Mantex

Tutorials, Study Guides & More

  • HOME
  • REVIEWS
  • TUTORIALS
  • HOW-TO
  • CONTACT
>> Home / Tutorials

Tutorials

literary studies, cultural history, and study skill techniques

literary studies, cultural history, and study skill techniques

Love in Bloomsbury

July 14, 2009 by Roy Johnson

the memoirs of Frances Partridge

Beautiful, well read, and educated at Cambridge, Frances Partridge was a member of the Bloomsbury Group and until quite recently the last survivor of the group’s most famous love quadrangle. Love in Bloomsbury is a collection of her memoirs, which sketch out her childhood and adolescence, then focus on that celebrated quartet, two of whom were doomed, the other two survivors. Her story begins and ends in Bloomsbury, because she was raised in an upper middle-class Edwardian family in Bedford Square.

Love in Bloomsbury She was the youngest of a large family which also included her sister Ray Marshall, the painter (who later married David Garnett). They were friends of both the Stracheys and the Stephens (Virginia Woolf‘s family) and her education included school at Queen’s College, Harley Street (which Katherine Mansfield also attended) then Newnham College Cambridge, where she graduated in English and Philosophy.

Her introduction to the Bloomsbury set was via her job at David Garnett’s bookshop. She gives a vivid account of parties, dancing, and the heady artsy-Bohemian atmosphere which flourished after the first world war. There are character sketches of all the principal Bloomsberries, Virginia Woolf, her sister Vanessa Bell, and Roger Fry, though like most of them when it came to writing their memoirs, she is extremely discreet and gives little away about the background to what were in some cases quite extraordinary liaisons.

She formed a relation ship with Ralph Partridge, who was at that time married to Dora Carrington, who in her turn happened to be in love with Lytton Strachey, with whom Carrington lived – though there is no open acknowledgement of the complex sexual relationships between the principals. You would never know from this for instance that Dora Carrington had affairs with women as well as men.

Frances Partridge

There are some delightful vignettes: a long summer weekend at Charleston with Vanessa Bell and Duncan Grant, then a visit to Gerald Brenan‘s house in the Spanish Alpujarraras (which he describes in his classic, South from Granada).

Lots of famous names flit through the pages – Arnold Bennett, Princess Bibesco, Cyril Connolly, Maurice Chevalier, and even Ludwig Wittgenstein. At one point, once her relationship with Ralph Partridge has become established (there was a rather hurried marriage) a child appears – only to disappear seven words later.

In the second part of the book her account centres on the late 1920s, reaching its climax in the death of Lytton Strachey and the subsequent suicide of Dora Carrington. After that, the narrative comes to a quiet ending, celebrating the central Bloomsbury belief that friendship ought to be cherished and celebrated.

I actually enjoyed the earlier schoolgirl and student years of her account more than the later, though her confirmation of some of the famous Bloomsberry anecdotes that one has read elsewhere does help to authenticate their veracity.

It should also be said that the writing is very stylish and poised. Frances Partridge went on to become a prolific writer in her later years, translating from French and Spanish, including work by the Cuban Nobel prizewinner Alejo Carpentier, but mainly devoting herself to her memoirs of the years which follow these.

© Roy Johnson 2000

Love in Bloomsbury Buy the book at Amazon UK

Love in Bloomsbury Buy the book at Amazon US


Frances Partridge, Love in Bloomsbury, Boston: Little, Brown, 1981, pp.244, ISBN: 0316692840


More on biography
More on the Bloomsbury Group
Twentieth century literature


Filed Under: Bloomsbury Group Tagged With: Biography, Bloomsbury Group, Cultural history, Frances Partridge, Love in Bloomsbury

Love Letters: Leonard Woolf and Trekkie Parsons

May 18, 2009 by Roy Johnson

Bloomsbury’s secret love affair

Everybody knows that Leonard Woolf nursed his wife Virginia Woolf through periods of mental and physical illness, right up to the point of her suicide in 1941. What is not so well known is that he did this at the same time as being a full time journalist and author, a Labour Party activist responsible for the development of the League of Nations, and a successful commercial publisher in charge of the Hogarth Press. Even less well known is the fact that within twelve months of his wife’s death he began a relationship with a woman which was to last for the rest of his life.

Love Letters: Leonard Woolf & Trekkie ParsonsNot that there was anything wrong with his forming a new relationship – but the woman happened to be married to someone else. She was Trekkie Parsons, an artist and book illustrator, and her second husband Ian Parsons eventually became Leonard Woolf’s business partner. The actual content of the letters is fairly inconsequential: arrangements for meeting; reflections on botanical matters; lots of endearments; the desire (on his part) for more contact; and occasional comments on their contemporaries. They had lots of shared interests – pet animals, horticulture, and even printing. He was after all an independent publisher, and she studied and practised all sorts of printing techniques.

Leonard is clearly the more enamoured: as a widower, living alone, he yearns for more time with her. But she warns against their relationship becoming passionate – using a form of words which would give anyone pause for thought: ‘I want you to love me you see – but not as an epidemic disease all covered in spots & then quite cured’.

When her husband was posted to France she went to live with Woolf at Monks House in Lewes (sleeping in Virginia Woolf’s old bed) – though it also has to be said that when Ian Parsons was demobbed in 1945 all three of them moved into the same house in London.

In fact for the near thirty years that their relationship existed, she split herself between the two men. She supported her husband in his business ventures and enjoyed their busy social life together. They were said to be a ‘well-oiled unit’. But she spent a large part of the working week with Leonard, and even went on holidays with him.

There is no evidence in the letters that her husband was at all worried about what was going on, but when Parsons started an affair of his own with his business partner Nora Smallwood, Trekkie was not impervious to jealousy.

The most amazing thing is that there is hardly a word in what they write to each other over a span of almost three decades about the oddity, ambiguity, or any tensions in their relationship. Even the footnotes remain silent on that score.

The question which anyone with an ounce of curiosity or a spoonful of blood in their veins will want to know is – was the relationship physically intimate? And the amazing thing is that there is not a jot of evidence either way so far as I could see – which makes it all the more curious.

The editing of the letters is quite scholarly. Whenever someone new is mentioned, an explanation of who they are is offered in a footnote. But there is little analysis or interpretation of events.

Leonard claimed that Trekkie was the best thing that had ever happened to him. He made her his executrix and principal legatee. And when his will was contested by members of his own family, these letters were adduced in court as evidence of merely a ‘literary and social friendship’. Moreover, Trekkie herself claimed (at the age of ninety) that the relationship had not been sexual.

If that is true, Leonard Woolf spent almost six decades devoted to two women, Virginia and Trekkie, with whom he had sexless relationships. It is no good going to his excellent Autobiography to discover more, because he is just as reserved about his private life there. One can only read and stand back, amazed at yet another facet of Bloomsbury life.

© Roy Johnson 2004

Leonard Woolf Love Letters Buy the book at Amazon UK

Leonard Woolf Love Letters Buy the book at Amazon US


Judith Adamson (editor), Love Letters: Leonard Woolf & Trekkie Parsons 1941-1968, London: Pimlico, 2002, pp.312, ISBN: 0712664734


More on Leonard Woolf
Twentieth century literature
More on the Bloomsbury Group


Filed Under: Bloomsbury Group, Leonard Woolf Tagged With: Biography, Bloomsbury Group, Hogarth Press, Leonard Woolf, Literary studies, Trekkie Parsons

Ludwig Wittgenstein

May 8, 2015 by Roy Johnson

portrait of the tortured Anglo-Austrian ‘genius’

Ludwig Wittgenstein (1889-1951) was born into an aristocratic and fabulously wealthy family in Vienna at a time when it was the epicentre of the Hapsburg empire. The family was Jewish, but had largely converted to Christianity. It provided a very rich cultural and intellectual environment – Brahms, Mahler, Klimt and Schiele were family friends. Ludwig was the youngest of eight very talented children but was regarded in comparison as not very bright. He studied at the same secondary school in Linz as Adolf Hitler, did poorly in most subjects, lost any scraps of religious belief. and came under the influence of Schopenhauer, Karl Kraus, and the anti-Semitic misogynist work Sex and Character by Otto Weininger, a homosexual and Jew who became a cult figure following his suicide at the age of twenty-three.

Ludwig Wittgenstein

Even though Wittgenstein’s first thoughts about philosophy began in his late teenage years he continued his studies in engineering (under his father’s influence) and in 1908 went to Manchester to study the very young discipline of aeronautics. He invented an early form of jet engine and even patented the design for a propeller – but his real interest had been piqued by reading Bertrand Russell’s The Principles of Mathematics. In 1911 he introduced himself to Russell at Trinity College Cambridge – a meeting which was to be decisive for both of them. He gave up engineering and the following year became Russell’s student.

Bertrand Russell

The relationship between them was complex and emotional. Russell regarded Wittgenstein as his intellectual successor in the study of philosophy, but quickly tired of his self-obsessed rantings and his neurotic behaviour. As a recognised ‘genius’ ( though still only twenty-four and an undergraduate student) Wittgenstein was immediately proposed as an Apostle – but he resigned the honour just as immediately, despite the support and continued sponsorship of the prestigious John Maynard Keynes.

Wittgenstein formed a close bond with fellow student David Pinsent – and given what we know of his later homosexuality it is difficult to escape the suggestion that a great deal of his lacerating self-criticism and worries about ‘sin’ and ‘one great flaw’ are attributable to repressed homo-eroticism. They took a holiday together in Norway which was full of emotional scenes, fallings-out, and reconciliations.

Meanwhile, Russell’s work on the fundamentals of logic was abandoned because of Wittgenstein’s criticisms. Russell handed over the baton to his student, his own confidence completely shattered. Wittgenstein developed the neurotic idea that he was shortly going to die, and that in order to complete his great work he must cut himself off from society and live alone like a hermit. This also included leaving Cambridge, so he went to live in a remote Norwegian village for a year, submerged himself in logic, put his relationship with Russell on a cooler footing, and immediately started paying court to G.E. Moore, who was a central figure at Cambridge following the success of his Principia Ethica in 1903.

However, when he discovered that his work on logic could not be submitted for his B.A. degree (because it entirely lacked a preface, structure, examples, and critical aparatus) he took out his anger on the unsuspecting Moore, and the two of them did not speak again for fifteen years. Following this disappointment he returned home to Vienna and gave large sums from his personal fortune to literary artists and painters whose work he did not know at all.

The soldier

At the outbreak of war in 1914 he immediately enlisted in the army but since Austria was at war with Britain he found himself on the opposite side to all his friends. He served in a variety of menial roles for a year before he was granted his fervent wish – to go to the front and face death. He did face it – and behaved with conspicuous bravery. It is amazing to note that despite his active military service, he continued to work on what became his magnum opus, the Tractatus Logico-Philosophicus. But he also changed its original purpose: the final work on symbolic logic was blended with reflections on religious mysticism, which is one of the reasons why the work is still so difficult to understand. But his death wish was denied him. He was taken prisoner by the Italians at Monte Cassino and was not released until August 1919.

After the war, he was a changed man. He continued to wear his army uniform (of a state that no longer existed) ; he gave away all his money to his brothers and sisters (who were already enormously wealthy); and he enrolled to train as an infant school teacher. He could not get his book published (or understood) and he was beset by repeated thoughts of suicide as he grappled with his inner daemons . (It’s worth noting that three of his brothers had previously committed suicide.) His experiences as a village schoolmaster were at first a relief from his Weltschmerz, but within a couple of terms he had concluded that the local villagers were ‘loathsome worms’.

Then in 1922 his luck changed: his book was published in both Britain and Germany – though because of the work’s inherent unreadability he didn’t receive any royalty from sales. He continued working hard but unhappily in rural schools until his penchant for corporal punishment got the better of him, and when a young boy collapsed after a beating around the head. Wittgenstein disappeared the same day.

The architect

Following this crisis Wittgenstein tried to become a monk, but was rejected by the monastery because of his ‘unsound motives’, so he took work as a gardener, then threw himself into work on the design of a house for his sister Gretl. He also became mildly enamoured of a Viennese woman Marguerite Respinger, but his idea of love was of a sexless, platonic kind. Then gradually, via meetings with other Viennese philosophers, his original interests resurfaced, and he felt the need to return to Cambridge.

In 1919 he was forgiven and re-admitted as an Apostle; he registered as a PhD student, and worked with a supervisor who was seventeen years younger than him. He made new acquaintances (including the literary critic F.R. Leavis) continued ‘research’ which consisted largely of challenging his own previous ideas, and enjoyed watching westerns at the cinema with his non-philosophic friend Gilbert Pattisson. He was awarded a doctorate for his Tractatus, after a farcical viva in which he forgave his supervisors (Russell and Moore) for their inability to understand his work.

In 1930 he was awarded a five year fellowship on the strength of what was published after his death as Philosophic Remarks. This cleared him to abandon philosophic theory and start to concentrate on language. Many of his approaches and attitudes at this period chimed in rather unfortunately with the reactionary notions popularised by Oswald Spengler’s The Decline of the Westwhich was influential around this time. This makes it less surprising that his next development was to look into the subject of magic and Frazer’s The Golden Bough (which T.S. Eliot had done some years previously) and it is even less surprising to realise that this led in its turn into outright anti-Semitism.

The apostate

Wittgenstein was very ambivalent about his racial heritage. His family were Jews who had largely converted to Christianity (Catholicism) but it was fairly clear that part of his anguished self-criticism sprung from an unwillingness to confront the truth of his origins (as in the case of his wealth and privilege) and the consequence of the self-hating and anti-Semitic Jew corresponds directly with the influence of Otto Weininger, whose reactionary opinions seem to run through Wittgenstein’s life like letters through a stick of rock.

Meanwhile he invited Marguerite, the woman he thought he was going to marry, for a three week holiday in Norway. He hardly saw her at all during that time, having also invited his friend Gilbert Pattisson. Not surprisingly, she decided he was not the marrying kind and left for Rome after two weeks. During this period Wittgenstein’s intellectual work proceeded in two directions: one was to undermine current notions of the philosophy of mathematics (he regarded maths as merely a technique for measurement) and the other was looking more and more closely into the roots of grammar, inventing for himself what he called ‘language games’.

At a personal level he became very close friends and eventually the lover of another young, clever, and very handsome undergraduate, Francis Skinner, someone who despite all his brilliance and promise, Wittgenstein eventually persuaded to give up academic life to work as a factory mechanic, which resulted in him becoming profoundly unhappy. Wittgenstein repeatedly urged the virtue of manual labour onto his students, whilst retaining his own position as a professional academic philosopher.

His teaching methods around this time were distinctly unorthodox. He gave up delivering lectures because they had become so popular. Instead, he dictated his ideas to a small group of favoured students, then let them circulate their notes amongst other students. This is the origin of what became known as The Blue and Brown Notebooks.

As his fellowship at Cambridge came towards its close, he faced another period of self-doubt and uncertainty. For a while there was a hare-brained scheme of going to work as a manual labourer in the Soviet Union – but that came to nothing, even after letters of introduction from the Russian ambassador in London. Instead, he retreated once again to living alone in Norway.

The confessions

However, from there he paid visits back home to Vienna and Cambridge to deliver a Tolstoyan ‘Confessions’ of his sins to friends and relatives. These turned out to be embarrassing revelations of trivial peccadillos and omissions of truthfulness which left most of his listeners mystified. What he doesn’t seem to have included is any mention of his homosexuality, which was subsumed under the heading of ‘sensuality’ in his diaries, along with detailed reports of his feelings of shame at masturbating.

In 1937, amidst Hitler’s manoeuvres to annex Austria, he was back in Vienna, missing Skinner but feeling at the same time that he should steer clear of ‘sensual temptations’. Instead he went to Dublin to investigate the possibility of a career in medicine. But following the Anschluss and his reclassification as a German Jew, he followed the advice of his friend and fellow philosopher Sraffa and obtained a job as research assistant at Cambridge and applied for British citizenship, which was granted in June 1939.

He moved in with Skinner and they lived together as a couple for the next two years. Wittgenstein was elected Professor of Philosophy and continued his lectures criticising what he saw as ‘scientific idol worship’. One of the students in his select audience who dared to take an opposing view was the young Alan Turing, who went on to develop his own philosophy of mathematics (in Manchester) to establish the foundations of modern computing.

When the war got under way two further events changed the direction of his life. First the sudden death of his lover Francis Skinner, and second his decision that he must give up teaching and take up some form of manual labour. He became a hospital porter at Guy’s Hospital in London. However, when his talents (and identity) were recognised, he was invited to join a medical research team based in Newcastle.

His next move was to Swansea where he had been given permission to continue his work in private. He continued with the philosophy of mathematics as his main concern, but began to include reflections on Freudian psychology and what he called ‘private language’. He arrived back in Cambridge in 1946 at the same time as his old tutor Bertrand Russell, who had been in America during the war. Both of them though the recent work of the other was worthless.

The living death

Following the end of the war, he was severely critical of the British government and its punitive attitude towards Germany, and he became rather sympathetic to the Left, though from a deeply conservative and an anti-science point of view. His antipathy to professional philosophy also deepened, and he regarded his own professorship as ‘an absurd …kind of living death’.

But as he wrestled with his pessimism and his plans to abandon philosophy (especially Cambridge) a glimmer of light came into his life. He fell in love with Ben Richards, a medical undergraduate almost forty years his junior. But to his existential worries was now added the issue raised by all such relationships – would it last? He answered this question for himself in characteristically perverse fashion by resigning from his post and going to live alone in a remote part of Ireland for the next year.

Once there, he thought he was losing the ability to do any constructive work, and the locals all thought he was mad. His only form of entertainment continued to be detective magazines and American ‘hard-boiled’ fiction. After a holiday in Vienna and Cambridge, he went to live in a hotel in Dublin, where he became a member of the Zoological Gardens in Phoenix Park. At first his work went well, but then he became ill and depressed, and despite uplifting visits from Ben Richards he began to feel that the end was drawing nearer.

In fact he had two years left to live, and he spent them living with friends in New York, Cambridge, and Oxford. He participated in philosophy seminars at Cornell University, but then became ill and felt he must return to Europe to die. Back in Cambridge he was diagnosed with prostate cancer. He returned to live in the family palace in Vienna (where his sister was also dying) taking a great deal of trouble to conceal the nature of his disease from his relatives.

When the hormone treatment for his cancer brought about improvement, he moved back to Cambridge, despite all his continuing claims that he was disgusted by English culture. He undertook another holiday trip to Norway with Ben Richards, but his illness forced him back, where he moved into his doctor’s appropriately named house, ‘Storeys End’. The hormone treatment was stopped; he realised he was soon to die; and he put in a final creative burst for the last two months of his life, then died in April 1951 at the age of sixty-two.

*****

Wittgenstein spent a great deal of his adult life in states of anguish, anxiety, and despair, even though he was very successful and became internationally famous. In this sense he was not unlike his fellow genius of the Hapsburg Empire and near contemporary, Franz Kafka, of whose works Wittgenstein remarked – ‘That man gives himself a great deal of trouble not writing about his trouble’ (though he could almost be speaking about himself). This apparent contradiction and perversity in Wittgenstein’s nature can perhaps be illuminated if not fully explained by a comparison with Leo Tolstoy.

Both Wittgenstein and Tolstoy came from extremely wealthy families with estates and retinues of servants; both felt guilty about the social privilege they enjoyed, and both ended up giving away their fortunes. Both of them adopted puritanical and Spartan lifestyles and became more or less vegetarian. Both of them felt driven by but enormously guilty about their sexual urges. In addition to this Wittgenstein was also homosexual, about which he would be forced to be secretive during the period he lived.

Both of them were obsessed with a religious belief in fundamental Christianity whose policies and practices they could not possibly maintain. Wittgenstein also knew that he was fundamentally Jewish, but tried to evade the fact. They were both intellectuals who railed against the intellectual establishment and preached the values of ‘the simple life’ and the moral dignity of manual labour – whilst keeping servants or being looked after by friends.

Both professed to yearn for a life in close proximity to simple peasants, but were appalled by the reality when they tried it. Both of them were misogynists; both of them affected workmen’s clothes; both were sceptical about scientific development, and both of them ended by repudiating their earlier works – Wittgenstein for intellectual reasons, Tolstoy for moral. This may not be a full explanation for his neuroses, but it suggests that they were not unique. Ray Monks’ magnificent biography is evasive on the issue of Wittgenstein’s homosexuality and it downplays the damaging effect of his peronality on the people who were attracted to him, but he presents a sufficiently comprehensive account of the life to enable us to make our own judgements on this very complex character.

Letters to Monica Buy the book at Amazon UK

Letters to Monica Buy the book at Amazon US

© Roy Johnson 2015


Ray Monk, Ludwig Wittgenstein: The Duty of Genius, London: Vintage Books, 1991, pp.654, ISBN: 0099883708


More on biography
More on the Bloomsbury Group
More on literary studies
More on the arts


Filed Under: Biography, Bloomsbury Group Tagged With: Cultural history, Ludwig Wittgenstein, Modernism, Philosophy

Lytton Strachey biography

September 22, 2009 by Roy Johnson

life, works, and loves of a literary bohemian

Lytton Strachey biographyLytton Strachey (1880-1932) was born at Clapham Common and raised at Lancaster Gate, in central London. He was the eleventh of thirteen children, to General Sir Richard Strachey (an engineer) and his wife Jane Grant. Though he spent some years at boarding schools, including Abbotsholme and Leamington College, he received much of his education at home. His mother took an interest in literature and politics, and Strachey met many of the leading writers and thinkers of the day when they came to visit Lady Strachey. His secondary education was completed at University College in Liverpool where he studied Latin, Greek, mathematics, and English literature and history. It was there that he met and was influenced by Walter Raleigh, a professor of English literature and well known biographer.

After failing to receive a scholarship to Oxford in 1899, Strachey decided to attend Cambridge where he developed many friendships which lasted the rest of his life. At Trinity College Cambridge he met Clive Bell, Thoby Stephen (Virginia Woolf’s brother) John Maynard Keynes, and Leonard Woolf.

Along with many other future members of the Bloomsbury Group, he was elected to the Apostles Society, and he also won the Chancellor’s medal for his poem, ‘Ely: An Ode’. In 1903 fellow Apostle G.E.Moore’s Principia Ethica was published, producing a profound effect on the aspiring intellectuals. The Principia became a rationalizing factor in loosening the repression of homosexual tendencies among the Apostles and in Trinity and King’s College as well.

Strachey completed his work at Cambridge with a thesis on Warren Hastings but failed to receive a Trinity fellowship. He returned to his parents’ home in Lancaster Gate and sought to support himself as a journalist. Much of his social life centred on the Thursday night ‘at-homes’ of the Stephenses – Thoby, Adrian, Vanessa Bell, and Virginia Woolf.

He contributed book and drama reviews to The Spectator magazine, published poetry, and wrote an important work of literary criticism, Landmarks in French Literature (1912). During the First World War, he was a conscientious objector, and spent much time with like-minded people such as Lady Ottoline Morrell and other members of the Bloomsbury Group.

In 1915 Strachey met Dora Carrington, a graduate of the Slade School of Art and the woman who devoted herself to him for the rest of his life. In 1917 Strachey and Carrington moved into a cottage in Tidmarsh, Oxfordshire, and continued to carry on with their separate personal lives. Carrington maintained a relationship with fellow artist Mark Gertler before marrying Ralph Partridge, and Strachey moved through a series of relationships with a series of men.

Eminent VictoriansHis first great success, and his most famous achievement, was Eminent Victorians (1918) a collection of four short biographies of Victorian heroes. With a dry wit, he exposed the human failings of his subjects and what he saw as the hypocrisy at the centre of Victorian morality. His portraits of Cardinal Manning, Florence Nightingale, Thomas Arnold, and General Gordon changed perceptions of the Victorians for a whole generation.

This work was followed in the same style by Queen Victoria, a work which used elements of romantic fiction and melodrama to create a warm, humorous and very human portrait of an iconic figure. We see Victoria as a strong-willed child, as the 18-year-old girl queen, as a monarch, wife, mother and widow. Equally fascinating are her relationships with Peel, Gladstone and Disraeli, with her beloved Albert and her Highland servant John Brown, all of which show a different side of her staid, pious image.

Strachey’s literary style was becoming very popular and he began to achieve a measure of fame which allowed him to support himself and his household from the proceeds of his writing. In 1924 he purchased the lease to Ham Spray House and moved in along with Carrington and Ralph Partridge. He completed Elizabeth and Essex in 1928 and started editing The Greville Memoirs, a project which was completed posthumously by Ralph and Frances Partridge and Roger Fulford.

Though his frequent ill-health often made it difficult, Strachey enjoyed travelling and made several trips abroad between 1928 and 1931. One of these excursions is described very humorously in Gerald Brenan’s memoir, South from Granada. Late in 1931 he began to decline rapidly from an illness which doctors were unable to identify. He died January 21, 1932, of what was later found to be stomach cancer. His famous deathbed bon mot was: ‘If this is dying, then I don’t think much of it.’ Distraught at the loss of her soul-mate, Carrington made two attempts to commit suicide. The latter was successful when she borrowed a gun from her neighbour and shot herself.


The Letters of Lytton StracheyStrachey’s Letters This collection reveals the poignant love-affair between him and the painter Dora Carrington, plus his affairs with Roger Senhouse and his cousin Duncan Grant. He also wrote almost every day to Leonard Woolf on politics, literature, and life – and he correctly predicted to Maynard Keynes that their sexual proclivities and attitudes put them a hundred years ahead of their time. Includes new materials unknown to previous biographers, almost every item revealing Strachey as a witty, gossipy, and sparkling character.


Lytton Strachey biography


Bloomsbury Group – web links

Bloomsbury Group - web links Hogarth Press first editions
Annotated gallery of original first edition book jacket covers from the Hogarth Press, featuring designs by Vanessa Bell, Roger Fry, and others.

Bloomsbury Group - web links The Omega Workshops
A brief history of Roger Fry’s experimental Omega Workshops, which had a lasting influence on interior design in post First World War Britain.

Bloomsbury Group - web links The Bloomsbury Group and War
An essay on the largely pacifist and internationalist stance taken by Bloomsbury Group members towards the First World War.

Bloomsbury Group web links Tate Gallery Archive Journeys: Bloomsbury
Mini web site featuring photos, paintings, a timeline, sub-sections on the Omega Workshops, Roger Fry, and Duncan Grant, and biographical notes.

Bloomsbury Group - web links Bloomsbury: Books, Art and Design
Exhibition of paintings, designs, and ceramics at Toronto University featuring Hogarth Press, Vanessa Bell, Dora Carrington, Quentin Bell, and Stephen Tomlin.

Bloomsbury Group - web links Blogging Woolf
A rich enthusiast site featuring news of events, exhibitions, new book reviews, relevant links, study resources, and anything related to Bloomsbury and Virginia Woolf

Bloomsbury Group - web links Hyper-Concordance to Virginia Woolf
Search the texts of all Woolf’s major works, and track down phrases, quotes, and even individual words in their original context.

Bloomsbury Group - web links A Mrs Dalloway Walk in London
An annotated description of Clarissa Dalloway’s walk from Westminster to Regent’s Park, with historical updates and a bibliography.

Bloomsbury Group - web links Women’s History Walk in Bloomsbury
Annotated tour of literary and political homes in Bloomsbury, including Gordon Square, University College, Bedford Square, Doughty Street, and Tavistock Square.

Bloomsbury Group - web links Virginia Woolf Society of Great Britain
News of events, regular bulletins, study materials, publications, and related links. Largely the work of Virginia Woolf specialist Stuart N. Clarke.

Bloomsbury Group - web links BBC Audio Essay – A Eulogy to Words
A charming sound recording of a BBC radio talk broadcast in 1937 – accompanied by a slideshow of photographs of Virginia Woolf.

Bloomsbury Group - web links A Family Photograph Albumn
Leslie Stephens’ collection of family photographs which became known as the Mausoleum Book, collected at Smith College – Massachusetts.

Bloomsbury Group - web links Bloomsbury at Duke University
A collection of book jacket covers, Fry’s Twelve Woodcuts, Strachey’s ‘Elizabeth and Essex’.

© Roy Johnson 2000-2014


More on Lytton Strachey
Twentieth century literature
More on the Bloomsbury Group


Filed Under: Bloomsbury Group, Lytton Strachey Tagged With: Biography, Bloomsbury Group, Eminent Victorians, Literary studies, Lytton Strachey

Lytton Strachey by Himself

July 19, 2009 by Roy Johnson

diaries, journals, essays, and personal fragments

Lytton Strachey is best known through his letters, a voluminous outpouring which he maintained throughout his life. But those were written largely to amuse the recipients. This book gathers together his diaries, which he wrote in solitude for himself. It also contains autobiographical fragments, some travel journals, and two essays which were delivered to the Bloomsbury Memoir Club, plus occasional writings from periods of his life ranging from childhood to his last days. After a scene-setting opening which describes life at his family home at Lancaster Gate, the first entry is the journal of a holiday in Gibraltar, Cairo, and Capetown.

Lytton Strachey by HimselfThen we get a confessional fragment on the first of his schoolboy love affairs, followed by a journal of his time studying literature at Liverpool University College. Next come reflections on Cambridge life and his preoccupations with sex, then an essay that records the events – or rather the thoughts and feelings – of a single day ‘Monday 16 June 1916’. This piece, written amidst the horrors of the first world war, conjures up a languorous, privileged visit to Vanessa Bell’s house at Charleston, doing virtually nothing the whole day long except lounge around in the garden, making plans to seduce the postman.

As Michael Holroyd admits in his linking commentary between the entries, this piece is guaranteed to infuriate Bloomsbury critics, but for those who are more sympathetic it offers a first-hand glimpse of what life was like amidst this group.

It’s also remarkably similar in style to Virginia Woolf’s poetic meditations and her shorter experimental fictions. It hovers tentatively in the regions of what we now call Proustian ‘moments’, and it is interesting to note that like the Lancaster Gate piece, it ends on a note of erotic confession.

This is a fairly lightweight compilation, but it fills in some gaps left by both the letters and the biography. Strachey is a fascinating character – far more complex than the picture of him as an effete neurasthenic which is commonly circulated.

© Roy Johnson 2005

Lytton Strachey by Himself Buy the book at Amazon UK

Lytton Strachey by Himself Buy the book at Amazon US


Michael Holroyd (ed) Lytton Strachey by Himself, London: Abacus, 2005, pp.248, ISBN 0349118124


More on Lytton Strachey
Twentieth century literature
More on the Bloomsbury Group


Filed Under: Lytton Strachey Tagged With: Biography, Bloomsbury Group, Literary studies, Lytton Strachey, Lytton Strachey by Himself

Madame de Mauves

June 18, 2013 by Roy Johnson

tutorial, commentary, study resources, plot, and web links

Madame de Mauves first appeared in The Galaxy magazine for February—March 1874. It was reprinted a year later as part of James’s first book, The Passionate Pilgrim and Other Tales, published by Osgood in Boston, 1875.

Saint-Germain Spring

Saint-Germain in Spring – by Alfred Sisley


Madame de Mauves – critical commentary

This is an astonishingly mature work for such a young writer. James was only slightly over thirty years old at the time of the tale’s publication, and he had just come to the end of a ten year apprenticeship in writing reviews and short stories. He had yet to write any major work, but Madame de Mauves certainly points to his potential ability to do so. The theme of people entombed in unhappy relationships and solving their problems by renunciation is something he would explore in The Portrait of a Lady written only a few years later.

The international theme

As someone who had lived on both continents, James made the juxtaposition of America and Europe into one of his favourite subjects. Here the contrast is made between the two Americans Longmore and Euphemia de Mauves, and the Europeans (French) Count Richard de Mauves and his sister-in-law Madame Clarin.

Mauves belongs to an old aristocratic family which has no money. So he marries the wealthy Euphemia and reverts to family type by ignoring his marriage and indulging in petty affairs almost as a way of life. Madame Clarin explains all this to Longmore, including the fact that the family has a long tradition of suffering wives who have tolerated such behaviour for the sake of the family’s ‘name’ in society.

Count Mauves has noticed Longmore’s interest in his wife, and encourages his attentions, hoping that the two of them will begin an affair which will in its turn justify his own way of life. To contemporary readers this might seem like an improbably melodramatic plot device, but in fact it is based on the historically sound observation that amongst the upper classes, sexual fidelity has never been a high priority.

So long as the appearance of propriety was maintained and no scandal allowed to sully a family’s name (a collective responsibility) adulteries of all kinds could be incorporated into the practices of upper-class life. Husbands did not have to give any reasons for being absent from their families. Wives could amuse themselves with any number of married or single men (as Euphemia does with Longmore).

The prime objective was to consolidate the family unit as a symbol of accumulated capital and property – which is why Count Mauves’ eventual suicide has been criticised by some commentators as somewhat improbable. There is no reason why he should not merely revert to his previous adulteries and keep the family and its name intact and unsullied.

Of course all this throws French society into a very dubious light compared with the upright behaviour of the two principal Americans. Longmore and Euphemia clearly love each other, but she manages to persuade him to adopt the honourable route of renunciation and self-denial. Madame Clarin on the other hand offers Longmore a ‘devil’s pact’ argument that the family traditions provide an open pathway to socially sanctioned adultery. The two Americans take the honourable way out, at the expense of their own personal happiness.


Madame de Mauves – study resources

Madame de Mauves The Complete Works of Henry James – Kindle edition – Amazon UK

Madame de Mauves The Complete Works of Henry James – Kindle edition – Amazon US

Madame de Mauves Complete Stories 1874—1884 – Library of America – Amazon UK

Madame de Mauves Complete Stories 1874—1884 – Library of America – Amazon US

Madame de Mauves Madame de Mauves – eBook formats at Gutenberg

Red button The Cambridge Companion to Henry James – Amazon UK

Red button Henry James at Wikipedia – biographical notes, links

Red button Henry James at Mantex – tutorials, biography, study resources

Madame de Mauves


Madame de Mauves – plot summary

Part I. Rich American Longmore has been in Saint Germain for six months when his fellow American acquaintance Mrs Draper introduces him to Madame Euphemia de Mauves. She is a rich American woman married to a Frenchman who is intent on spending all her money. She is domestically unhappy, and Mrs Draper encourages Longmore to ‘entertain’ her.

Part II. Euphemia has been educated in a convent and has generated a romantic ambition to marry an aristocrat. Her childhood friend Marie de Mauves invites her to the ancestral home in the Auvergne, where old Madame de Mauves advises her to ignore moral niceties and act pragmatically.

When Richard de Mauves arrives, Euphemia sees him as the epitome of an aristocratic gentleman – although he is in fact a wastrel with unpaid bills. When he proposes marriage, Euphemia is very happy. But her mother imposes a two-year ban on the relationship – but at the end of it she marries him.

Part III. Longmore visits Madame de Mauves and marvels at her resignation. Euphemia’s sister-in-law is married to a wholesale pharmacist who gambles and loses on the stock exchange, then commits suicide. The widow pays court to Longmore, who dislikes her.

He ought to join his old friend Webster in Brussels for a holiday, but feels obliged to ‘support’ Madame de Mauves in her unhappiness. Her husband absents himself from the family home, but is amazingly polite to Longmore and encourages him to keep visiting.

Part IV. Webster writes to Longmore, asking about their planned holiday. Longmore asks Euphemia if she is happy or not – and she tells him it is an entirely private matter, and encourages him to join his friend on holiday. As he takes his leave he is patronised by the Count. Longmore writes to his friend Mrs Draper with his assessment of Madame de Mauves and her husband.

Part V. Longmore goes to Paris, but instead of going on to Brussels, he lingers there, thinking about Madame de Mauves and wondering if he is in love with her or not. Whilst dining in the Bois de Boulogne he sees the Count with a woman of the streets. He returns immediately to Saint Germain where he and Madame de Mauves discuss her situation and his wish to ‘support’ her – during which the Count casually passes by. Longmore is teased and patronised by Madame Clarin.

Part VI.When Longmore next visits the house, Madame de Clarin recounts to him the family history of faithless husbands and long-suffering wives. She also reveals that because the Count’s latest ‘folly’ has been discovered, he has suggested to his wife that she take Longmore as her lover, to form a social quid pro quo.

Part VII. Longmore takes a bucolic interlude in which he meets a young artist and his lover at a country inn, then falls asleep in the forest and dreams of being separated from Madame de Mauves by her husband.

Part VIII. When Longmore next meets Madame de Mauves she wants him to make a big sacrifice for both of them (by renouncing her) – so that she can continue to have someone to look up to and respect.

Part IX. Lomgmore is deeply conflicted on the issue, and he wonders why Euphemia should be so self-denying and stoical. He retreats to Paris to think about his decision. Once again he bumps into the Count in a compromising situation. Longmore leaves Saint Germain, and the Count is severely discomfited.

Part X. Two years pass, then Longmore learns from Mrs Draper that the Count repented and begged to be re-accepted by Madame de Mauves. She refused to accept him, so he committed suicide. Longmore returns to America and remains there.


Principal characters
Longmore a rich young man from New York
Mrs Maggie Draper his American friend in England
Madame Euphemia de Mauves a rich American (née Cleve)
Count Richard de Mauves her philandering husband
Marie de Mauves Euphenia’s young friend
old Madame de Mauves Marie’s grandmother
Mrs Cleve Euphenia’s mother
Madame Clarin Euphemia’s sister-in-law
M. Clarin wholesale druggist and gambler

Madame de Mauves - Henry James portrait

Henry James – portrait by John Singer Sargeant


Further reading

Biographical

Red button Theodora Bosanquet, Henry James at Work, University of Michigan Press, 2007.

Red button F.W. Dupee, Henry James: Autobiography, Princeton University Press, 1983.

Red button Leon Edel, Henry James: A Life, HarperCollins, 1985.

Red button Philip Horne (ed), Henry James: A Life in Letters, Viking/Allen Lane, 1999.

Red button Henry James, The Letters of Henry James, Adamant Media Corporation, 2001.

Red button Fred Kaplan, Henry James: The Imagination of Genius, Johns Hopkins University Press, 1999

Red button F.O. Matthieson (ed), The Notebooks of Henry James, Oxford University Press, 1988.

Critical commentary

Red button Elizabeth Allen, A Woman’s Place in the Novels of Henry James London: Macmillan Press, 1983.

Red button Ian F.A. Bell, Henry James and the Past, London: Palgrave Macmillan, 1993.

Red button Millicent Bell, Meaning in Henry James, Cambridge (MA): Harvard University Press, 1993.

Red button Harold Bloom (ed), Modern Critical Views: Henry James, Chelsea House Publishers, 1991.

Red button Kirstin Boudreau, Henry James’s Narrative Technique, Macmillan, 2010.

Red button J. Donald Crowley and Richard A. Hocks (eds), The Wings of the Dove, New York: W.W. Norton and Company, 1978.

Red button Victoria Coulson, Henry James, Women and Realism, Cambridge University Press, 2009.

Red button Daniel Mark Fogel, A Companion to Henry James Studies, Greenwood Press, 1993.

Red button Virginia C. Fowler, Henry James’s American Girl: The Embroidery on the Canvas, Madison (Wis): University of Wisconsin Press, 1984.

Red button Jonathan Freedman, The Cambridge Companion to Henry James, Cambridge University Press, 1998.

Red button Judith Fryer, The Faces of Eve: Women in the Nineteenth Century American Novel, Oxford: Oxford University Press, 1976

Red button Roger Gard (ed), Henry James: The Critical Heritage, London: Routledge, 1968.

Red button Tessa Hadley, Henry James and the Imagination of Pleasure, Cambridge University Press, 2009.

Red button Barbara Hardy, Henry James: The Later Writing (Writers & Their Work), Northcote House Publishers, 1996.

Red button Richard A. Hocks, Henry James: A study of the short fiction, New York: Twayne Publishers, 1990.

Red button Donatella Izzo, Portraying the Lady: Technologies of Gender in the Short Stories of Henry James, University of Nebraska Press, 2002.

Red button Colin Meissner, Henry James and the Language of Experience, Cambridge University Press, 2009

Red button John Pearson (ed), The Prefaces of Henry James, Pennsylvania State University Press, 1993.

Red button Richard Poirer, The Comic Sense of Henry James, Oxford: Oxford University Press, 1967.

Red button Hugh Stevens, Henry James and Sexuality, Cambridge University Press, 1998.

Red button Merle A. Williams, Henry James and the Philosophical Novel, Cambridge University Press, 1993.

Red button Judith Woolf, Henry James: The Major Novels, Cambridge University Press, 1991.

Red button Ruth Yeazell (ed), Henry James: A Collection of Critical Essays, Longmans, 1994.


Other works by Henry James

Henry James The BostoniansThe Bostonians (1886) is a novel about the early feminist movement. The heroine Verena Tarrant is an ‘inspirational speaker’ who is taken under the wing of Olive Chancellor, a man-hating suffragette and radical feminist. Trying to pull her in the opposite direction is Basil Ransom, a vigorous young man from the South to whom Verena becomes more and more attracted. The dramatic contest to possess her is played out with some witty and often rather sardonic touches, and as usual James keeps the reader guessing about the outcome until the very last page.

Madame de Mauves Buy the book at Amazon UK
Madame de Mauves Buy the book at Amazon US

Henry James What Masie KnewWhat Masie Knew (1897) A young girl is caught between parents who are in the middle of personal conflict, adultery, and divorce. Can she survive without becoming corrupted? It’s touch and go – and not made easier for the reader by the attentions of an older man who decides to ‘look after’ her. This comes from the beginning of James’s ‘Late Phase’, so be prepared for longer and longer sentences. In fact it’s said that whilst composing this novel, James switched from writing longhand to using dictation – and it shows if you look carefully enough – part way through the book.
Henry James What Masie Knew Buy the book at Amazon UK
Henry James What Masie Knew Buy the book at Amazon US

Henry James The AmbassadorsThe Ambassadors (1903) Lambert Strether is sent from America to Paris to recall Chadwick Newsome, a young man who is reported to be compromising himself by an entanglement with a wicked woman. However, Strether’s mission fails when he is seduced by the social pleasures of the European capital, and he takes Newsome’s side. So a second ambassador is dispatched in the form of the more determined Sarah Pocock. She delivers an ultimatum which is resisted by the two young men, but then an accident reveals unpleasant truths to Strether, who is faced by a test of loyalty between old Europe and the new USA. This edition presents the latest scholarship on James and includes an introduction, notes, selected criticism, a text summary and a chronology of James’s life and times.
Longstaff's Marriage Buy the book at Amazon UK
Longstaff's Marriage Buy the book at Amazon US


Henry James – web links

Henry James at Mantex
Biographical notes, study guides, tutorials on the Complete Tales, book reviews. bibliographies, and web links.

The Complete Works
Sixty books in one 13.5 MB Kindle eBook download for £1.92 at Amazon.co.uk. The complete novels, stories, travel writing, and prefaces. Also includes his autobiographies, plays, and literary criticism – with illustrations.

The Ladder – a Henry James website
A collection of eTexts of the tales, novels, plays, and prefaces – with links to available free eTexts at Project Gutenberg and elsewhere.

A Hyper-Concordance to the Works
Japanese-based online research tool that locates the use of any word or phrase in context. Find that illusive quotable phrase.

The Henry James Resource Center
A web site with biography, bibliographies, adaptations, archival resources, suggested reading, and recent scholarship.

Online Books Page
A collection of online texts, including novels, stories, travel writing, literary criticism, and letters.

Henry James at Project Gutenberg
A major collection of eTexts, available in a variety of eBook formats.

The Complete Letters
Archive of the complete correspondence (1855-1878) work in progress – published by the University of Nebraska Press.

The Scholar’s Guide to Web Sites
An old-fashioned but major jumpstation – a website of websites and resouces.

Henry James – The Complete Tales
Tutorials on the complete collection of over one hundred tales, novellas, and short stories.

© Roy Johnson 2013


More tales by James
More on literature
More on the novella
More on literary studies
More on short stories


Filed Under: James - Tales Tagged With: English literature, Henry James, Literary studies, The Short Story

Madame de Treymes

July 1, 2014 by Roy Johnson

tutorial, commentary, study resources, plot, and web links

Madame de Treymes was published in 1907. It was Edith Wharton’s first major work after the success of The House of Mirth which had been published two years previously. The tale features American expatriates living in France, and contrasts new world simplicity and individual freedoms with old world family traditions and manipulation.

Madame de Treymes

Paris: Rainy Street – Gustave Caillebotte 1848-1894


Madame de Treymes – critical commentary

This is a story straight out the mould of Henry James – with hints of Balzac. Democratically open but young and maybe naive American honesty is pitted again tradition-bound European guile with its money-centric and snobbish exclusivity hiding behind a hypocritical veil of religious values. The situation also has a slightly Gothic tinge: an unhappy young woman, trapped in a loveless marriage to a corrupt husband, with very little chance of escape, is hounded by ruthlessly devious relatives.

The central conundrum with which one is left at the end of the tale is Madame de Treymes’ possible motive(s) for deceiving Durham? She understands and explains the family’s traditional and tightly controlled attitudes (fuelled by religious belief) towards divorce. This would be entirely in keeping with social conventions at the time, when the Catholic church frowned upon divorce with a force which was a de facto prohibition.

But this apparently religious objection to divorce has a much more material basis in French society, which was governed by the Napoleonic Code that kept inherited wealth and property concentrated into family units rather than freely distributed amongst individuals. This explains the reason why the Malrive family wish to trade Fanny’s son in return for the divorce. She can exercise her rights to a divorce under civil law, but they keep the son, theoretically united with his father, and thereby prevent any wealth passing out of the family.

The other possible source of her ambiguous motivation is that she is attracted to Durham. After all, she is unhappily married herself (like Fanny) although she does have a lover. But she keeps Durham guessing in a rather flirtatious manner. There is also the fact that Durham certainly spends far more time in the story discussing matters with Madame de Treymes than he does with his purported love object, Fanny de Malrive. But there is no substantial evidence in the text to support this notion, and the potential romantic connection between the two of them is not developed in any way.

Novella?

This is a long story – which leads a number of commentators to consider it as a novella. Edith Wharton was certainly attracted to and proficient in the novella as a literary genre, as her early work The Touchstone (1900) and more famous Ethan Frome (1911) demonstrate.

And the clash between American individualism and French family tradition is certainly a unifying factor amongst the various elements of the story. But there are too many loose ends and unresolved issues in the narrative to qualify it as a novella.

Monsieur de Malrive’s misdeeds are left unexamined, as are those of Monsieur de Treymes. Durham’s attempts to help Madame de Malrive presumably come to nothing (because of the stranglehold the Malrive family has over the conflict) and the potential relationship between Durham and Madame de Treymes fizzles out with everyone going their own way. There is simply not a sufficiently powerful enough resolution to events. It is a reasonably successful story, but it lacks the compression of theme, structure, events, and place which is common to successful novellas.


Madame de Treymes – study resources

Madame de Treymes The Works of Edith Wharton – Amazon UK

Madame de Treymes The Works of Edith Wharton – Amazon US

Madame de Treymes Edith Wharton Collected Stories – Norton Critical – Amazon UK

Madame de Treymes Edith Wharton Collected Stories – Norton Critical – Amazon US

Madame de Treymes The Descent of Man and Other Stories – Project Gutenberg

Red button A Historical Guide to Edith Wharton – Amazon UK

Edith Wharton The Cambridge Introduction to Edith Wharton – Amazon UK

Madame de Treymes


Madame de Treymes – plot summary

Part I.   In Paris, American bachelor John Durham pays court to unhappily married Fanny de Malrive, his friend from childhood. She expresses a great enthusiasm for the simplicity and openness of her native America, as distinct from the constricted and rule-bound society into which she has married. But she lives in France for the sake of being near her son.

Part II.   She argues that French society and her husband threaten to corrupt the boy. Durham offers to marry her after she has been divorced. She thinks her husband’s family will not agree to a divorce, but that her sister-in-law Madame de Treymes might help.

Part III.   Durham has been a childhood friend of Fanny, but meeting her again in France he finds her much more sophisticated. Visiting her a few days later with his mother and sisters, he first meets Madame de Treymes, who he also finds fascinating.

Part IV.   Durham applies to his cousin Mrs Boykin for information about the mysterious Madame de Treymes. But she and her husband are comically xenophobic, and very critical of Madame de Treymes, whose lover is a Prince with gambling debts.

Part V.   By giving money at a charity event, Durham is invited to the Hotel de Malrive, the austere family home of Fanny’s in-laws. There he realises the stifling forces of cold and hostile tradition he will be up against. However, Madame de Treymes is sympathetic to his case and agrees to dine with him.

Part VI.   At Durham’s suggestion, the Boykins are suddenly flattered to invite a French aristocrat to dinner. Madame de Treymes tells Durham that the family will not consent to a divorce, and reveals that she has borrowed family money which she cannot repay. Durham believes that this to repay her lover’s gambling debts, and she is offering to trade her influence in exchange for his money. He refuses her offer.

Part VII.   Durham accepts the defeat of his hopes, but then suddenly Madame de Treymes arrives with the news that the Marquis de Malrive has decided not to oppose the divorce. She claims it was Durham’s honourable and sensitive approach which has changed things. Durham is slightly sceptical.

Part VIII.   Durham goes to Italy, but returns to the news that a money scandal has engulfed Prince d’Armillac, the lover of Madame de Treymes. Durham tries to thank and repay Madame de Treymes for the good services she has rendered him, but she claims that she has already been repaid – without saying in what form.

Part IX.   Durham goes to England with his mother and sisters whilst the legal process of divorce takes its course. However, on a business trip back to Paris he meets Madame de Treymes at the Hotel de Malrive. She explains her admiration for his having refused to gain Fanny by paying for influence with the family. She also reveals that it was not her influence which changed the family’s attitude to the divorce.

Part X.   She confesses that the family want to claim Fanny’s son which they can do under French law, which puts the family first, before individuals. Her earlier offer of assistance was a deceit, because the decision had already been taken. Durham realises that even telling Fanny all this will destroy his chances of marrying her. But then Madame de Treymes takes pity on Durham and his plight and reveals that even her last argument about possession of the boy was a deceit as well. Durham leaves to tell Fanny the whole story, knowing his chances of marrying her are gone.


Madame de Treymes – Principal characters
John Durham an American in France (40)
Marquise Fanny de Malrive his childhood friend, neé Fanny Frisbee
Madame Christiane de Treymes Fanny’s sister-in-law
Mrs Bessie Boykin Durham’s cousin
Elmer Boykin her husband
Prince d’Armillac Madame de Treymes’ lover, a gambler

Edith Wharton's house - The Mount

Edith Wharton’s 42-room house – The Mount


Further reading

Louis Auchincloss, Edith Wharton: A Woman of her Time, New York: Viking, 1971,

Elizabeth Ammons, Edith Wharton’s Argument with America, Georgia: University of Georgia Press, 1982, pp.222. ISBN: 0820305138

Janet Beer, Edith Wharton (Writers & Their Work), New York: Northcote House, 2001, pp.99, ISBN: 0746308981

Millicent Bell (ed), The Cambridge Companion to Edith Wharton, Cambridge: Cambridge University Press, 1995, pp.232, ISBN: 0521485134

Alfred Bendixen and Annette Zilversmit (eds), Edith Wharton: New Critical Essays, New York: Garland, 1992, pp.329, ISBN: 0824078489

Eleanor Dwight, Edith Wharton: An Extraordinary Life, New York: Harry N. Abrams, 1994, ISBN: 0810927950

Gloria C. Erlich, The Sexual Education of Edith Wharton, California: University of California Press, 1992, pp.223, ISBN: 0520075838

Susan Goodman, Edith Wharton’s Women: Friends and Rivals, UPNE, 1990, pp.220, ISBN: 0874515246

Irving Howe, (ed), Edith Wharton: A collection of Critical Essays, London: University of North Carolina Press, 1986,

Jennie A. Kassanoff, Edith Wharton and the Politics of Race, Cambridge: Cambridge University Press, 2004, pp.240, ISBN: 0521830893

Hermione Lee, Edith Wharton, London: Vintage, new edition 2008, pp.864, ISBN: 0099763516

R.W.B. Lewis, Edith Wharton: A Biography, New York: Harper and Rowe, 1975, pp.592, ISBN: 0880640200

James W. Tuttleton (ed), Edith Wharton: The Contemporary Reviews, Cambridge: Cambridge University Press, 1992, pp.586, ISBN: 0521383196

Candace Waid, Edith Wharton’s Letters from the Underworld, London: University of North Carolina Press, 1991,

Sarah Bird Wright, Edith Wharton A to Z: The Essential Reference to Her Life and Work, Fact on File, 1998, pp.352, ISBN: 0816034818

Cynthia Griffin Wolff, A Feast of Words: The Triumph of Edith Wharton, New York: Perseus Books, second edition 1994, pp.512, ISBN: 0201409186


Other works by Edith Wharton

Edith Wharton - The Custom of the CountryThe Custom of the Country (1913) is Edith Wharton’s satiric anatomy of American society in the first decade of the twentieth century. It follows the career of Undine Spragg, recently arrived in New York from the midwest and determined to conquer high society. Glamorous, selfish, mercenary and manipulative, her principal assets are her striking beauty, her tenacity, and her father’s money. With her sights set on an advantageous marriage, Undine pursues her schemes in a world of shifting values, where triumph is swiftly followed by disillusion. This is a study of modern ambition and materialism written a hundred years before its time.

Edith Wharton - The Custom of the Country Buy the book from Amazon UK
Edith Wharton - The Custom of the Country Buy the book from Amazon US

 

Edith Wharton - The House of MirthThe House of Mirth (1905) is the story of Lily Bart, who is beautiful, poor, and still unmarried at twenty-nine. In her search for a husband with money and position she betrays her own heart and sows the seeds of the tragedy that finally overwhelms her. The book is a disturbing analysis of the stifling limitations imposed upon women of Wharton’s generation. In telling the story of Lily Bart, who must marry to survive, Wharton recasts the age-old themes of family, marriage, and money in ways that transform the traditional novel of manners into an arresting modern document of cultural anthropology.

Edith Wharton - The House of Mirth Buy the book from Amazon UK
Edith Wharton - The House of Mirth Buy the book from Amazon US


Edith Wharton – web links

Edith Wharton at Mantex
Biographical notes, study guides to the major novels, tutorials on the shorter fiction, bibliographies, critiques of the shorter fiction, and web links.

Edith Wharton at Gutenberg
Free eTexts of the major novels and collections of stories in a variety of digital formats – also includes travel writing and interior design.

Edith Wharton at Wikipedia
Full details of novels, stories, and travel writing, adaptations for television and the cinema, plus web links to related sites.

The Edith Wharton Society
Old but comprehensive collection of free eTexts of the major novels, stories, and travel writing, linking archives at University of Virginia and Washington State University.

The Mount: Edith Wharton’s Home
Aggressively commercial site devoted to exploiting The Mount – the house and estate designed by Edith Wharton. Plan your wedding reception here.

Edith Wharton at Fantastic Fiction
A compilation which purports to be a complete bibliography, arranged as novels, collections, non-fiction, anthologies, short stories, letters, and commentaries – but is largely links to book-selling sites, which however contain some hidden gems.

Edith Wharton’s manuscripts
Archive of Wharton holdings at the Beinecke Rare Book and Manuscript Library

© Roy Johnson 2014


More on Edith Wharton
More on the novella
More on literary studies
More on short stories


Filed Under: Edith Wharton Tagged With: Edith Wharton, English literature, Literary studies, The Short Story

Malte Laurids Brigge

May 25, 2017 by Roy Johnson

tutorials, commentary, study resources, and web links

The Notebooks of Malte Laurids Brigge (1910) is a ‘work’ in prose written by the Czech poet Rainer Maria Rilke. It is commonly regarded as a novel, but as a work of radical modernism it breaks all the rules commonly underpinning a sustained work of fiction. It pre-dates other major works of modernism by more than a decade, but has never become as well known as novels such as James Joyce’s Ulysses (1922), Virginia Woolf’s Mrs Dalloway (1925) or D.H. Lawrence’s Women in Love (1924). The reasons for this may become apparent from the critical comments that follow.

Malte Laurids Brigge


The Notebooks of Malte Laurids Brigge – commentary

Modernism

The most striking feature of Malte Laurids Brigge is that it marks a radical departure in terms of the presentation of fictional narrative. It also embraces just about every characteristic of what became known as literary modernism. The dates of the book’s composition (1906-1910) coincide with the development of modernism in general.

Although the subject is largely a young man’s recollections of his childhood, there is a complete fragmentation of the narrative, with no attempt at chronological progression. There is very little indication of a sequence of events or any indication of the relationship of one notebook entry to another. The result is a mosaic of episodes, held together only by the personality of the narrator.

The same radical departure is true of the other main feature of traditional fiction – characterisation. There are thumbnail sketches of characters known to Malte – his relatives or people who feature in his anecdotes. But none of them are developed, and people he sees in the street (or doesn’t see in the next room) are given just as much importance as close relatives

There is no sense of dramatic tension in the narrative at all – no story, plot, or psychological development to engage a reader’s interest in the manner of conventional fiction.

The subject matter and the form of the individual notebook entries are radically heterogeneous. They begin with anguished accounts of living in reduced circumstances in Paris. They pass on to childhood memories of life in Denmark. They include quasi-philosophic reflections on sometimes bizarre topics – such as feeding pigeons and the noise made by the lid from a tin can. There are impressionistic accounts of paintings and some tapestries. And one entry is a critical essay on the works of Henrik Ibsen.

The main themes

Despite the varied nature of the notebook entries, there is a general theme that emerges from them. They have in common the decline of the aristocracy, the collapse of an empire, and the narrator’s regret for the passing of a grand way of life. Malte’s first-person account of his childhood reveals a family background of a rich, land-owning aristocracy.

His memories revolve around two grand estates at Ulsgaard and Urnekloster, the family seats of the Brigges and Brahes in Denmark. He takes a lofty pride in describing his ancestral homes, with their portrait galleries, the number and size of their rooms, and the long and distinguished history of their land-owning families.

His re-telling of historical events and the details of his personal reading all feature aristocratic dignitaries, plus their levels of rank and social status. He deals with kings, knights and people who died either in battle or in gruesome circumstances. His anecdotes are littered with images of crowns, swords, flags, and the paraphernalia of the ruling class – all presented sympathetically, with profound regret for the passing of their influence.

It is significant that in the narrative present of the notebook entries, the protagonist Malte’s inherited furniture is in storage, and he is living in temporary accommodation in Paris. He is clearly unable to cope psychologically with the change in his circumstances.

The book is rather like Thomas Mann’s Buddenbrooks (1901) in plotting the decline of a way of life which was to be swept away forever by the events of the first world war which took place only a few years later. The whole of the Hapsburg empire which then encompassed Austro-Hungary and beyond was in a morbid bureaucratic decline which 1914-18 put an end to forever.

Kafka and Wittgenstein

There are amazing similarities between Rilke and two other writers with Hapsburg origins. Like Rilke, Franz Kafka was born in Prague in 1883, wrote in German, and died within two years of his fellow countryman. Although Kafka is known as a novelist, the vast majority of his work consists of fragmentary writings in notebooks and diaries – very similar to Malte’s notebook entries. His subject matter, like Rilke’s, is expressed in the study of very unusual states of being, psychological tension, and neurotic attention to the trivial detail of everyday life.

There is very little dramatic tension in Kafka’s writings, which are sometimes philosophic meditations on everyday topics, sometimes elaborate metaphors spun out of a startling image, and often quasi-mystic or semi-religious beliefs stated in gnomic aphorisms or ambiguous mantras.

The other writer with whom Rilke has distinct similarities is Ludwig Wittgenstein – who was also a product of the fin-de-siecle Hapsburg Empire. Wittgenstein was from Vienna, and was born into a rich aristocratic family in 1889. He too was riven by self doubt (like Malte and all Kafka’s protagonists) and like Rilke he wrote his ideas in the form of numbered paragraphs in notebooks. He also expressed himself in the form of philosophic reflections and quasi-religious meditations.

Is it a novel?

Rilke himself never referred to Malte Laurids Brigge as a novel: he used the terms ‘book’ or ‘work’ – and the bulk of Rilke’s writing was poetry. Nevertheless, the book is commonly discussed as if it were a novel, and in the one hundred years since its publication readers have become accustomed to all sorts of experimental prose fictions.

But it certainly does not tell a story, and it does not have memorable characters or show anybody’s psychological development. Its parts or episodes are not coherently linked; there is no dramatic tension at all; and the un-coordinated switching from one topic to another makes it very difficult to read. The critic and novelist A.N. Wilson captured some of this problem in his review of the book – which he admits took him a month to read:

It is, in fact, barely 200 pages long, but it is, among other things, an autobiography, a travelogue (Russia, Venice, Paris, Denmark), a fantasy about the twilight of the old European aristocracy, a series of historical sketches, with vignettes as various as those of Charles the Bold of Burgundy, Ivan the Terrible and Eleanora Duse, and a poet’s notebook, attempting to come to grips with such everlasting questions as the nature of consciousness, our need for love, and whether or not we could ever love God.

Rilke delivers re-imagined historical scenes from the lives of fourteenth and fifteenth century French kings – but does not identify who they are. These passages would be incomprehensible without the addition of explanatory footnotes and endnotes supplied by the editor. And even with the glossary material it is very difficult to see their relevance to the rest of the narrative – except to reinforce the impression that Malte is obsessed with royalty, aristocratic status, inheritance, and death – either by disease, regicide, or battlefield slaughter.

He also recounts in minute detail the lives of people he has never met or even seen. There is a lengthy account of a poor news vendor in Paris during which Malte speculates about the man’s state of mind from his shabby appearance. Having done that he then confesses that his account is invalid:

I knew at once that my mental image of him was worthless. The abjectness of his misery, not mitigated by any wariness or pretence, was beyond anything I might be able to convey. I had grasped neither the angle of his posture nor the horror with which the inside of his eyelids seemed continually to imbue him.

It is bad enough that two pages of detailed description are suddenly declared ‘worthless’. If that is the case, why retain them as part of the narrative? But to then pretend knowledge of the psychological effect produced by the inside of a stranger’s eyelids is nothing short of ridiculous. The only possible justification for such statements is that they reveal Malte’s deranged state of mind – a topic which is not consistently addressed.

In the first of the notebook entries, when Malte describes his life in Paris, he is mentally unhinged and paranoid. But as further entries are added, this presentation of madness recedes, and there is every reason to believe that the content of the memoirs and anecdotes should be taken seriously, at face value.

There is therefore a difficulty presented to the reader – reconciling these disparate states of mind and perception within one consciousness. But this fracturing of subject and point of view is all part of what makes the Notebooks an essentially modernist work. It is rather like a prose equivalent of Eliot’s The Waste Land, though it should be noted that it precedes it by more than a decade.


The Notebooks of Malte Laurids Brigge – resources

Malte Laurids Brigge The Notebooks of Malte Laurids Brigge – OUP – Amazon UK

Malte Laurids Brigge The Notebooks of Malte Laurids Brigge – OUP – Amazon US

Malte Laurids Brigge The Notebooks of Malte Laurids Brigge – Penguin – Amazon UK

Malte Laurids Brigge The Notebooks of Malte Laurids Brigge – Penguin – Amazon US

Malte Lurids Brigge


The Notebooks of Malte Laurids Brigge – synopsis

Following the death of his parents a Danish aristocrat Malte Laurids Brigge is living in reduced circumstances in Paris. He is in a neurotic state of mind and appears to be suffering from paranoia. In a series of fragmentary notebook entries he recaptures his past and makes observations on life.

Metaphysical reflections on dying and death – including the idea that people have ‘ownership ‘ of their own death.

Childhood memories of living in a castle amongst eccentric and aristocratic relatives.

A detailed account of a visit in the dining room from the beautiful Cristina Brigge – who has been dead for some time.

Malte hides from his poverty by reading poetry in the Biblioteque Nationale – but is still possessed by paranoid fears.

He pays a visit to a psychiatric hospital, but his neurotic childhood fears return to haunt him.

He describes in great detail his attempts to help a man suffering from St Vitus’ Dance, then writes an oblique appreciation of the works of Henrick Ibsen

Childhood memories of illness and isolation, including the uncanny incident of meeting a disembodied hand under a table.

He becomes seriously ill with a fever, and is nursed by his mother, with whom he has an especially close bond.

Exploring the castle as a child, he dresses up in carnival costume, feels that he loses his own identity, and faints with fear.

He inspects the portraits of aristocratic relatives in the castle, then recalls the cold and remote behaviour of his relatives, even at the family dinner table.

He finds his aunt Abelone very attractive and describes to her in detail a series of heraldic tapestries.

He visits a neighbouring estate where the grand house has burned down and family are forced to live in in a few remaining rooms.

He recalls the death of his father and the medical ritual of piercing the heart as a precaution against premature burial.

Following the death of his father, he prepares to leave Copenhagen. He contemplates various examples of dying, then the story of a neighbour who thinks he can accumulate saved time like money deposited in a bank account.

He describes the activity of his next-door neighbour in Paris – without any evidence that what he is saying is true. This is followed by philosophic reflections on the ‘life’ of material objects, including the lid from a tin can.

He recalls books he has read and treasured, and goes on to re-tell the story of the death of Dmitry I, the false Tsar.

He presents his theory of the Duke of Burgundy’s blood and a detailed account of his death in battle.

He describes the genesis of his attitudes to reading, and then delivers a psychological critique of Goethe’s letters to young Bettina von Arnim.

He gives a detailed account of a news vendor in Paris, including the inside of his eyelids – and then reveals that his account is flawed.

He re-tells the personal history of a nineteenth-century French king who went mad, and describes yet another scene of slaughter on a battlefield.

Trivial episodes from his own childhood suddenly become further episodes in the lives of French kings and the Pope at Avignon.

A visit to the Roman amphitheatre in Orange leads to a meditation on drama and the acting career of Eleanora Duse.

He posits an elderly man reading poetry alone late at night. He believes that because the work is ancient it can express a state of completeness.

In Venice he encounters an attractive Danish girl who sings very beautifully.

He offers a meditation on the parable of the prodigal son, and wonders how it might be possible to draw nearer to God.

© Roy Johnson 2017


Filed Under: 20C Literature Tagged With: Literary studies, Modernism, Rainer Maria Rilke, The novel

Man and Wife

February 21, 2017 by Roy Johnson

tutorial, commentary, study resources, and web links

Man and Wife (1870) was one of the novels in which Wilkie Collins undertook to expose social injustice – in this case the absurdities which existed in British marriage laws. It was his ninth published novel. As someone who had briefly studied law himself, Collins took a keen interest in legal matters, particularly how they applied to domestic life. He himself never married, even though he maintained two separate families who lived quite close to each other in London’s fashionable West End. The novel explores both the social and legal problems which arise from bad law and the cruelties inflicted on women trapped in abusive marriages.

Man and Wife


Man and Wife – a note on the text

Man and Wife first appeared as a serial in Cassell’s Magazine between January and June 1870. It was simultaneously serialized in the United States by Harper’s Weekly and then published as a novel in three volumes by F.S. Ellis, to which Collins added a preface, a dedication, and an appendix. He often felt that he needed to explain and justify the subjects he chose for his novels, because they were considered slightly scandalous at the time, and many critics doubted the realistic validity of his subject matter.


Man and Wife – critical commentary

Principal issues

Readers will have no difficulty in appreciating that the main elements of the novel are the legal problems surrounding ‘irregular’ marriage, the social status of women, and irregularities and differences between the laws of England and of Scotland.

There are several long discussions between characters on the subject of the ‘irregular’ Scottish marriage. The essence of this is that a marriage did not need to be announced in advance (by the issuing of ‘banns’) did not need to take place in a place of worship, and did not need to be solemnised by a member of the church. A marriage could be legally established by mere assertion of the two parties concerned – with no scrutiny of the validity of their claim.

The problems and anomalies to which this arrangement might give rise are fully explored in the events of the novel, and full recognition is given to the fact that differences of legal opinion could arise on the status of a particular union.

Arnold Brinkworth marries Blanche Lundie in a perfectly orthodox manner in England – but is then shocked to discover that he is considered to have previously married Anne Silvester. This is because he merely announced himself as her husband and stayed overnight in the same remote inn where she was waiting for Geoffrey Delamayn.

Anne Silvester has a verbal agreement with Geoffrey Delamayne that they will marry in secret. She writes to him asserting their understanding, and he replies in agreement. And that letter alone is later regarded as ‘proof’ of their marriage.

Even though she later hates Delamayne, Anne agrees to respect the agreement and thereby sacrifices herself so that no shadow of scandal will blemish the marriage of her friend Blanche to Arnold. The tragic consequence of her action is that on the strength of this Delamayne eventually imprisons her (which the law permits) and plans to murder her so that he can marry the rich Mrs Glenarm.

Add to these instances the sad story of Hester Dethridge’s marriage to an abusive husband from which she cannot escape, and the reader is presented with a whole range of complexities arising from bad law and the uncertain outcome of marriage (at any time). Wilkie Collins was obviously sceptical of the institution, as he reveals rather satirically when describing the wedding ceremony:

Thus, the service began—rightly-considered the most terrible surely of all mortal ceremonies—the service which binds two human beings, who know next to nothing of each other’s natures, to risk the tremendous experiment of living together till death parts them—the service which says, in effect if not in words, Take your leap in the dark: we sanctify but we don’t insure it!

The sensation novel

Man and Wife is often seen as the opening work of Wilkie Collins’ ‘later period’ in which he took a ‘moral and didactic’ approach to social issues of the day. This is most evident in the close relationship of his marriage law subject matter and the constitutional changes taking place at the time, notably the Married Women’s Property Act (1870).

But the novel also contains many elements of the sensation novel which had made his earlier works of the 1860s so popular – notably secret marriage, bigamy, blackmail, domestic violence, incarceration, and murder.

The main plot gets under way with two non-marriages which assume legal status. The first is Anne’s proposal of a secret marriage to Geoffrey Delamayne. This takes place purely on paper – in a letter from Anne asserting their union which also contains Geoffrey’s affirmative reply.

The second occurs when Arnold visits Anne at the inn pretending to be her husband. This leads directly to what Collins presents as the absurdity of the ‘irregular Scottish marriage’. They are deemed to be married merely because they spend the night together under the same roof.

More seriously, because of this innocent accident Arnold later becomes guilty of bigamy when he marries Blanche. The whole of the second part of the novel is driven by attempts to unravel this Scottish marriage and to counter its social ramifications.

Part of the plotting and counter-plotting involves blackmail. The scurrilous waiter Bishopriggs gains possession of the vital letter of understanding between Anne and Geoffrey Delamayne. When Bishopriggs threatens to reveal its contents unless he is well compensated, Anne counter-threatens the same thing, which will make the letter worthless. (However, it is a serious flaw in the plot that he parts with it for the measly sum of five pounds.)

The mysterious figure of the dumb cook Hester Dethridge is eventually revealed as a victim of domestic violence. She is married to a man who is a drunkard, who takes and squanders all the money she earns, and who beats her savagely. Her written confession which presents this catalogue of abuse is clearly offered by Wilkie Collins as a polemical illustration of the lack of women’s rights at the time.

The abuse is so severe that Hester feels she has no alternative but to remove its source – so she eventually murders her husband. She rather improbably escapes detection – but she is ever afterwards haunted by a recurrent homicidal impulse.

This finds its ultimate outlet when she is forced to assist Geoffrey Delamayne in his attempt to murder Anne using the same method she has used. But instead of helping him, she strangles him – though he appears to have a stroke at the same moment. It is not altogether clear if she is the actual killer – but she is nevertheless incarcerated as a result – in a mental asylum from which she will not be released for the rest of her life.

Dramatic structure

Wilkie Collins produced the novel as a prose narrative for serial publication in Cassell’s Magazine. As such it sits alongside literary works in the novel genre produced by his contemporaries Dickens, Gaskell, Braddon, and Trollope. But it is quite clear that there is a strong sense of a stage drama underpinning the structure of the work.

The fact is that he first conceived the story as a play, and one of its principal weaknesses is that the narrative is comprised of a series of rather long-winded ‘conversational’ interludes sewn together by episodes of a quite different pace and style.

The main scenes in the unfolding of the plot are very static, and they take place usually in the drawing room, dining room, summer-house, library, or some other location easily rendered under the proscenium arch of a traditional stage.

There are lots of comings and goings in and out of doorways, and lots of situations packed with dramatic irony. It is closer in tone and genre to a country house comedy of manners than to the serious and dark melodrama into which the novel turns during its third and final volume.

Perhaps the most surprising structural weakness occurs at the end of the novel. Just as the story is being brought to its climax and the main theme of the story (the Anne-Geoffrey non-marriage) is being resolved – Collins interrupts the dramatic tension by inserting the potted biography of Hester Dethridge. This is a blatant passage of propaganda on the subject of women trapped in abusive relationships – and as such it completely disrupts the tone of the main narrative.

Moreover it culminates in Hester’s murder of her abusive husband in a scene which is very badly explained in terms of dramatic invention. We are asked to believe that Hester puts her hands through a lath and plaster wall, suffocates her husband with a wet towel, then somehow repairs the wall leaving ‘nothing disturbed or altered’. Geoffrey then plans to murder Anne in a gimcrack reprisal of the same method in the final scene, which is as rushed as it is far-fetched.


Man and Wife – study resources

Man and Wife Man and Wife – Oxford Classics – Amazon UK

Man and Wife Man and Wife – Oxford Classics – Amazon US

Man and Wife Man and Wife – Facsimilie Publisher – Amazon UK

Man and Wife Man and Wife – Facsimilie Publisher – Amazon US

Basil The Complete Works of Wilkie Collins – Kindle eBook

Basil Man and Wife – eBook formats at Gutenberg


Man and Wife 1875

1875 edition


Man and Wife – plot synopsis

Prologue

I. Ambitious John Vanborough feels that his wife is holding back his chances of rising socially. He discovers that his marriage is technically invalid and throws himself at rich widow Lady Jane Parnell.

II. He marries her, enters parliament, and becomes famous. Delamayne enters parliament and becomes solicitor general. Vanborough commits suicide, leaving his daughter Anne Sylvester to be raised by Lady Julia Lundie, where she is governess to Blanche her step-daughter.

The Story

There is a garden party at the estate of Sir Patrick Lundie. Anne Sylvester is at odds with the termagant Lady Lundie. Sir Patrick discusses inheritance with young Arnold Brinkworth, who proposes to Blanche Lundie. Anne bullies Geoffrey Delamayne into a secret marriage because he has been paying court to her. News arrives that Delamayne’s father is ill, so he deputes his friend Arnold to explain his absence to Anne.

Second Scene

Arnold takes the news to a distraught Anne at a nearby inn. They unwisely pass themselves off as newlyweds. Arnold misses his train and is forced to stay overnight. When Blanche arrives, Anne hides Arnold and gives Blanche a partial explanation.

Third Scene

Delamayne is in London. His father wishes him to marry, and his brother Julius presents an attractive alternative in rich widow Mrs Glenarm.

Fourth Scene

Blanche, Arnold, and Geoffrey assemble at Windygates to discuss Anne, who is in hiding . There are lots of dramatic ironies and much consideration of irregular Scottish marriages. A visiting surgeon makes a case against physical exercise, and predicts that Geoffrey is internally flawed. Anne suddenly returns to the house and is rejected by Geoffrey. Anne disappears again, and is pursued by Sir Patrick and Blanche. Anne sends Blanche a letter of terminal farewell. Sir Patrick urges marriage as a solution for Arnold and Blanche, to which Arnold agrees. Anne is traced to Glasgow.

Fifth Scene

In Glasgow Anne receives contradictory advice on her legal status under Scottish law. She then collapses at the hotel.

Sixth Scene

Geoffrey jousts verbally with Mrs Glenarm to whom he is secretly engaged. He trains for a running race – and shows signs of weakness. Blanche questions the waiter Bishopbriggs about Anne’s letter which he plans to use in blackmailing Geoffrey and Mrs Glenarm.

Seventh Scene

On the evening of his wedding Arnold is questioned by Sir Patrick about Geoffrey’s secret – which he feels he cannot honourably reveal. Arnold and Blanche marry and go on honeymoon. Letters arrive from Anne sacrificing herself and revealing the truth about her meeting with Arnold. Geoffrey’s marriage to Mrs Glenarm is announced in the newspapers, as is the attempted blackmail of Mrs Glenarm. Anne moves to London.

Eighth Scene

Anne confronts the blackmailer Bishopriggs and pays him five pounds for her letter.

Ninth Scene

Anne confronts Mrs Glenarm and they dispute the veracity of Geoffrey’s claim that Anne is married to Arnold.

Tenth Scene

Lady Lundie intervenes and interrogates the inn-keeper Mrs Inchbare. She then plots further with Mrs Glenarm.

Eleventh Scene

Lady Lundie confront’s Blanche and convinces her that Arnold was already married to Anne, her closest friend. She then takes her away to London.

Twelfth Scene

Anne visits Geoffrey in Fulham, and is rejected anew. But Sir Patrick interprets Anne’s letters to and from Geoffrey as proof that they were married under Scottish law.

Thirteenth Scene

Geoffrey loses the running race in Fulham and collapses after the event.

Fourteenth Scene

There is a meeting of lawyers to consider the legal status of the disputed marriage. Sir Patrick argues the case for Arnold and Blanche. He produces Anne’s ‘marriage’ letter which proves the case – and Anne chooses to sacrifice herself for Blanche’s sake.

Fifteenth Scene

Sir Patrick visits Lord Holcome who is dying. He has made a new will with provision for Geoffrey (and possibly Anne) but dies before the codicil can be signed.

Final Scene

Geoffrey Delamayne takes his ‘wife’ Anne to the lodgings run by Hester Dethridge. He plans to sue for a ‘divorce’ but cannot make a legal case. When his father dies, he imprisons Anne in the cottage. His brother Julius proposes to honour the unsigned codicil to his father’s will if Geoffrey will agree to a separation. Geoffrey refuses. and becomes ill. Hester sees an apparition of some kind and tells Geoffrey he must leave. Geoffrey reads Hester’s confession of how she killed her abusive husband. He prepares to murder Anne in the same way, but when he makes the attack through a bedroom wall he has a stroke, whilst Hester has another homicidal vision and kills him.

Epilogue

Six months later Hester has been placed in a mental asylum, Mrs Glenarm is in the process of becoming a nun, and Anne has become Lady Lundie by marrying Sir Patrick.


Man and wife – principal characters
Delamayne an ambitious lawyer who becomes Lord Holchester
Julius Delamayne his elder son, who inherits the title
Geoffrey Delamayne his profligate younger son
Lady Julia Lundie a proud Scottish widow
Blanche Lundie her young step-daughter
Sir Patrick Lundie a retired lawyer
Anne Silvester governess and friend to Blanche
Arnold Brinkworth friend of Geoffrey, suitor to Blanche
Hester Dethridge a dumb cook and landlady
Mrs Glenarm a rich young widow
Samuel Bishopriggs a crusty old Scottish waiter

Man and Wife – further reading

William M. Clarke, The Secret Life of Wilkie Collins, London: Ivan R. Dee, 1988.

Tamar Heller, Dead Secrets: Wilkie Collins and the Female Gothic, New Haven: Yale University Press, 1992.

Winifred Hughes, The Maniac in the Cellar: Sensation Novels of the 1860s, Princeton: Princeton University Press, 2014.

Sue Lonoff, Wilkie Collins and his Victorian Readers: A Study in the Rhetoric of Authorship, New York: AMS Press, 1982.

Catherine Peters, The King of Inventors: A Life of Wilkie Collins, Princeton: Princeton University Press, 2014.

Walter C. Phillips, Dickens, Reade, and Collins: Sensation Novelists, New York: Library of Congress, 1919.

Lynn Pykett, Wilkie Collins: New Casebooks, London: Palgrave-Macmillan, 1998.

Nicholas Rance, Wilkie Collins and Other Sensation Novelists: Walking the Moral Hospital, London: Palgrave-Macmillan, 1991.

© Roy Johnson 2017


More on Wilkie Collins
More on the novella
More on literary studies
More on short stories


Filed Under: Wilkie Collins Tagged With: English literature, Literary studies, The novel, Wilkie Collins

Manhattan Transfer

February 8, 2016 by Roy Johnson

tutorial, critical commentary, plot, and study resources

Manhattan Transfer was first published in 1925. It was the sixth literary work by John Dos Passos. Although he belonged to the same ‘lost generation’ as Ernest Hemingway and F. Scott Fitzgerald, he established a reputation as a literary modernist who incorporated documentary material into his fictions. He presented a vision of American society which was rich in sociological and political significance, and he was also radically expressive in delivering narratives that were dense with literary experimentation.

Manhattan Transfer


Manhattan Transfer – critical commentary

The novel has as its principal focus the city of New York and its development in the early years of the twentieth century, running from the period pre-1910 to the early 1920s (the ‘jazz age’) with its flappers and prohibition. Its characters are what D.H.Lawrence described as “the vast loose gang of strivers and winners and losers which seems to be the very pep of New York.”

New York is an American state (like Texas, California, or Nebraska) whose capital city is Albany – hence the term New York City, which distinguishes the city from the state. New York City is also located on Manhattan Island in the Hudson River, and has always been the gateway for immigration to the United States. Manhattan Transfer reflects the rich cultural and linguistic mix of this population influx, and Dos Passos reproduces speech, patois, and accents from French, Italian, Yiddish, English, and Irish to reflect the cosmopolitan nature of the city and its culture.

The radical novelist

John Dos Passos was a novelist, a painter, and a political activist. As a young man he was a social revolutionary, with sympathies for both anarchist and communist points of view. It is quite clear in Manhattan Transfer that the radicalism expressed by characters such as Emile and Congo Jack has his sympathy; that the shady dealings in local government are being exposed as political corruption; and that his presentation of American capitalism is as a viciously competitive system that has a dehumanising effect on its citizens.

Joe Harland is a former ‘Wizard of Wall Street’ who has lost everything in one of the many stock market crashes. It’s significant that he is related by family to the relatively secure Jimmy Hersh. But he is now out of money and out of work. And work is not easy to find – partly because times are hard, and partly because of protectionism amongst trade unions (which in America were notoriously associated with organised crime).

Dos Passos’s achievement in this novel (as in U.S.A.) is to incorporate these political elements without sliding into propaganda or overt bias. He sees good qualities in his rich and successful characters, and weaknesses in his down-and-out failures. He presents a wide perspective on American society and its immigrant composition, but neither its working Joe Does or its rich playboys are neglected, and neither are its marginal characters – such as the foreign barmen, occasional sailors and building workers, and even hobos, dropouts, and tragic victims of poverty level existence.

The modern city

It is interesting to note that Manhattan Transfer was written and published in a period within two decades at the beginning of the twentieth century which saw the production of a number of novels that featured the capital city as the symbol of modern industrial and commercial life. Andrei Biely’s Petersburg had appeared in 1916, set in what was then the capital of pre-revolutionary Russia. In 1922 James Joyce’s Ulysses featured the Irish capital Dublin as it was in 1904. Virginia Woolf’s Mrs Dalloway, published in 1925 is set exclusively in London, and Alfred Doblin’s Berlin Alexanderplatz (1929) is a portrait of the capital of the Wiemar republic of the 1920s.

All of these novels feature a fragmented literary style, varying points of view, and the use of montage effects which were probably influenced by the cinema, which had become a popular entertainment medium around the same time. In the cases of Joyce, Doblin, and Dos Passos there was also the inclusion of advertising, newspaper reports, and documentary material related to the events of their narratives.

Literary style

The dominant strain in American fiction during the period preceding Dos Passos was naturalism. This was an approach which took its subjects from the lower orders of society and put emphasis on the Darwinian struggle for survival. Influenced by French writers such as Zola and Maupassant, the naturalist school of novelists took a sociological approach to their rendering of social reality, and included topics which had hitherto been largely excluded from serious fiction (with the exception of Dickens) – topics such as crime, poverty, alcoholism, prostitution, disease, racism, violence, and political corruption.

Stephen Crane, Sinclair Lewis, Jack London, and Theodore Dreiser had been the popular exponents of this tendency in the period 1890-1920, and there are many elements of literary naturalism in Manhattan Transfer. Many of the characters are unemployed, there is no shortage of drunkenness, sexual promiscuity is rife, corruption exists in local politics, and there are deaths by fire, suicide, and motor accident.

But unlike the naturalist school, Dos Passos uses a huge variety of literary styles to create the sense of social multiplicity, cosmopolitanism, and urban development that pervades the world of Manhattan Transfer. This means that there is more emphasis on the novel as a work of art, rather than simply as a social manifesto.

Each chapter is prefaced by a paragraph of what can only be described as a prose poem, which signals the theme of the chapter. The sections and chapters that follow are delivered using a combination of conventional third person narrative mode, interior monologues, shifting points of view, fragments of newspaper reports, snatches of song, encyclopaedia entries, unattributed conversation, and sometimes an absence of conventional punctuation:

She stopped a second to look at the Plaza that gleamed white as motherofpearl … Yes this is Elaine Oglethorpe’s apartment … She climbed up onto a Washington Square bus. Sunday afternoon Fifth Avenue filed by rosily dustily jerkily. On the shady side there was an occasional man in a top hat and frock coat. Sunshades, summer dresses, straw hats were bright in the sun that glinted in squares on the upper windows of houses, lay in bright slivers on the hard paint of limousines and taxicabs.

Montage

The most radical and striking feature of Dos Passos’s literary style is his use of montage – cutting very rapidly from one character or scene to another. No sooner has one mini-drama got under way than the reader is whisked along to a different location and a different set of participants. This technique has a disorienting effect which emphasises the simulteneity of actions in various strata of society and the vibrancy of life in a modern cosmopolitan city.

This disorientation settles down as the text gradually reveals subtle connections between characters and events. But it has to be said that there is a price to be paid for the use of montage. Many of the characters are established as examples of individuals grappling with the problems of modern city life – but they simply do not reappear, so we are not given any account of their destinies.

There is only one character who is present from the beginning to the end of the narrative. That is Jimmy Herf – the artistic and visionary young boy who loses his mother, becomes a newspaper reporter, marries unsuccessfully, and ends by giving up his family and job to become a drifter.

U.S.A.

Manhattan Transfer is the forerunner to what is widely regarded as Dos Passos’s masterpiece, the trilogy U.S.A.. This comprises three separate but interlocking works – The 42nd Parallel published in 1930, Nineteen Nineteen which appeared in 1932, and The Big Money which completed the tryptich in 1936. This later work was even broader in scope, and took in American society at every level – from railroad hobos to Wall Street financiers and politicians.

Dos Passos is a neglected but important figure in the development of American modernism, and U.S.A. is a powerfully insightful representation of western capitalism. The novel also includes a rare depiction of those ideologies – socialism, communism, and anarchism – that offered an alternative to the dehumanising effects of naked market competition.


Manhattan Transfer – study resources

Manhattan Transfer Manhattan Transfer – Amazon UK
Manhattan Transfer Manhattan Transfer – Amazon US

Manhattan Transfer Dos Passos – Early Novels – Amazon UK
Manhattan Transfer Dos Passos – Early Novels – Amazon US

Manhattan Transfer The U.S.A. Trilogy – Amazon UK
Manhattan Transfer The U.S.A. Trilogy – Amazon US


Manhattan Transfer

John Dos Passos


Manhattan Transfer – chapter summaries

FIRST SECTION

1. Ferryslip – Young farm worker Bud Korpenning arrives in New York City, a virtual hobo, hoping to find employment. Ed Tatcher is an accountant who dotes on his young daughter Ellie. His wife Susie however is a self-pitying invalid.

2. Metropolis – Emile is a French waiter who serves a group of rich, drunk, and vulgar business people late into the night. In the early morning he discusses social injustices with Mario, an Italian anarchist sympathiser. Bud gets a job washing dishes. Susie leaves Ellie on her own all night. Irish milkman Gus McNeil wants to travel out West for a better life, but is run over in a street accident.

3. Dollars – Lawyer George Baldwin pursues Nellie McNeil regarding her husband’s accident and is struck by her good looks. They begin an affair whilst Gus is still in hospital. Emile is courting widowed shopkeeper Mme Rigaud. Jimmy Herf and his mother arrive by boat on the fourth of July. Baldwin wins Gus McNeil’s compensation claim, but tires of Nellie.

4. Tracks – Jimmy Herf and his invalid mother have dinner in their hotel rooms. She complains of her ailments: he lives in a teenage dreamworld of fantasies. Emile continues his unsuccessful courtship of Mme Rigaud. Nellie ends the affair with George Baldwin. Bud is in the Sailor’s Mission. Jimmy’s mother has a stroke. He visits his well-to-do aunt’s house where casual racism is the norm. Ed Thatcher resists the temptation of an allegedly surefire investment.

5. Steamroller – Jimmy’s mother dies, whereupon his uncle suggests that he start work in the family business, but Jimmy is not keen on the idea. Bud reveals to a fellow hobo that he has killed his stepfather, who was beating him. He feels he is being pursued and has nowhere to go – so he commits suicide by jumping off Brooklyn Bridge.

SECOND SECTION

1. Great Lady on a White Horse – Jimmy collects his girlfriend Ruth Prynne for Sunday lunch. He is now a cub reporter, she is an aspiring theatrical. Ellen meets George Baldwin for afternoon tea and flirts with Stan Emery and even her own husband Jojo.

2. Longlegged Jack of the Isthmus – Joe Harland is out of work, but he spends his last money on drinks whilst bragging about his previous success and his ‘bad luck’. Nicky Schatz is caught in a burglary by Stan and Ellie, but he has only stolen stage money. Ellen is in love with Stan but married to Jojo. Meanwhile Joe Harland is pursued by his landlady for unpaid rent. He cadges money from an old colleague. Casie is courted by Maurice McAvoy who is broke. Ellen leaves Jojo early one morning and takes a taxi to a hotel.

3. Nine Day’s Wonder – Paul Sandbourne looks at a girl on Fifth Avenue and gets run over by a passing truck. Jimmy Herf drinks away the afternoon with his rich college friends. They meet Ellen and her husband Jojo. Meanwhile Joe Harland spends his time in low bars. Ellen is a momentary theatrical success. It is 1914 and George Baldwin’s marriage is on the rocks because of his adultery with Ellen and others. Ellen is decorating her new flat when Casie arrives to announce that she is pregnant. Joe Harland is working as a night watchman on a building site. The workforce is threatened with a lockout. Stan brings Ellen to Jimmy’s flat on a secret date, but they are confronted by her husband in a farcical scene. Ellen Thatcher announces to her father that she and Joe Oglethorpe are divorcing.

4. Fire Engine – Impressario Harry Goldweiser is trying to seduce Elaine. Baldwin and Gus McNeil discuss some shady political doings, and Joe O’Keefe encounters Joe Harland again. Elaine puts a drunk Stanwood in her bath at the theatre. She then smuggles him out and takes him back to her flat in a taxi.

5. Went to the Animals’ Fair – George Baldwin takes Ellen out to a night club and tries to persuade her to take him on as her ‘protector’. Jimmy Herf and friends at a nearby table talk about a recent murder and the war. Jimmy and Ellen then discuss politics and the war with the anarchist barman Congo Jack. A drunken Baldwin threatens her with a gun. Jimmy walks home with Tony Hunter, who reveals that he is a homosexual who wants to kill himself.

6. Five Statutory Questions – Joe Harland and Joe O’Keef discuss the war and politics over drinks. Ellen is getting divorced and is pursued by Harry Goldweiser. She meets Stan, who reveals that he has married a young girl. Jimmy Herf meets his family relation Joe Harland, who wants to go to fight in the war.

7. Rollercoaster – Stan attends a political event. He is completely drunk, and when he gets home the apartment is on fire. He is overcome by smoke and killed in the fire.

8. One More River to Jordan – George Baldwin and Phil Sandbourne compare political notes. Ellen is still waiting for her divorce, and is besieged by oppressive well-wishers. She is pregnant with Stan’s baby. When Jimmy Herf walks her home she claims she is going to give up the stage and raise the child, but in fact she goes for an abortion.

THIRD SECTION

1. Rejoicing City That Dwelt Carelessly – James Merrivale arrives back in New York City after the war. Jimmy Herf is married to Ellen who he has met serving in the Red Cross overseas. They arrive back with a baby into the prohibition era. Joe O’Keefe helps to organise workers for a union wage claim, then visits the doctor for treatment for syphilis. George Baldwin is being groomed for a political position..

2. Nickleodeon – Ruth Prynne has possible throat cancer. She is down on her luck and meets an old suitor. Dutch Robertson is out of work and money, and so is his girlfriend Francie. Jimmy and Ellie are also out of work, but drown their sorrows in cocktails with Congo Jack, who is now a bootlegger.

3. Revolving Doors – Jake Silverman and his girl Rosie are posing as rich business people in a fraudulent deal. The Merrivales have breakfast before leaving for the bank. Nevada Jones is dancing with Tony Hunter, who has been to a psychiatrist. She is visited by Baldwin and McNeil. Anna Cohen gets fired from the sandwich bar. Gus McNeil curries political favours ahead of local elections. Jimmy visits Congo Jack doing bootleg business, but there is an attempted hijacking of the consignment of Champagne. James Merrivale discovers that his daughter Masie is about to marry John Cunningham, who is already married. Businessmen are approached for donations towards the local elections. Jimmy is living in cramped conditions with Ellie and their baby Martin. George Baldwin calls on Nevada Jones but catches her with Tony Hunter and ditches her. Ellen is at a bohemian party that is raided by detectives, but a phone call to the district attorney calls off the raid. Jimmy is living separately from Ellen. Jake Silverman is arrested for fraud.

4. Skyscraper – Jimmy gives up his job as a reporter and wanders around in a delirium of jumbled thoughts. Anna Cohen is involved in a strike at the sewing factory, and her mother reproaches her. Jimmy gets drunk with his out of work friends. Dutch Robertson holds up a cigar store. Mr Densch’s business is hit by the slump. A reporter takes the cigar store holdup story, and a few days later Jimmy reads an account of Dutch’s arrest.

5. The Burthen of Nineveh – Baldwin’s divorce is due to come through. He proposes to Ellen, but she delays making a decision. Buck squeezes money out of Alice, who cashes a cheque in her husband’s name. Jimmy meets Congo Jack who is now Armand Duval and rich (but might go to jail) and has married Nevada Jones. Mr Densch escapes from the USA, ten million dollars in debt. Jack Cunningham gets an Illegal divorce and marries Masie Merrivale. Dutch Robertson and Francie get twenty years for their crimes. Ellen collects a new dress from Mme Soubrine, where Anna is scabbing as a seamstress. There is a fire in the workshop and a girl is badly burned. Jimmy leaves friends at a party and sets off with no money and no objective.

© Roy Johnson 2016


Manhattan Transfer – principal characters
Bud Korpenning a 23 year old farmhand
Ed Thatcher an ambitious accountant
Susie Thatcher his wife, an invalid
Ellie Thatcher their daughter
Emile Loustec radical hotel worker
Marco an Italian anarchist
Congo Jack bartender, later a bootlegger
Gus McNeil an Irish milkman
Nellie McNeil his pretty wife
George Baldwin an attorney, later a politician
Phil Sandbourne his friend, an anarchist
Mme Ernestine Rigaud a widowed shopkeeper
Jimmy Herf a romantic dreamer, later a journalist
Mrs Lily Herf his mother, an invalid who dies
Mrs Emily Merrivale Lily’s sister, Jimmy’s aunt
Jeff Merrivale Jimmy’s uncle, who becomes his guardian
Ruth Prynne unemployed dancer, Jimmy’s girlfriend
#Jojo Oglethorpe a gay theatrical mountebank
Elaine Thatcher Oglethorpe his wife
Casandra Wilkins would-be theatrical
Stanwood Emery rich friend of George Baldwin
Joe Harland former bond trader, down on his luck
Harry Goldweiser lecherous theatrical impressario
Tony Hunter a young gay actor friend of Ruth
Nevada Jones Tony’s admirer, later married to Congo Jack
Dutch Robertson an out-of-work who turns to crime

Filed Under: 20C Literature Tagged With: English literature, John Dos Passos, Literary studies, The novel

  • « Previous Page
  • 1
  • …
  • 33
  • 34
  • 35
  • 36
  • 37
  • …
  • 81
  • Next Page »

Related posts

  • 19C Authors
  • 19C Literature
  • 20C Authors
  • 20C Literature
  • Bloomsbury Group
  • Conrad – Tales
  • James – Tales
  • Nabokov – Stories
  • Short Stories
  • The Novella
  • Wharton – Stories
  • Woolf – Stories

Get in touch

info@mantex.co.uk

Content © Mantex 2016
  • About Us
  • Advertising
  • Clients
  • Contact
  • FAQ
  • Links
  • Services
  • Reviews
  • Sitemap
  • T & C’s
  • Testimonials
  • Privacy

Copyright © 2025 · Mantex

Copyright © 2025 · News Pro Theme on Genesis Framework · WordPress · Log in