the Library of Congress in Washington, D.C., stands the Folger Library, repository of 82 Shakespeare First Folios — the largest collection in the world by far of these precious volumes.

The Folger Library, 201 Capitol St. SE, was the gift to the United States of Henry Clay Folger (1857-1930) and his wife, Emily Jordan Folger (1858-1936). Mr. Folger and his wife were lifelong lovers of Shakespeare and collectors of his works, including First Folios, Quartos, artwork, mementos of performances, and additional material related to the Elizabethan Era and the theatre.

They planned the library as a repository of their collections and as a permanent institution in the U.S. for the scholarly study of Shakespeare and his era and the continuing appreciation of reading and performing his works. Built at a cost of $2 million, the library opened in 1932 with an original endowment of $10 million. The Folger is administered by the Trustees of Amherst College in Massachusetts, alma mater of H. C. Folger.

On the day I visited in March, students were performing snippets of the Bard’s plays and having a hilarious time doing so, under the direction of a professional actress in Elizabethan costume, and before an audience of fellow students, parents and teachers.

Below, a view of the Folger’s theatre, without the gleeful group, but showing all its timbered glory. The theatre is also used for fully staged productions, literary and theatrical awards ceremonies, performances of the Folger Consort, and other activities.

Folger Shakespeare Library, Elizabethan Theatre

The Folger presents many special exhibitions. The one I visited, Shakespeare’s Sisters, was enlightening. I will blog about it soon.

Central to the Folger’s mission is scholarship. Imagine how privileged one would be to receive a reader’s card and be able to conduct research here in the Reading Room. When I visited, we were allowed only a peek at the premises, which are reserved for serious studies. At the end of the room is the immense window depicting the Seven Ages of Man (from As You Like It).

The window, designed especially for the Folger, was executed by the Philadelphia stained glass studio of Nicola D’Ascenzo (1871-1954) in 1932.

Emily Jordan Folger by Frank O. Salisbury, 1927

Henry Clay Folger, by Frank O. Salisbury, 1927

On the exterior of the building, scenes from Shakespeare’s favorite plays are captured in white marble bas relief sculptures. Above, a Midsummer Night’s Dream. Below, Richard III.

Though the Folger’s mission focuses on a writer from hundreds of yeara go and his world, the library’s resources and techniques are decidedly up-to-date. Their website (here) is excellent, worth hours of browsing. Many parts of the collection are available digitally, as described here. Hamnet is their free on-line catalogue. The Folger has blogs, facebook pages, and can be found on itunes, youtube and twitter, among other sites. The Conservation Lab is in the forefront of preserving fragile and delicate materials.

First Folio, Folger Shakespeare Library

In 2011, the Folger sponsored an exhibition “Fame, Fortune, and Theft: The Shakespeare First Folio,” which told many stories of the creation, acquisition, sales and losses of these precious documents. Since the Folger has the world’s largest collection of First Folios (82 at present), it was the perfect venue to explore the topic. First Folios, in case you have forgotten your college Shakespeare facts, are editions of the Bard’s plays published in 1623, which contained many plays never before published. In the world today, just over 230 First Folios are known to exist.

One of many representations of Shakespeare at the Folger

The Founder’s Room

Portrait of Elizabeth I, the “Sieve” portrait

by George Gower, 1579

in the Folger Collection

The above costume replicating the Elizabethan gown in the portrait was worn by actress Michael Learned in the 2003 Folger Theatre production of Elizabeth the Queen by Maxwell Adnerson (1888-1959). Ms. Learned required the assistance of a dresser to put on the costume which weighed more than twenty pounds.

Washington’s warm March weather favored growth in the library’s Elizabethan Garden

Watch for our report on Shakespeare’s Sisters:

Voices of English and European Women Writers,

1500-1700, on display at the Folger Shakespeare Library to May 20, 2012

More Reminiscences of Captain Gronow

To say that Captain Gronow is not politically correct by today’s standards would be an understatement indeed. However, his comments no doubt reflect the prevailing view of his readers, however offensive we find his prejudices today.

Here are Gronow’s observations on author Matthew Lewis (1775-1818), known as Monk after the name of his renowned Gothick novel.

Matthew “Monk” Lewis by Pickersgill, 1809

“MONK” LEWIS

One of the most agreeable men of the day was “Monk” Lewis. As the author of the Monk and the Tales of Wonder, he not only found his way into the best circles, but had gained a high reputation in the literary world. His poetic talent was undoubted, and he was intimately connected with Walter Scott in his ballad researches. His Alonzo the Brave and the Fair Imogene was recited at the theatres, and wherever he went he found a welcome reception. His West Indian fortune and connections, and his seat in Parliament, gave him access to all the aristocratic circles; from which, however, he was banished upon the appearance of the fourth and last dialogue of the Pursuits of Literature. Had a thunderbolt fallen upon him, he could not have been more astonished than he was by the onslaught of Mr. Matthias, which led to his ostracism from fashionable society.

It is not for me to appreciate the value of this satirical poem, which created such an extraordinary sensation, not only in the fashionable, but in the political world; I, however, remember that whilst at Canning’s, at the Bishop of London’s, and at Gifford’s, it was pronounced the most classical and spirited production that had ever issued from the press, it was held up at Lord Holland’s, at the Marquis of Lansdowne’s, and at Brookes’s, as one of the most spiteful and ill-natured satires that had ever disgraced the literary world; and one which no talent or classic lore could ever redeem. Certain it is, that Matthias fell foul of poor “Monk” Lewis for his romance: obscenity and blasphemy were the charges laid at his door; he was acknowledged to be a man of genius and fancy, but this added only to his crime, to which was superadded that of being a very young man. The charges brought against him cooled his friends and heated his enemies; the young ladies were forbidden to speak to him, matrons even feared him, and from being one of the idols of the world, he became one of the objects of its disdain. Even his father was led to believe that his son had abandoned the paths of virtue, and was on the high road to ruin.

“Monk” Lewis, unable to stand against the outcry thus raised against him, determined to try the effects of absence, and took his departure for the island in which his property was; but unfortunately for those who dissented from the ferocious judgment that was passed upon him, and for those who had discrimination enough to know that after all there was nothing very objectionable in his romance, and felt assured that posterity would do him justice, this amiable and kind-hearted man died on his passage out; leaving a blank in one variety of literature which has never been filled up.

The denunciation was not followed by any other severe criticism; but editors have, in compliance with the insinuations of Matthias, omitted the passages which he pointed out as objectionable, so that the original text is seldom met with.

“Monk” Lewis had a black servant, affectionately attached to his master; but so ridiculously did this servant repeat his master’s expressions, that he became the laughing-stock of all his master’s friends: Brummell used often to raise a hearty laugh at Carlton House by repeating witticisms which he pretended to have heard from Lewis’s servant. Some of these were very stale; yet they were considered so good as to be repeated at the clubs, greatly adding to the reputation of the Beau as a teller of good things. “On one occasion,” said Brummell, “I called to inquire after a young lady who had sprained her ancle; Lewis, on being asked how she was, had said in the black’s presence, ‘The doctor has seen her, put her legs straight, and the poor chicken is doing well.’ The servant, therefore, told me, with a mysterious and knowing look, ‘Oh, sir, the doctor has been here; she has laid eggs, and she and the chickens are doing well.'”

Such extravagances in those days were received as the essence of wit, and to such stories did the public give a willing ear, repeating them with unwearying zest. Even Sheridan’s wit partook of this character, making him the delight of the Prince, who ruled over the fashionable world, and whose approbation was sufficient to give currency to anything, however ludicrous and absurd.

Byron's Birthday, January 22, 1788

Byron by Richard Westall

To celebrate the birthday of George Gordon, Lord Byron, the renowned poet, we present an account of him by Captain Gronow, from his Reminiscences, published in 1862, written long after the events he describes. Rees Howell Gronow (1794-1865) was a captain in the Welsh Grenadier Guards.

From Gronow’s Reminiscences:

I knew very little of Lord Byron personally, but lived much with two of his intimate friends, Scrope Davis and Wedderburn Webster; from whom I frequently heard many anecdotes of him. I regret that I remember so few; and wish that I had written down those told me by poor Scrope Davis, one of the most agreeable men I ever met.

When Byron was at Cambridge, he was introduced to Scrope Davis by their mutual friend, Matthews, who was afterwards drowned in the river Cam. After Matthews’s death, Davis became Byron’s particular friend, and was admitted to his rooms at all hours. Upon one occasion he found the poet in bed with his hair en papillote, upon which Scrope cried, “Ha, ha! Byron, I have at last caught you acting the part of the Sleeping Beauty.”

Byron by Thomas Philipps (1770-1845)

Byron, in a rage, exclaimed, “No, Scrope; the part of a d—-d fool, you should have said.”

“Well, then, anything you please; but you have succeeded admirably in deceiving your friends, for it was my conviction that your hair curled naturally.”

“Yes, naturally, every night,” returned the poet; “but do not, my dear Scrope, let the cat out of the bag, for I am as vain of my curls as a girl of sixteen.”

When in London, Byron used to go to Manton’s shooting-gallery, in Davis street, to try his hand, as he said, at a wafer. Wedderburn Webster was present when the poet, intensely delighted with his own skill, boasted to Joe Manton that he considered himself the best shot in London. “No, my lord,” replied Manton, “not the best; but your shooting, to-day, was respectable;” upon which Byron waxed wroth, and left the shop in a violent passion.

Newstead Abbey, Byron’s estate, 12 miles north of Nottingham

Lords Byron, Yarmouth, Pollington, Mountjoy, Walliscourt, Blandford, Captain Burges, Jack Bouverie, and myself, were in 1814, and for several years afterwards, amongst the chief and most constant frequenters of this well-known shooting-gallery, and frequently shot at the wafer for considerable sums of money. Manton was allowed to enter the betting list, and he generally backed me. On one occasion, I hit the wafer nineteen times out of twenty.

Byron lived a great deal at Brighton, his house being opposite the Pavilion. He was fond of boating, and was generally accompanied by a lad, who was said to be a girl in boy’s clothes. This report was confirmed to me by Webster, who was then living at Brighton. The vivid description of the page in Lara, no doubt, gave some plausibility to this often-told tale. I myself witnessed the dexterous manner in which Byron used to get into his boat; for, while standing on the beach, I once saw him vault into it with the agility of a harlequin, in spite of his lame foot.

On one occasion, whilst his lordship was dining with a few of his friends in Charles Street, Pall Mall, a letter was delivered to Scrope Davis, which required an immediate answer. Scrope, after reading its contents, handed it to Lord Byron. It was thus worded:–

“MY DEAR SCROPE,–Lend me 500L. for a few days; the funds are shut for the dividends, or I would not have made this request. “G. BRUMMELL.”

The reply was:–

“My DEAR BRUMMELL,–All my money is locked up in the funds. “SCROPE DAVIS.”

This was just before Brummell’s escape to the Continent.

Dining Room Fireplace, Newstead Abbey

I have frequently asked Scrope Davis his private opinion of Lord Byron, and invariably received the same answer–that he considered Lord Byron very agreeable and clever, but vain, overbearing, conceited, suspicious, and jealous. Byron hated Palmerston, but liked Peel, and thought that the whole world ought to be constantly employed in admiring his poetry and himself: he never could write a poem or a drama without making himself its hero, and he was always the subject of his own conversation.

Bust of Byron, Newstead Abbey

During one of Henry Hobhouse’s visits to Byron, at his villa near Genoa, and whilst they were walking in the garden, his lordship suddenly turned upon his guest, and, apropos of nothing, exclaimed, “Now, I know, Hobhouse, you are looking at my foot.” Upon which Hobhouse kindly replied, “My dear Byron, nobody thinks of or looks at anything but your head.”