William Morris (24 March 1834 – 3 October 1896) was an English textile designer, poet, artist, writer, and socialist activist associated with the British Arts and Crafts movement. He was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he campaigned for socialism in fin de siècle Great Britain.

Morris was born in Walthamstow, Essex, to a wealthy middle-class family. He came under the strong influence of medievalism while studying classics at Oxford University, where he joined the Birmingham Set. After university, he married Jane Burden, and developed close friendships with Pre-Raphaelite artists Edward Burne-Jones and Dante Gabriel Rossetti and with Neo-Gothic architect Philip Webb. Webb and Morris designed Red House in Kent where Morris lived from 1859 to 1865, before moving to Bloomsbury, central London. In 1861, Morris founded the Morris, Marshall, Faulkner & Co. decorative arts firm with Burne-Jones, Rossetti, Webb, and others, which became highly fashionable and much in demand. The firm profoundly influenced interior decoration throughout the Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained glass windows. In 1875, he assumed total control of the company, which was renamed Morris & Co.

From 1871, Morris rented the rural retreat of Kelmscott Manor, Oxfordshire, while also retaining a main home in London. He was greatly influenced by visits to Iceland with Eiríkur Magnússon, and he produced a series of English-language translations of Icelandic Sagas. He also achieved success with the publication of his epic poems and novels, namely The Earthly Paradise (1868–1870), A Dream of John Ball (1888), the Utopian News from Nowhere (1890), and the fantasy romance The Well at the World's End (1896). In 1877, he founded the Society for the Protection of Ancient Buildings to campaign against the damage caused by architectural restoration. By the influence of medievalism and Christian socialism in the 1850s he became a sceptic of industrial capitalism, after reading works of Henry George, Alfred Russel Wallace, and Karl Marx in the 1880s Morris became a committed revolutionary socialist activist until his final acceptance of parliamentary socialism at 1896. He founded the Socialist League in 1884 after an involvement in the Social Democratic Federation (SDF), but he broke with that organisation in 1890. In 1891, he founded the Kelmscott Press to publish limited-edition, illuminated-style print books, a cause to which he devoted his final years.

Morris is recognised as one of the most significant cultural figures of Victorian Britain. He was best known in his lifetime for his poetry, although he posthumously became better known for his designs. The William Morris Society founded in 1955 is devoted to his legacy, while multiple biographies and studies of his work have been published. Many of the buildings associated with his life are open to visitors, much of his work can be found in art galleries and museums, and his designs are still in production.

Early life

Youth: 1834–1852

Morris was born at Elm House in Walthamstow, Essex, on 24 March 1834. Raised into a wealthy middle-class family, he was named after his father, a financier who worked as a partner in the Sanderson & Co. firm, bill brokers in the City of London. His mother was Emma Morris (née Shelton), who descended from a wealthy bourgeois family from Worcester. Morris was the third of his parents' surviving children; their first child, Charles, had been born in 1827 but died four days later. Charles had been followed by the birth of two girls, Emma in 1829 and Henrietta in 1833, before William's birth. These children were followed by the birth of siblings Stanley in 1837, Rendall in 1839, Arthur in 1840, Isabella in 1842, Edgar in 1844, and Alice in 1846. The Morris family were followers of the evangelical Protestant form of Christianity, and William was baptised four months after his birth at St Mary's Church, Walthamstow.

As a child, Morris was kept largely housebound at Elm House by his mother; there, he spent much time reading, favouring the novels of Walter Scott. Aged 6, Morris moved with his family to the Georgian Italianate mansion at Woodford Hall, Woodford, Essex, which was surrounded by 50 acres of land adjacent to Epping Forest. He took an interest in fishing with his brothers as well as gardening in the Hall's grounds, and spent much time exploring the Forest, where he was fascinated both by the Iron Age earthworks at Loughton Camp and Ambresbury Banks and by the Early Modern Hunting Lodge at Chingford. He also took rides through the Essex countryside on his pony, and visited the various churches and cathedrals throughout the country, marveling at their architecture. His father took him on visits outside of the county, for instance to Canterbury Cathedral, the Chiswick Horticultural Gardens, and to the Isle of Wight, where he adored Blackgang Chine. Aged 9, he was then sent to Misses Arundale's Academy for Young Gentlemen, a nearby preparatory school; although initially riding there by pony each day, he later began boarding, intensely disliking the experience.

In 1847, Morris's father died unexpectedly. From this point, the family relied upon continued income from the copper mines at Devon Great Consols, and sold Woodford Hall to move into the smaller Water House. In February 1848 Morris began his studies at Marlborough College in Marlborough, Wiltshire, where he gained a reputation as an eccentric nicknamed "Crab". He despised his time there, being bullied, bored, and homesick. He did use the opportunity to visit many of the prehistoric sites of Wiltshire, such as Avebury and Silbury Hill, which fascinated him. The school was Anglican in faith and in March 1849 Morris was confirmed by the Bishop of Salisbury in the college chapel, developing an enthusiastic attraction towards the Anglo-Catholic movement and its Romanticist aesthetic. At Christmas 1851, Morris was removed from the school and returned to Water House, where he was privately tutored by the Reverend Frederick B. Guy, Assistant Master at the nearby Forest School.

Oxford and the Birmingham Set: 1852–1856

In June 1852 Morris entered Exeter College at Oxford University, although, since the college was full, he went into residence only in January 1853. He disliked the college and was bored by the manner in which they taught him Classics. Instead he developed a keen interest in medieval history and medieval architecture, inspired by the many medieval buildings in Oxford. This interest was tied to Britain's growing Medievalist movement, a form of Romanticism that rejected many of the values of Victorian industrial capitalism. For Morris, the Middle Ages represented an era with strong chivalric values and an organic, pre-capitalist sense of community, both of which he deemed preferable to his own period. This attitude was compounded by his reading of Thomas Carlyle's book Past and Present (1843), in which Carlyle championed medieval values as a corrective to the problems of Victorian society. Under this influence, Morris's dislike of contemporary capitalism grew, and he came to be influenced by the work of Christian socialists Charles Kingsley and Frederick Denison Maurice.

At the college, Morris met fellow first-year undergraduate Edward Burne-Jones, who became his lifelong friend and collaborator. Although from very different backgrounds, they found that they had a shared attitude to life, both being keenly interested in Anglo-Catholicism and Arthurianism. Through Burne-Jones, Morris joined a group of undergraduates from Birmingham who were studying at Pembroke College: William Fulford (1831–1882), Richard Watson Dixon, Charles Faulkner, and Cormell Price. They were known among themselves as the "Brotherhood" and to historians as the Birmingham Set. Morris was the most affluent member of the Set, and was generous with his wealth toward the others. Like Morris, the Set were fans of the poet Alfred, Lord Tennyson, and would meet together to recite the plays of William Shakespeare.

Morris was heavily influenced by the writings of the art critic John Ruskin, being particularly inspired by his chapter "On the Nature of Gothic Architecture" in the second volume of The Stones of Venice; he later described it as "one of the very few necessary and inevitable utterances of the century". Morris adopted Ruskin's philosophy of rejecting the tawdry industrial manufacture of decorative arts and architecture in favour of a return to hand-craftsmanship, raising artisans to the status of artists, creating art that should be affordable and hand-made, with no hierarchy of artistic mediums. Ruskin had achieved attention in Victorian society for championing the art of a group of painters who had emerged in London in 1848 calling themselves the Pre-Raphaelite Brotherhood. The Pre-Raphaelite style was heavily Medievalist and Romanticist, emphasising abundant detail, intense colours and complex compositions; it greatly impressed Morris and the Set. Influenced both by Ruskin and by John Keats, Morris began to spend more time writing poetry, in a style that was imitative of much of theirs.

Both he and Burne-Jones were influenced by the Romanticist milieu and the Anglo-Catholic movement, and decided to become clergymen in order to found a monastery where they could live a life of chastity and dedication to artistic pursuit, akin to that of the contemporary Nazarene movement. However, as time went on Morris became increasingly critical of Anglican doctrine and the idea faded. In summer 1854, Morris travelled to Belgium to look at medieval paintings, and in July 1855 went with Burne-Jones and Fulford across northern France, visiting medieval churches and cathedrals. It was on this trip that he and Burne-Jones committed themselves to "a life of art". For Morris, this decision resulted in a strained relationship with his family, who believed that he should have entered either commerce or the clergy. On a subsequent visit to Birmingham, Morris discovered Thomas Malory's Le Morte d'Arthur, which became a core Arthurian text for him and Burne-Jones. In January 1856, the Set began publication of The Oxford and Cambridge Magazine, designed to contain "mainly Tales, Poetry, friendly critiques and social articles". Funded mainly by Morris, who briefly served as editor and heavily contributed to it with his own stories, poems, reviews and articles, the magazine lasted for twelve issues, and garnered praise from Tennyson and Ruskin.

Apprenticeship, the Pre-Raphaelites, and marriage: 1856–1859

Having passed his finals and been awarded a BA, Morris began an apprenticeship with the Oxford-based Neo-Gothic architect George Edmund Street in January 1856. His apprenticeship focused on architectural drawing, and there he was placed under the supervision of the young architect Philip Webb, who became a close friend. Morris soon relocated to Street's London office, in August 1856 moving into a flat in Bloomsbury in Central London with Burne-Jones, an area perhaps chosen for its avant-garde associations. Morris was fascinated by London but dismayed at its pollution and rapid expansion into neighbouring countryside, describing it as "the spreading sore".

William Morris became increasingly fascinated with the idyllic Medievalist depictions of rural life which appeared in the paintings of the Pre-Raphaelites, and spent large sums of money purchasing such artworks. Burne-Jones shared this interest, but took it further by becoming an apprentice to one of the foremost Pre-Raphaelite painters, Dante Gabriel Rossetti; the three soon became close friends. Through Rossetti, Morris came to associate with poet Robert Browning, and the artists Arthur Hughes, Thomas Woolner, and Ford Madox Brown. Tired of architecture, Morris abandoned his apprenticeship, with Rossetti persuading him to take up painting instead, which he chose to do in the Pre-Raphaelite style. Morris aided Rossetti and Burne-Jones in painting the Arthurian murals at the Oxford Union, although his contributions were widely deemed inferior and unskilled compared to those of the others. At Rossetti's recommendation, Morris and Burne-Jones moved in together to the flat at Bloomsbury's No. 17 Red Lion Square by November 1856. Morris designed and commissioned furniture for the flat in a medieval style, much of which he painted with Arthurian scenes in a direct rejection of mainstream artistic tastes.

Morris also continued writing poetry and began designing illuminated manuscripts and embroidered hangings. In March 1857 Bell and Dandy published a book of Morris's poems, The Defence of Guenevere, which was largely self-funded by the author. It did not sell well and garnered few reviews, most of which were unsympathetic. Disconcerted, Morris would not publish again for a further eight years. In October 1857 Morris met Jane Burden, a woman from a poor working-class background, at a theatre performance. Rossetti initially asked her to model for him. Controversially both Rossetti and Morris were smitten with her; Morris, however, began a relationship with her and they were engaged in spring 1858; Burden would later admit that she had never loved Morris. They were married in a low-key ceremony held at St Michael at the North Gate church in Oxford on 26 April 1859, before honeymooning in Bruges, Belgium, and settling temporarily at 41 Great Ormond Street, London.

Career and fame

Red House and the Firm: 1859–1865

Morris desired a new home for himself and his daughters resulting in the construction of the Red House in the Kentish hamlet of Upton near Bexleyheath, ten miles from central London. The building's design was a co-operative effort, with Morris focusing on the interiors and the exterior being designed by Webb, for whom the House represented his first commission as an independent architect. Named after the red bricks and red tiles from which it was constructed, Red House rejected architectural norms by being L-shaped. Influenced by various forms of contemporary Neo-Gothic architecture, the House was nevertheless unique, with Morris describing it as "very mediaeval in spirit". Situated within an orchard, the house and garden were intricately linked in their design. It took a year to construct, and cost Morris £4000 at a time when his fortune was greatly reduced by a dramatic fall in the price of his shares. Burne-Jones described it as "the beautifullest place on Earth."

After construction, Morris invited friends to visit, most notably Burne-Jones and his wife Georgiana, as well as Rossetti and his wife Lizzie Siddal. They aided him in painting murals on the furniture, walls, and ceilings, much of it based on Arthurian tales, the Trojan War, and Geoffrey Chaucer's stories, while he also designed floral embroideries for the rooms. They also spent much time playing tricks on each other, enjoying games like hide and seek, and singing while accompanied by the piano. Siddall stayed at the House during summer and autumn 1861 as she recovered from a traumatic miscarriage and an addiction to laudanum; she would die of an overdose in February 1862.

In April 1861, Morris founded a decorative arts company, Morris, Marshall, Faulkner & Co., with six other partners: Burne-Jones, Rossetti, Webb, Ford Madox Brown, Charles Faulkner, and Peter Paul Marshall. Operating from premises at No. 6 Red Lion Square, they referred to themselves as "the Firm" and were intent on adopting Ruskin's ideas of reforming British attitudes to production. They hoped to reinstate decoration as one of the fine arts and adopted an ethos of affordability and anti-elitism. For additional staff, they employed boys from the Industrial Home for Destitute Boys in Euston, central London, many of whom were trained as apprentices.

Although working within the Neo-Gothic school of design, they differed from Neo-Gothic architects like George Gilbert Scott who simply included certain Gothic features on modern styles of building; instead they sought to return completely to Medieval Gothic methods of craftmanship. The products created by the Firm included furniture, architectural carving, metalwork, stained glass windows, and murals. Their stained glass windows proved a particular success in the firm's early years as they were in high demand for the surge in the Neo-Gothic construction and refurbishment of churches, many of which were commissioned by the architect George Frederick Bodley. Despite Morris's anti-elitist ethos, the Firm soon became increasingly popular and fashionable with the bourgeoisie, particularly following their exhibit at the 1862 International Exhibition in South Kensington, where they received press attention and medals of commendation. However, they faced much opposition from established design companies, particularly those belonging to the Neo-Classical school.

Morris was slowly abandoning lithography and painting, recognising that his work lacked a sense of movement; none of his paintings are dated later than 1862. Instead he focused his energies on designing wallpaper patterns, the first being "Trellis", designed in 1862. His designs were produced from 1864 by Jeffrey and Co. of Islington, who created them for the Firm under Morris's supervision. Morris retained an active interest in various groups, joining the Hogarth Club, the Mediaeval Society, and the Corps of Artist Volunteers, the latter in contrast to his later pacifism.

Meanwhile, Morris's family continued to grow. In January 1861, Morris and Janey's first daughter was born: named Jane Alice Morris, she was commonly known as "Jenny". Jenny was followed in March 1862 by the birth of their second daughter, Mary "May" Morris. Morris was a caring father to his daughters, and years later they both recounted having idyllic childhoods. However, there were problems in Morris's marriage as Janey became increasingly close to Rossetti, who often painted her. It is unknown if their affair was ever sexual, although by this point other members of the group were noticing Rossetti and Janey's closeness.

Imagining the creation of an artistic community at Upton, Morris helped develop plans for a second house to be constructed adjacent to Red House in which Burne-Jones could live with his family; the plans were abandoned when Burne-Jones's son Christopher died from scarlet fever. By 1864, Morris had become increasingly tired of life at Red House, being particularly unhappy with the 3 to 4 hours spent commuting to his London workplace on a daily basis. He sold Red House, and in autumn 1865 moved with his family to No. 26 Queen Square in Bloomsbury, the same building to which the Firm had moved its base of operations earlier in the summer.

Queen Square and The Earthly Paradise: 1865–1870

At Queen Square, the Morris family lived in a flat directly above the Firm's shop. They were joined by Janey's sister Elizabeth Burden and a number of household servants. Meanwhile, changes were afoot at the Firm as Faulkner left, and to replace him they employed a business manager, Warrington Taylor, who would remain with them till 1866. Taylor pulled the Firm's finances into order and spent much time controlling Morris and ensuring that he worked to schedule. During these years the Firm carried out a number of high-profile designs; from September 1866 to January 1867, they redecorated the Armoury and Tapestry Room in St James's Palace, in the latter year also designing the Green Dining Room at the South Kensington Museum (it is now the Morris Room at the Victoria and Albert Museum). The Firm's work received increasing interest from people in the United States, resulting in Morris's acquaintance with Henry James and Charles Eliot Norton. However, despite its success, the Firm was not turning over a large net profit, and this, coupled with the decreasing value of Morris's stocks, meant that he had to decrease his spending.

Janey's relationship with Rossetti had continued, and by the late 1860s gossip regarding their affair had spread about London, where they were regularly seen spending time together. Morris biographer Fiona MacCarthy argued that it was likely that Morris had learned of and accepted the existence of their affair by 1870. In this year he developed an affectionate friendship with Aglaia Coronio, the daughter of wealthy Greek refugees, although there is no evidence that they had an affair. Meanwhile, Morris's relationship with his mother had improved, and he would regularly take his wife and children to visit her at her house in Leyton. He also went on various holidays; in the summer of 1866 he, Webb, and Taylor toured the churches of northern France.

In August 1866 Morris joined the Burne-Jones family on their holiday in Lymington, while in August 1867 both families holidayed together in Oxford. In August 1867 the Morrises holidayed in Southwold, Suffolk, while in the summer of 1869 Morris took his wife to Bad Ems in Rhineland-Palatinate, central Germany, where it was hoped that the local health waters would aid her ailments. While there, he enjoyed walks in the countryside and focused on writing poetry.

Morris had continued to devote much time to writing poetry. In 1867 Bell and Dandy published Morris's epic poem, The Life and Death of Jason, at his own expense. The book was a retelling of the ancient Greek myth of the hero Jason and his quest to find the Golden Fleece. In contrast to Morris's former publication, The Life and Death of Jason was well received, resulting in the publishers paying Morris a fee for the second edition. From 1865 to 1870, Morris worked on another epic poem, The Earthly Paradise. Designed as a homage to Chaucer, it consisted of 24 stories, adopted from an array of different cultures, and each by a different narrator; set in the late 14th century, the synopsis revolved around a group of Norsemen who flee the Black Death by sailing away from Europe, on the way discovering an island where the inhabitants continue to venerate the ancient Greek gods. Published in four parts by F. S. Ellis, it soon gained a cult following and established Morris's reputation as a major poet.

Kelmscott Manor and Iceland: 1870–1875

By 1870, Morris had become a public figure in Britain, resulting in repeated press requests for photographs, which he despised. That year, he also reluctantly agreed to sit for a portrait by establishment painter George Frederic Watts. Morris was keenly interested in Icelandic literature, having befriended the Icelandic theologian Eiríkur Magnússon. Together they produced prose translations of the Eddas and Sagas for publication in English. Morris also developed a keen interest in creating handwritten illuminated manuscripts, producing 18 such books between 1870 and 1875, the first of which was A Book of Verse, completed as a birthday present for Georgina Burne-Jones. 12 of these 18 were handwritten copies of Nordic tales such as Halfdan the Black, Frithiof the Bold, and The Dwellers of Eyr. Morris deemed calligraphy to be an art form, and taught himself both Roman and italic script, as well as learning how to produce gilded letters. In November 1872 he published Love is Enough, a poetic drama based on a story in the Medieval Welsh text, the Mabinogion. Illustrated with Burne-Jones woodcuts, it was not a popular success. By 1871, he had begun work on a novel set in the present, The Novel on Blue Paper, which was about a love triangle; it would remain unfinished and Morris later asserted that it was not well written.

By early summer 1871, Morris began to search for a house outside London where his children could spend time away from the city's pollution. He settled on Kelmscott Manor in the village of Kelmscott, Oxfordshire, obtaining a joint tenancy on the building with Rossetti in June. Morris adored the building, which was constructed circa 1570, and would spend much time in the local countryside. In contrast, Rossetti was unhappy at Kelmscott, and eventually suffered a mental breakdown. Morris divided his time between London and Kelmscott, however when Rossetti was there he would not spend more than three days at a time at the latter. He became fed up with his family home in Queen Square, deciding to obtain a new house in London. Although retaining a personal bedroom and study at Queen Square, he relocated his family to Horrington House in Turnham Green Road, West London, in January 1873. This allowed him to be far closer to the home of Burne-Jones, with the duo meeting on almost every Sunday morning for the rest of Morris's life.

Leaving Jane and his children with Rossetti at Kelmscott, in July 1871 Morris left for Iceland with Faulkner, W. H. Evans, and Eiríkur. Sailing from the Scottish port of Granton aboard a Danish mail boat, they proceeded to the island via Tórshavn in the Faroe Islands before arriving at Reykjavík, where they disembarked. There they met the President of the Althing, Jón Sigurðsson, with Morris being sympathetic to the Icelandic independence movement. From there, they proceeded by Icelandic horse along the south coast to Bergþórshvoll, Þórsmörk, Geysir, Þingvellir, and then back to Reykjavík, where they departed back to Britain in September. In April 1873, Morris and Burne-Jones holidayed in Italy, visiting Florence and Siena. Although generally disliking the country, Morris was interested in the Florentine Gothic architecture. Soon after, in July, Morris returned to Iceland, revisiting many of the sites he had previously seen, but then proceeding north to Vatna glacier and Fljótsdalur. His two visits to the country profoundly influenced him, in particular in his growing leftist opinions; he would comment that these trips made him realise that "the most grinding poverty is a trifling evil compared with the inequality of classes."

Morris and Burne-Jones then spent time with one of the Firm's patrons, the wealthy George Howard, 9th Earl of Carlisle and his wife Rosalind, at their medieval home in Naworth Castle, Cumberland. In July 1874, the Morris family then took Burne-Jones's two children with them on their holiday to Bruges, Belgium. However, by this point Morris's friendship with Rossetti had seriously eroded, and in July 1874 their acrimonious falling out led Rossetti to leave Kelmscott, with Morris's publisher F.S. Ellis taking his place. With the company's other partners drifting off to work on other projects, Morris decided to consolidate his own control of the Firm and become sole proprietor and manager. In March 1875, he paid £1000 each in compensation to Rossetti, Brown, and Marshall, although the other partners waived their claims to financial compensation. That month, the Firm was officially disbanded and replaced by Morris & Co, although Burne-Jones and Webb would continue to produce designs for it in future. This accomplished, he resigned his directorship of the Devon Great Consols, selling his remaining shares in the company.

Textile experimentation and political embrace: 1875–1880

Now in complete control of the Firm, Morris took an increased interest in the process of textile dyeing and entered into a co-operative agreement with Thomas Wardle, a silk dyer who operated the Hencroft Works in Leek, Staffordshire. As a result, Morris would spend time with Wardle at his home on various occasions between summer 1875 and spring 1878. Deeming the colours to be of inferior quality, Morris rejected the chemical aniline dyes which were then predominant, instead emphasising the revival of organic dyes, such as indigo for blue, walnut shells and roots for brown, and cochineal, kermes, and madder for red. Living and working in this industrial environment, he gained a personal understanding of production and the lives of the proletariat, and was disgusted by the poor living conditions of workers and the pollution caused by industry; these factors greatly influenced his political views. After learning the skills of dyeing, in the late 1870s Morris turned his attention to weaving, experimenting with silk weaving at Queen's Square.

In the Spring of 1877, the Firm opened a store at No. 449 Oxford Street and obtained new staff who were able to improve its professionalism; as a result, sales increased and its popularity grew. By 1880, Morris & Co. had become a household name, having become very popular with Britain's upper and middle classes. The Firm was obtaining increasing numbers of commissions from aristocrats, wealthy industrialists, and provincial entrepreneurs, with Morris furnishing parts of St James's Palace and the chapel at Eaton Hall. As a result of his growing sympathy for the working-classes and poor, Morris felt personally conflicted in serving the interests of these individuals, privately describing it as "ministering to the swinish luxury of the rich".

Continuing with his literary output, Morris translated his own version of Virgil's Aeneid, titling it The Aeneids of Vergil (1876). Although many translations were already available, often produced by trained Classicists, Morris claimed that his unique perspective was as "a poet not a pedant". He also continued producing translations of Icelandic tales with Magnússon, including Three Northern Love Stories (1875) and Völuspa Saga (1876). In 1877 Morris was approached by Oxford University and offered the largely honorary position of Professor of Poetry. He declined, asserting that he felt unqualified, knowing little about scholarship on the theory of poetry.

In summer 1876, Jenny Morris was diagnosed with epilepsy. Refusing to allow her to be societally marginalised or institutionalised, as was common in the period, Morris insisted that she be cared for by the family. When Janey took May and Jenny to Oneglia in Italy, the latter suffered a serious seizure, with Morris rushing to the country to see her. They then proceeded to visit a number of other cities, including Venice, Padua, and Verona, with Morris attaining a greater appreciation of the country than he had on his previous trip. In April 1879 Morris moved the family home again, this time renting an 18th-century mansion on Hammersmith's Upper Mall in West London that was owned by the novelist George MacDonald. Morris named it Kelmscott House and re-decorated it according to his own taste. In the House's grounds he set up a workshop, focusing on the production of hand-knotted carpets. Excited that both of his homes were along the course of the River Thames, in August 1880 he and his family took a boat trip along the river from Kelmscott House to Kelmscott Manor.

Morris became politically active in this period, coming to be associated with the radicalist current within British liberalism. He joined the Eastern Question Association (EQA) and was appointed the group's treasurer in November 1876. EQA had been founded by campaigners associated with the centre-left Liberal Party who opposed Prime Minister Benjamin Disraeli's alliance with the Ottoman Empire; the Association highlighted the Ottoman massacre of Bulgarians and feared that the alliance would lead Disraeli to join the Ottomans in going to war with the Russian Empire. Morris took an active role in the EQA campaign, authoring the lyrics for the song "Wake, London Lads!" to be sung at a rally against military intervention. Morris eventually became disillusioned with the EQA, describing it as being "full of wretched little personalities". He nevertheless joined a regrouping of predominantly working-class EQA activists, the National Liberal League, becoming their treasurer in summer 1879; the group remained small and politically ineffective, with Morris resigning as treasurer in late 1881, shortly before the group's collapse.

However, his discontent with the British liberal movement grew following the election of the Liberal Party's William Ewart Gladstone to the Premiership in 1880. Morris was particularly angered that Gladstone's government did not reverse the Disraeli regime's occupation of the Transvaal, introduced the Coercion Bill, and oversaw the Bombardment of Alexandria. Morris later related that while he had once believed that "one might further real Socialistic progress by doing what one could on the lines of ordinary middle-class Radicalism", following Gladstone's election he came to realise "that Radicalism is on the wrong line, so to say, and will never develope [sic] into anything more than Radicalism: in fact that it is made for and by the middle classes and will always be under the control of rich capitalists".

In 1876, Morris visited the Church of St John the Baptist, Burford, where he was appalled at the restoration conducted by his old mentor, G. E. Street. He recognised that these programs of architectural restoration led to the destruction or major alteration of genuinely old features in order to replace them with "sham old" features, something which appalled him. To combat the increasing trend for restoration, in March 1877 he founded the Society for the Protection of Ancient Buildings (SPAB), which he personally referred to as "Anti-Scrape". As he adopted the role of honorary secretary and treasurer, most of the other early members of SPAB were his friends, while the group's program was rooted in Ruskin's The Seven Lamps of Architecture (1849). As part of SPAB's campaign, Morris tried to build connections with art and antiquarian societies and the custodians of old buildings, and also contacted the press to highlight his cause. He was particularly strong in denouncing the ongoing restoration of Tewkesbury Abbey and was vociferous in denouncing the architects responsible, something that deeply upset Street. Turning SPAB's attention abroad, in Autumn 1879 Morris launched a campaign to protect St Mark's Basilica in Venice from restoration, garnering a petition with 2000 signatures, among whom were Disraeli, Gladstone, and Ruskin.

Later life

Merton Abbey and the Social Democratic Federation: 1881–1884

In summer 1881, Morris took out a lease on the seven-acre former silk weaving factory, the Merton Abbey Works, next to the River Wandle on the High Street at Merton, Southwest London (not to be confused with the adjacent Merton Abbey Mills, home of the Liberty Print Works.) After he moved his workshops to the site, the premises were used for weaving, dyeing, and creating stained glass; within three years, 100 craftsmen were employed there. Working conditions at the Abbey were better than at most Victorian factories. However, despite Morris's ideals, there was little opportunity for the workers to display their own individual creativity. Morris had initiated a system of profit sharing among the Firm's upper clerks, however this did not include the majority of workers, who were instead employed on a piecework basis. Morris was aware that, in retaining the division between employer and employed, the company failed to live up to his own egalitarian ideals, but he defended this, asserting that it was impossible to run a socialist company within a competitive capitalist economy. The Firm itself was expanding, opening up a store in Manchester in 1883 and holding a stand at that year's Foreign Fair in Boston.

Janey's relationship with Rossetti had continued through a correspondence and occasional visits, although she found him extremely paranoid and was upset by his addiction to chloral. She last saw him in 1881, and he died in April the following year. Morris described his mixed feelings toward his deceased friend by stating that he had "some of the very greatest qualities of genius, most of them indeed; what a great man he would have been but for the arrogant misanthropy which marred his work, and killed him before his time". In August 1883, Janey was introduced to the poet Wilfrid Scawen Blunt, with whom she embarked on a second affair, which Morris might have been aware of.

In January 1881, Morris was involved in the establishment of the Radical Union, an amalgam of radical working-class groups which hoped to rival the Liberals, and became a member of its executive committee. However, he soon rejected liberal radicalism completely and moved toward socialism. In this period, British socialism was a small, fledgling and vaguely defined movement, with only a few hundred adherents. Britain's first socialist party, the Democratic Federation (DF), had been founded in 1881 by Henry Hyndman, an adherent of the socio-political ideology of Marxism, with Morris joining the DF in January 1883. Morris began to read voraciously on the subject of socialism, including Henry George's Progress and Poverty, Alfred Russel Wallace's Land Nationalisation, and Karl Marx's Das Kapital, although admitted that Marx's economic analysis of capitalism gave him "agonies of confusion on the brain". Instead he preferred the writings of William Cobbett and Sergius Stepniak, although he also read the critique of socialism produced by John Stuart Mill.

David's Charge to Solomon (1882), a stained-glass window by Edward Burne-Jones and William Morris in Trinity Church, Boston, Massachusetts

In May 1883, Morris was appointed to the DF's executive committee, and was soon elected to the position of treasurer. Devoting himself to the socialist cause, he regularly lectured at meetings across Britain, hoping to gain more converts, although was regularly criticised for doing so by the mainstream press. In November 1883 he was invited to speak at University College, Oxford, on the subject of "Democracy and Art" and there began espousing socialism; this shocked and embarrassed many members of staff, earning national press coverage. With other DF members, he travelled to Blackburn, Lancashire in February 1884 amid the great cotton strike, where he lectured on socialism to the strikers. The following month he marched in a central London demonstration commemorating the first anniversary of Marx's death and the thirteenth anniversary of the Paris Commune.

Morris aided the DF using his artistic and literary talents; he designed the group's membership card, and helped author their manifesto, Socialism Made Plain, in which they demanded improved housing for workers, free compulsory education for all children, free school meals, an eight-hour working day, the abolition of national debt, nationalisation of land, banks, and railways, and the organisation of agriculture and industry under state control and co-operative principles. Some of his DF comrades found it difficult to reconcile his socialist values with his position as proprietor of the Firm, although he was widely admired as a man of integrity. The DF began publishing a weekly newspaper, Justice, which soon faced financial losses that Morris covered. Morris also regularly contributed articles to the newspaper, in doing so befriending another contributor, George Bernard Shaw.

His socialist activism monopolised his time, forcing him to abandon a translation of the Persian Shahnameh. It also led to him seeing far less of Burne-Jones, with whom he had strong political differences; although once a republican, Burne-Jones had become increasingly conservative, and felt that the DF were exploiting Morris for his talents and influence. While Morris devoted much time to trying to convert his friends to the cause, of Morris's circle of artistic comrades, only Webb and Faulkner fully embraced socialism, while Swinburne expressed his sympathy with it.

In 1884, the DF renamed itself the Social Democratic Federation (SDF) and underwent an internal reorganisation. However, the group was facing an internal schism between those (such as Hyndman), who argued for a parliamentary path toward socialism, and those (like Morris) who deemed the Houses of Parliament intrinsically corrupt and capitalist. Personal issues between Morris and Hyndman were exacerbated by their attitude to British foreign policy; Morris was staunchly anti-imperialist while Hyndman expressed patriotic sentiment encouraging some foreign intervention. The division between the two groups developed into open conflict, with the majority of members sharing Morris's position. In December 1884 Morris and his supporters – most notably Ernest Belfort Bax and Edward Aveling – left the SDF; the first major schism of the British socialist movement.

Socialist League: 1884–1889

In December 1884, Morris founded the Socialist League (SL) with other SDF defectors. He composed the SL's manifesto with Bax, describing their position as that of "Revolutionary International Socialism", advocating proletarian internationalism and world revolution while rejecting the concept of socialism in one country. In this, he committed himself to "making Socialists" by educating, organising, and agitating to establish a strong socialist movement; calling on activists to boycott elections, he hoped that socialists would take part in a proletariat revolution and help to establish a socialist society. Bax taught Morris more about Marxism, and introduced him to Marx's collaborator, Friedrich Engels; Engels thought Morris honest but lacking in practical skills to aid the proletarian revolution. Morris remained in contact with other sectors of London's leftist community, being a regular at the socialist International Club in Shoreditch, East London, however he avoided the recently created Fabian Society, deeming it too middle-class. Although a Marxist, he befriended prominent anarchist activists Stepniak and Peter Kropotkin, and came to be influenced by their anarchist views, to the extent that biographer Fiona MacCarthy described his approach as being "Marxism with visionary libertarianism".

As the leading figure in the League, Morris embarked on a series of speeches and talks on street corners, in working men's clubs, and in lecture theatres across England and Scotland. He also visited Dublin, there offering his support for Irish nationalism, and formed a branch of the League at his Hammersmith house. By the time of their first conference in July 1885, the League had eight branches across England and had affiliations with several socialist groups in Scotland. However, as the British socialist movement grew it faced increased opposition from the establishment, with police frequently arresting and intimidating activists. To combat this, the League joined a Defence Club with other socialist groups, including the SDF, for which Morris was appointed treasurer. Morris was passionate in denouncing the "bullying and hectoring" that he felt socialists faced from the police, and on one occasion was arrested himself after fighting back against a police officer; a magistrate dismissed the charges. The Black Monday riots of February 1886 led to increased political repression against left-wing agitators, and in July Morris was again arrested and fined for public obstruction while preaching socialism on the streets.

Morris oversaw production of the League's monthly—soon to become weekly—newspaper, Commonweal, serving as its editor for six years, during which time he kept it financially afloat. First published in February 1885, it would contain contributions from such prominent socialists as Engels, Shaw, Paul Lafargue, Wilhelm Liebknecht, and Karl Kautsky, with Morris also regularly writing articles and poems for it. In Commonweal he serialised a 13-episode poem, The Pilgrims of Hope, which was set in the period of the Paris Commune. From November 1886 to January 1887, Morris's novel A Dream of John Ball was serialised in Commonweal. Set in Kent during the Peasants' Revolt of 1381, it contained strong socialist themes, although it proved popular among those of different ideological viewpoints, resulting in its publication in book form by Reeves and Turner in 1888. Shortly after, a collection of Morris's essays, Signs of Change, was published.

Our business [...] is the making of Socialists, i.e. convincing people that Socialism is good for them and is possible. When we have enough people of that way of thinking, they will find out what action is necessary for putting their principles in practice. Therefore, I say, make Socialists. We Socialists can do nothing else that is useful."

— William Morris

From January to October 1890, Morris serialised his novel News from Nowhere in Commonweal, resulting in improved circulation for the paper. In March 1891 it was published in book form, before being translated into Dutch, French, Swedish, German and Italian by 1900 and becoming a classic among Europe's socialist community. Combining utopian socialism and soft science fiction, the book tells the tale of a contemporary socialist, William Guest, who falls asleep and awakens in the early 21st century, discovering a future society based on common ownership and democratic control of the means of production. In this society there is no private property, no big cities, no authority, no monetary system, no divorce, no courts, no prisons, and no class systems; it was a depiction of Morris's ideal socialist society.

Morris had also continued with his translation work; in April 1887, Reeves and Turner published the first volume of Morris's translation of Homer's Odyssey, with the second following in November. Venturing into new territory, Morris also authored and starred in a play The Tables Turned; Or Nupkins Awakened, which was performed at a League meeting in November 1887. It told the story of socialists who are put on trial in front of a corrupt judge; the tale ends with the prisoners being freed by a proletariat revolution. In June 1889, Morris travelled to Paris as the League's delegate to the International Socialist Working Men's Congress, where his international standing was recognised by his being chosen as English spokesman by the Congress committee. The Second International emerged from the Congress, although Morris was distraught at its chaotic and disorganised proceedings.

At the League's Fourth Conference in May 1888, factional divisions became increasingly apparent between Morris's anti-parliamentary socialists, the parliamentary socialists, and the anti-statist anarchists; the Bloomsbury Branch were expelled for supporting parliamentary action. Under the leadership of Charles Mowbray, the League's anarchist wing was growing and called on the League to embrace violent action in trying to overthrow the capitalist system. By autumn 1889 the anarchists had taken over the League's executive committee and Morris was stripped of the editorship of Commonweal in favour of the anarchist Frank Kitz. This alienated Morris from the League, which had also become a financial burden for him; he had been subsidising its activities with £500 a year, a very large sum of money at the time. By the autumn of 1890, Morris left the Socialist League, with his Hammersmith branch seceding to become the independent Hammersmith Socialist Society in November 1890.

The Kelmscott Press and Morris's final years: 1889–1896

The work of Morris & Co. continued during Morris's final years, producing an array of stained glass windows designed by Burne-Jones and the six narrative tapestry panels depicting the quest for the Holy Grail for Stanmore Hall, Shropshire. Morris's influence on Britain's artistic community became increasingly apparent as the Art Workers' Guild was founded in 1884, although at the time he was too preoccupied with his socialist activism to pay it any attention. Although the proposal faced some opposition, Morris was elected to the Guild in 1888, and to the position of master in 1892. Morris similarly did not offer initial support for the Arts and Crafts Exhibition Society, but changed his opinion after the success of their first exhibit, held in Regent Street in October 1888. Giving lectures on tapestries for the group, in 1892 he was elected president. At this time, Morris re-focused his attentions on preservation campaigning; those causes he championed including the structures of St Mary's Church in Oxford, Blythburgh Church in Suffolk, Peterborough Cathedral, and Rouen Cathedral.

Although his socialist activism had decreased, he remained involved with the Hammersmith Socialist Society, and in October 1891 oversaw the creation of a short-lived newsletter, the Hammersmith Socialist Record. Coming to oppose factionalism within the socialist movement, he sought to rebuild his relationship with the SDF, appearing as a guest lecturer at some of their events and supporting SDF candidate George Lansbury when he stood in the Wandsworth by-election of February 1894. In 1893 the Hammersmith Socialist Society co-founded the Joint Committee of Socialist Bodies with representatives of the SDF and Fabian Society; Morris helped draw up its "Manifesto of English Socialists". He offered support for leftist activists on trial, including a number of militant anarchists whose violent tactics he nevertheless denounced. He also began using the term "communism" for the first time, stating that "Communism is in fact the completion of Socialism: when that ceases to be militant and becomes triumphant, it will be communism." In December 1895 he gave his final open-air talk at Stepniak's funeral, where he spoke alongside the socialist Eleanor Marx, trade unionist Keir Hardie, and anarchist Errico Malatesta. Liberated from internal factional struggles, he retracted his anti-parliamentary position and worked for socialist unity, giving his last public lecture in January 1896 on the subject of "One Socialist Party."

In December 1888, the Chiswick Press published Morris's The House of the Wolfings, a fantasy story set in Iron Age Europe which provides a reconstructed portrait of the lives of Germanic-speaking Gothic tribes. It contained both prose and aspects of poetic verse. A sequel, The Roots of the Mountains, followed in 1889. Over the coming years he would publish a string of other poetic works: The Story of the Glittering Plain (1890), The Wood Beyond the World (1894), The Well at the World's End (1896), The Water of the Wondrous Isles (1897) and The Sundering Flood (1898). He also embarked on a translation of the Anglo-Saxon tale Beowulf; because he could not fully understand Old English, his poetic translation was based largely on that already produced by Alfred John Wyatt. On publication, Morris's archaizing Beowulf was critically panned. Following the death of the sitting Poet Laureate of Great Britain and Ireland, Alfred, Lord Tennyson, in October 1892, Morris was offered the position but turned it down, disliking its associations with the monarchy and political establishment; instead the position went to Alfred Austin.

In January 1891, Morris founded the Kelmscott Press, a private press which would go on to publish the celebrated Kelmscott Chaucer. By the early 1890s, Morris was increasingly ill and living largely as an invalid; aside from his gout, he also exhibited signs of epilepsy. In August 1891, he took his daughter Jenny on a tour of Northern France to visit the medieval churches and cathedrals. Back in England, he spent an increasing amount of time at Kelmscott Manor. Seeking treatment from the prominent doctor William Broadbent, he was prescribed a holiday in the coastal town of Folkestone. In December 1894 he was devastated upon learning of his 90-year-old mother's death.

In July 1896, Morris went on a cruise to Norway with construction engineer John Carruthers, during which he visited Vadsø and Trondheim; during the trip his physical condition deteriorated and he began experiencing hallucinations. Returning to Kelmscott House, he became a complete invalid, being visited by friends and family, before dying of tuberculosis on the morning of 3 October 1896. Obituaries appearing throughout the national press reflected that at the time, Morris was widely recognised primarily as a poet. Mainstream press obituaries trivialised or dismissed his involvement in socialism, although the socialist press focused largely on this aspect of his career. His funeral was held on 6 October, during which his corpse was carried from Hammersmith to Paddington rail station, where it was transported to Oxford, and from there to Kelmscott, where it was buried in the churchyard of St George's Church.

Personal life

Morris's biographer E. P. Thompson described him as having a "robust bearing, and a slight roll in his walk", alongside a "rough beard" and "disordered hair". The author Henry James described Morris as "short, burly, corpulent, very careless and unfinished in his dress ... He has a loud voice and a nervous restless manner and a perfectly unaffected and businesslike address. His talk indeed is wonderfully to the point and remarkable for clear good sense." Morris's first biographer Mackail described him as being both "a typical Englishman" and "a typical Londoner of the middle class" albeit one who was transformed into "something quite individual" through the "force of his genius". MacCarthy described Morris's lifestyle as being "late Victorian, mildly bohemian, but bourgeois", with Mackail commenting that he exhibited many of the traits of the bourgeois Victorian class: "industrious, honest, fair-minded up their lights, but unexpansive and unsympathetic". Although he generally disliked children, Morris also exhibited a strong sense of responsibility toward his family. Mackail nevertheless thought he "was interested in things much more than in people" and that while he did have "lasting friendships" and "deep affections", he did not allow people to "penetrate to the central part of him."

Politically, Morris was a staunch revolutionary socialist and anti-imperialist, and although raised a Christian he came to be an atheist. He came to reject state socialism and large centralised control, instead emphasising localised administration within a socialist society. Later political activist Derek Wall suggested that Morris could be classified as an ecosocialist. Morris was greatly influenced by Romanticism, with Thompson asserting that Romanticism was "bred into his bones, and formed his early consciousness." Thompson argued that this "Romantic Revolt" was part of a "passionate protest against an intolerable social reality", that of the industrial capitalism of Britain's Victorian era. He believed that it led to little more than a "yearning nostalgia or a sweet complaint" and that Morris became "a realist and a revolutionary" only when he adopted socialism in 1882. Mackail was of the opinion that Morris had an "innate Socialism" which had "penetrated and dominated all he did" throughout his life. Given the conflict between his personal and professional life and his socio-political views, MacCarthy described Morris as "a conservative radical".

Morris's behaviour was often erratic. He was of a nervous disposition, and throughout his life relied on networks of male friends to aid him in dealing with this. Morris's friends nicknamed him "Topsy" after a character in Uncle Tom's Cabin. He had a wild temper and when sufficiently enraged could suffer seizures and blackouts. Rossetti was known to taunt Morris to enrage him for the amusement of himself and their other friends. Biographer Fiona MacCarthy suggests that Morris suffered from a form of Tourette's syndrome. In later life he suffered from gout, a common complaint among middle-class men in the Victorian period.

Morris's ethos was that one should "have nothing in your houses that you do not know to be useful or believe to be beautiful." He also held to the view that "No work which cannot be done with pleasure in the doing is worth doing" and adopted as his motto "As I can" from the fifteenth-century Flemish painter Jan van Eyck.

Work

Literature

Besides being an artist William Morris was a prolific writer of poetry, fiction, essays, and translations of ancient and medieval texts. His first poems were published when he was 24 years old, and he was polishing his final novel, The Sundering Flood, at the time of his death. His daughter May's edition of Morris's Collected Works (1910–1915) runs to 24 volumes, and two more were published in 1936.

Morris began publishing poetry and short stories in 1856 through The Oxford and Cambridge Magazine which he founded with his friends and financed while at university. His first volume, The Defence of Guenevere and Other Poems (1858), was the first book of Pre-Raphaelite poetry to be published. The dark poems, set in a sombre world of violence, were coolly received by the critics, and he was discouraged from publishing more for a number of years. "The Haystack in the Floods", one of the poems in that collection, is probably now one of his better-known poems. It is a grimly realistic piece set during the Hundred Years War in which the doomed lovers Jehane and Robert have a last parting in a convincingly portrayed rain-swept countryside. One early minor poem was "Masters in this Hall" (1860), a Christmas carol written to an old French tune. Another Christmas-themed poem is "The Snow in the Street", adapted from "The Land East of the Sun and West of the Moon" in The Earthly Paradise.

Morris met Eiríkur Magnússon in 1868, and began to learn the Icelandic language from him. Morris published translations of The Saga of Gunnlaug Worm-Tongue and Grettis Saga in 1869, and the Story of the Volsungs and Niblungs in 1870. An additional volume was published under the title of Three Northern Love Stories in 1873.

Further information: English translations of Homer § Morris

In the last nine years of his life, Morris wrote a series of imaginative fictions usually referred to as the "prose romances". These novels – including The Wood Beyond the World and The Well at the World's End – have been credited as important milestones in the history of fantasy fiction, because, while other writers wrote of foreign lands, or of dream worlds, or the future (as Morris did in News from Nowhere), Morris's works were the first to be set in an entirely invented fantasy world. These were attempts to revive the genre of medieval romance, and written in imitation of medieval prose. Morris's prose style in these novels has been praised by Edward James, who described them as "among the most lyrical and enchanting fantasies in the English language."

On the other hand, L. Sprague de Camp considered Morris's fantasies to be not wholly successful, partly because Morris eschewed many literary techniques from later eras. In particular, De Camp argued the plots of the novels are heavily driven by coincidence; while many things just happened in the romances, the novels are still weakened by the dependence on it. Nevertheless, large subgenres of the field of fantasy have sprung from the romance genre, but indirectly, through their writers' imitation of William Morris.

Early fantasy writers like Lord Dunsany, E. R. Eddison and James Branch Cabell were familiar with Morris's romances. The Wood Beyond the World is considered to have heavily influenced C. S. Lewis's Narnia series, while J. R. R. Tolkien was inspired by Morris's reconstructions of early Germanic life in The House of the Wolfings and The Roots of the Mountains. The young Tolkien attempted a retelling of the story of Kullervo from the Kalevala in the style of The House of the Wolfings; Tolkien considered much of his literary work to have been inspired by an early reading of Morris, even suggesting that he was unable to better Morris's work; the names of characters such as "Gandolf" and the horse Silverfax appear in The Well at the World's End.

Sir Henry Newbolt's medieval allegorical novel Aladore was influenced by Morris's fantasies. James Joyce also drew inspiration from his work.

Textile design

During his lifetime, Morris produced items in a range of crafts, mainly those to do with furnishing, including over 600 designs for wall-paper, textiles, and embroideries, over 150 for stained glass windows, three typefaces, and around 650 borders and ornamentations for the Kelmscott Press. He emphasised the idea that the design and production of an item should not be divorced from one another, and that where possible those creating items should be designer-craftsmen, thereby both designing and manufacturing their goods. In the field of textile design, Morris revived a number of dead techniques, and insisted on the use of good quality raw materials, almost all natural dyes, and hand processing. He also observed the natural world first hand to gain a basis for his designs, and insisted on learning the techniques of production prior to producing a design.

Mackail asserted that Morris became "a manufacturer not because he wished to make money, but because he wished to make the things he manufactured." Morris & Co.'s designs were fashionable among Britain's upper and middle-classes, with biographer Fiona MacCarthy asserting that they had become "the safe choice of the intellectual classes, an exercise in political correctitude." The company's unique selling point was the range of different items that it produced, as well as the ethos of artistic control over production that it emphasised.

It is likely that much of Morris's preference for medieval textiles was formed – or crystallised – during his brief apprenticeship with G. E. Street. Street had co-written a book on Ecclesiastical Embroidery in 1848, and was a staunch advocate of abandoning faddish woolen work on canvas in favour of more expressive embroidery techniques based on Opus Anglicanum, a surface embroidery technique popular in medieval England.

He was also fond of hand-knotted Persian carpet and advised the South Kensington Museum in the acquisition of fine Kerman carpets.

Morris taught himself embroidery, working with wool on a frame custom-built from an old example. Once he had mastered the technique he trained his wife Jane, her sister Bessie Burden and others to execute designs to his specifications. When "embroideries of all kinds" were offered through Morris, Marshall, Faulkner & Co. catalogues, church embroidery became and remained an important line of business for its successor companies into the twentieth century. By the 1870s, the firm was offering both embroidery patterns and finished works. Following in Street's footsteps, Morris became active in the growing movement to return originality and mastery of technique to embroidery, and was one of the first designers associated with the Royal School of Art Needlework with its aim to "restore Ornamental Needlework for secular purposes to the high place it once held among decorative arts."

Morris took up the practical art of dyeing as a necessary adjunct of his manufacturing business. He spent much of his time at Staffordshire dye works mastering the processes of that art and making experiments in the revival of old or discovery of new methods. One result of these experiments was to reinstate indigo dyeing as a practical industry and generally to renew the use of those vegetable dyes, such as the red derived from madder, which had been driven almost out of use by the anilines. Dyeing of wools, silks, and cottons was the necessary preliminary to what he had much at heart, the production of woven and printed fabrics of the highest excellence; and the period of incessant work at the dye-vat (1875–1876) was followed by a period during which he was absorbed in the production of textiles (1877–1878), and more especially in the revival of carpet-weaving as a fine art.

Morris's patterns for woven textiles, some of which were also machine made under ordinary commercial conditions, included intricate double-woven furnishing fabrics in which two sets of warps and wefts are interlinked to create complex gradations of colour and texture. Morris long dreamed of weaving tapestries in the medieval manner, which he called "the noblest of the weaving arts." In September 1879 he finished his first solo effort, a small piece called "Cabbage and Vine".

Book illustration and design

Nineteenth- and twentieth-century avant-garde artistic movements took an interest in the typographical arts, greatly enriching book design and illustration. Morris's designs, like the work of the Pre-Raphaelite painters with whom he was associated, referred frequently to medieval motifs. In 1891, he founded the Kelmscott Press, which by the time it closed in 1898 had produced more than fifty works using traditional printing methods, a hand-driven press and hand-made paper. They included his masterpiece, an edition of the Works of Geoffrey Chaucer with illustrations by Edward Burne-Jones. Morris invented three distinctive typefaces – Golden, Troy, and Chaucer, with the text being framed with intricate floral borders similar to illuminated medieval manuscripts. His work inspired many small private presses in the following century.

Morris's aesthetic and social values became a leading force in the Arts and Crafts Movement. The Kelmscott Press influenced much of the fine press movement in England and the United States during the late nineteenth and early twentieth centuries. It brought the need for books that were aesthetic objects as well as words to the attention of the reading and publishing worlds.

At Kelmscott Press, the book-making was under his constant supervision and practical assistance. It was his ambition to produce a perfect work to restore all the beauty of illuminated lettering, richness of gilding and grace of binding that used to make a volume the treasure of a king. His efforts were constantly directed towards giving the world at least one book that exceeded anything that had ever appeared. Morris designed his type after the best examples of early printers, what he called his "golden type" which he copied after Jenson, Parautz, Coburger and others. With this in mind, Morris chose the paper which he adapted to his subject with the same care with which he selected his material for binding. As a result, only the wealthy could purchase his lavish works; Morris realized that creating works in the manner of the Middle Ages was difficult in a profit-grinding society.

Legacy

President of the William Morris Society Hans Brill referred to Morris as "one of the outstanding figures of the nineteenth century", while Linda Parry termed him the "single most important figure in British textile production". At the time of Morris's death, his poetry was known internationally and his company's products were found all over the world. In his lifetime, he was best known as a poet, although by the late twentieth century he was primarily known as a designer of wallpapers and fabrics.

He was a major contributor to the revival of traditional British textile arts and methods of production. Morris's ethos of production was an influence on the Bauhaus movement. Another aspect of Morris's preservationism was his desire to protect the natural world from the ravages of pollution and industrialism, causing some historians of the green movement to regard Morris as an important forerunner of modern environmentalism.

Aymer Vallance was commissioned to produce the first biography of Morris, published in 1897, after Morris's death, per the latter's wishes. This presented the creation of the Society for the Protection of Ancient Buildings as Morris's greatest achievement. Morris's next biographer was Burne-Jones's son-in-law John William Mackail, who authored the two-volume Life of William Morris (1899) in which he provided a sympathetic portrayal of Morris that largely omitted his political activities, treating them as a passing phase that Morris overcame.

MacCarthy's biography, William Morris: A Life for Our Time, was first published by Faber and Faber in 1994, and a paperback edition was published in 2010. For the 2013 Venice Biennale, artist Jeremy Deller selected Morris as the subject of a large-scale mural titled "We Sit Starving Amidst our Gold", in which Morris returns from the dead to hurl the yacht of Russian billionaire Roman Abramovich into the waves of an ocean.

MacCarthy curated the "Anarchy & Beauty" exhibition—a commemoration of Morris's legacy—for the National Portrait Gallery in 2014, for which she recruited around 70 artists who were required to undertake a test on Morris's News from Nowhere to be accepted. Writing for The Guardian prior to the opening of the exhibition on 16 October 2014, MacCarthy asserted:

Morris has exerted a powerful influence on thinking about art and design over the past century. He has been the constant niggle in the conscience. How can we combat all this luxury and waste? What drove him into revolutionary activism was his anger and shame at the injustices within society. He burned with guilt at the fact that his "good fortune only" allowed him to live in beautiful surroundings and to pursue the work he adored.

"Anarchy & Beauty"'s arts and crafts section featured Morris's own copy of the French edition of Karl Marx's Das Kapital handbound in a gold-tooled leather binding that MacCarthy describes as "the ultimate example of Morris's conviction that perfectionism of design and craftsmanship should be available to everyone."

In 2016, Arts Catalyst commissioned British artist and academic David Mabb to produce a work responding to the use of Morris' designs in the living quarters aboard British nuclear submarines from the 1960s to the 1990s. The resulting work, A Provisional Monument to Nuclear Disarmament, was exhibited first at KARST in Plymouth and later at the Bildmuseet in Umea, Sweden.

In 2025, the William Morris Gallery opened the exhibition Morris Mania, examining how Morris' designs became globally recognised.

Notable collections and house museums

A number of galleries and museums house important collections of Morris's work and decorative items commissioned from Morris & Co. The William Morris Gallery in Walthamstow, England, is a public museum devoted to Morris's life, work and influence. The William Morris Society is based at Morris's final London home, Kelmscott House, Hammersmith, and is an international members society, museum and venue for lectures and other Morris-related events. The Art Gallery of South Australia is "fortunate in holding the most comprehensive collection of Morris & Co. furnishings outside Britain". The collection includes books, embroideries, tapestries, fabrics, wallpapers, drawings and sketches, furniture and stained glass, and forms the focus of two published works (produced to accompany special exhibitions).

The former "green dining room" at the Victoria and Albert Museum is now its "Morris Room". The V&A's British Galleries house other decorative works by Morris and his associates.

One of the meeting rooms in the Oxford Union, decorated with the wallpaper in his style, is named the Morris Room.

Wightwick Manor in the West Midlands, England, is a notable example of the Morris & Co. style, with lots of original Morris wallpapers, fabrics, carpets, and furniture, May Morris art and embroidery, De Morgan tiles, and Pre-Raphaelite works of art, managed by the National Trust. Standen in West Sussex, England, was designed by Webb between 1892 and 1894 and decorated with Morris carpets, fabrics and wallpapers. The illustrator Edward Linley Sambourne chose to decorate his London family home 18 Stafford Terrace with many Morris & Co wallpapers, which have been preserved and can still be seen today. Morris's homes Red House and Kelmscott Manor have been preserved. Red House was acquired by the National Trust in 2003 and is open to the public. Kelmscott Manor is owned by the Society of Antiquaries of London and is open to the public.

The Huntington Library, Art Collections and Botanical Gardens in San Marino, California, acquired the collection of Morris materials amassed by Sanford and Helen Berger in 1999. The collection includes stained glass, wallpaper, textiles, embroidery, drawings, ceramics, more than 2000 books, original woodblocks, and the complete archives of both Morris, Marshall, Faulkner & Co. and Morris & Co. These materials formed the foundation for the 2002 exhibition William Morris: Creating the Useful and the Beautiful and the 2003 exhibition The Beauty of Life: William Morris and the Art of Design and accompanying publication.

A Greater London Council blue plaque at Red House commemorates Morris and architect Philip Webb.

7, Hammersmith Terrace is the former home of Sir Emery Walker, a close friend and colleague of Morris. The house is decorated in the Arts & Crafts style, including with extensive collections of Morris wallpaper, furniture, and textiles. 7, Hammersmith Terrace is operated by the Emery Walker Trust, and is open to the public for tours.

In 2013, the Cary Graphic Arts Collection at Rochester Institute of Technology bought William Morris's London-built Hopkinson & Cope Improved Albion press (No. 6551) at auction for $233,000. This printing press was specially reinforced to produce Morris's Chaucer in 1896. Other owners of Morris's Albion press include Frederic Goudy and J. Ben Lieberman.

In 2023, Walthamstow F.C. launched a new home football shirt with Admiral Sports featuring a William Morris print. The shirt was widely regarded as one of the best kit launches of the year and eventually won the Wood Pencil D&AD award for Printed Graphic.

Walter Savage Landor (30 January 1775 – 17 September 1864) was an English writer, poet, and activist. His best known works were the prose Imaginary Conversations, and the poem "Rose Aylmer," but the critical acclaim he received from contemporary poets and reviewers was not matched by public popularity. As remarkable as his work was, it was equalled by his rumbustious character and lively temperament. Both his writing and political activism, such as his support for Lajos Kossuth and Giuseppe Garibaldi, were imbued with his passion for liberal and republican causes. He befriended and influenced the next generation of literary reformers such as Charles Dickens and Robert Browning.

Summary of his work

In a long and active life of 89 years Landor produced a considerable amount of work in various genres. This can perhaps be classified into four main areas—prose, lyric poetry, political writings including epigrams, and Latin. His prose and poetry have received most acclaim, but critics are divided in their preference between them and he is now often described as 'a poet's poet' and author of perhaps the greatest very short poems in English, 'Some of the best poets, Yeats, Ezra Pound and Robert Frost among them, steered by his lights'. Landor's prose is best represented by the Imaginary Conversations. He drew on a vast array of historical characters from Greek philosophers to contemporary writers and composed conversations between pairs of characters that covered areas of philosophy, politics, romance and many other topics. These exercises proved a more successful application of Landor's natural ability for writing dialogue than his plays. Although these have many quotable passages the overall effect suffered because he never learned the art of drama.

Landor wrote much sensitive and beautiful poetry. The love poems were inspired by a succession of female romantic ideals – Ione, Ianthe, Rose Aylmer and Rose Paynter. Equally sensitive are his "domestic" poems about his sister and his children.

In the course of his career Landor wrote for various journals on a range of topics that interested him from anti-Pitt politics to the unification of Italy. He was also a master of the epigram which he used to good effect and wrote satirically to avenge himself on politicians and other people who upset him.

Landor wrote over 300 Latin poems, political tracts and essays, but these have generally been ignored in the collections of his work. Landor found Latin useful for expressing things that might otherwise have been "indecent or unattractive" as he put it and as a cover for libellous material. Fellow classical scholars of the time put Landor's Latin work on a par with his English writing.

Summary of his life

Landor's biography consists of a catalogue of incidents and misfortunes, many of them self-inflicted but some no fault of his own. His headstrong nature and hot-headed temperament, combined with a complete contempt for authority, landed him in a great deal of trouble over the years. By a succession of bizarre actions, he was successively thrown out of Rugby school, of Oxford and from time to time from the family home. In the course of his life he came into conflict deliberately with his political enemies – the supporters of Pitt – but inadvertently with a succession of Lord Lieutenants, Bishops, Lord Chancellors, Spanish officers, Italian Grand Dukes, nuncio legatos, lawyers and other minor officials. He usually gained the upper hand, if not with an immediate hilarious response, then possibly many years later with a biting epithet.

Landor's writing often landed him on the wrong side of the laws of libel, and even his refuge in Latin proved of no avail in Italy. Many times his friends had to come to his aid in smoothing the ruffled feathers of his opponents or in encouraging him to moderate his behaviour. His friends were equally active in the desperate attempts to get his work published, where he offended or felt cheated by a succession of publishers who found his work either unsellable or unpublishable. He was repeatedly involved in legal disputes with his neighbours whether in England or Italy and Dickens' characterisation of him in Bleak House revolves around such a dispute over a gate between Boythorn and Sir Leicester Dedlock. Fate dealt with him unfairly when he tried to put into practice his bold and generous ideas to improve the lot of man, or when he was mistaken at one time for an agent of the Prince of Wales and at another for a tramp. His stormy marriage with his long-suffering wife resulted in a long separation, and then when she had finally taken him back in a series of sad attempts to escape.

And yet Landor was described by Swinburne as "the kindest and gentlest of men". He collected a coterie of friends who went to great lengths to help him, and writing for the Encyclopædia Britannica Swinburne comments that "his loyalty and liberality of heart were as inexhaustible as his bounty and beneficence of hand", adding that "praise and encouragement, deserved or undeserved, came more readily to his lips than challenge or defiance". The numerous accounts of those with whom he came in contact reveal that he was fascinating company and he dined out on his wit and knowledge for a great part of his life. Landor's powerful sense of humour, expressed in his tremendous and famous laughs no doubt contributed to and yet helped assuage the slings and arrows of outrageous fortune. "His passionate compassion, his bitter and burning pity for all wrongs endured in all the world, found outlet in his lifelong defence of tyrannicide. His tender and ardent love of children, of animals and of flowers makes fragrant alike the pages of his writing and the records of his life".

Early life

Walter Savage Landor was born in Warwick, England, the eldest son of Dr Walter Landor (1733–1805), a physician, and his second wife, Elizabeth (1743–1829), one of four daughters and heiresses of Charles Savage, of Tachbrook, Warwickshire. His birthplace, Eastgate House, became occupied by The King's High School For Girls. His father inherited estates at Rugeley, Staffordshire and his mother was heiress to estates at Ipsley Court and Bishop's Tachbrook in Warwickshire. Landor as the eldest son was heir to these properties and looked forward to a life of prosperity. The family tradition was Whig in reaction to George III and Pitt, and although Landor's brother Robert was the only other member to achieve fame as a writer there was a strong literary tradition in the family.

After attending a school at Knowle, he was sent to Rugby School under Dr James, but took offence at the headmaster's review of his work and was removed at Dr James' request. Years later, Landor included references to James in Latin in Simonidea with a mixture of praise and criticism and was subsequently reconciled with him. He then studied privately with Rev. William Langley, vicar of Fenny Bentley and headmaster of Ashbourne Grammar School. Langley was later mentioned in the Imaginary Conversation of Isaak Walton. Landor's temperament and violent opinions caused embarrassment at home and he was usually asked to absent himself when guests were expected. On one occasion he netted and threw in the river a local farmer who objected to his fishing on his property. In 1793 he entered Trinity College, Oxford where he showed rebelliousness in his informal dress and was known as a "mad Jacobin" since he was taken with ideas of French republicanism. His tutor Dr Benwell was impressed by him, but unfortunately his stay was short-lived. In 1794 he fired a gun at the windows of a Tory whose late night revels disturbed him and for whom he had an aversion. He was rusticated for a year, and, although the authorities were willing to condone the offence, he refused to return. The affair led to a quarrel with his father in which Landor expressed his intention of leaving home for ever.

Landor went to Tenby in Wales where he had a love affair with a local girl, Nancy Evans, for whom he wrote some of his earliest love poems referring to her as "Ione". Landor's father disapproved and he removed for a time to London, lodging near Portland Place. Ione subsequently had a child who died in infancy. In 1795 Landor brought out a small volume of English and Latin verse in three books entitled The Poems of Walter Savage Landor. Landor also wrote an anonymous Moral Epistle in pamphlet form of nineteen pages, respectfully dedicated to Earl Stanhope. It was a satire in heroic verse condemning Pitt for trying to suppress liberal influences. Although Landor subsequently disowned these "'prentice works", Swinburne wrote: "No poet at the age of twenty ever had more vigour of style and fluency of verse; nor perhaps has any ever shown such masterly command of epigram and satire, made vivid and vital by the purest enthusiasm and most generous indignation."

Landor was reconciled with his family through the efforts of his friend Dorothea Lyttelton. He later told Forster that he would have married Dorothea if he were financially independent. He did not enter a profession—he did not want the law, and no more did the army want him. His father allowed him £150 a year, and he was free to live at home or not, as he pleased.

South Wales and Gebir

Landor settled in South Wales, returning home to Warwick for short visits. It was at Swansea that he became friendly with the family of Lord Aylmer, including his sister, Rose, whom Landor later immortalized in the poem, "Rose Aylmer". It was she who lent him The Progress of Romance by the Gothic author Clara Reeve. In this he found the story "The History of Charoba, Queen of Egypt", which inspired his poem Gebir. Rose Aylmer sailed to India with an aunt in 1798, and two years later died of cholera.

Ah, what avails the sceptred race,
Ah, what the form divine!
What every virtue, every grace!
Rose Aylmer, all were thine.

Rose Aylmer, whom these wakeful eyes
May weep, but never see,
A night of memories and of sighs
I consecrate to thee.

In 1798 Landor published Gebir, the work which established his reputation. This long poem tells the story of a prince of Spain who falls in love with his enemy Queen Charoba of Egypt. Southey reviewed Gebir, calling it "some of the most exquisite poetry in the language" and was keen to discover the anonymous author. Sidney Colvin wrote "For loftiness of thought and language together, there are passages in Gebir that will bear comparison with Milton" and "nowhere in the works of Wordsworth or Coleridge do we find anything resembling Landor's peculiar qualities of haughty splendour and massive concentration". John Forster wrote "Style and treatment constitute the charm of it. The vividness with which everything in it is presented to sight as well as through the wealth of its imagery, its moods of language – these are characteristics pre-eminent in Gebir." Gifford, on the other hand, who was ever a harsh critic of Landor, described it as "A jumble of incomprehensible trash... the most vile and despicable effusion of a mad and muddy brain...".

For the next three years Landor led an unsettled life, spent mainly in London. He became a friend of the classics scholar Dr Samuel Parr who lived at Hatton near Warwick and who appreciated Landor as a person and a Latin writer. Landor favoured Latin as a way of expressing playful material without exposing it to public view. "Siquid forte iocosius cuivis in mentem veniat, id, vernacule, puderet, non-enim tantummodo in luce agitur sed etiam in publico." Latin also had the advantage of being exempt from libel laws in England. Parr introduced Landor to Robert Adair, party organiser for Charles James Fox, who enlisted Landor to write in The Morning Post and The Courier against the ministry of Pitt. Landor published Poems from the Arabic and Persian in 1800 and a pamphlet of Latin verses. During this time he met Isaac Mocatta who stimulated his interest in art and exercised a moderating influence, but Mocatta died 1801. In 1802 Landor went to Paris where he saw Napoleon at close quarters, and this was enough for him to revoke his former praise for Napoleon in Gebir. In the same year he published Poetry by the Author of Gebir which included the narrative poems "Crysaor" and "The Phocaeans". Colvin considered "Crysaor" Landor's finest piece of narrative in blank verse.

Landor's brother Robert helped with corrections and additions to Gebir and the second edition appeared in 1803. About the same time Landor published the whole poem in Latin, which did little to increase readership but appealed to Parr and was considered by Swinburne to be comparable with the English version in might and melody of line, and for power and perfection of language.

Landor travelled the country in constant debt, spending much time at Bath. Here he met Sophia Jane Swift, who was already engaged to her cousin Godwin Swifte, whom she married despite Landor's ardent entreaties in 1803. He called her Ianthe and wrote some of his most beautiful love poems to her. His father died in 1805, which put him in possession of an independent fortune and he settled in Bath, living in grand style. In 1806 he published Simonidea which included poems to Ianthe and Ione. It also included "Gunlaug and Helga" a narrative poem from William Herbert's Select Icelandic poems. At Bristol in 1808 he caught up with Southey, whom he had missed on a trip to the Lake District in the previous year, and the mutual appreciation of the two poets led to a warm friendship. He also wrote a work "The Dun Cow" which was written in defence of his friend Parr who had been attacked in an anonymous work "Guy's Porridge Pot", which Landor was fierce to deny was any work of his.

Napoleonic Wars and Count Julian

In 1808 he had an heroic impulse to take part in the Peninsular War. At the age of 33, he left England for Spain as a volunteer to serve in the national army against Napoleon. He landed at Corunna, introduced himself to the British envoy, offered 10,000 reals for the relief of Venturada, and set out to join the army of General Joaquín Blake y Joyes. He was disappointed not to take part in any real action and found himself giving support at Bilbao where he was nearly captured. A couple of months later the Convention of Sintra brought an end to the campaign and Landor returned to England. The Spanish Government offered its thanks to him, and King Ferdinand appointed him a Colonel in the Spanish Army. However, when the King restored the Jesuits Landor returned his commission. When he returned to England, he joined Wordsworth and Southey in denouncing the Convention of Sintra, which had excited general indignation. In 1809 Landor wrote "Three letters to Don Francisco Riquelme" giving him the benefit of his wisdom as a participant in the war. He wrote an ode in Latin to Gustav IV of Sweden and wrote to press under various pseudonyms. In 1810 he wrote "a brave and good letter to Sir Francis Burdett."

The Spanish experience provided inspiration for the tragedy of Count Julian, based on Julian, count of Ceuta. Although this demonstrated Landor's distinctive style of writing, it suffered from his failure to study the art of drama and so made little impression. The plot is difficult to follow unless the story is previously known and concerns a complicated situation after the defeat of the last Visigoth King of Spain. It carries the moral tone of crime propagating crime. Southey undertook to arrange publication and eventually got it published by Murray in 1812, after an initial refusal by Longmans which led Landor to burn another tragedy "Ferranti and Giulio". Thomas de Quincey later wrote of the work

Mr Landor is probably the one man in Europe that has adequately conceived the situation, the stern self-dependency and monumental misery of Count Julian.

Swinburne described it as:

the sublimest poem published in our language, between the last masterpiece of Milton (Samson Agonistes) and the first masterpiece of Shelley (Prometheus Unbound), one equally worthy to stand unchallenged beside either for poetic perfection as well as moral majesty. The superhuman isolation of agony and endurance which encircles and exalts the hero is in each case expressed with equally appropriate magnificence of effect. The style of Count Julian, if somewhat deficient in dramatic ease and the fluency of natural dialogue, has such might and purity and majesty of speech as elsewhere we find only in Milton so long and so steadily sustained.

Llanthony and marriage

Before going to Spain, he had been looking for a property and settled on Llanthony Abbey in Monmouthshire, a ruined Benedictine abbey. He sold the property at Rugeley which he inherited from his father, and persuaded his mother to sell her Tachbrook estate to contribute to the purchase cost. On his return from Spain he was busy finalising these matters. The previous owner had erected some buildings in the ruins of the ancient abbey, but an Act of Parliament, passed in 1809, was needed to allow Landor to pull down these buildings and construct a house, (which was never finished). He wanted to become a model country gentleman, planting trees, importing sheep from Spain, and improving the roads. There is still an avenue of trees in the area known as "Landor's Larches" and many old chestnuts have been dated back to his time.

In 1811 he went to a ball in Bath and seeing a pretty girl exclaimed "That's the nicest girl in the room, and I'll marry her". She was Julia Thuillier, the daughter of an impoverished Swiss banker who had an unsuccessful business at Banbury and had gone to Spain, leaving his family at Bath. They married at St James' Church, Bath on 24 May 1811 and settled for a while at Llanthony Abbey. Landor had a visit from Southey, after he sent him a letter describing the idylls of country life, including nightingales and glow-worms. However the idyll was not to last long as for the next three years Landor was worried by the combined vexation of neighbours and tenants, lawyers and lords-lieutenant and even the Bishop of St David's, while at the same time he tried to publish an article on Fox, a response to a sycophantic piece by John Bernard Trotter, which was condemned by the prospective publisher John Murray as libellous and damned by Canning and Gifford.

His troubles with the neighbours stemmed from petty squabbles, many arising from his headstrong and impetuous nature. He employed a solicitor, one Charles Gabell, who saw him as a client to be milked. His trees were uprooted and his timber stolen. A man against whom he had to swear the peace drank himself to death, and he was accused of causing the misfortune and when he prosecuted a man for theft he was insulted by the defendant's counsel (whom he later "chastised" in his Latin poetry). He was fond of revenge through his verse, Latin or otherwise and gave his opinion of his lawyers in the following piece of doggerel.

If the devil, a mighty old omnibus driver
Saw an omnibus driving downhill to a river
And saved any couple to share his own cab
I really do think t'would be Gabell & Gabb.

When the Bishop failed to reply to his letter offering to restore part of the priory Landor followed up saying "God alone is great enough for me to ask anything of twice". He wanted to become a magistrate and after a row with the Lord Lieutenant, the Duke of Beaufort, who was suspicious of his republican sympathies, he pursued the matter with the Lord Chancellor, Lord Eldon, well known as a High Tory, without success. He wasted much effort and money in noble attempts to improve the land, and to relieve the wretchedness and raise the condition of the poorer inhabitants. The final straw was when he let his farmland to one Betham who was incompetent and extravagant and paid no rent. After an expensive action to recover the debts from Betham he had had enough, and decided to leave the country, abandoning Llanthony to his creditors – which was principally his mother. He had drafted a book-length Commentary on the Memoires of Mr. Charles Fox which presents the radical Whig leader in a positive light and includes a dedication to American president James Madison and strong criticism of the Tory government and Canning, but left it unpublished for fear of prosecution.

In 1814 Landor left England for Jersey, where he had a quarrel with his wife and set off for France on his own. Eventually she joined him at Tours as did his brother Robert. At Tours he met Francis George Hare, father of Augustus Hare and brother of Julius Hare who was to be of great help to him. Landor soon became dissatisfied with Tours and after tremendous conflicts with his landlady set off in September 1815 with his wife and brother on a tempestuous journey to Italy.

Florence and Imaginary Conversations

Landor and his wife finally settled at Como, where they stayed for three years. Even here he had troubles, for at the time Caroline of Brunswick, wife of the Prince Regent was living there and Landor was suspected of being an agent involved in watching her in case of divorce proceedings. In 1818 he insulted the authorities in a Latin poem directed against an Italian poet who had denounced England, not realising that the libel laws in Italy (unlike in England) applied to Latin writings as well as Italian. After threatening the regio delegato with a beating he was ordered to leave Como. In September he went to Genoa and Pisa. He finally settled at Florence in 1821. After two years in apartments in the Medici Palace, he settled with his wife and children at the Villa Castiglione. In this, the most important period in his literary career, he produced some of his best known works – the Imaginary Conversations. It was at this time that Lady Blessington and her husband were living at Florence and became firm friends.

The first two volumes of his Imaginary Conversations appeared in 1824 with a second edition in 1826; a third volume was added in 1828; and in 1829 the fourth and fifth volumes were published. Not until 1846 was a fresh instalment added, in the second volume of his collected and selected works. Many of the imaginary conversations harshly criticize authoritarian rule and endorse republican principles.

With these works, Landor acquired a high, but not wide literary reputation. He had various disputes with the authorities in Florence. The theft of some silver led to altercations with the police, whose interviews with tradesmen ended up defining him as a "dangerous man", and the eventual upshot was that the Grand Duke banished him from Florence. Subsequently, the Grand Duke took the matter good-naturedly, and ignored Landor's declaration that, as the authorities disliked his residence, he should reside there permanently. In 1829, Landor bought the Villa Gherardesca at Fiesole helped by a generous loan from Joseph Ablett of Llanbedr Hall, Denbighshire. Here he had a dispute with a neighbour about water rights, which led to a lawsuit and a challenge, although the English Consul Kirkup succeeded in arranging the point of honour satisfactorily. Landor was visited by William Hazlitt and Leigh Hunt, and was on intimate terms with Charles Armitage Brown. It was at this time he became acquainted with Edward John Trelawny whom he included in volume IV of Imaginary Conversations. His mother, with whom he had always corresponded affectionately, died in October 1829 and his cousin Walter Landor of Rugeley took over the management of the estate in Wales. Landor was happy at Villa Gherardesca for several years, writing books, playing with his children whom he adored and with the nightingales, and planting his gardens. He had many visitors, most notably in 1829 Jane Swift (Ianthe) now a widow, who inspired him to write poetry again. Later came Henry Crabb Robinson with whom he got on extremely well. In 1831 he published a volume combining Gebir, Count Julian and Other Poems (including 31 to Ianthe). Although this sold only 40 copies, Landor was unconcerned as he was working on "High and Low Life in Italy". This last work he sent to Crabb Robinson for publication but he had difficulties with publishers and it did not appear until 1837.

In 1832 Ablett persuaded him to visit England, where he met many old friends. He saw Ianthe at Brighton and met Lord Wenlock. He also visited his family in Staffordshire – his brother Charles was rector of Colton, and his cousin Walter Landor of Rugeley was trying to deal with the complex business of Llanthony. He visited Charles Lamb at Enfield, Samuel Coleridge at Highgate, and Julius Hare at Cambridge. He went with Ablett to the Lake District and saw Southey and Coleridge.

On returning to Fiesole he found his children out of hand and obtained a German governess for them. Back in Italy he met Richard Monckton Milnes who later wrote about him. He was visited by Ralph Waldo Emerson and worked on the conversations which led to the volumes upon "Shakespeare's Examinations for Deer Stealing", "Pericles and Aspasia", and the "Pentameron". Lady Blessington sold "Shakespeare" for him. In 1835 Ianthe visited again, and brought her half-sister, Mrs Paynter, with her. Landor's wife Julia became jealous, although she already had a younger lover, and their difference of opinion ended in a complete separation.

England, Pericles and journalism

Landor was 60 by now and went to Lucca, where he finished "Pericles and Aspasia" and in September returned to England alone in the autumn. He had an income of about £600 per annum from properties in England, but when he left Italy he made over £400 of the share to his wife, and transferred the villa and farms at Fiesole to his son Arnold absolutely. His income was now £200 a year and he was in financial difficulties. He stayed with Ablett at Llanbedr for three months, spent winter at Clifton and returned to him afterwards, when Ablett persuaded him to contribute to "Literary Hours" which was published the next year. "Pericles and Aspasia", which was to become one of his most appreciated works, was published in March 1836. It is in the form of an Imaginary Conversation and describes the development of Aspasia's romance with Pericles, who died in the Peloponnesian War, told in a series of letters to a friend Cleone. The work is one of Landor's most joyous works and is singled out by contemporary critics as an introduction to Landor at his best. On one occasion Landor was travelling to Clifton incognito and chatting to a fellow traveller when the traveller, John Sterling, observed that his strange paradoxical conversation sounded like one of Landor's Imaginary Conversations. Landor covered his retreat, but later became acquainted formally with Sterling.

Also in 1836, Landor met John Forster who became his biographer, having become friends after Forster's review of his "Shakespeare". Later that year he went to Heidelberg in Germany hoping to meet his children, but was disappointed. He wrote more imaginary conversations including one between Lord Eldon and Escombe. When a lady friend rebuked him for this on the basis that Eldon was now over eighty, Landor replied unmoved with the quip "The devil is older". He had several other publications that year besides Pericles, including "Letter from a Conservative", "A Satire on Satirists" which included a criticism of Wordsworth's failure to appreciate Southey, Alabiadas the Young Man, and "Terry Hogan", a satire on Irish priests. He wintered again at Clifton where Southey visited him. It is possible that Ianthe was living at Bristol, but the evidence is not clear, and in 1837 she went to Austria, where she remained for some years. After leaving Clifton, Landor travelled around and visited Armitage Brown at Plymouth. He established many friendships including John Kenyon and Sir William Napier. At the end of the year he published "Death of Clytemnestra" and "The Pentalogia", containing five of his finest shorter studies in dramatic poetry. The last piece to be published was "Pentameron". Although this had no financial success it was much admired by his friends including Kenyon, Julius Hare, Crabb Robinson, Elizabeth Barrett Browning who said "some of the pages are too delicious to turn over", and Leigh Hunt who reckoned it Landor's masterpiece. In the spring of 1838 he took a house in Bath and wrote his three plays the "Andrea of Hungary", "Giovanna of Naples", and "Fra Rupert". These plays are in the form of a trilogy in the first of which Fra Rupert contrives the death of Andrea, husband of Giovanna. Giovanna is suspected but acquitted in the second play. In the third play Fra Rupert is discovered. George Saintsbury described these as a historical novel thrown into conversational dramatic form. In 1839 Landor's attempts to publish the plays were caught up in a dispute between Bentley and Dickens and Forster which caused considerable delay. Again, although these plays, or "conversations in verse" did not succeed with the public, Landor gained warm admirers, many of whom were his personal friends. Southey's mind was giving way when he wrote a last letter to his friend in 1839, but he continued to mention Landor's name when generally incapable of mentioning anyone. Landor wandered around the country again, frequently visiting London, where he usually stayed with Lady Blessington, whom he had known at Florence. Mrs Paynter and her daughter Rose Paynter were at Bath, and Landor's letters and verses to Rose are among his best works. Rose later married Charles Graves-Sawle of Penrice in Cornwall. Landor met Charles Dickens and they enjoyed each other's company despite the age difference. Landor greatly admired Dickens's works, and was especially moved by the character of Nell Trent (from The Old Curiosity Shop). Landor was affectionately adapted by Dickens as Lawrence Boythorn in Bleak House. He was the godfather of Dickens's son Walter Landor Dickens. He also became introduced to Robert Browning, who sent him a dedicated copy of his work.

Landor received a visit from his son Arnold in 1842 and in that year wrote a long essay on Catullus for Forster, who was editor of "Foreign Quarterly Review"; he followed it up with The Idylls of Theocritus. R. H. Super was critical of the essays claiming "A more thoroughly disorganised work never fell from his pen". In 1843 he mourned the death of his friend Southey and dedicated a poem in the Examiner. Landor was visited by his children Walter and Julia and published a poem to Julia in Blackwood's magazine.

By that dejected city, Arno runs,
Where Ugolino claspt his famisht sons.
There wert thou born, my Julia! there thine eyes
Return'd as bright a blue to vernal skies.
And thence, my little wanderer! when the Spring
Advanced, thee, too, the hours on silent wing
Brought, while anemonies were quivering round,
And pointed tulips pierced the purple ground,
Where stood fair Florence: there thy voice first blest
My ear, and sank like balm into my breast
For many griefs had wounded it, and more
Thy little hands could lighten were in store.
But why revert to griefs? Thy sculptured brow
Dispels from mine its darkest cloud even now.
And all that Rumour has announced of grace!
I urge, with fevered breast, the four-month day.
O! could I sleep to wake again in May.

In the following year his daughter Julia returned and gave him a dog Pomero, who was a faithful companion for a long time. In the same year, he published a poem to Browning in the Morning Chronicle.

Forster and Dickens used to visit Bath, to celebrate Landor's birthday and Charles I's execution on the same day. Forster helped Landor in publishing his plays and the 'Collected Works' in 1846, and was employed on The Examiner to which Landor frequently contributed on political and other subjects. Forster objected to the inclusion of some Latin poetry, and so Landor published his most important Latin work 'Poemata et Inscriptiones' separately in 1847. This consisted of large additions to the main contents of two former volumes of idyllic, satiric, elegiac and lyric verse. One piece referred to George IV whose treatment of Caroline of Brunswick had been distasteful to Landor.

Heic jacet,
Qui ubique et semper jacebat
Familiae pessimae homo pessimus
Georgius Britanniae Rex ejus nominis IV
Arca ut decet ampla et opipare ornata est
Continet enim omnes Nerones.

Here lies a person
who was always lying about all over the place
– the worst member of the worst family –
George the fourth of that name of Britain.
It is suitable that the vault be large and excessively decorated
as it contains all the Neros.

Landor's distaste for the House of Hanover is more famously displayed in the doggerel that many do not realise is his composition:

George the First was always reckoned
Vile, but viler George the Second.
And what mortal ever heard
Any good of George the Third,
But when from earth the Fourth descended
God be praised the Georges ended.

In 1846 he also published the Hellenics, including the poems published under that title in the collected works, together with English translations of the Latin idyls. In this year he first met Eliza Lynn who was to become an outstanding novelist and journalist as Lynn Linton, and she became a regular companion in Bath. Now aged over 70, Landor was losing many of his old friends and becoming more frequently ill himself. On one occasion when staying with the Graves-Sawle he visited Exeter and sheltered in the rain on the doorstep of a local barrister, James Jerwood. Jerwood mistook him for a tramp and drove him away. Landor's follow-up letter of abuse to the barrister is magnificent: highlighting the man's "insulting language ... violent demeanour" and "coarseness and vehemence"; casting doubt on Jerwood's education (particularly in Latin); observing "Barristers in general carry a change of tongue about them, altho (sic) some of them do not put on a clean one so often as we could wish"; and lecturing him on the proprieties and "decency" involved in interacting not only with gentlemen- Landor firmly establishing himself amongst them- but with "even the lowest of men". R. H. Super, in his Walter Savage Landor- A Biography (1954) observes that "the very survival of this letter shows that Jerwood, when he received it, at least knew with whom he had to deal... it warms the heart to see that Landor's sharpest thrust was the suggestion that his man could not read Latin".

In 1849 he wrote a well-known epitaph for himself on his 74th birthday:

I strove with none, for none was worth my strife.
Nature I loved, and, next to nature, Art;
I warm'd both hands before the fire of Life;
It sinks, and I am ready to depart.

However he was leading an active social life. Tennyson met him in 1850 and recorded how while another guest fell downstairs and broke his arm, "Old Landor went on eloquently discoursing of Catullus and other Latin poets as if nothing had happened". Thomas Carlyle visited him and wrote "He was really stirring company: a proud irascible, trenchant, yet generous, veracious, and very dignified old man". In 1851 Landor expressed interest in Church reform with a pamphlet "Popery, British and Foreign", and Letters to Cardinal Wiseman. He published various other articles in The Examiner, Fraser's Magazine and other journals. During the year he learnt of the death of his beloved Ianthe and wrote in tribute to her:

Sophia! whom I seldom call'd by name,
And trembled when I wrote it; O my friend
Severed so long from me! one morn I dreamt
That we were walking hand in hand thro' paths
Slippery with sunshine: after many years
Had flown away, and seas and realms been crost,
And much (alas how much!) by both endured
We joined our hands together and told our tale.
And now thy hand hath slipt away from mine,
And the cold marble cramps it; I dream one,
Dost thou dream too? and are our dreams the same?

In 1853 he published the collected Imaginary Conversations of the Greeks and Romans, which he dedicated to Dickens. Dickens in this year published Bleak House, which contained the amazingly realistic characterisation of Landor as Boythorn. He also published "The Last Fruit off an Old Tree," containing fresh conversations, critical and controversial essays, miscellaneous epigrams, lyrics and occasional poems of various kind and merit, closing with Five Scenes on the Martyrdom of Beatrice Cenci. Swinburne described these as "unsurpassed even by their author himself for noble and heroic pathos, for subtle and genial, tragic and profound, ardent and compassionate insight into character, with consummate mastery of dramatic and spiritual truth." At this time Landor was interesting himself in foreign affairs, in particular Czarist oppression as he saw it and Louis Napoleon. At the end of 1854 his beloved sister Elizabeth died and he wrote a touching memorial:

Sharp crocus wakes the froward year;
In their old haunts birds reappear;
From yonder elm, yet black with rain,
The cushat looks deep down for grain
Thrown on the gravel-walk; here comes
The redbreast to the sill for crumbs.
Fly off! fly off! I can not wait
To welcome ye, as she of late.
The earliest of my friends is gone.
Alas! almost my only one!
The few as dear, long wafted o'er,
Await me on a sunnier shore.

In 1856 at the age of 81 he published Antony and Octavius: Scenes for the Study, twelve consecutive poems in dialogue, and "Letter to Emerson", as well as continuing Imaginary Conversations.

Final tragedies and return to Italy

In the beginning of 1857, Landor's mind was becoming weakened and he found himself in some unpleasant situations. He became involved in a court case because he had published statements when the case was sub judice and was insulted by counsel as a poor old man brought in to talk twaddle. He then became embroiled in a miserable quarrel between two ladies he knew. He gave one of them, Geraldine Hooper, £100, a legacy received from his friend Kenyon. Unknown to Landor she transferred half of it to the other lady, a Mrs Yescombe. They then quarreled and Mrs Yescombe accused Hooper of having obtained the money from Landor for dishonourable reasons. Landor in his fury wrote a pamphlet "Walter Savage Landor and the Honourable Mrs Yescombe," which was considered libellous. Forster persuaded Landor to apologise. Then in 1858 he produced a miscellaneous collection called "Dry Sticks Fagoted by W. S. Landor," which contained among other things some epigrammatic and satirical attacks which led to further libel actions.

In July that year Landor returned to Italy for the last six years of his life. He was advised to make over his property to his family, on whom he now depended. He hoped to resume his life with his wife and children but found them living disreputably at the Villa Gherardesca and ill-disposed to welcome him. He spent a miserable ten months at his villa, and fled repeatedly to Florence, only to be brought back again. On the last occasion, he took refuge at a hotel in Florence, with next to nothing in his pocket, and was found by Robert Browning then living at the Casa Guidi. Browning managed to obtain an allowance for him from the family and settled him first at Siena and then at Florence.

Landor busied himself with new editions of his works and interested himself in the unification of Italy. He wrote frequently to Eliza Lynn Linton and added to Imaginary Conversations devising any sale proceeds to the relief of Garibaldi's soldiers. Anthony Trollope visited Florence and brought with him an American girl, Kate Field, who became Landor's protégée. He was still charming, venerable, and courteous, and full of literary interests. He taught Kate Field Latin, repeated poetry and composed some last conversations. In 1861, Browning left Italy after the death of his wife. Landor afterwards seldom left the house and remained petulant and uncomfortable, occasionally visited by his sons. He was much concerned about the fate of his picture collection, little of which had any merit, and about preparations for his grave as he hoped to be buried at Widcombe near Bath. He published some Imaginary Conversations in the 'Atheneum' in 1861-2 and in 1863 published a last volume of "Heroic Idyls, with Additional Poems, English and Latin", described by Swinburne as " the last fruit of a genius which after a life of eighty-eight years had lost nothing of its majestic and pathetic power, its exquisite and exalted". Forster's refusal to publish more about the libel case had interrupted their friendship, but they renewed their correspondence before his death. Almost the last event of his life was a visit in 1864 from the poet Swinburne, who visited Florence specifically to see him, and dedicated to him the 'Atalanta in Calydon'. In 1864 on May Day Landor said to his landlady "I shall never write again. Put out the lights and draw the curtains". A few months later he died quietly in Florence at the age of 89. He was buried not after all at Widcombe but in the English Cemetery, Florence, near the tomb of his friend, Elizabeth Barrett Browning. A statue of his wife can also be found in the 'English' Cemetery, above the tomb of their son, Arnold Savage Landor. In England a memorial bust to Landor was later placed in the Church of St Mary's, Warwick. Later, his Villa Gherardesca in Fiesole would become the home of the American Icelandic scholar Daniel Willard Fiske, who renamed it the 'Villa Landor'. Landor's grandson was the writer explorer and adventurer Arnold Henry Savage Landor.

Landor was a close friend of Southey and Coleridge. His relationship with Wordsworth changed over time from great praise to a certain resentment. Lord Byron tended to ridicule and revile him, and though Landor had little good to say in return during Byron's life, he lamented and extolled him as a dead hero. He lavished sympathetic praise on the noble dramatic works of his brother Robert Eyres Landor.

Review of Landor's work by Swinburne

Swinburne wrote in the ninth edition of the Encyclopædia Britannica (replicated in the eleventh edition) and later published in his Miscellanies of 1886 an appreciation which included the following passage (here broken into paragraphs for easier reading):

From nineteen almost to ninety his intellectual and literary activity was indefatigably incessant; but, herein at least like Charles Lamb, whose cordial admiration he so cordially returned, he could not write a note of three lines which did not bear the mark of his Roman hand in its matchless and inimitable command of a style at once the most powerful and the purest of his age.

The one charge which can ever seriously be brought and maintained against it is that of such occasional obscurity or difficulty as may arise from excessive strictness in condensation of phrase and expurgation of matter not always superfluous, and sometimes almost indispensable. His English prose and his Latin verse are perhaps more frequently and more gravely liable to this charge than either his English verse or his Latin prose. At times it is well-nigh impossible for an eye less keen and swift, a scholarship less exquisite and ready than his own, to catch the precise direction and follow the perfect course of his rapid thought and radiant utterance.

This apparently studious pursuit and preference of the most terse and elliptic expression which could be found for anything he might have to say could not but occasionally make even so sovereign a master of two great languages appear dark with excess of light; but from no former master of either tongue in prose or verse was ever the quality of real obscurity, of loose and nebulous incertitude, more utterly alien or more naturally remote. There is nothing of cloud or fog about the path on which he leads us; but we feel now and then the want of a bridge or a handrail; we have to leap from point to point of narrative or argument without the usual help of a connecting plank. Even in his dramatic works, where least of all it should have been found, this lack of visible connection or sequence in details of thought or action is too often a source of sensible perplexity. In his noble trilogy on the history of Giovanna queen of Naples it is sometimes actually difficult to realize on a first reading what has happened or is happening, or how, or why, or by what agency a defect alone sufficient, but unhappily sufficient in itself, to explain the too general ignorance of a work so rich in subtle and noble treatment of character, so sure and strong in its grasp and rendering of high actions and high passions, so rich in humour and in pathos, so royally serene in its commanding power upon the tragic mainsprings of terror and of pity.

As a poet, he may be said on the whole to stand midway between Byron and Shelley—about as far above the former as below the latter. If we except Catullus and Simonides, it might be hard to match and it would be impossible to overmatch the flawless and blameless yet living and breathing beauty of his most perfect elegies, epigrams or epitaphs. As truly as prettily was he likened by Leigh Hunt to a stormy mountain pine which should produce lilies. He was a classic, and no formalist; the wide range of his admiration had room for a genius so far from classical as Blake's. Nor in his own highest mood or method of creative as of critical work was he a classic only, in any narrow or exclusive sense of the term. On either side, immediately or hardly below his mighty masterpiece of Pericles and Aspasia, stand the two scarcely less beautiful and vivid studies of medieval Italy and Shakespeare in England.

In popular culture

Landor's "I Strove with None" is widely mentioned and discussed. Somerset Maugham used it in "The Razor's Edge", as does Tom Wolfe in "A Man in Full" location 8,893 (Kindle). Thomas Savage inserted it in chapter 6 of The Sheep Queen. In Josephine Pullein-Thompson's Pony Club Team, the second novel in her West Barsetshire series of pony books, it is quoted by both Noel Kettering and Henry Thornton. The poem forms the chorus of the Zatopeks' song "Death and the Hobo," from their album Damn Fool Music.

In an episode of Cheers, "The Spy Who Came in for a Cold One," Ellis Rabb's guest character plagiarizes Landor's "She I Love (Alas in Vain!)" when reciting poetry to Diane. He also plagiarizes Christina Rossetti's "A Birthday."

In his book of poems The Drunken Driver Has the Right of Way, Academy Award-winning writer/director/producer Ethan Coen facetiously describes himself as "an expert on the poetry of Walter Savage Landor and many other subjects which he travels the world to lecture upon, unsolicited".

Author Iris Murdoch quotes Landor "There are no voices that are not soon mute..." in the penultimate paragraph of her novel, The Unicorn.

Artistic recognition

A bust of Landor dated 1828 by John Gibson is held in the National Portrait Gallery, London.

Edmund John Millington Synge (16 April 1871 – 24 March 1909), popularly known as J. M. Synge, was an Irish playwright, poet, writer, essayist, and collector of folklores. As an important driving force behind the Irish Literary Renaissance during the early 20th century, he is widely regarded among the most influential dramatists of the Edwardian era, and by several of his peers, including William Butler Yeats, as the most prolific dramatist in Irish literature. Synge had a relatively short career (c. 1903 - 1909), but his works continue to be held in high regard, due to their cultural significance. He was also one of the co-founders of the Abbey Theatre in Dublin.

His 1907 play The Playboy of the Western World, one of his best-known works, was initially poorly received, due to its bleak ending, crude depiction of Irish peasants, and the idealisation of patricide, leading to hostile audience reactions and street riots in Dublin during its opening run at the Abbey Theatre, which he had co-founded with W. B. Yeats and Lady Gregory. His other major works include In the Shadow of the Glen (1903), Riders to the Sea (1904), The Well of the Saints (1905), and The Tinker's Wedding (1909).

Synge, from a wealthy Anglo-Irish background, mainly wrote about working-class Catholics in rural Ireland, and what he saw as the essential paganism of their worldview. Owing to his ill health, he was schooled at home. His early interest was in music, leading to a scholarship and degree at Trinity College Dublin, and he went to Germany in 1893 to study music. In 1894, he moved to Paris where he took up poetry and literary criticism and met Yeats, and returned to Ireland.

Synge suffered from Hodgkin's disease. He died aged 37 from Hodgkin's-related cancer while writing what became Deirdre of the Sorrows (1910), considered by some as his masterpiece, though it was unfinished during his lifetime. Most of his plays were known for their highly realistic depiction of Irish societies, and included plots, themes, landscapes, and settings from places he visited during his travels.

Biography

Early life

Synge was born on 16 April 1871, in Newtown Villas, Rathfarnham, County Dublin, the youngest of eight children of upper-middle-class Protestant parents. His father John Hatch Synge was a barrister and came from a family of landed gentry in Glanmore Castle, County Wicklow. Synge's paternal grandfather, also named John Synge, was an evangelical Christian involved in the movement that became the Plymouth Brethren, and his maternal grandfather, Robert Traill, was a Church of Ireland rector in Schull, County Cork, who died in 1847 during the Great Irish Famine. He was a descendant of Edward Synge, Archbishop of Tuam, and Edward's son Nicholas, the Bishop of Killaloe. His nephews included mathematician John Lighton Synge and optical microscopy pioneer Edward Hutchinson Synge.

Synge's father died from smallpox at the age of 49 and was buried on his son's first birthday. His mother moved the family to the house next door to her mother's house in Rathgar, County Dublin. Although often ill, Synge had a happy childhood. He developed an interest in bird-watching along the banks of the River Dodder, and during family holidays at the seaside resort of Greystones, County Wicklow, and the family estate at Glanmore.

He was home-educated at schools in Dublin and Bray, and studied piano, flute, violin, music theory and counterpoint at the Royal Irish Academy of Music. He travelled to the continent to study music but later decided to focus on literature. He was a talented student and won a scholarship in counterpoint in 1891. The family moved to the suburb of Kingstown (now Dún Laoghaire) in 1888, and Synge entered Trinity College, Dublin, the following year. He graduated with a bachelor's degree in 1892, having studied Irish and Hebrew, as well as continuing his music studies and playing with the Academy Orchestra in the Antient Concert Rooms. Between November 1889 and 1894 he took private music lessons with Robert Prescott Stewart.

Synge later developed an interest in Irish antiquities and the Aran Islands, and became a member of the Irish League for a year. He left the League because, as he told Maud Gonne, "my theory of regeneration for Ireland differs from yours ... I wish to work on my own for the cause of Ireland, and I shall never be able to do so if I get mixed up with a revolutionary and semi-military movement." In 1893 he published his first known work, a poem influenced by Wordsworth, in Kottabos: A College Miscellany.

Early work

After graduating, Synge moved to Germany to study music. He stayed in Coblenz during 1893 before moving to Würzburg in January 1894. Because of his shyness about performing in public, coupled with his doubt about his own ability, he abandoned music to pursue his literary interests. He returned to Ireland in June 1894 before moving to Paris in January 1895 to study literature and languages at the Sorbonne. He met Cherrie Matheson during summer breaks with his family in Dublin. He proposed to her in 1895 and again the next year, but she turned him down on both occasions because of their differing views on religion. The rejections greatly affected him and reinforced his determination to move abroad.

In 1896, he visited Italy to study the language before returning to Paris. He planned on a career in writing about French authors. That year he met W. B. Yeats who encouraged him to spend time on the Aran Islands, after which he returned to Dublin. In 1899 he joined Yeats, Augusta, Lady Gregory and George William Russell to form the Irish National Theatre Society, which later established the Abbey Theatre. He wrote some pieces of literary criticism for Gonne's Irlande Libre and other journals, as well as unpublished poems and prose in a decadent fin de siècle style. (These writings were eventually gathered in the 1960s for his Collected Works.) He also attended lectures at the Sorbonne by the noted Celtic scholar Henri d'Arbois de Jubainville.

Aran Islands and first plays

John Millington Synge:
A resident of the island of Inishmaan (1898)

In 1897, Synge suffered his first attack of Hodgkin's, after which an enlarged gland was removed from his neck. He visited Lady Gregory's home, at Coole Park near Gort, County Galway, where he met Yeats again and also Edward Martyn. He spent the following five summers there, collecting stories and folklore, perfecting his Irish, but living in Paris for most of the rest of each year. He also visited Brittany regularly. During this period he wrote his first play, When the Moon Has Set which he sent to Lady Gregory for the Irish Literary Theatre in 1900, but she rejected it. The play was not published until it appeared in his Collected Works.

Synge's first account of life on the Aran Islands was published in the New Ireland Review in 1898 and his book, The Aran Islands, completed in 1901 and published in 1907 with illustrations by Jack Butler Yeats. Synge considered the book "my first serious piece of work". Lady Gregory read the manuscript and advised Synge to remove any direct naming of places and to add more folk stories, but he declined to do either because he wanted to create something more realistic. The book conveys Synge's belief that beneath the Catholicism of the islanders, it was possible to detect a substratum of the pagan beliefs of their ancestors. His experiences in the Arans formed the basis for the plays about Irish rural life that Synge went on to write.

Synge left Paris for London in 1903. He had written two one-act plays, Riders to the Sea and The Shadow of the Glen, the previous year. These met with Lady Gregory's approval and The Shadow of the Glen was performed at the Molesworth Hall in October 1903. Riders to the Sea was staged at the same venue in February the following year. The Shadow of the Glen, under the title In the Shadow of the Glen, formed part of the bill for the opening run of the Abbey Theatre from 27 December 1904 to 3 January 1905. Both plays were based on stories that Synge had collected in the Arans, and Synge relied on props from the Arana to help set the stage for each of them. He also relied on Hiberno-English, the English dialect of Ireland, to reinforce its usefulness as a literary language, partly because he believed that the Irish language could not survive.

The Shadow of the Glen is based on a story about an unfaithful wife, and was criticised by the Irish nationalist leader Arthur Griffith as "a slur on Irish womanhood". Years later Synge wrote: "When I was writing The Shadow of the Glen some years ago I got more aid than any learning could have given me from a chink in the floor of the old Wicklow house where I was staying, that let me hear what was being said by the servant girls in the kitchen." Griffith's criticism encouraged more attacks alleging that Synge described Irish women in an unfair manner. Riders to the Sea was also attacked by nationalists, this time including Patrick Pearse, who decried it because of the author's attitude to God and religion. Pearse, Griffith and other conservative-minded Catholics claimed Synge had done a disservice to Irish nationalism by not idealising his characters, but later critics have stated he idealised the Irish peasantry too much. A third one-act play, The Tinker's Wedding, was drafted around this time, but Synge initially made no attempt to have it performed, largely because of a scene in which a priest is tied up in a sack, which, as he wrote to the publisher Elkin Mathews in 1905, would probably upset "a good many of our Dublin friends".

When the Abbey Theatre was established, Synge was appointed literary adviser and became one of the directors, along with Yeats and Lady Gregory. He differed from Yeats and Lady Gregory on what he believed the Irish theatre should be, as he wrote to Stephen MacKenna:

I do not believe in the possibility of "a purely fantastic, unmodern, ideal, breezy, spring-dayish, Cuchulainoid National Theatre" ... no drama can grow out of anything other than the fundamental realities of life, which are never fantastic, are neither modern nor unmodern and, as I see them, rarely spring-dayish, or breezy or Cuchulanoid.

Synge's next play, The Well of the Saints, was staged at the Abbey in 1905, again to nationalist disapproval, and then in 1906 at the Deutsches Theater in Berlin. The critic Joseph Holloway asserted that the play combined "lyric and dirt".

Playboy riots and after

Synge's widely regarded masterpiece, The Playboy of the Western World, was first performed on 26 January 1907, at the Abbey Theatre. A comedy about apparent patricide, it attracted a hostile reaction from sections of the Irish public. The Freeman's Journal described it as "an unmitigated, protracted libel upon Irish peasant men, and worse still upon Irish girlhood". Arthur Griffith, who believed that the Abbey Theatre was insufficiently politically committed, described the play as "a vile and inhuman story told in the foulest language we have ever listened to from a public platform", and perceived a slight on the virtue of Irish womanhood in the line "... a drift of chosen females, standing in their shifts ..." At the time, a shift was known as a symbol representing Kitty O'Shea and her adulterous relationship with Charles Stuart Parnell.

A section of the audience at the opening rioted, causing the third act to be acted out in dumbshow. The disturbances continued for a week, interrupting the following performances. Years later, after a similar disturbance at the opening of The Plough and the Stars by Seán O'Casey, Yeats said the audience had "disgraced yourselves again. Is this to be an ever-recurring celebration of the arrival of Irish genius? Synge first and then O'Casey?"

The writing of The Tinker's Wedding began at the same time as Riders to the Sea and In the Shadow of the Glen. It took Synge five years to complete and was not finished until 1907. Riders was performed in the Racquet Court theatre in Galway on 4–8 January 1907, but not performed again until 1909, and then only in London. The first critic to respond to the play was Daniel Corkery, who said, "One is sorry Synge ever wrote so poor a thing, and one fails to understand why it ever should have been staged anywhere".

Death

Synge died from Hodgkin lymphoma at the Elpis Nursing Home in Dublin on 24 March 1909, aged 37, and was buried in Mount Jerome Cemetery, Harold's Cross, Dublin. A collected volume, Poems and Translations, with a preface by Yeats, was published by the Cuala Press on 8 April 1909. Yeats and actress and one-time fiancée Molly Allgood (Maire O'Neill) completed Synge's unfinished final play, Deirdre of the Sorrows, and it was presented by the Abbey players on Thursday 13 January 1910, with Allgood as Deirdre.

Personality

John Masefield, who knew Synge, wrote that he "gave one from the first the impression of a strange personality". Masefield said that Synge's view of life originated in his poor health. In particular, Masefield said "His relish of the savagery made me feel that he was a dying man clutching at life, and clutching most wildly at violent life, as the sick man does".

Yeats described Synge as timid and shy, who "never spoke an unkind word" yet his art could "fill the streets with rioters". Richard Ellmann, the biographer of Yeats and James Joyce, stated that Synge "built a fantastic drama out of Irish life.

Yeats described Synge in the poem "In Memory of Major Robert Gregory":

...And that enquiring man John Synge comes next,

That dying chose the living world for text

And never could have rested in the tomb

But that, long travelling, he had come

Towards nightfall upon certain set apart

In a most desolate stony place,

Towards nightfall upon a race

Passionate and simple like his heart.

Synge was a political radical, immersed in the socialist literature of William Morris, and in his own words "wanted to change things root and branch". Much to the consternation of his mother, he went to Paris in 1896 to become more involved in radical politics, and his interest in the topic lasted until his dying days when he sought to engage his nurses on the topic of feminism.

Legacy

Yeats said that Synge was "the greatest dramatic genius of Ireland". While Yeats and Lady Gregory were "the centrepieces of the Irish theatrical renaissance, it was Synge ... who gave the movement its national quality ..." His plays helped set the dominant style at the Abbey Theatre until the 1940s. The stylised realism of his writing was reflected in the training given at the theatre's school of acting, and plays of peasant life were the main staple of the repertoire until the end of the 1950s. Sean O'Casey, the next major dramatist to write for the Abbey, knew Synge's work well and attempted to do for the Dublin working classes what Synge had done for the rural poor. Brendan Behan, Brinsley MacNamara, and Lennox Robinson were all indebted to Synge.

The Irish literary critic Vivian Mercier was among the first to recognise Samuel Beckett's debt to Synge. Beckett was a regular member of the audience at the Abbey in his youth and particularly admired the plays of Yeats, Synge and O'Casey. Mercier points out parallels between Synge's casts of tramps, beggars and peasants and many of the figures in Beckett's novels and dramatic works.

Synge's cottage in the Aran Islands has been restored as a tourist attraction. An annual Synge Summer School has been held every summer since 1991 in the village of Rathdrum, County Wicklow. Synge is the subject of Mac Dara Ó Curraidhín's 1999 documentary film, Synge agus an Domhan Thiar (Synge and the Western World). Joseph O'Connor wrote a novel, Ghost Light (2010), loosely based on Synge's relationship with Molly Allgood.

Synge's correspondence with his cousin, composer Mary Helena Synge, is archived at Trinity College Dublin.

Aubrey Thomas de Vere (10 January 1814 – 20 January 1902) was an Irish poet and critic.

Life

Aubrey Thomas Hunt de Vere was born at Curraghchase House (now in ruins) at Curraghchase, Kilcornan, County Limerick, the third son of Sir Aubrey de Vere, 2nd Baronet (1788–1846) and his wife Mary Spring Rice, daughter of Stephen Edward Rice (d.1831) and Catherine Spring, of Mount Trenchard, County Limerick. He was a nephew of Lord Monteagle, a younger brother of Sir Stephen de Vere, 4th Baronet and a cousin of Lucy Knox. His sister Ellen married Robert O'Brien, the brother of William Smith O'Brien. In 1832, his father dropped the original surname 'Hunt' by royal licence, assuming the surname 'de Vere'.

He was strongly influenced by his friendship with the astronomer Sir William Rowan Hamilton, through whom he came to a knowledge and reverent admiration for Wordsworth and Coleridge. He was educated privately at home and in 1832 entered Trinity College, Dublin, where he read Kant and Coleridge. Later he visited Oxford, Cambridge, and Rome, and came under the potent influence of John Henry Newman. He was also a close friend of Henry Taylor.

The characteristics of Aubrey de Vere's poetry are high seriousness and a fine religious enthusiasm. His research in questions of faith led him to the Roman Catholic Church where in 1851 he was received into the Church by Cardinal Manning in Avignon. In many of his poems, notably in the volume of sonnets called St Peters Chains (1888), he made rich additions to devotional verse. For a few years he held a professorship, under Newman, in the Catholic University in Dublin.

In "A Book of Irish Verse," W. B. Yeats described de Vere's poetry as having "less architecture than the poetry of Ferguson and Allingham, and more meditation. Indeed, his few but ever memorable successes are enchanted islands in gray seas of stately impersonal reverie and description, which drift by and leave no definite recollection. One needs, perhaps, to perfectly enjoy him, a Dominican habit, a cloister, and a breviary."

He also visited the Lake Country of England, and stayed under Wordsworth's roof, which he called the greatest honour of his life. His veneration for Wordsworth was singularly shown in later life, when he never omitted a yearly pilgrimage to the grave of that poet until advanced age made the journey impossible.

He was of tall and slender physique, thoughtful and grave in character, of exceeding dignity and grace of manner, and retained his vigorous mental powers to a great age. According to Helen Grace Smith, he was one of the most profoundly intellectual poets of his time. His census return for 1901 lists his profession as 'Author.'

He died at Curraghchase in 1902, at the age of eighty-eight. As he never married, the name of de Vere at his death became extinct for the second time, and was assumed by his nephew.

Works

His best-known works are: in verse, The Sisters (1861); The Infant Bridal (1864); Irish Odes (1869); Legends of St Patrick (1872); and Legends of the Saxon Saints (1879); and in prose, "The Foray of Queen Meave and Other Legends of Ireland's Heroic Age" (1882), Essays Chiefly on Poetry (1887); and Essays Chiefly Literary and Ethical (1889). He also wrote a picturesque volume of travel-sketches, and two dramas in verse, Alexander the Great (1874); and St Thomas of Canterbury (1876). According to the Encyclopædia Britannica Eleventh Edition, both of these dramas, "though they contain fine passages, suffer from diffuseness and a lack of dramatic spirit." One of his best remembered poem is Inisfail while two of his historical poems used to be on the Junior Cycle English syllabus, The March to Kinsale and The Ballad of Athlone.

Influences

In his Recollections he says that Byron was his first admiration, but was instantly displaced when Sir Aubrey put Wordsworth's "Laodamia" into his hands. He became a disciple of Wordsworth, whose calm meditative serenity he often echoed with great felicity; and his affection for Greek poetry, truly felt and understood, gave dignity and weight to his own versions of mythological idylls. A critic in the Quarterly Review of 1896 said of his poetry, that next to Browning's it showed the fullest vitality, the largest sphere of ideas, covered the broadest intellectual field since Wordsworth.

• "May Carols and Legends of Saxon Saints" (1857)

• "Legends and Records of the Church and Empire" (1887)

• "Mediæval Records and Sonnets" (1898)

But perhaps he will be chiefly remembered for the impulse which he gave to the study of Celtic legend and Celtic literature. In this direction he has had many followers, who have sometimes assumed the appearance of pioneers; but after Matthew Arnold's fine lecture on Celtic Literature, nothing perhaps did more to help the Celtic revival than Aubrey de Vere's tender insight into the Irish character, and his stirring reproductions of the early Irish epic poetry.

A volume of Selections from his poems was edited in 1894 (New York and London) by G. E. Woodberry.

The de Vere Hunt Male line DNA

Several members of Aubrey's family from two brothers of his ancestor Captain Vere, namely those referred to as Henry "of LIgadoon" (1) and John " of Glangoole" Aubrey's ancestor (4) have determined that he belonged to the rare J-FTA83121 Hunt group and subsequently to the J-FTA84824 for John. In relation to other families, it points to Norman origin of the family via VIenne, originating from an ancient Jewish line via the Levant.

James Henry (13 December 1798 – 14 July 1876) was an Irish classical scholar and poet.

Life

He was born in Dublin the elder son of a woollen draper, Robert Henry, and his wife Kathleen Elder. He was educated by Unitarian minister Joseph Hutton, and then at Trinity College, Dublin. At age 11 he fell in love with the poetry of Virgil and got into the habit of always carrying a copy of the Aeneid in his left breast-pocket. In Trinity he graduated with the gold medal for Classics. He then turned to medicine and until 1845 he practised as a physician in Dublin city. In spite of his unconventionality and unorthodox views on religion and his own profession, he was very successful. He married Anne Jane Patton, from Donegal, and had three daughters, only one of whom, Katherine, born 1830, survived infancy.

His accession to a large fortune in 1845 enabled him to devote himself entirely to the absorbing occupation of his life: the study of Virgil. Accompanied by his wife and daughter, he visited all those parts of Europe where he was likely to find rare editions or manuscripts of the poet.

When his wife died in Tyrol he continued his work with his daughter, who became quite a Virgil expert in her own right, and crossed the Alps seventeen times. After the death of his daughter in 1872 he returned to Dublin and continued his research at Trinity College, Dublin.

He died at Dalkey, County Dublin.

Literary commentary

As a commentator on Virgil's Aeneid, Henry will always deserve to be remembered, notwithstanding the occasional eccentricity of his notes and remarks. The first fruits of his researches were published in 1853 under the quaint title Notes of a Twelve Years' Voyage of Discovery in the First Six Books of the Eneis. These Notes were followed by Henry's four-volume Aeneidea, or Critical, Exegetical, and Aesthetical Remarks on the Aeneis; Henry described his Aeneidea as "an amplification, correction, and completion" of his Notes. Only the first volume of the Aeneidea, containing his Notes on the first book of the Aeneid, was published before he died; the work was subsequently published by the trustees of his estate, under the editorial guidance of John Fletcher Davies. After the death of Davies, editorial work was completed by Arthur Palmer and Louis Claude Purser. As a textual critic Henry was exceedingly conservative. His notes, written in a lively and interesting style, are especially valuable for their wealth of illustration and references to lesser-known classical authors.

Poetry

Henry was also the author of five collections of verse plus two long narrative poems describing his travels, and various pamphlets of a satirical nature.

At its best his poetry has something of the flavour of Robert Browning and Arthur Hugh Clough while at its worst it resembles the doggerel of William McGonagall. His five volumes of verse were all published at his own expense and received no critical attention either during or after his lifetime.

Rediscovery

Henry was rediscovered by Christopher Ricks who included eight of his poems in the New Oxford Book of Victorian Verse (1987). Then there was silence for ten years until the Penguin Book of Victorian Verse included four of his poems. Valentine Cunningham included five of Henry's poems in The Victorians: an Anthology of Poetry and Poetics, published by Blackwell in 2000. In the 21st century, Henry was featured (with "Old Man," a poem from 1856) as one of the 90 poets included in My Own Land's Sins: An Anthology of Victorian Poetry, published by the Canadian-based publisher Universitas Press.

Posthumous publication

In 2002 Christopher Ricks edited with an introduction the Selected Poems of James Henry, published by The Lilliput Press (reviewed in The New York Review of Books, The Times Literary Supplement and The Sunday Telegraph).

William Frederick Kirk (April 29, 1877 – March 25, 1927) was an American baseball writer, columnist, humorist, poet and songwriter.

Biography

Born in Mankato, Minnesota, Kirk spent most of his childhood in Chippewa Falls, Wisconsin. He graduated from high school there and began his career in journalism on a local paper. His humor column, "Fleeting Fancies", was a popular feature in the Chippewa Falls Herald and later in the Milwaukee Sentinel. It brought him to the attention of metropolitan dailies and was the name of his first book, published in 1904. Kirk's lyrics drew comparisons with those of other poets, whose work he sometimes parodied: Henry Wadsworth Longfellow, Eugene Field, and James Whitcomb Riley.

A longtime newspaperman, Kirk got his start at press outlets in Chippewa Falls and Milwaukee. In 1905 he signed a contract with the Hearst organization and moved to New York, where he was employed at two of William Randolph Hearst's papers: the New York American and the New York Evening Journal. After returning to Chippewa Falls in 1918, he continued working as a nationally syndicated columnist.

For eighteen years Kirk was distributed by the International Features Syndicate and reached a national audience as he wrote on subjects as diverse as baseball, temperance, women's suffrage and divorce. His pieces were seen in everything from "The Smart Set" to trade union publications. He was widely known for the features "Little Bobbie's Pa" and "The Manicure Lady".

Recent works on baseball's deadball era have had numerous examples of Kirk's sports writing. One can, for instance, read his account of Fred Merkle's infamous blunder or his rhyming tribute to the Flying Dutchman, Honus Wagner. The Unforgettable Season by Gordon H. Fleming recounts the 1908 National League pennant race through contemporary press coverage by Kirk and others. In 1911 Kirk published a collection of baseball ballads called Right Off The Bat.

In 1918 Kirk moved back to Chippewa Falls, desiring to live among old friends and familiar surroundings. He belonged to several fraternal organizations and was a prominent figure in the town.

Failing health caused his early retirement, and after an illness of many months he died of cancer in 1927.

The Norsk Nightingale

William F. Kirk is especially remembered for his Scandinavian dialect poetry, written for a daily column and later published in book form. His byline, "The Norsk Nightingale", was a familiar sight in newspapers across the country. His first collection of dialect verse, The Norsk Nightingale, presented a Norwegian lumberjack from the Upper Midwest. It was his most popular book with sixteen editions printed over a period of thirty-five years. At the time of its publication one reviewer wrote: "Novelty and freshness, and no little ingenuity as a parodist, salute us in this volume of dialect verse hailing from the haunts of the lumberjack or, more locally, northern Wisconsin and Minnesota, where dwell so many neo-Americans of Scandinavian birth."

His second volume of dialect verse, Songs of Sergeant Swanson, reflected the experiences of a Swedish doughboy in World War I. A book of more limited appeal, it only had one edition.

Scandinavian dialect humor

Kirk's ethnic poetry put forth the notion that Scandinavian Americans were good-natured but a little slow. This humorous stereotype had been employed in the 1890s by the playwright Gus Heege in such theatrical works as "Ole Olson" and "Yon Yonson".

Scandinavian dialect humor took other forms: vaudeville sketches, joke books, movies, records and sheet music. In quick succession Tin Pan Alley published "Hello Wisconsin", "Holy Yumpin Yiminy" and "Scandinavia" (Sing Dose Song And Make Dose Music). The popular recording artists Eleonora and Ethel Olson were known for their warm depictions of immigrant life in such stories as "The Old Sogning Woman" and "A Norwegian Woman Using the Telephone".

El Brendel, Yogi Yorgesson, Stan Boreson and countless others have followed in Kirk's footsteps, and there is still a receptive audience — especially among Scandinavian Americans — for tales of lumberjacks and sergeants with more heart than brain.

Thomas Oldham (4 May 1816, Dublin – 17 July 1878, Rugby) was an Anglo-Irish geologist.

Early life

Thomas was born at Dublin on 4 May 1816 as the eldest son of Thomas Oldham and his wife, Margaret Bagot. Educated at a private schools, he began residency at Trinity College, Dublin before the age of 16. By spring 1836, he started his B.A. and later studied civil engineering at the University of Edinburgh as well as geology under Robert Jameson. They became intimate friends. After two years in Scotland, he returned to Dublin. He married Louisa Matilda Dixon of Liverpool in 1850.

Geology

In 1838 he joined the ordnance survey in Ireland as a chief assistant under Joseph Ellison Portlock who was studying the geology of Londonderry and neighbourhood. Portlock wrote of him

whenever I have required his aid … I have found him possessed of the highest intelligence and the most unbounded zeal

He discovered radiating fans shaped impressions in the town of Bray in 1840. He showed this to the English palaeontologist Edward Forbes, who named it Oldhamia after him. Forbes declared them to be bryozoans, however later workers ascribed it to other plants and animals. For a while these were considered the oldest fossils in the world.

He became Curator to the Geological Society of Dublin, and in 1845 succeeded John Phillips, nephew of William Smith, in the Chair of Geology at Trinity College, Dublin. He was elected a Fellow of the Royal Society in June 1848.

Career in India

He resigned as the Curator to the Geological Society of Dublin in November 1850 and took a position as the first Superintendent of the Geological Survey of India. He was the first Irish geologists to migrate to the subcontinent. He was followed by his brother Charles, William King Jr. (son of William King, the Professor of Geology at Queen's College, Galway), Valentine Ball, and more than 12 other Irish geologists.

In India he oversaw a mapping programme that focussed on coal bearing strata. The team of geologists made major discoveries. Henry Benedict Medlicott coined the term "Gondwana Series" in 1872. Oldham's elder son Richard Dixon Oldham distinguished three types of pressure produced by earthquakes: now known as P (compressional), S (shear), and L (Love)-waves, based on his observations made after the Great Assam Earthquake of 1897. Richard showed in 1906 the arrival patterns of waves and suggested that the core of the earth was liquid. His younger son Henry became a reader in geography at King's College, Cambridge.

He also started the Paleontologia Indica, a series of memoirs on the fossils of India. For this work, he recruited Ferdinand Stoliczka from Europe.

Later days

Oldham resigned from his position in India in 1876 on the grounds of poor health and retired to Rugby in England. In recognition of his lifetime's "long & important services in the science of geology", including Palaeontographica Indica, he was awarded the Royal Society's Royal Medal. He died in Rugby on 17 July 1878.

The standard author abbreviation Oldham is used to indicate this person as the author when citing a botanical name.

Louisa May Alcott (November 29, 1832 – March 6, 1888) was an American novelist, short story writer, and poet best known for writing the novel Little Women (1868) and its sequels Good Wives (1869), Little Men (1871), and Jo's Boys (1886). Raised in New England by her transcendentalist parents, Abigail May and Amos Bronson Alcott, she grew up among many well-known intellectuals of the day, including Margaret Fuller, Ralph Waldo Emerson, Nathaniel Hawthorne, and Henry David Thoreau. Encouraged by her family, Louisa began writing from an early age.

Louisa's family experienced financial hardship, and while Louisa took on various jobs to help support the family from an early age, she also sought to earn money by writing. In the 1860s she began to achieve critical success for her writing with the publication of Hospital Sketches, a book based on her service as a nurse in the American Civil War. Early in her career, she sometimes used pen names such as A. M. Barnard, under which she wrote lurid short stories and sensation novels for adults. Little Women was one of her first successful novels and has been adapted for film and television. It is loosely based on Louisa's childhood experiences with her three sisters, Abigail May Alcott Nieriker, Elizabeth Sewall Alcott, and Anna Alcott Pratt.

Louisa was an abolitionist and a feminist and remained unmarried throughout her life. She also spent her life active in reform movements such as temperance and women's suffrage. During the last eight years of her life she raised the daughter of her deceased sister. She died from a stroke in Boston on March 6, 1888, just two days after her father's death and was buried in Sleepy Hollow Cemetery. Louisa May Alcott has been the subject of numerous biographies, novels, and a documentary, and has influenced other writers and public figures such as Ursula K. Le Guin and Theodore Roosevelt.

Early life

Birth and early childhood

Louisa May Alcott was born on November 29, 1832, in Germantown, now part of Philadelphia, Pennsylvania. Her parents were transcendentalist and educator Amos Bronson Alcott and social worker Abigail May. Louisa was the second of four daughters, with Anna as the eldest and Elizabeth and May as the youngest. Louisa was named after her mother's sister, Louisa May Greele, who had died four years earlier. After Louisa's birth, Bronson kept a record of her development, noting her strong will, which she may have inherited from her mother's May side of the family. He described her as "fit for the scuffle of things".

The family moved to Boston in 1834, where Louisa's father established the experimental Temple School and met with other transcendentalists such as Ralph Waldo Emerson and Henry David Thoreau. Bronson participated in child-care but often failed to provide income, creating conflict in the family. At home and in school he taught morals and improvement, while Abigail emphasized imagination and supported Alcott's writing at home. With all the commotion going on at the time writing helped her handle her emotions. Louisa was often tended by her father's friend Elizabeth Peabody, and later she frequently visited Temple School during the day.

Louisa kept a journal from an early age. Bronson and Abigail often read it and left short messages for her on her pillow. She was a tomboy who preferred boys' games and preferred to be friends with boys or other tomboys. She wanted to play sports with the boys at school but was not allowed to.

Alcott was primarily educated by her father, who established a strict schedule and believed in "the sweetness of self-denial." When Louisa was still too young to attend school, Bronson taught her the alphabet by forming the letter shapes with his body and having her repeat their names. For a time she was educated by Sophia Foord, whom she would later eulogize. She was also instructed in biology and Native American history by Thoreau, who was a naturalist, while Emerson mentored her in literature. Louisa had a particular fondness for Thoreau and Emerson; as a young girl, they were both "sources of romantic fantasies for her." Her favorite authors included Harriet Beecher Stowe, Sir Walter Scott, Fredericka Bremer, Thomas Carlyle, Nathaniel Hawthorne, Goethe, and John Milton, Friedrich Schiller, and Germaine de Staele.

Hosmer Cottage

In 1840, after several setbacks with Temple School and a brief stay in Scituate, the Alcotts moved to Hosmer Cottage in Concord. Emerson, who had convinced Bronson to move his family to Concord, paid rent for the family, who were often in need of financial help. While living there, Alcott and her sisters befriended the Hosmer, Goodwin, Emerson, Hawthorne, and Channing children, who lived nearby. The Hosmer and Alcott children put on plays and often included other children. Louisa and Anna also attended school at the Concord Academy, though for a time Louisa attended a school for younger children held at the Emerson house. At eight years-old, Louisa wrote her first poem, "To the First Robin". When she showed the poem to her mother, Abigail was pleased.

In October 1842 Bronson returned from a visit to schools in England and brought Charles Lane and Henry Wright with him to live at Hosmer Cottage, while Bronson and Lane made plans to establish a "New Eden". The children's education was undertaken by Lane, who implemented a strict schedule. Louisa disliked Lane and found the new living arrangements difficult.

Fruitlands and Hillside

In 1843 Bronson and Lane established Fruitlands, a utopian community, in Harvard, Massachusetts, where the family were to live. Louisa later described these early years in a newspaper sketch titled "Transcendental Wild Oats", reprinted in Silver Pitchers (1876), which relates the family's experiment in "plain living and high thinking" at Fruitlands. There, Louisa enjoyed running outdoors and found happiness in writing poetry about her family, elves, and spirits. She later reflected with distaste on the amount of work she had to do outside of her lessons. She also enjoyed playing with Lane's son William and often put on fairy-tale plays or performances of Charles Dickens's stories. She read works by Dickens, Plutarch, Lord Byron, Maria Edgeworth, and Oliver Goldsmith.

During the demise of Fruitlands, the Alcotts discussed whether or not the family should separate. Louisa recorded this in her journal and expressed her unhappiness should they separate. After the collapse of Fruitlands in early 1844, the family rented in nearby Still River, where Louisa attended public school and wrote and directed plays that her sisters and friends performed.

In April 1845 the family returned to Concord, where they bought a home they called Hillside with money Abigail inherited from her father. Here, Louisa and her sister Anna attended a school run by John Hosmer after a period of home education. The family again lived near the Emersons, and Louisa was granted open access to the Emerson library, where she read Carlyle, Dante, Shakespeare, and Goethe. In the summer of 1848 sixteen-year-old Louisa opened a school of twenty students in a barn near Hillside. Her students consisted of the Emerson, Channing, and Alcott children.

The two oldest Alcott girls continued acting in plays written by Louisa. While Anna preferred portraying calm characters, Louisa preferred the roles of villains, knights, and sorcerers. These plays later inspired Comic Tragedies (1893). The family struggled without income beyond the girls' sewing and teaching. Eventually, some friends arranged a job for Abigail and three years after moving into Hillside, the family moved to Boston. Hillside was sold to Nathaniel Hawthorne in 1852. Louisa described the three years she spent at Concord as a child as the "happiest of her life."

Boston

When the Alcott family moved to South End, Boston in 1848, Louisa had work as a teacher, seamstress, governess, domestic helper, and laundress, to earn money for the family. Together, Louisa and her sister taught a school in Boston, though Louisa disliked teaching. Her sisters also supported the family by working as seamstresses, while their mother took on social work among the Irish immigrants. Elizabeth and May were able to attend public school, though Elizabeth later left school to undertake the housekeeping. Due to financial pressures, writing became a creative and emotional outlet for Louisa. In 1849 she created a family newspaper, the Olive Leaf, named after the local Olive Branch. The family newspaper included stories, poems, articles, and housekeeping advice. It was later renamed to The Portfolio. She also wrote her first novel, The Inheritance, which was published posthumously and based on Jane Eyre. Louisa, who was driven to escape poverty, wrote, "I wish I was rich, I was good, and we were all a happy family this day."

Early adulthood

Life in Dedham

Abigail ran an intelligence office to help the destitute find employment. When James Richardson came to Abigail in the winter of 1851 seeking a companion for his frail sister and elderly father who would also be willing to do light housekeeping, Louisa volunteered to serve in the house filled with books, music, artwork, and good company on Highland Avenue. Louisa may have imagined the experience as something akin to being a heroine in a Gothic novel, as Richardson described their home in a letter as stately but decrepit.

Richardson's sister, Elizabeth, was 40 years old and suffered from neuralgia. She was shy and did not seem to have much use for Louisa. Instead, Richardson spent hours reading her poetry and sharing his philosophical ideas with her. She reminded Richardson that she was hired to be Elizabeth's companion and expressed that she was tired of listening to his "philosophical, metaphysical, and sentimental rubbish." Richardson's response was to assign her more laborious duties, including chopping wood, scrubbing the floors, shoveling snow, drawing water from the well, and blacking his boots.

Louisa quit after seven weeks, when neither of the two girls her mother sent to replace her decided to take the job. As she walked from Richardson's home to Dedham station, she opened the envelope he handed her with her pay. One account states that she was so unsatisfied with the four dollars she found inside that she mailed the money back to him in contempt. Another account states that Bronson may have returned the money himself and rebuked Richardson. Louisa later wrote a slightly fictionalized account of her time in Dedham titled "How I Went Out To Service", which she submitted to Boston publisher James T. Fields. Fields rejected the piece, telling Louisa that she had no future as a writer.

Early publications

In September 1851 Louisa's poem "Sunlight" appeared in Peterson's Magazine under the name Flora Fairchild, making it her first successful publication. 1852 marked the publication of her first story, "The Rival Painters: A Tale of Rome", which was published in the Olive Branch. In 1854 she attended The Boston Theatre, where she was given a pass to attend free of charge. She published her first book, Flower Fables, in 1854; the book was a selection of tales she originally told to Ellen Emerson, daughter of Ralph Waldo Emerson. Lidian Emerson had read the stories and encouraged Louisa to publish them. Though she was pleased, Louisa hoped to eventually shift her writing "from fairies and fables to men and realities". She also wrote The Rival Prima Donnas, a play adaptation of her story with the same title.

In 1855 the Alcotts moved to Walpole, New Hampshire, where Louisa and Anna participated in the Walpole Amateur Dramatic Company. Louisa was praised for her "superior histrionic ability". At the end of the theater season, Louisa, encouraged by the success of Flower Fables, began writing Christmas Elves, a collection of Christmas stories illustrated by May Alcott. In November Louisa traveled to Boston and attempted to publish the collection while living with a relative. November was too late in the year to publish Christmas books and Louisa was unable to publish The Christmas Elves. She then wrote and published "The Sisters' Trial", a story about four women who were based on the Alcott sisters.

Family changes

Louisa returned to Walpole in mid-1856 to find her sister Elizabeth ill with scarlet fever. Louisa helped nurse Elizabeth, and when she was not nursing helped with the housekeeping and wrote. Louisa prepared to publish Beach Bubbles that year, but the book was rejected. By the end of the year she was writing for the Olive Branch, the Ladies Enterprise, The Saturday Evening Gazette, and the Sunday News. Louisa again lived in Boston for a time, where she met Julia Ward Howe and Frank Sanborn. In the summer of 1857 Louisa and Anna rejoined the Walpole Amateur Dramatic Company and sought to entertain Elizabeth with stories about their acting. The family later visited Swampscott in an effort to boost Elizabeth's health, which was poor from effects of the scarlet fever, but it did not improve. During this time Louisa read The Life of Charlotte Brontë by Elizabeth Gaskell and found inspiration from Brontë's life.

The family moved back to Concord in September 1857, where the Alcotts rented while Bronson repaired Orchard House. During that time, the two oldest Alcott sisters organized the Concord Dramatic Union. Elizabeth Alcott died on March 14, 1858, when she was twenty-three. Three weeks later, Anna became engaged to John Pratt, a man she met in the Concord Dramatic Union. Louisa experienced depression about these events and considered Elizabeth's death and Anna's engagement catalysts to breaking up their sisterhood. After the family moved into Orchard House in July 1858, Louisa again returned to Boston to find employment. Unable to find work and filled with despair, Louisa contemplated suicide by drowning, but she decided to "take Fate by the throat and shake a living out of her." She eventually received an offer to work as a governess for invalid Alice Lovering, which she accepted.

Later years

Civil War service

As an adult, Louisa Alcott was an abolitionist, temperance advocate, and feminist. When the American Civil War broke out in 1861, Alcott wanted to enlist in the Union Army but could not because she was a woman. Instead, she sewed uniforms and waited until she reached the minimum age for army nurses at thirty years old. Soon after turning thirty in 1862, Alcott applied to the U. S. Sanitary Commission, run by Dorothea Dix, and on December 11 was assigned to work in the Union Hotel Hospital in Georgetown, Washington, D. C. When she left, Bronson felt as if he was "sending [his] only son to the war". When she arrived, she discovered that conditions in the hospital were poor, with over-crowded and filthy quarters, bad food, unstable beds, and insufficient ventilation. Diseases such as scarlet fever, chicken pox, measles, and typhus were rampant among the patients. Alcott's duties included cleaning wounds, feeding the men, assisting with amputations, dressing wounds, and later assigning patients to their wards. She also entertained patients by reading aloud and putting on skits. She served as a nurse for six weeks in 1862–1863. She intended to serve three months, but contracted typhoid fever and became critically ill partway through her service. In late January Bronson traveled to the hospital and took Louisa to Concord to recover.

Lulu Nieriker

Louisa nursed her mother Abigail, who was dying, in 1877 while writing Under the Lilacs (1878). Louisa also became ill and close to dying, so the family moved in with Anna Alcott Pratt, who had recently purchased Thoreau's house with Louisa's financial support. After Abigail's death in November, Louisa and Bronson permanently moved into Anna's house. Her sister May was living in London at the time and married Ernest Nieriker four months later. May became pregnant and was due to deliver her child near the end of 1879. Though Louisa wanted to travel to Paris to see May in time for the delivery, she decided against it because her health was poor. On December 29 May died from complications developed after childbirth, and in September 1880 Louisa assumed the care of her niece, Lulu, who was named after her. Nieriker sent the news to Emerson and asked him to share it with Bronson and his daughters. Only Louisa was at home when Emerson arrived; she guessed the news before he told her and shared it with Bronson and Anna after he left. During the grief that followed May's death, Louisa and her father Bronson coped by writing poetry. In a letter to her friend Maria S. Porter, Louisa wrote, "Of all the griefs in my life, and I have had many, this is the bitterest." It was at this time that she completed Jack and Jill: A Village Story (1880).

Louisa sometimes hired a nanny when her poor health made it difficult to care for Lulu. While raising Lulu, she published few works. Among her published works at this time are the volumes of Lulu's Library (1886–1889), collections of stories written for her niece Lulu. When Bronson suffered a stroke in 1882, Louisa became his caretaker. In the years that followed she alternated between living in Concord, Boston, and Nonquitt. In June 1884 Louisa sold Orchard House, which the family was no longer living in.

Decline and death

Alcott suffered from chronic health problems in her later years, including vertigo, dyspepsia, headaches, fatigue, and pain in the limbs, diagnosed as neuralgia in her lifetime. When conventional medicines did not alleviate her pain, she tried mind-cure treatments, homeopathy, hypnotism, and Christian Science. Her ill health has been attributed to mercury poisoning, morphine intake, intestinal cancer, or meningitis. Alcott herself cited mercury poisoning as the cause of her sickness. When she contracted typhoid fever during her American Civil War service, she was treated with calomel, which is a compound containing mercury. Dr. Norbert Hirschhorn and Dr. Ian Greaves suggest that Alcott's chronic health problems may have been associated with an autoimmune disease such as systemic lupus erythematosus, possibly because mercury exposure compromised her immune system. An 1870 portrait of Alcott shows her cheeks to be flushed, perhaps with the butterfly rash that is often characteristic of lupus. The suggested diagnosis, based on Alcott's journal entries, cannot be proved.

As Alcott's health declined, she often lived at Dunreath Place, a convalescent home run by Dr. Rhoda Lawrence for which she had provided financial support in the past. Eventually a doctor advised Alcott to stop writing to preserve her health. In 1887 she legally adopted Anna's son, John Pratt, and made him heir to her royalties, then created a will that left her money to her remaining family. Alcott visited Bronson at his deathbed on March 1, 1888, and expressed the wish that she could join him in death. On March 3, the day before her father died, she suffered a stroke and went unconscious, in which state she remained until her death on March 6, 1888. She was buried in Sleepy Hollow Cemetery in Concord, near Emerson, Hawthorne, and Thoreau, on a hillside now known as Authors' Ridge. Her niece Lulu was eight years old when Alcott died and was cared for by Anna Alcott Pratt for two years before reuniting with her father in Europe.

Literary success

Works

In 1859 Alcott began writing for the Atlantic Monthly. Encouraged by Sanborn and Moncure Conway, Louisa revised and published the letters she wrote while serving as a nurse in the Boston anti-slavery paper Commonwealth, later collecting them as Hospital Sketches (1863, republished with additions in 1869). She planned to travel to South Carolina to teach freed slaves and write letters she could later publish, but she was too ill to travel and abandoned the plan. Soon after the success of Hospital Sketches, Alcott published her novel Moods (1864), based on her own experience with and stance on "woman's right to selfhood." Louisa struggled to find a publisher because the novel was long. After abridgments, Moods was published and popular. In 1882 Alcott changed the end. While touring Europe in 1870, she was displeased to find out that her publisher released a new edition without her approval.

Louisa Alcott began editing the children's magazine Merry's Museum to help pay off family debts incurred while she toured Europe as the companion of wealthy invalid Anna Weld in 1865–66. Though Louisa disliked editing the magazine, she became its main editor in 1867. Around the same time, Alcott's publisher, Thomas Niles, asked her to write a book especially for girls. She was hesitant to write it because she felt she knew more about boys than she did about girls, but she eventually set to work on her semi-autobiographical novel Little Women: or Meg, Jo, Beth and Amy (1868). After publishing Little Women she, and her sister May, moved to Europe. Alcott developed a close relationship with the young Polish revolutionary Ladislas Wisniewski during her European tour with Weld. She met him in Vevey, where he taught her French and she taught him English. She detailed a romance between herself and Wisniewski but later took it out. Alcott identified Wisniewski as one of the models for the character Laurie in Little Women. Her other model for Laurie was fifteen-year-old Alfred Whitman, who she met shortly before the death of her sister Elizabeth and with whom she corresponded for several years afterward. She based the heroine Jo on herself, and other characters were based on people from Alcott's life. Later Niles asked Alcott to write a second part. Also known as Good Wives (1869), it follows the March sisters into adulthood and marriage.

In 1870 Louisa joined May and a friend on a European tour. Though numerous publishers requested new stories, Louisa wrote little while in Europe, instead preferring to rest. Meanwhile, rumors began to spread that she had died from diphtheria. She eventually described their travels in "Shawl Straps" (1872). While in Europe, Louisa began writing Little Men after finding out that her brother-in-law, John Pratt, had died. She was driven to write the book to provide financial support for her sister Anna and her two sons. Louisa felt that she "must be a father now" to her nephews. After she left Europe, the book was released the day she arrived in Boston. Louisa took seven years to complete Jo's Boys (1886), her sequel to Little Men. She began the book in 1879 but discontinued it after her sister May's death in December. Louisa resumed work on the novel in 1882 after Mary Mapes Dodge of St. Nicholas asked for a new serial. Jo's Boys (1886) completed the "March Family Saga", Louisa's best-known books. The general popularity of her first few published works surprised Alcott. Throughout her career as a writer, she shied away from public attention, sometimes acting as a servant when fans came to her house.

Critical reception

Before her death, Louisa asked her sister Anna Pratt to destroy her letters and journals; Anna destroyed some and gave the remaining ones to family friend Ednah Dow Cheney. In 1889 Cheney was the first person to undergo a deep study of Alcott's life, compiling the journals and letters to publish Louisa May Alcott: Her Life, Letters, and Journals. The compilation has been published multiple times since then. Cheney also published Louisa May Alcott: The Children's Friend, which focused on Alcott's appeal to children. Other various compilations of Alcott's letters were published in the following decades. In 1909 Belle Moses wrote Louisa May Alcott, Dreamer and Worker: A Study of Achievement, which established itself as the "first major biography" about Alcott. Katharine S. Anthony's Louisa May Alcott, written in 1938, was the first biography to focus on Alcott's psychology. A comprehensive biography about Alcott was not written until Madeleine B. Stern's 1950 Louisa May Alcott. In the 1960s and 1970s, feminist analysis of Alcott's fiction increased; analysis of her works also focused on the contrast between her domestic and sensation fiction.

Martha Saxton's 1978 Louisa May: A Modern Biography of Louisa May Alcott depicts Alcott's life in a manner that Karen Halttunen, a professor of History and American Studies at the University of Southern California, called "controversial". Alcott biographer Ruth K. MacDonald considered Saxton's biography to be excessively psychoanalytical, portraying Alcott as a victim to her family. MacDonald also praised Saxton's description of Alcott's acquaintance with several intellectuals of the time. MacDonald praised Sarah Elbert's 1984 biography A Hunger for Home: Louisa May Alcott and Little Women for its combination of Saxton's psychological perspective and Madelon Bedell's larger discussion of the Alcott family from The Alcotts: Biography of a Family. She also stated that the biography could use more analysis of Alcott's works. Kate Beaird Meyers of the University of Tulsa felt that the 1987 version, entitled A Hunger for Home: Louisa May Alcott's Place in American Culture, "is much more sophisticated" because Elbert drew upon other scholars and placed Alcott within American literature. Alcott scholar Daniel Shealy compiled and edited Alcott in Her Own Time. Roberta Trites called it "fascinating and thorough", though she said it needed more background information about the essayists, while fellow Alcott scholar Gregory Eiselein praised Shealy's use of original accounts. Trites called Harriet Reisen's biography Louisa May Alcott: The Woman Behind Little Women "far more balanced than some of her predecessors['] in that ... she follows John Matteson's lead in demonstrating how emotionally complex the relationship was between Alcott's parents and their daughters." She was referring to John Matteson's Eden's Outcasts: The Story of Louisa May Alcott and Her Father, which won the 2008 Pulitzer Prize for Biography or Autobiography. Taylor Barnes of The Christian Science Monitor generally praised Reisen's biography but wrote that its "microscopic examination" of Alcott's life becomes confusing. Cornelia Meigs's 1934 biography Invincible Louisa: The Story of the Author of Little Women won the Newbery Medal. Critical Insights: Louisa May Alcott, edited by Gregory Eiselein and Anne K. Phillips, contains a series of essays discussing Alcott's life and literature.

Genres and style

Sensation and adult fiction

Alcott preferred writing sensation stories and novels more than domestic fiction, confiding in her journal, "I fancy 'lurid' things". They were influenced by the works of other writers such as Goethe, Charles Dickens, Charlotte Brontë, and Nathaniel Hawthorne. The stories follow themes of incest, murder, suicide, psychology, secret identities, and sensuality. Her characters are often involved in opium experimentation or mind control and sometimes experience insanity, with males and females contending for dominance. The female characters push back against the Cult of Domesticity and explore its counter ideals, Real Womanhood. Important to Alcott's income because they paid well, these sensation stories were published in The Flag of Our Union, Frank Leslie's Chimney Corner, and Frank Leslie's Illustrated Newspaper. Her thrillers were usually published anonymously or with the pseudonym A. M. Barnard. J. R. Elliott of The Flag repeatedly asked her to contribute pieces under her own name, but she continued using pseudonyms. Louisa May Alcott scholar Leona Rostenberg suggests that she published these stories under pseudonyms to preserve her reputation as an author of realistic and juvenile fiction. Researching for his dissertation in 2021, doctorate candidate Max Chapnick discovered a possible new pseudonym, E. H. Gould. Chapnick found a story referenced in Alcott's personal records in the Olive Branch, published under the name E.H. Gould. While Chapnick is uncertain if the pseudonym conclusively belongs to Alcott, other stories he found include references to people and places in her life.

American studies professor Catherine Ross Nickerson credits Alcott with creating one of the earliest works of detective fiction in American literature—preceded only by Edgar Allan Poe's "The Murders in the Rue Morgue" and his other Auguste Dupin stories—with her 1865 thriller "V.V., or Plots and Counterplots." The story, which she published anonymously, concerns a Scottish aristocrat who tries to prove that a mysterious woman has killed his fiancée and cousin. The detective on the case, Antoine Dupres, is a parody of Poe's Dupin who is less concerned with solving the crime than in setting up a way to reveal the solution with a dramatic flourish. Alcott's gothic thrillers remained undiscovered until the 1940s and were not published in collections until the 1970s.

Alcott's adult novels were not as popular as she wished them to be. They lack the optimism of her juvenile fiction and explore difficult marriages, women's rights, and conflict between men and women.

Juvenile and domestic fiction

Alcott had little interest in writing for children, but saw it as a good financial opportunity. She felt that writing children's literature was tedious. Alcott biographer Ruth K. MacDonald suggests that Alcott's hesitance to write children's novels may have arisen from the societal perception that writing for children was a means by which poor women made money. Her juvenile fiction portrays both women who fit Victorian ideals of domesticity and women who have careers and decide to remain single. In her domestic stories she focuses on women and children as characters, and some of the adult characters discuss social reform, such as women's rights. The child protagonists are often flawed, and the stories include didactics. Though her juvenile fiction is largely based on her childhood, she does not focus on the poverty her family experienced.

Style

Alcott's writing has been described as "episodic" because the narratives are broken into distinctive events with little connective tissue. Her early work is modeled after Charlotte Brontë's work. The style and ideas that appear in her writing are also influenced by her transcendental upbringing, both promoting and satirizing transcendentalist ideals. As a realist writer, she explores social conflict; she also promotes advanced views on education. She incorporates slang into her characters' dialogue, which contemporaries criticized her for doing. She also uses intertextuality by frequently including references to plays and well-known statues, among other things.

Social involvement

Abolition

When Alcott was young, her family served as station masters on the Underground Railroad and housed fugitive slaves. Alcott was unable to dictate when she first became an abolitionist, suggesting that she became an abolitionist either when William Lloyd Garrison was attacked for his abolitionist efforts or when a young African-American boy saved her from drowning in Frog Pond. Both events occurred when Alcott was a child. Alcott formed her abolitionist ideas, in part, from listening to conversations between her father and uncle Samuel May or between her father and Emerson. She was also inspired by the abolitionism of Rev. Theodore Parker, Charles Sumner, Wendell Phillips, and William Lloyd Garrison, with whom she was acquainted. She also knew Frederick Douglass in adulthood. As a young woman Louisa joined her family in teaching African-Americans how to read and write. When John Brown was executed on December 2, 1859, for his involvement in anti-slavery, Alcott described it as "the execution of Saint John the Just". Alcott attended several abolitionist rallies, including a rally at Tremont Temple that advocated for Thomas Simm's freedom. She also believed in the full integration of African-Americans into society. She wrote multiple anti-slavery stories such as "M. L.", "My Contraband", and "An Hour". According to Sarah Elbert, Alcott's anti-slavery stories show her regard for Harriet Beecher Stowe's anti-slavery works.

Women's rights

After her mother's death, Louisa committed to following her example by actively advocating for women's suffrage. In 1877, Alcott helped found the Women's Educational and Industrial Union in Boston. She read and admired the Declaration of Sentiments published by the Seneca Falls Convention on women's rights, and became the first woman to register to vote in Concord, Massachusetts in a school board election on March 9, 1879. She encouraged other Concord women to vote and was disappointed when few did. Alcott became a member of the National Congress of the Women of the United States while attending the Woman's Congress in 1875 and later recounted it in "My Girls". She gave speeches advocating women's rights and eventually convinced her publisher Thomas Niles to publish suffragist writings. She advocated for dress and diet reform as well as for women to receive college education, sometimes signing her letters with "Yours for reform of all kinds". Alcott also signed the "Appeal to Republican Women in Massachusetts", a petition that attempted to secure the vote for women.

Along with Elizabeth Stoddard, Rebecca Harding Davis, Anne Moncure Crane, and others, Alcott was part of a group of female authors during the Gilded Age who addressed women's issues in a modern and candid manner. Their works were, as one newspaper columnist of the period commented, "among the decided 'signs of the times'". Alcott also joined Sorosis, where members discussed health and dress reform for women, and she helped found Concord's first temperance society. Between 1874 and 1887 many of her works, published in the Woman's Journal, discussed women's suffrage. Her essay "Happy Women" in The New York Ledger argued that women did not need to marry. She explained her spinsterhood in an interview with Louise Chandler Moulton, saying, "I am more than half-persuaded that I am a man's soul put by some freak of nature into a woman's body.... because I have fallen in love with so many pretty girls and never once the least bit with any man." After her death, Alcott was memorialized during a suffragist meeting in Cincinnati, Ohio.

Legacy

Alcott homes

The Alcotts' Concord home, Orchard House, where the family lived for 25 years and where Little Women was written, is open to the public and pays homage to the Alcotts by focusing on public education and historic preservation. The Louisa May Alcott Memorial Association, which was founded in 1911 and runs the museum, allows tourists to walk through the house and learn about Louisa May Alcott. Her Boston home is featured on the Boston Women's Heritage Trail.

Film and television

Little Women inspired film versions in 1933, 1949, 1994, 2018, and 2019. The novel also inspired television series in 1958, 1970, 1978, and 2017, anime versions in 1981 and 1987, and a 2005 musical. It also inspired a BBC Radio 4 version in 2017. Little Men inspired film versions in 1934, 1940, and 1998, and was the basis for a 1998 television series. Other films based on Louisa May Alcott novels and stories are An Old-Fashioned Girl (1949), The Inheritance (1997), and An Old Fashioned Thanksgiving (2008). "Louisa May Alcott: The Woman Behind 'Little Women'" aired in 2009 as part of the American Masters biography series and was aired a second time on May 20, 2018. It was directed by Nancy Porter and written by Harriet Reisen, who wrote the script based on primary sources from Alcott's life. The documentary, which starred Elizabeth Marvel as Louisa, was shot onsite for the events it covered. It included interviews with Louisa May Alcott scholars, including Sarah Elbert, Daniel Shealy, Madeleine Stern, Leona Rostenberg, and Geraldine Brooks.

Popular culture

Alcott appears as the protagonist in the Louisa May Alcott Mystery series, written by Jeanne Mackin under the pseudonym Anna Maclean. In book one, Louisa and the Missing Heiress, Louisa is living in Boston in 1854 and writing her sensation stories. She finds the dead body of a fictional friend who recently returned from a honeymoon and solves the mystery. Louisa and the Country Bachelor follows Louisa as she visits cousins in Walpole, New Hampshire, in the summer of 1855 and discovers the dead body of an immigrant bachelor. Louisa decides to solve what she suspects is a murder. In Louisa and the Crystal Gazer, the third and final book in the series, she solves the murder of a divination woman in Boston in 1855.

The Lost Summer of Louisa May Alcott by Kelly O'Connor McNees takes place in Walpole in 1855 and follows Louisa as she finds romance. Louisa falls in love with a fictional character named Joseph Singer but chooses to pursue a profession as a writer instead of continuing her relationship with Singer. In Only Gossip Prospers by Lorraine Tosiello, Louisa visits New York City shortly after publishing Little Women. During her trip, Louisa seeks to remain anonymous because of an unrevealed circumstance from her past. The Revelation of Louisa May Alcott by Michaela MacColl takes place in 1846; young Louisa solves the murder of a slave catcher. Patricia O'Brien's The Glory Cloak tells of a fictional friendship between Louisa and Clara Barton, Louisa's work in the Civil War, and her relationships with Thoreau and her father. The epistolary novel The Bee and the Fly: The Improbable Correspondence of Louisa May Alcott and Emily Dickinson, by Lorraine Tosiello and Jane Cavolina, follows a fictional correspondence between Louisa and Dickinson, which Dickinson initiates in 1861 by asking Louisa for literary advice.

Influence

Various modern writers have been influenced and inspired by Alcott's work, particularly Little Women. As a child, Simone de Beauvior felt a connection to Jo and expressed, "Reading this novel gave me an exalted sense of myself. Cynthia Ozick calls herself a "Jo-of-the-future", and Patti Smith explains, "[I]t was Louisa May Alcott who provided me with a positive view of my female destiny." Writers influenced by Louisa May Alcott include Ursula K. Le Guin, Barbara Kingsolver, Gail Mazur, Anna Quindlen, Anne Lamott, Sonia Sanchez, Ann Petry, Gertrude Stein, and J. K. Rowling. U. S. president Theodore Roosevelt said he "worshiped" Louisa May Alcott's books. Other politicians who have been impacted by her books include Ruth Bader Ginsberg, Hillary Clinton, and Sandra Day O'Connor. Louisa May Alcott was inducted into the National Women's Hall of Fame in 1996.

Sir John Collings Squire (2 April 1884 – 20 December 1958) was an English writer, most notable as editor of the London Mercury, a major literary magazine in the interwar period. He antagonised several eminent authors, but attracted a coterie that was dubbed the Squirearchy. He was also a poet and historian, who captained a famous literary cricket-team called the Invalids.

Biography

Born in Plymouth, he was educated at Blundell's School and St. John's College, Cambridge. He was one of those published in the Georgian poetry collections of Edward Marsh. His own Selections from Modern Poets anthology series, launched in 1921, became definitive of the conservative style of Georgian poetry.

He began reviewing for The New Age; through his wife he had met Alfred Orage. His literary reputation was first made by a flair for parody, in a column Imaginary Speeches in The New Age from 1909.

His poetry from World War I was satirical; at the time he was reviewing for the New Statesman, using the name Solomon Eagle (taken from a Quaker of the seventeenth century) – one of his reviews from 1915 was of The Rainbow by D. H. Lawrence. Squire had been appointed literary editor when the New Statesman was set up in 1912; he was noted as an adept and quick journalist, at ease with contributing to all parts of the journal. He was acting editor of the New Statesman in 1917–18, when Clifford Sharp was in the British Army, and more than competently sustained the periodical. When the war ended he found himself with a network of friends and backers, controlling a substantial part of London's literary press.

From 1919 to 1934, Squire was the editor of the monthly periodical, the London Mercury. It showcased the work of the Georgian poets and was an important outlet for new writers. Alec Waugh described the elements of Squire's 'hegemony' as acquired largely by accident, consequent on his rejection for military service for bad sight. Squire's natural persona was of a beer-drinking, cricketing West Countryman; his literary cricket XI, the Invalids (originally made up of men who had been wounded in the First World War), were immortalised in A. G. Macdonell's England, Their England, with Squire as Mr. William Hodge, editor of the London Weekly. In July 1927 he became an early radio commentator on Wimbledon.

In his book If It Had Happened Otherwise (1931) he collected a series of essays, many of which could be considered alternative histories, from some of the leading historians of the period (including Hilaire Belloc and Winston Churchill); in America it was published that same year in somewhat different form under the title If: or, History Rewritten.

Squire was knighted in 1933, and after leaving the London Mercury in 1934, he became a reader for Macmillans, the publishers; in 1937, he became a reviewer for the Illustrated London News.

His eldest son was Raglan Squire, an architect known for his work at Rangoon University in the 1950s, as the architect for the conversion of the houses in Eaton Sq, London into flats thus ensuring the preservation of that great London Square, and many buildings including offices and hotels in the Middle East and elsewhere. His second son was Anthony Squire, a pilot film director (The Sound Barrier). His third son Maurice was killed in the Second War while his youngest daughter Julia Baker (née Squire) was a costume designer for theatre and cinema. She married the actor George Baker.

Squire was an expert on Stilton cheese. He also loathed Jazz music, having filed a complaint with BBC radio to demand it stop playing Benny Goodman's music, which he called "an awful series of jungle noises which can hearten no man."

Politics

Squire had joined the Marxist Social Democratic Federation, as a young man. During his time at the New Statesman he wrote as a "Fabian liberal". In the 1918 general election he was the Labour candidate for the Cambridge University seat. His views then moved steadily rightwards.

Squire met Benito Mussolini in 1933, and was one of the founders of the January Club, set up on 1 January 1934. He held in it the position of chairman or Secretary, and claimed that it was not a Fascist organisation. It was a dining club with invited speakers, and was closely connected to Oswald Mosley's British Union of Fascists, which nominated members. According to the historian Sir Charles Petrie (who, like Squire, wrote regularly for the Illustrated London News), Squire "found the atmosphere uncongenial before long".

Reputation

The Bloomsbury group named the coterie of writers that surrounded Squire as the Squirearchy. Alan Pryce-Jones was Squire's assistant on the Mercury and wrote

Among his contemporaries ... his reputation was variable. Many of them, such as Virginia Woolf, found him coarse; they thought, with reason, that he drank too much; they had little confidence in the group, known as the Squirearchy, which surrounded him.

In a fairly recent study, the academic Leonard Diepeveen explored the particularly strained relationship between Squire and literary Modernists:

Virginia Woolf wrote that Squire was "more repulsive than words can express, and malignant into the bargain". [...] Eliot attacked Squire repeatedly, at one point describing him as a critic "whose solemn trifling fascinates multitudes". [...] Eliot also acknowledged that Squire wielded a lot of power; because of Squire's skill as a journalist, his success would be modernism's disaster. Eliot wrote: "If he succeeds, it will be impossible to get anything good published".

Squire is generally credited with the one-liner "I am not so think as you drunk I am", which appeared as the refrain of his Ballade of Soporific Absorption.

T. S. Eliot accused Squire of using the London Mercury to saturate literary London with journalistic and popular criticism. According to Robert H. Ross

By 1920 Squire was well on his way towards establishing a literary coterie of the Right just as partisan, as militant and as dedicated as the Leftist coteries.

John Middleton Murry took an adversarial line towards Squire, seeing his London Mercury as in direct competition with his own The Athenaeum. Roy Campbell sometimes mocked Squire in verse.

Since his death the reputation of Squire has declined; scholarship has absorbed the strictures of his contemporaries, such as F. S. Flint, openly critical of Squire in 1920. Squire is now considered to be on the "blimpish" wing of the reaction to modernist work.

A reappraisal of the periodical network of early twentieth-century literary London, and problems with the term modernism, have encouraged scholars to cast their nets beyond the traditional venue of modernism – the little magazine – to seek to better understand the role mass-market periodicals such as the London Mercury played in promoting new and progressive writers.

Aldous Leonard Huxley (26 July 1894 – 22 November 1963) was an English writer and philosopher. His bibliography spans nearly 50 books, including non-fiction works, as well as essays, narratives, and poems.

Born into the prominent Huxley family, he graduated from Balliol College, Oxford, with a degree in English literature. Early in his career, he published short stories and poetry and edited the literary magazine Oxford Poetry, before going on to publish travel writing, satire, and screenplays. He spent the latter part of his life in the United States, living in Los Angeles from 1937 until his death. By the end of his life, Huxley was widely acknowledged as one of the foremost intellectuals of his time. He was nominated for the Nobel Prize in Literature nine times, and was elected Companion of Literature by the Royal Society of Literature in 1962.

Huxley was a pacifist. He grew interested in philosophical mysticism, as well as universalism, addressing these subjects in his works such as The Perennial Philosophy (1945), which illustrates commonalities between Western and Eastern mysticism, and The Doors of Perception (1954), which interprets his own psychedelic experience with mescaline. In his most famous novel Brave New World (1932) and his final novel Island (1962), he presented his visions of dystopia and utopia, respectively.

Early life

Huxley was born in Godalming, Surrey, England, on 26 July 1894. He was the third son of the writer and schoolmaster Leonard Huxley, who edited The Cornhill Magazine, and his first wife, Julia Arnold, who founded Prior's Field School. Julia was the niece of poet and critic Matthew Arnold and the sister of Mrs. Humphry Ward. Julia named him Aldous after a character in one of her sister's novels. Aldous was the grandson of Thomas Henry Huxley, the zoologist, agnostic, and controversialist who had often been called "Darwin's Bulldog". His brother Julian Huxley and half-brother Andrew Huxley also became outstanding biologists. Aldous had another brother, Noel Trevenen Huxley (1889–1914), who took his own life after a period of clinical depression.

As a child, Huxley's nickname was "Ogie", diminutive for "Ogre". He was described by his brother, Julian, as someone who frequently contemplated "the strangeness of things". According to his cousin and contemporary Gervas Huxley, he had an early interest in drawing.

Huxley's education began in his father's well-equipped botanical laboratory, after which he enrolled at Hillside School near Godalming. He was taught there by his own mother for several years until she became terminally ill. After Hillside he went on to Eton College. His mother died in 1908, when he was 14 (his father later remarried). He contracted the eye disease keratitis punctata in 1911; this "left [him] practically blind for two to three years" and "ended his early dreams of becoming a doctor". In October 1913, Huxley entered Balliol College, Oxford, where he studied English literature. He volunteered for the British Army in January 1916, for the Great War; however, he was rejected on health grounds, being half-blind in one eye. His eyesight later partly recovered. He edited Oxford Poetry in 1916, and in June of that year graduated BA with first class honours. His brother Julian wrote:

I believe his blindness was a blessing in disguise. For one thing, it put paid to his idea of taking up medicine as a career ... His uniqueness lay in his universalism. He was able to take all knowledge for his province.

Following his years at Balliol, Huxley, being financially indebted to his father, decided to find employment. He taught French for a year at Eton College, where Eric Blair (who was to take the pen name George Orwell) and Steven Runciman were among his pupils. He was mainly remembered as being an incompetent schoolmaster unable to keep order in class. Nevertheless, Blair and others spoke highly of his excellent command of language.

Huxley also worked for a time during the 1920s at Brunner and Mond, an advanced chemical plant in Billingham in County Durham, northeast England. According to an introduction to his science fiction novel Brave New World (1932), the experience he had there of "an ordered universe in a world of planless incoherence" was an important source for the novel.

Career

Huxley completed his first (unpublished) novel at the age of 17 and began writing seriously in his early twenties, establishing himself as a successful writer and social satirist. His first published novels were social satires, Crome Yellow (1921), Antic Hay (1923), Those Barren Leaves (1925), and Point Counter Point (1928). Brave New World (1932) was his fifth novel and first dystopian work. In the 1920s, he was also a contributor to Vanity Fair and British Vogue magazines.

Contact with the Bloomsbury Group

During the First World War, Huxley spent much of his time at Garsington Manor near Oxford, home of Lady Ottoline Morrell, working as a farm labourer. While at the Manor, he met several Bloomsbury Group figures, including Bertrand Russell, Alfred North Whitehead, and Clive Bell. Later, in Crome Yellow (1921), he caricatured the Garsington lifestyle. Jobs were very scarce, but in 1919, John Middleton Murry was reorganising the Athenaeum and invited Huxley to join the staff. He accepted immediately, and quickly married the Belgian refugee Maria Nys (1899–1955), also at Garsington. They lived with their young son in Italy part of the time during the 1920s, where Huxley would visit his friend D. H. Lawrence. Following Lawrence's death in 1930 (he and Maria were present at his death in Provence), Huxley edited Lawrence's letters (1932). Very early in 1929, in London, Huxley met Gerald Heard, a writer and broadcaster, philosopher and interpreter of contemporary science. Heard was nearly five years older than Huxley, and introduced him to a variety of profound ideas, subtle interconnections, and various emerging spiritual and psychotherapy methods.

Works of this period included novels about the dehumanising aspects of scientific progress, (his magnum opus Brave New World), and on pacifist themes (Eyeless in Gaza). In Brave New World, set in a dystopian London, Huxley portrays a society operating on the principles of mass production and Pavlovian conditioning. Huxley was strongly influenced by F. Matthias Alexander, on whom he based a character in Eyeless in Gaza.

During this period, Huxley began to write and edit non-fiction works on pacifist issues, including Ends and Means (1937), An Encyclopedia of Pacifism, and Pacifism and Philosophy, and was an active member of the Peace Pledge Union (PPU).

Life in the United States

In 1937, Huxley moved to Hollywood with his wife Maria, son Matthew Huxley, and friend Gerald Heard. Cyril Connolly wrote, of the two intellectuals (Huxley and Heard) in the late 1930s, "all European avenues had been exhausted in the search for a way forward – politics, art, science – pitching them both toward the US in 1937." Huxley lived in the U.S., mainly southern California, until his death, and for a time in Taos, New Mexico, where he wrote Ends and Means (1937). The book contains tracts on war, inequality, religion and ethics.

Heard introduced Huxley to Vedanta (Upanishad-centered philosophy), meditation, and vegetarianism through the principle of ahimsa. In 1938, Huxley befriended Jiddu Krishnamurti, whose teachings he greatly admired. Huxley and Krishnamurti entered into an enduring exchange (sometimes edging on debate) over many years, with Krishnamurti representing the more rarefied, detached, ivory-tower perspective and Huxley, with his pragmatic concerns, the more socially and historically informed position. Huxley wrote a foreword to Krishnamurti's quintessential statement, The First and Last Freedom (1954).

Huxley and Heard became Vedantists in the group formed around Hindu Swami Prabhavananda, and subsequently introduced Christopher Isherwood to the circle. Not long afterwards, Huxley wrote his book on widely held spiritual values and ideas, The Perennial Philosophy, which discussed the teachings of renowned mystics of the world.

Huxley became a close friend of Remsen Bird, president of Occidental College. He spent much time at the college in the Eagle Rock neighbourhood of Los Angeles. The college appears as "Tarzana College" in his satirical novel After Many a Summer (1939). The novel won Huxley a British literary award, the 1939 James Tait Black Memorial Prize for fiction. Huxley also incorporated Bird into the novel.

During this period, Huxley earned a substantial income as a Hollywood screenwriter; Christopher Isherwood, in his autobiography My Guru and His Disciple, states that Huxley earned more than $3,000 per week (approximately $50,000 in 2020 dollars) as a screenwriter, and that he used much of it to transport Jewish and left-wing writer and artist refugees from Hitler's Germany to the US. In March 1938, Huxley's friend Anita Loos, a novelist and screenwriter, put him in touch with Metro-Goldwyn-Mayer (MGM), which hired him for Madame Curie which was originally to star Greta Garbo and be directed by George Cukor. (Eventually, the film was completed by MGM in 1943 with a different director and cast.) Huxley received screen credit for Pride and Prejudice (1940) and was paid for his work on a number of other films, including Jane Eyre (1944). He was commissioned by Walt Disney in 1945 to write a script based on Alice's Adventures in Wonderland and the biography of the story's author, Lewis Carroll. The script was not used, however.

Huxley wrote an introduction to the posthumous publication of J. D. Unwin's 1940 book Hopousia or The Sexual and Economic Foundations of a New Society.

On 21 October 1949, Huxley wrote to George Orwell, author of Nineteen Eighty-Four, congratulating him on "how fine and how profoundly important the book is". In his letter, he predicted:

"Within the next generation I believe that the world's leaders will discover that infant conditioning and narcohypnosis are more efficient, as instruments of government, than clubs and prisons, and that the lust for power can be just as completely satisfied by suggesting people into loving their servitude as by flogging them and kicking them into obedience."

In 1953, Huxley and Maria applied for United States citizenship and presented themselves for examination. When Huxley refused to bear arms for the U.S. and would not state that his objections were based on religious ideals, the only excuse allowed under the McCarran Act, the judge had to adjourn the proceedings. He withdrew his application. Nevertheless, he remained in the U.S. In 1959, Huxley turned down an offer to be made a Knight Bachelor by the Macmillan government without giving a reason; his brother Julian had been knighted in 1958, while his brother Andrew would be knighted in 1974.

In the fall semester of 1960 Huxley was invited by Professor Huston Smith to be the Carnegie Visiting professor of humanities at the Massachusetts Institute of Technology (MIT). As part of the MIT centennial program of events organised by the Department of Humanities, Huxley presented a series of lectures titled, "What a Piece of Work is a Man" which concerned history, language, and art.

Robert S. de Ropp (scientist, humanitarian, and author), who had spent time with Huxley in England in the 1930s, connected with him again in the U.S. in the early 1960s and wrote that "the enormous intellect, the beautifully modulated voice, the gentle objectivity, all were unchanged. He was one of the most highly civilized human beings I had ever met."

Late-in-life perspectives

Biographer Harold H. Watts wrote that Huxley's writings in the "final and extended period of his life" are "the work of a man who is meditating on the central problems of many modern men". Huxley had deeply felt apprehensions about the future the developed world might make for itself. From these, he made some warnings in his writings and talks. In a 1958 televised interview conducted by journalist Mike Wallace, Huxley outlined several major concerns: the difficulties and dangers of world overpopulation; the tendency towards distinctly hierarchical social organisation; the crucial importance of evaluating the use of technology in mass societies susceptible to persuasion; the tendency to promote modern politicians to a naive public as well-marketed commodities. In a December 1962 letter to brother Julian, summarizing a paper he had presented in Santa Barbara, he wrote, "What I said was that if we didn't pretty quickly start thinking of human problems in ecological terms rather than in terms of power politics we should very soon be in a bad way."

Huxley's engagement with Eastern wisdom traditions was entirely compatible with a strong appreciation of modern science. Biographer Milton Birnbaum wrote that Huxley "ended by embracing both science and Eastern religion". In his last book, Literature and Science, Huxley wrote that "The ethical and philosophical implications of modern science are more Buddhist than Christian...." In "A Philosopher's Visionary Prediction", published one month before he died, Huxley endorsed training in general semantics and "the nonverbal world of culturally uncontaminated consciousness", writing that "We must learn how to be mentally silent, we must cultivate the art of pure receptivity.... [T]he individual must learn to decondition himself, must be able to cut holes in the fence of verbalized symbols that hems him in."

Spiritual views

See also: Spiritual but not religious

For much of his life, Huxley described himself as agnostic, a word coined by his grandfather Thomas Henry Huxley, a scientist who championed the scientific method and was a major supporter of Darwin's theories. This is the definition he gave, “…it is wrong for a man to say that he is certain of the objective truth of any proposition unless he can produce evidence which logically justifies that certainty.” Aldous Huxley's agnosticism, together with his speculative propensity, made it difficult for him fully embrace any form of institutionalised religion. Over the last 30 years of his life, he accepted and wrote about concepts found in Vedanta and was a leading advocate of the Perennial Philosophy, which holds that the same metaphysical truths are found in all the major religions of the world.

In the 1920s, Huxley was skeptical of religion, "Earlier in his career he had rejected mysticism, often poking fun at it in his novels [...]" Gerald Heard became an influential friend of Huxley, and since the mid-1920s had been exploring Vedanta, as a way of understanding individual human life and the individual's relationship to the universe. Heard and Huxley both saw the political implications of Vedanta, which could help bring about peace, specifically that there is an underlying reality that all humans and the universe are a part of. In the 1930s, Huxley and Gerald Heard both became active in the effort to avoid another world war, writing essays and eventually publicly speaking in support of the Peace Pledge Union. But, they remained frustrated by the conflicting goals of the political left – some favoring pacifism (as did Huxley and Heard), while other wanting to take up arms against fascism in the Spanish Civil War.

After joining the PPU, Huxley expressed his frustration with politics in a letter from 1935, “…the thing finally resolves itself into a religious problem — an uncomfortable fact which one must be prepared to face and which I have come during the last year to find it easier to face.” Huxley and Heard turned their attention to addressing the big problems of the world through transforming the individual, "[...] a forest is only as green as the individual trees of the forest is green [...]" This was the genesis of the Human Potential Movement, that gained traction in the 1960s.

In the late 1930s, Huxley and Heard immigrated to the United States, and beginning in 1939 and continuing until his death in 1963, Huxley had an extensive association with the Vedanta Society of Southern California, founded and headed by Swami Prabhavananda. Together with Gerald Heard, Christopher Isherwood and other followers, he was initiated by the Swami and was taught meditation and spiritual practices. From 1941 until 1960, Huxley contributed 48 articles to Vedanta and the West, published by the society. He also served on the editorial board with Isherwood, Heard, and playwright John Van Druten from 1951 through 1962.

In 1942 The Gospel of Ramakrishna was published by the Ramakrishna-Vivekananda Center in New York. The book was translated by Swami Nikhilananda, with help from Joseph Campbell and Margaret Woodrow Wilson, daughter of US president Woodrow Wilson. Aldous Huxley wrote in the foreword, "...a book unique, so far as my knowledge goes, in the literature of hagiography. Never have the small events of a contemplative's daily life been described with such a wealth of intimate detail. Never have the casual and unstudied utterances of a great religious teacher been set down with so minute a fidelity."

In 1944, Huxley wrote the introduction to the Bhagavad Gita – The Song of God, translated by Swami Prabhavananda and Christopher Isherwood, which was published by the Vedanta Society of Southern California. As an advocate of the perennial philosophy, Huxley was drawn to the Gita, as he explained in the Introduction, written during WWII, when it was still not clear who would win:

The Bhagavad Gita is perhaps the most systematic scriptural statement of the Perennial Philosophy. To a world at war, a world that, because it lacks the intellectual and spiritual prerequisites to peace, can only hope to patch up some kind of precarious armed truce, it stands pointing, clearly and unmistakably, to the only road of escape from the self–imposed necessity of self–destruction.

As a means of personally realizing the "divine Reality", he described a "Minimum Working Hypothesis" in the Introduction to Swami Prabhavananda's and Christopher Isherwood's translation of the Bhagavad Gita and in a free-standing essay in Vedanta and the West, a publication of Vedanta Press. This is the outline, that Huxley elaborates on in the article:

For those of us who are not congenitally the members of an organized church, who have found that humanism and nature-worship are not enough, who are not content to remain in the darkness of ignorance, the squalor of vice or the other squalor of respectability, the minimum working hypothesis would seem to run to about this:

That there is a Godhead, Ground, Brahman, Clear Light of the Void, which is the unmanifested principle of all manifestations.

That the Ground is at once transcendent and immanent.

That it is possible for human beings to love, know and, from virtually, to become actually identical with the divine Ground.

That to achieve this unitive knowledge of the Godhead is the final end and purpose of human existence.

That there is a Law or Dharma which must be obeyed, a Tao or Way which must be followed, if men are to achieve their final end.

For Huxley, one of the attractive features of Vedanta is that it provided a historic and established philosophy and practice that embraced the Perennial Philosophy; that there is a commonality of experiences across all the mystical branches of the world's religions. Huxley wrote in the introduction of his book The Perennial Philosophy:

The Perennial Philosophy is primarily concerned with the one, divine Reality substantial to the manifold world of things and lives and minds. But the nature of this one Reality is such that it cannot be directly and immediately apprehended except by those who have chosen to fulfill certain conditions, making themselves loving, pure in heart, and poor in spirit.

Huxley also occasionally lectured at the Hollywood and Santa Barbara Vedanta temples. Two of those lectures have been released on CD: Knowledge and Understanding and Who Are We? from 1955.

Many of Huxley's contemporaries and critics were disappointed by Huxley's turn to mysticism; Isherwood describes in his diary how he had to explain the criticism to Huxley's widow, Laura:

[December 11, 1963, a few weeks after Aldous Huxley’s death] The publisher had suggested John Lehmann should write the biography. Laura [Huxley] asked me what I thought of the idea, so I had to tell her that John disbelieves in, and is aggressive toward, the metaphysical beliefs that Aldous held. All he would describe would be a clever young intellectual who later was corrupted by Hollywood and went astray after spooks.

Psychedelic drug use and mystical experiences

See also: The Doors of Perception

In early 1953, Huxley had his first experience with the psychedelic drug mescaline. Huxley had initiated a correspondence with Doctor Humphry Osmond, a British psychiatrist then employed in a Canadian institution, and eventually asked him to supply a dose of mescaline; Osmond obliged and supervised Huxley's session in southern California. After the publication of The Doors of Perception, in which he recounted this experience, Huxley and Swami Prabhavananda disagreed about the meaning and importance of the psychedelic drug experience, which may have caused the relationship to cool, but Huxley continued to write articles for the society's journal, lecture at the temple, and attend social functions. Huxley later had an experience on mescaline that he considered more profound than those detailed in The Doors of Perception.

Huxley wrote that "The mystical experience is doubly valuable; it is valuable because it gives the experiencer a better understanding of himself and the world and because it may help him to lead a less self-centered and more creative life."

Having tried LSD in the 1950s, he became an advisor to Timothy Leary and Richard Alpert in their early-1960s research work with psychedelic drugs at Harvard. Personality differences led Huxley to distance himself from Leary, when Huxley grew concerned that Leary had become too keen on indiscriminately promoting the drugs.

Eyesight

Differing accounts exist about the details of the quality of Huxley's eyesight at specific points in his life. Circa 1939, Huxley encountered the Bates method, in which he was instructed by Margaret Darst Corbett. In 1940, Huxley relocated from Hollywood to a 40-acre (16 ha) ranchito in the high desert hamlet of Llano, California, in northern Los Angeles County. Huxley then said that his sight improved dramatically with the Bates method and the extreme and pure natural lighting of the southwestern American desert. He reported that, for the first time in more than 25 years, he was able to read without glasses and without strain. He even tried driving a car along the dirt road beside the ranch. He wrote a book about his experiences with the Bates method, The Art of Seeing, which was published in 1942 (U.S.), 1943 (UK). The book contained some generally disputed theories, and its publication created a growing degree of popular controversy about Huxley's eyesight.

It was, and is, widely believed that Huxley was nearly blind since the illness in his teens, despite the partial recovery that had enabled him to study at Oxford. For example, some ten years after publication of The Art of Seeing, in 1952, Bennett Cerf was present when Huxley spoke at a Hollywood banquet, wearing no glasses and apparently reading his paper from the lectern without difficulty:

Then suddenly he faltered—and the disturbing truth became obvious. He wasn't reading his address at all. He had learned it by heart. To refresh his memory he brought the paper closer and closer to his eyes. When it was only an inch or so away he still couldn't read it, and had to fish for a magnifying glass in his pocket to make the typing visible to him. It was an agonising moment.

Brazilian author João Ubaldo Ribeiro, who as a young journalist spent several evenings in the Huxleys' company in the late 1950s, wrote that Huxley had said to him, with a wry smile: "I can hardly see at all. And I don't give a damn, really."

On the other hand, Huxley's second wife Laura later emphasised in her biographical account, This Timeless Moment: "One of the great achievements of his life: that of having regained his sight." After revealing a letter she wrote to the Los Angeles Times disclaiming the label of Huxley as a "poor fellow who can hardly see" by Walter C. Alvarez, she tempered her statement:

Although I feel it was an injustice to treat Aldous as though he were blind, it is true there were many indications of his impaired vision. For instance, although Aldous did not wear glasses, he would quite often use a magnifying lens.

Laura Huxley proceeded to elaborate a few nuances of inconsistency peculiar to Huxley's vision. Her account, in this respect, agrees with the following sample of Huxley's own words from The Art of Seeing:

The most characteristic fact about the functioning of the total organism, or any part of the organism, is that it is not constant, but highly variable.

Nevertheless, the topic of Huxley's eyesight has continued to endure similar, significant controversy. American popular science author Steven Johnson, in his book Mind Wide Open, quotes Huxley about his difficulties with visual encoding:

I am and, for as long as I can remember, I have always been a poor visualizer. Words, even the pregnant words of poets, do not evoke pictures in my mind. No hypnagogic visions greet me on the verge of sleep. When I recall something, the memory does not present itself to me as a vividly seen event or object. By an effort of the will, I can evoke a not very vivid image of what happened yesterday afternoon ...

Personal life

Huxley married on 10 July 1919 Maria Nys (10 September 1899 – 12 February 1955), a Belgian epidemiologist from Bellem, a village near Aalter, he met at Garsington, Oxfordshire, in 1919. They had one child, Matthew Huxley (19 April 1920 – 10 February 2005), who had a career as an author, anthropologist, and prominent epidemiologist. In 1955, Maria Huxley died of cancer.

In 1956, Huxley married Laura Archera (1911–2007), also an author, as well as a violinist and psychotherapist. She wrote This Timeless Moment, a biography of Huxley. She told the story of their marriage through Mary Ann Braubach's 2010 documentary, Huxley on Huxley.

Huxley was diagnosed with laryngeal cancer in 1960; in the years that followed, with his health deteriorating, he wrote the utopian novel Island, and gave lectures on "Human Potentialities" both at the UCSF Medical Center and at the Esalen Institute. These lectures were fundamental to the beginning of the Human Potential Movement.

Huxley was a close friend of Jiddu Krishnamurti and Rosalind Rajagopal, and was involved in the creation of the Happy Valley School, now Besant Hill School, of Happy Valley, in Ojai, California.

The most substantial collection of Huxley's few remaining papers, following the destruction of most in the 1961 Bel Air Fire, is at the Library of the University of California, Los Angeles. Some are also at the Stanford University Libraries.

On 9 April 1962 Huxley was informed he was elected Companion of Literature by the Royal Society of Literature, the senior literary organisation in Britain, and he accepted the title via letter on 28 April 1962. The correspondence between Huxley and the society is kept at the Cambridge University Library. The society invited Huxley to appear at a banquet and give a lecture at Somerset House, London, in June 1963. Huxley wrote a draft of the speech he intended to give at the society; however, his deteriorating health meant he was not able to attend.

Death

In 1960, Huxley was diagnosed with oral cancer and for the next three years his health steadily declined. On 4 November 1963, less than three weeks before Huxley's death, author Christopher Isherwood, a friend of 25 years, visited in Cedars Sinai Hospital and wrote his impressions:

I came away with the picture of a great noble vessel sinking quietly into the deep; many of its delicate marvelous mechanisms still in perfect order, all its lights still shining.

At home on his deathbed, unable to speak owing to cancer that had metastasized, Huxley made a written request to his wife Laura for "LSD, 100 μg, intramuscular." According to her account of his death in This Timeless Moment, she obliged with an injection at 11:20 a.m. and a second dose an hour later; Huxley died aged 69, at 5:20 p.m. PST on 22 November 1963.

Media coverage of Huxley's death, along with that of fellow British author C. S. Lewis, was overshadowed by the assassination of John F. Kennedy on the same day, less than seven hours before Huxley's death. In a 2009 article for New York magazine titled "The Eclipsed Celebrity Death Club", Christopher Bonanos wrote:

The championship trophy for badly timed death, though, goes to a pair of British writers. Aldous Huxley, the author of Brave New World, died the same day as C. S. Lewis, who wrote the Chronicles of Narnia series. Unfortunately for both of their legacies, that day was November 22, 1963, just as John Kennedy's motorcade passed the Texas School Book Depository. Huxley, at least, made it interesting: At his request, his wife shot him up with LSD a couple of hours before the end, and he tripped his way out of this world.

This coincidence served as the basis for Peter Kreeft's book Between Heaven and Hell: A Dialog Somewhere Beyond Death with John F. Kennedy, C. S. Lewis, & Aldous Huxley, which imagines a conversation among the three men taking place in Purgatory following their deaths. The main theme of the book is a philosophical debate on the nature and identity of Jesus Christ.

Huxley's memorial service took place in London in December 1963; it was led by his elder brother Julian. On 27 October 1971, his ashes were interred in the family grave at the Watts Cemetery, home of the Watts Mortuary Chapel in Compton, Guildford, Surrey, England.

Huxley had been a long-time friend of Russian composer Igor Stravinsky, who dedicated his last orchestral composition to Huxley. What became Variations: Aldous Huxley in memoriam was begun in July 1963, completed in October 1964, and premiered by the Chicago Symphony Orchestra on 17 April 1965.

Awards

• 1939: James Tait Black Memorial Prize (for After Many a Summer Dies the Swan).

• 1959: American Academy of Arts and Letters Award of Merit (for Brave New World).

• 1962: Companion of Literature (Royal Society of Literature)

Commemoration

In 2021, Huxley was one of six British writers commemorated on a series of UK postage stamps issued by Royal Mail to celebrate British science fiction. One classic science fiction novel from each author was depicted, with Brave New World chosen to represent Huxley.

Adam Bernard Mickiewicz (24 December 1798 – 26 November 1855) was a Polish poet, dramatist, essayist, publicist, translator and political activist. He is regarded as national poet in Poland, Lithuania and Belarus. He also largely influenced Ukrainian literature. A principal figure in Polish Romanticism, he is one of Poland's "Three Bards" (Polish: Trzej Wieszcze) and is widely regarded as Poland's greatest poet. He is also considered one of the greatest Slavic and European poets and has been dubbed a "Slavic bard". A leading Romantic dramatist, he has been compared in Poland and Europe to Byron and Goethe.

He is known chiefly for the poetic drama Dziady (Forefathers' Eve) and the national epic poem Pan Tadeusz. His other influential works include Konrad Wallenrod and Grażyna. All these served as inspiration for uprisings against the three imperial powers that had partitioned the Polish–Lithuanian Commonwealth out of existence.

Mickiewicz was born in the Russian-partitioned territories of the former Grand Duchy of Lithuania, which had been part of the Polish–Lithuanian Commonwealth, and was active in the struggle to win independence for his home region. After, as a consequence, spending five years exiled to central Russia, in 1829 he succeeded in leaving the Russian Empire and, like many of his compatriots, lived out the rest of his life abroad. He settled first in Rome, then in Paris, where for a little over three years he lectured on Slavic literature at the Collège de France. He was an activist, striving for a democratic and independent Poland. He died, probably of cholera, at Istanbul in the Ottoman Empire, where he had gone to help organize Polish forces to fight Russia in the Crimean War.

In 1890, his remains were repatriated from Montmorency, Val-d'Oise, in France, to Wawel Cathedral in Kraków, Poland.

Life

Early years

Adam Mickiewicz was born on 24 December 1798, either at his paternal uncle's estate in Zaosie (now Zavosse) near Navahrudak (in Polish, Nowogródek) or in Navahrudak itself in what was then part of the Russian Empire and is now Belarus. The region was on the periphery of Lithuania proper and had been part of the Grand Duchy of Lithuania until the Third Partition of the Polish–Lithuanian Commonwealth (1795). Its upper class, including Mickiewicz's family, were either Polish or Polonized. The poet's father, Mikołaj Mickiewicz, a lawyer, was a member of the Polish nobility (szlachta) and bore the hereditary Poraj coat-of-arms; Adam's mother was Barbara Mickiewicz, née Majewska. Adam was the second-born son in the family.

Mickiewicz spent his childhood in Navahrudak, initially taught by his mother and private tutors. From 1807 to 1815 he attended a Dominican school following a curriculum that had been designed by the now-defunct Polish Commission of National Education, which had been the world's first ministry of education. He was a mediocre student, although active in games, theatricals, and the like.

In September 1815, Mickiewicz enrolled at the Imperial University of Vilnius, studying to be a teacher. After graduating, under the terms of his government scholarship, he taught secondary school at Kaunas from 1819 to 1823.

In 1818, in the Polish-language Tygodnik Wileński [pl] (Wilno Weekly), he published his first poem, Zima miejska [pl] (City Winter). The next few years would see a maturing of his style from sentimentalism/neoclassicism to romanticism, first in his poetry anthologies published in Vilnius in 1822 and 1823; these anthologies included the poem Grażyna and the first-published parts (II and IV) of his major work, Dziady (Forefathers' Eve). By 1820 he had already finished another major romantic poem, Oda do młodości (Ode to Youth), but it was considered to be too patriotic and revolutionary for publication and would not appear officially for many years.

About the summer of 1820, Mickiewicz met the love of his life, Maryla Wereszczakówna [pl]. They were unable to marry due to his family's poverty and relatively low social status; in addition, she was already engaged to Count Wawrzyniec Puttkamer [pl], whom she would marry in 1821.

Imprisonment and exile

In 1817, while still a student, Mickiewicz, Tomasz Zan and other friends had created a secret organization, the Philomaths. The group focused on self-education but had ties to a more radical, clearly pro-Polish-independence student group, the Filaret Association. An investigation of secret student organizations by Nikolay Novosiltsev, begun in early 1823, led to the arrests of a number of students and ex-student activists including Mickiewicz, who was taken into custody and imprisoned at Vilnius' Basilian Monastery in late 1823 or early 1824 (sources disagree as to the date). After investigation into his political activities, specifically his membership in the Philomaths, in 1824 Mickiewicz was banished to central Russia. Within a few hours of receiving the decree on 22 October 1824, he penned a poem into an album belonging to Salomea Bécu [pl], the mother of Juliusz Słowacki. (In 1975 this poem was set to music in Polish and Russian by Soviet composer David Tukhmanov.) Mickiewicz crossed the border into Russia about 11 November 1824, arriving in Saint Petersburg later that month. He would spend most of the next five years in Saint Petersburg and Moscow, except for a notable 1824 to 1825 excursion to Odessa, then on to Crimea. That visit, from February to November 1825, inspired a notable collection of sonnets (some love sonnets, and a series known as Crimean Sonnets, published a year later).

Mickiewicz was welcomed into the leading literary circles of Saint Petersburg and Moscow, where he became a great favourite for his agreeable manners and an extraordinary talent for poetic improvisation. The year 1828 saw the publication of his poem Konrad Wallenrod. Novosiltsev, who recognized its patriotic and subversive message, which had been missed by the Moscow censors, unsuccessfully attempted to sabotage its publication and to damage Mickiewicz's reputation.

In Moscow, Mickiewicz met the Polish journalist and novelist Henryk Rzewuski and the Polish composer and piano virtuoso Maria Szymanowska, whose daughter, Celina Szymanowska, Mickiewicz would later marry in Paris, France. He also befriended the great Russian poet Alexander Pushkin and Decembrist leaders including Kondraty Ryleyev. It was thanks to his friendships with many influential individuals that he was eventually able to obtain a passport and permission to leave Russia for Western Europe.

European travels

After serving five years of exile to Russia, Mickiewicz received permission to go abroad in 1829. On 1 June that year, he arrived in Weimar in Germany. By 6 June he was in Berlin, where he attended lectures by the philosopher Hegel. In February 1830 he visited Prague, later returning to Weimar, where he received a cordial reception from the writer and polymath Goethe.

He then continued on through Germany all the way to Italy, which he entered via the Alps' Splügen Pass. Accompanied by an old friend, the poet Antoni Edward Odyniec, he visited Milan, Venice, Florence and Rome. In August that same year (1830) he went to Geneva, where he met fellow Polish Bard Zygmunt Krasiński. During these travels he had a brief romance with Henrietta Ewa Ankwiczówna [pl], but class differences again prevented his marrying his new love.

Finally about October 1830 he took up residence in Rome, which he declared "the most amiable of foreign cities." Soon after, he learned about the outbreak of the November 1830 Uprising in Poland, but he would not leave Rome until the spring of 1831.

On 19 April 1831 Mickiewicz departed Rome, traveling to Geneva and Paris and later, on a false passport, to Germany, via Dresden and Leipzig arriving about 13 August in Poznań (German name: Posen), then part of the Kingdom of Prussia. It is possible that during these travels he carried communications from the Italian Carbonari to the French underground, and delivered documents or money for the Polish insurgents from the Polish community in Paris, but reliable information on his activities at the time is scarce. Ultimately he never crossed into Russian Poland, where the Uprising was mainly happening; he stayed in German Poland (historically known to Poles as Wielkopolska, or Greater Poland), where he was well received by members of the local Polish nobility. He had a brief liaison with Konstancja Łubieńska [pl] at her family estate in Śmiełów. Starting in March 1832, Mickiewicz stayed several months in Dresden, in Saxony, where he wrote the third part of his poem Dziady.

Paris émigré

On 31 July 1832, Mickiewicz arrived in Paris, accompanied by a close friend and fellow ex-Philomath, the future geologist and Chilean educator Ignacy Domeyko. In Paris, he became active in many Polish émigré groups and published articles in Pielgrzym Polski [pl] (The Polish Pilgrim). The fall of 1832 saw the publication, in Paris, of the third part of his Dziady (smuggled into partitioned Poland), as well as of The Books of the Polish People and of the Polish Pilgrimage [pl], which Mickiewicz self-published. During this time, he made acquaintances with his compatriot the composer Frederic Chopin who would be one of Mickiewicz's closest friends in Paris. In 1834 he published another masterpiece, his epic poem Pan Tadeusz.

Pan Tadeusz, his longest poetic work, marked the end of his most productive literary period. Mickiewicz would create further notable works, such as Lausanne Lyrics [pl], 1839–40) and Zdania i uwagi (Thoughts and Remarks, 1834–40), but neither would achieve the fame of his earlier works. His relative literary silence, beginning in the mid-1830s, has been variously interpreted: he may have lost his talent; he may have chosen to focus on teaching and on political writing and organizing.

On 22 July 1834, in Paris, he married Celina Szymanowska, daughter of composer and concert pianist Maria Agata Szymanowska. They would have six children (two daughters, Maria [pl] and Helena; and four sons, Władysław [pl], Aleksander, Jan and Józef). Celina later became mentally ill, possibly with a major depressive disorder. In December 1838, marital problems caused Mickiewicz to attempt suicide. Celina would die on 5 March 1855.

Mickiewicz and his family lived in relative poverty, their major source of income being occasional publication of his work – not a very profitable endeavor. They received support from friends and patrons, but not enough to substantially change their situation. Despite spending most of his remaining years in France, Mickiewicz would never receive French citizenship, nor any support from the French government. By the late 1830s he was less active as a writer, and also less visible on the Polish émigré political scene.

In 1838 Mickiewicz became professor of Latin literature at the Lausanne Academy, in Switzerland. His lectures were well received, and in 1840 he was appointed to the newly established chair of Slavic languages and literatures at the Collège de France. Leaving Lausanne, he was made an honorary Lausanne Academy professor.

Mickiewicz would, however, hold the Collège de France post for little more than three years, his last lecture being delivered on 28 May 1844. His lectures were popular, drawing many listeners in addition to enrolled students, and receiving reviews in the press. Some would be remembered much later; his sixteenth lecture, on Slavic theater, "was to become a kind of gospel for Polish theater directors of the twentieth century."

Adam Mickiewicz praying in front of Our Lady of the Gate of Dawn, by Piotr Stachiewicz

Over the years he became increasingly possessed by religious mysticism as he fell under the influence of the Polish philosopher Andrzej Towiański, whom he met in 1841. His lectures became a medley of religion and politics, punctuated by controversial attacks on the Catholic Church, and thus brought him under censure by the French government. The messianic element conflicted with Roman Catholic teachings, and some of his works were placed on the Church's list of prohibited books, though both Mickiewicz and Towiański regularly attended Catholic mass and encouraged their followers to do so.

In 1846 Mickiewicz severed his ties with Towiański, following the rise of revolutionary sentiment in Europe, manifested in events such as the Kraków Uprising of February 1846. Mickiewicz criticized Towiański's passivity and returned to the traditional Catholic Church. In 1847 Mickiewicz befriended American journalist, critic and women's-rights advocate Margaret Fuller. In March 1848 he was part of a Polish delegation received in audience by Pope Pius IX, whom he asked to support the enslaved nations and the French Revolution of 1848. Soon after, in April 1848, he organized a military unit, the Mickiewicz Legion, to support the insurgents, hoping to liberate the Polish and other Slavic lands. The unit never became large enough to be more than symbolic, and in the fall of 1848 Mickiewicz returned to Paris and became more active again on the political scene.

In December 1848 he was offered a post at the Jagiellonian University in Austrian-ruled Kraków, but the offer was soon withdrawn after pressure from Austrian authorities. In the winter of 1848–49, Polish composer Frédéric Chopin, in the final months of his own life, visited his ailing compatriot soothed the poet's nerves with his piano music. Over a dozen years earlier, Chopin had set two of Mickiewicz's poems to music (see Polish songs by Frédéric Chopin).

Final years

In the winter of 1849 Mickiewicz founded a French-language newspaper, La Tribune des Peuples (The Peoples' Tribune), supported by a wealthy Polish émigré activist, Ksawery Branicki [pl]. Mickiewicz wrote over 70 articles for the Tribune during its short existence: it came out between 15 March and 10 November 1849, when the authorities shut it down. His articles supported democracy and socialism and many ideals of the French Revolution and of the Napoleonic era, though he held few illusions regarding the idealism of the House of Bonaparte. He supported the restoration of the French Empire in 1851. In April 1852 he lost his post at the Collège de France, which he had been allowed to keep up to that point (though without the right to lecture). On 31 October 1852 he was hired as a librarian at the Bibliothèque de l'Arsenal. There he was visited by another Polish poet, Cyprian Norwid, who wrote of the meeting in his work Czarne kwiaty. Białe kwiaty [pl]; and there Mickiewicz's wife Celina died.

Mickiewicz welcomed the Crimean War of 1853–1856, which he hoped would lead to a new European order including a restored independent Poland. His last composition, a Latin ode Ad Napolionem III Caesarem Augustum Ode in Bomersundum captum, honored Napoleon III and celebrated the British-French victory over Russia at the Battle of Bomarsund in Åland in August 1854. Polish émigrés associated with the Hôtel Lambert persuaded him to become active again in politics. Soon after the Crimean War broke out (October 1853), the French government entrusted him with a diplomatic mission. He left Paris on 11 September 1855, arriving in Constantinople, in the Ottoman Empire, on 22 September. There, working with Michał Czajkowski (Sadyk Pasha), he began organizing Polish forces to fight under Ottoman command against Russia. With his friend Armand Lévy he also set about organizing a Jewish legion. He returned ill from a trip to a military camp to his apartment on Yenişehir Street in the Pera (now Beyoğlu) district of Constantinople and died on 26 November 1855. Though Tadeusz Boy-Żeleński and others have speculated that political enemies might have poisoned Mickiewicz, there is no proof of this, and he probably contracted cholera, which claimed other lives there at the time.

Mickiewicz's remains were transported to France, boarding ship on 31 December 1855, and were buried at Montmorency, Val-d'Oise, on 21 January 1861. In 1890 they were disinterred, moved to Austrian Poland, and on 4 July entombed in the Crypts of the Bards [pl] of Kraków's Wawel Cathedral, a place of final repose for a number of persons important to Poland's political and cultural history.

Works

Mickiewicz's childhood environment exerted a major influence on his literary work. His early years were shaped by immersion in folklore and by vivid memories, which he later reworked in his poems, of the ruins of Navahrudak Castle and of the triumphant entry and disastrous retreat of Polish and Napoleonic troops during Napoleon's 1812 invasion of Russia, when Mickiewicz was just a teenager. The year 1812 also marked his father's death. Later, the poet's personality and subsequent works were greatly influenced by his four years of living and studying in Vilnius. His first poems, such as the 1818 Zima miejska (City Winter) and the 1819 Kartofla [pl] (Potato), were classical in style, influenced by Voltaire. His Ballads and Romances and poetry anthologies published in 1822 (including the opening poem Romantyczność [pl], Romanticism) and 1823 mark the start of romanticism in Poland. Mickiewicz's influence popularized the use of folklore, folk literary forms, and historism in Polish romantic literature. His exile to Moscow exposed him to a cosmopolitan environment, more international than provincial Vilnius and Kaunas in Lithuania. This period saw a further evolution in his writing style, with Sonety (Sonnets, 1826) and Konrad Wallenrod (1828), both published in Russia. The Sonety, mainly comprising his Crimean Sonnets, highlight the poet's ability and desire to write, and his longing for his homeland.

One of his major works, Dziady (Forefathers' Eve), comprises several parts written over an extended period of time. It began with publication of parts II and IV in 1823. Miłosz remarks that it was "Mickiewicz's major theatrical achievement", a work which Mickiewicz saw as ongoing and to be continued in further parts. Its title refers to the pagan ancestor commemoration that had been practiced by Slavic and Baltic peoples on All Souls' Day. The year 1832 saw the publication of part III: much superior to the earlier parts, a "laboratory of innovative genres, styles and forms". Part III was largely written over a few days; the "Great Improvisation" section, a "masterpiece of Polish poetry", is said to have been created during a single inspired night. A long descriptive poem, Ustęp (Digression), accompanying part III and written sometime before it, sums up Mickiewicz's experiences in, and views on, Russia, portrays it as a huge prison, pities the oppressed Russian people, and wonders about their future. Miłosz describes it as a "summation of Polish attitudes towards Russia in the nineteenth century" and notes that it inspired responses from Pushkin (The Bronze Horseman) and Joseph Conrad (Under Western Eyes). The drama was first staged by Stanisław Wyspiański in 1901, becoming, in Miłosz's words, "a kind of national sacred play, occasionally forbidden by censorship because of its emotional impact upon the audience." The Polish government's 1968 closing down of a production of the play sparked the 1968 Polish political crisis.

Mickiewicz's Konrad Wallenrod (1828), a narrative poem describing battles of the Christian order of Teutonic Knights against the pagans of Lithuania, is a thinly veiled allusion to the long feud between Russia and Poland. The plot involves the use of subterfuge against a stronger enemy, and the poem analyzes moral dilemmas faced by the Polish insurgents who would soon launch the November 1830 Uprising. Controversial to an older generation of readers, Konrad Wallenrod was seen by the young as a call to arms and was praised as such by an Uprising leader, poet Ludwik Nabielak [pl]. Miłosz describes Konrad Wallenrod (named for its protagonist) as "the most committed politically of all Mickiewczi's poems." The point of the poem, though obvious to many, escaped the Russian censors, and the poem was allowed to be published, complete with its telling motto drawn from Machiavelli: "Dovete adunque sapere come sono due generazioni di combattere – bisogna essere volpe e leone." ("Ye shall know that there are two ways of fighting – you must be a fox and a lion.") On a purely literary level, the poem was notable for incorporating traditional folk elements alongside stylistic innovations.

Similarly noteworthy is Mickiewicz's earlier and longer 1823 poem, Grażyna, depicting the exploits of a Lithuanian chieftainess against the Teutonic Knights. Miłosz writes that Grażyna "combines a metallic beat of lines and syntactical rigor with a plot and motifs dear to the Romantics." It is said by Christien Ostrowski to have inspired Emilia Plater, a military heroine of the November 1830 Uprising. A similar message informs Mickiewicz's "Oda do młodości" ("Ode to Youth").

Mickiewicz's Crimean Sonnets (1825–26) and poems that he would later write in Rome and Lausanne, Miłosz notes, have been "justly ranked among the highest achievements in Polish [lyric poetry]." His 1830 travels in Italy likely inspired him to consider religious matters, and produced some of his best religiously themed works, such as Arcymistrz (The Grand Master) and Do Marceliny Łempickiej (To Marcelina Łempicka). He was an authority to the young insurgents of 1830–31, who expected him to participate in the fighting (the poet Maurycy Gosławski [pl] wrote a dedicated poem urging him to do so). Yet it is likely that Mickiewicz was no longer as idealistic and supportive of military action as he had been a few years earlier, and his new works such as Do Matki Polki [pl] (To a Polish Mother, 1830), while still patriotic, also began to reflect on the tragedy of resistance. His meetings with refugees and escaping insurgents around 1831 resulted in works such as Reduta Ordona [pl] (Ordon's Redoubt), Nocleg (Night Bivouac) and Śmierć pułkownika [pl] (Death of the Colonel). Wyka notes the irony that some of the most important literary works about the 1830 Uprising were written by Mickiewicz, who never took part in a battle or even saw a battlefield.

His Księgi narodu polskiego i pielgrzymstwa polskiego [pl] (Books of the Polish Nation and the Polish Pilgrimage, 1832) opens with a historical-philosophical discussion of the history of humankind in which Mickiewicz argues that history is the history of now-unrealized freedom that awaits many oppressed nations in the future. It is followed by a longer "moral catechism" aimed at Polish émigrés. The book sets out a messianist metaphor of Poland as the "Christ of nations". Described by Wyka as a propaganda piece, it was relatively simple, using biblical metaphors and the like to reach less-discriminating readers. It became popular not only among Poles but, in translations, among some other peoples, primarily those which lacked their own sovereign states. The Books were influential in framing Mickiewicz's image among many not as that of a poet and author but as that of ideologue of freedom.

Pan Tadeusz (Sir Thaddeus, published 1834), another of his masterpieces, is an epic poem that draws a picture of the Grand Duchy of Lithuania on the eve of Napoleon's 1812 invasion of Russia. It is written entirely in thirteen-syllable couplets. Originally intended as an apolitical idyll, it became, as Miłosz writes, "something unique in world literature, and the problem of how to classify it has remained the crux of a constant quarrel among scholars"; it "has been called 'the last epos' in world literature". Pan Tadeusz was not highly regarded by contemporaries, nor by Mickiewicz himself, but in time it won acclaim as "the highest achievement in all Polish literature."

The occasional poems that Mickiewicz wrote in his final decades have been described as "exquisite, gnomic, extremely short and concise". His Lausanne Lyrics, (1839–40) are, writes Miłosz, "untranslatable masterpieces of metaphysical meditation. In Polish literature, they are examples of that pure poetry that verges on silence."

In the 1830s (as early as 1830; as late as 1837) he worked on a futurist or science-fiction work, A History of the Future [pl]. (Historia przyszłości, or L’histoire d’avenir) It predicted inventions similar to radio and television, and interplanetary communication using balloons. Written partially in French, it was never completed and was partly destroyed by the author, but parts of its seven versions survive. Other French-language works by Mickiewicz include the dramas Konfederaci barscy [pl] (The Bar Confederates) and Jacques Jasiński, ous les deux Polognes [pl] (Jacques Jasiński, or the Two Polands). These would not achieve much recognition, and would not be published till 1866.

Lithuanian language

Mickiewicz did not write any poems in Lithuanian. However, it is known that he did have some understanding of the Lithuanian language, although some Polish commentators describe it as limited.

In the poem Grażyna, Mickiewicz quoted one sentence from Kristijonas Donelaitis' Lithuanian-language poem The Seasons. In Pan Tadeusz, there is an un-Polonized Lithuanian name Baublys. Furthermore, due to Mickiewicz's position as lecturer on Lithuanian folklore and mythology in Collège de France, it can be inferred that he must have known the language sufficiently to lecture about it. It is known that Adam Mickiewicz often sang Lithuanian folk songs with the Samogitian Ludmilew Korylski. For example, in the early 1850s when in Paris, Mickiewicz interrupted a Lithuanian folk song sung by Ludmilew Korylski, commenting that he was singing it wrong and hence wrote down on a piece of paper how to sing the song correctly. On the piece of paper, there are fragments of three different Lithuanian folk songs (Ejk Tatuszeli i bytiu darża, Atjo żałnieros par łauka, Ej warneli, jod warneli isz), which are the sole, as of now, known Lithuanian writings by Adam Mickiewicz. The folk songs are known to have been sung in Darbėnai.

Legacy

A prime figure of the Polish Romantic period, Mickiewicz is counted as one of Poland's Three Bards (the others being Zygmunt Krasiński and Juliusz Słowacki) and the greatest poet in all Polish literature. Mickiewicz has long been regarded as Poland's national poet and is a revered figure in Lithuania. He is also considered one of the greatest Slavic and European poets. He has been described as a "Slavic bard." He was a leading Romantic dramatist and has been compared in Poland and in Europe with Byron and Goethe.

The works of Mickiewicz also promoted the Lithuanian National Revival and the development of national self-awareness. Mickiewicz's works began to be translated into the Lithuanian language when he was still alive (e.g. Simonas Daukantas, one of the pioneers of the Lithuanian National Revival, translated and retold a story Żywila / Živilė in 1822, Kiprijonas Nezabitauskis translated Litania pielgrzyma / Piligrimų litanija and it was published in Paris in ~1836, Liudvikas Adomas Jucevičius translated a ballad Trzech Budrysów / Trys Budriai in 1837). Moreover, Mickiewicz's works has influenced the pioneers of the Lithuanian National Revival in the 19th century (e.g. Antanas Baranauskas, Jonas Basanavičius, Stasys Matulaitis, Mykolas Biržiška, Petras Vileišis). Furthermore, the beginning of Vincas Kudirka's Tautiška giesmė (1898), the national anthem of Lithuania since 1919 and since 1988, is a paraphrase of the beginning of a poem Pan Tadeusz. The translation into Lithuanian and publishing of Mickiewicz's works has continued after the restoration of Lithuania's statehood in 1918.

Mickiewicz's importance extends beyond literature to the broader spheres of culture and politics; Wyka writes that he was a "singer and epic poet of the Polish people and a pilgrim for the freedom of nations." Scholars have used the expression "cult of Mickiewicz" to describe the reverence in which he is held as a "national prophet." On hearing of Mickiewicz's death, his fellow bard Krasiński wrote:

For men of my generation, he was milk and honey, gall and life's blood: we all descend from him. He carried us off on the surging billow of his inspiration and cast us into the world.

Edward Henry Lewinski Corwin described Mickiewicz's works as Promethean, as "reaching more Polish hearts" than the other Polish Bards, and affirmed Danish critic Georg Brandes' assessment of Mickiewicz's works as "healthier" than those of Byron, Shakespeare, Homer, and Goethe. Koropeckyi writes that Mickiewicz has "informed the foundations of [many] parties and ideologies" in Poland from the 19th century to this day, "down to the rappers in Poland's post-socialist blocks, who can somehow still declare that 'if Mickiewicz was alive today, he'd be a good rapper.'" While Mickiewicz's popularity has endured two centuries in Poland, he is less well known abroad, but in the 19th century he had won substantial international fame among "people that dared resist the brutal might of reactionary empires."

Mickiewicz has been written about or had works dedicated to him by many authors in Poland (Asnyk, Gałczyński, Iwaszkiewicz, Jastrun, Kasprowicz, Lechoń, Konopnicka, Teofil Lenartowicz, Norwid, Przyboś, Różewicz, Słonimski, Słowacki, Staff, Tetmajer, Tuwim, Ujejski, Wierzyński, Zaleski and others) and by authors outside Poland (Bryusov, Goethe, Pushkin, Uhland, Vrchlický and others). He has been a character in works of fiction, including a large body of dramatized biographies, e.g., in 1900, Stanisław Wyspiański's Legion. He has also been a subject of many paintings, by Eugène Delacroix, Józef Oleszkiewicz, Aleksander Orłowski, Wojciech Stattler and Walenty Wańkowicz. Monuments and other tributes (streets and schools named for him) abound in Poland and Lithuania, and in other former territories of the Polish–Lithuanian Commonwealth: Ukraine and Belarus. He has also been the subject of many statues and busts by Antoine Bourdelle, David d'Angers, Antoni Kurzawa [pl], Władysław Oleszczyński, Zbigniew Pronaszko [pl], Teodor Rygier, Wacław Szymanowski and Jakub Tatarkiewicz. In 1898, the 100th anniversary of his birth, a towering statue by Cyprian Godebski was erected in Warsaw. Its base carries the inscription, "To the Poet from the People." In 1955, the 100th anniversary of his death, the University of Poznań adopted him as its official patron.

Much has been written about Mickiewicz, though the vast majority of this scholarly and popular literature is available only in Polish. Works devoted to him, according to Koropeckyi, author of a 2008 English biography, "could fill a good shelf or two." Koropeckyi notes that, apart from some specialist literature, only five book-length biographies of Mickiewicz have been published in English. He also writes that, though many of Mickiewicz's works have been reprinted numerous times, no language has a "definitive critical edition of his works."

Museums

A sculpture of Mickiewicz in the museum at the House of Perkunas in Kaunas, fot. Ivonna Nowicka.

A number of museums in Europe are dedicated to Mickiewicz:

• Warsaw has an Adam Mickiewicz Museum of Literature.

• His house in Navahrudak is now a museum (Adam Mickiewicz Museum, Navahrudak [pl]).

• There is a Mickievičiaus Memorialinis Butas-Muziejus Museum of Adam Mickiewicz in Vilnius.

• The House of Perkūnas in Kaunas where the school Mickiewicz attended used to be located has a museum devoted to him and his work.

• The house where he lived and died in Constantinople (Adam Mickiewicz Museum, Istanbul).

• There is a Musée Adam Mickiewicz in Paris, France.

Ethnicity

Mickiewicz is known as a Polish poet, Polish-Lithuanian, Lithuanian, or Belarusian. The Cambridge History of Russia describes him as Polish but sees his ethnic origins as "Lithuanian-Belarusian (and perhaps Jewish)."

Some sources assert that Mickiewicz's mother was descended from a converted, Frankist Jewish family. Others view this as improbable. Polish historian Kazimierz Wyka, in his biographic entry in Polski Słownik Biograficzny (1975) wrote that this hypothesis, based on the fact that his mother's maiden name, Majewska, was popular among Frankist Jews, but has not been proven. Wyka states that the poet's mother was the daughter of a noble (szlachta) family of Starykoń coat of arms, living on an estate at Czombrów in Nowogródek Voivodeship (Navahrudak Voivodeship). According to the Belarusian historian Rybczonek, Mickiewicz's mother had Tatar (Lipka Tatars) roots.

Virgil Krapauskas noted that "Lithuanians like to prove that Adam Mickiewicz was Lithuanian" while Tomas Venclova described this attitude as "the story of Mickiewicz's appropriation by Lithuanian culture". For example, the Lithuanian scholar of literature Juozapas Girdzijauskas [lt] writes that Mickiewicz's family was descended from an old Lithuanian noble family (with ancestor's name Rimvydas) with origins predating Lithuania's Christianization, but the Lithuanian nobility in Mickiewicz's time was heavily Polonized and spoke Polish. Mickiewicz had been brought up in the culture of the Polish–Lithuanian Commonwealth, a multicultural state that had encompassed most of what today are the separate countries of Poland, Lithuania, Belarus and Ukraine. To Mickiewicz, a splitting of that multicultural state into separate entities – due to trends such as Lithuanian National Revival – was undesirable, if not outright unthinkable. According to Romanucci-Ross, while Mickiewicz called himself a Litvin ("Lithuanian"), in his time the idea of a separate "Lithuanian identity", apart from a "Polish" one, did not exist. This multicultural aspect is evident in his works: his most famous poetic work, Pan Tadeusz, begins with the Polish-language invocation, "Oh Lithuania, my homeland, thou art like health ..." ("Litwo! Ojczyzno moja! ty jesteś jak zdrowie ..."). It is generally accepted, however, that Mickiewicz, when referring to Lithuania, meant a historical region rather than a linguistic and cultural entity, and he often applied the term "Lithuanian" to the Slavic inhabitants of the Grand Duchy of Lithuania.

Harold Edward Monro (14 March 1879 – 16 March 1932) was an English poet born in Brussels, Belgium. As the proprietor of the Poetry Bookshop in London, he helped many poets to bring their work before the public.

Life and career

Monro was born at 137 Chaussée de Charleroi, Saint-Gilles/St Gillis, Brussels, on 14 March 1879, as the youngest of three surviving children of Edward William Monro (1848–1889), civil engineer, and his wife and first cousin, Arabel Sophia (1849–1926), daughter of Peter John Margary, also a civil engineer. Monro's father was born at Marylebone and died aged 41 when Monro was only nine years old. The Monro family was well established in Bloomsbury. His paternal grandfather, Dr Henry Munro FRCP MD, was a surgeon, born at Gower St, Bloomsbury, in 1817.

Monro was educated at Radley College and Gonville and Caius College, Cambridge. His first collection of poetry was published in 1906. He also edited a poetry magazine, The Poetry Review, which became influential. In 1913, he founded the Poetry Bookshop at 35 Devonshire Street in Bloomsbury, where he published new collections at his own expense and sometimes made a profit, while providing a welcoming environment for readers and poets. Several poets, including Wilfrid Wilson Gibson, lodged in the rooms above the shop. Monro and the Poetry Bookshop were also involved with Edward Marsh in publishing the Georgian Poetry series.

Monro also founded and edited Poetry and Drama. Between 1910 and 1914, Filippo Tommaso Marinetti, who had established Italian Futurism with the publication of the first Futurist manifesto in 1909, gave readings and lectures in London with a view to establishing an English Futurism. Initially, he had an ally in Monro, who devoted the September 1913 issue of Poetry and Drama to Futurism, praising Marinetti in a long editorial. Marinetti's campaign both threatened and influenced Ezra Pound, who founded his own literary movement, Imagism, and wrote manifestos to publicize it while attacking Futurism. Vorticism was the second London literary movement both opposing and reflecting Marinetti's, with Pound as a major collaborator.

War and peace

Monro wrote few war poems himself, but his "Youth in Arms" quartet, written in the early months of the First World War, is one of the first attempts to envisage the "human psychology" of soldiering and understand "how ungrudgingly Youth dies." These poems were inspired by Monro's fears for his friend, Basil Watt, whom he dearly loved and who was later killed at Loos. Monro's elegy for Watt, "Lament in 1915", is a monologue in unornamented, modern language.

Happy boy, happy boy,
David the immortal-willed,
Youth a thousand thousand times Slain, but not once killed,
Swaggering again today
In the old contemptuous way;

Leaning backward from your thigh
Up against the tinselled bar —
Dust and ashes! is it you?
Laughing, boasting, there you are!
First we hardly recognized you
In your modern avatar.

Soldier, rifle, brown khaki —
Is your blood as happy so?
Where's your sling or painted shield, Helmet, pike or bow?
Well, you're going to the wars —
That is all you need to know.

Graybeards plotted. They were sad.
Death was in their wrinkled eyes.
At their tables—with their maps,
Plans and calculations—wise
They all seemed; for well they knew
How ungrudgingly Youth dies.

At their green official baize
They debated all the night
Plans for your adventurous days
Which you followed with delight,
Youth in all your wanderings,
David of a thousand slings.

After the war, Monro wrote his somewhat trenchant overview Some Contemporary Poets (1920), though this was not published by the Poetry Bookshop. He also founded The Chapbook (1919–1925, his third journal after The Poetry Review and Poetry and Drama, 1913–1914), which was not commercially viable, but contained some of his best work as a poet. His intention was to find "cultural middle ground" between modernism and the more traditional work exemplified by the Georgians. In this Monro took a broad view of the sphere of poetry, devoting whole numbers to children's rhymes and to songs by Walter de la Mare complete with scores.

Marriages

The young Monro was raised together with his sister Mary (died 1921) by their widowed mother, who remarried in 1910 to Sir Daniel Fulthorpe Gooch (1829–1926). Monro's stepbrother Lancelot Daniel Edward Gooch, a midshipman on HMS Implacable, died a fortnight after his 18th birthday in Greece, on 4 October 1915. On 2 December 1903 in Eastbourne, Monro married Dorothy Elizabeth Browne. Their son Nigel Monro (1904–1951) was born in Ireland, where Harold was working as a land agent for a family friend. However, the marriage was not to last and in 1908, the couple separated. The son followed Monro family medical tradition and practised as a surgeon.

In March 1913 Monro met Alida Klemantaski, 17 years his junior, from Hampstead, who also had a passion for poetry and had set herself goals of becoming a doctor or rescuing prostitutes from their predicament. Monro instead persuaded her that by working in the Poetry Bookshop, she would be achieving just as much for society. They were married in 1920. Alida's brother Louis Klemantaski, a promising young poet and musical editor died at the Somme in 1916. It is said that Alida had a greater influence than anyone on the development of Monro's own poetry.

Disappointment

In his later years, Monro reflected on whether the Poetry Bookshop had fulfilled its purpose and whether it should be closed, but he was too deeply attached to it. According to the English literary historian Dominic Hibberd, "By now Monro was a disappointed man, appalled at the state of Europe and feeling forgotten by the poets he had helped." He had used up most of his money subsidising the shop.

On top of a drinking problem, Monro contracted tuberculosis. He died on 16 March 1932, aged 53, at the Cliff Combe Nursing Home, Broadstairs, Kent, and was cremated at Golders Green Crematorium on the 19th. He was remembered as being liberal-minded and without literary prejudices. "Perhaps no one did more for the advancement of twentieth-century poetry."

To what God?

On Monday, 4 August 2014, a service was held at Westminster Abbey as "A Solemn Commemoration on the Centenary of the Outbreak of the First World War", HRH Camilla, Duchess of Cornwall, representing HM the Queen. After a reading from St John's Gospel, the choir gave the first performance of a new composition by David Matthews, a pupil of Benjamin Britten, setting a bitter, disillusioned 1914 poem by Harold Monro, "To what God shall we chant our songs of battle?" alongside passages from Lamentations and St Luke. James O'Donnell, Abbey organist and master of the choristers, commented that the work "leaves you standing on the edge of an abyss."

To what God
Shall we chant
Our songs of Battle?
Oh, to whom shall a song of battle be chanted?
Not to our lord of the hosts on his ancient throne,
Drowsing the ages out in Heaven alone.
The celestial choirs are mute, the angels have fled:
Word is gone forth abroad that our lord is dead.
Is it nothing to you, all you that pass by?
Behold and see if there be any sorrow like unto my sorrow.

To what God
Shall we chant
Our songs of Battle?
Oh, to whom shall a song of battle be chanted?
If you had only recognised on this day the things that make for peace!
But now they are hidden from your eyes.
Oh, to whom shall a song of battle be chanted?

Archibald Lampman (17 November 1861 – 10 February 1899) was a Canadian poet. "He has been described as 'the Canadian Keats;' and he is perhaps the most outstanding exponent of the Canadian school of nature poets." The Canadian Encyclopedia says that he is "generally considered the finest of Canada's late 19th-century poets in English."

Lampman is classed as one of Canada's Confederation Poets, a group which also includes Charles G.D. Roberts, Bliss Carman, and Duncan Campbell Scott.

Life

Archibald Lampman was born at Morpeth, Ontario, a village near Chatham, the son of Archibald Lampman, an Anglican clergyman. "The Morpeth that Lampman knew was a small town set in the rolling farm country of what is now western Ontario, not far from the shores of Lake Erie. The little red church just east of the town, on the Talbot Road, was his father's charge."

In 1867 the family moved to Gore's Landing on Rice Lake, where young Archie Lampman attended at the Barron's School. In 1868 he contracted rheumatic fever, which left him lame for some years and with a permanently weakened heart.

Lampman attended Cobourg Collegiate, followed by Trinity College School in Port Hope, Ontario, and then Trinity College in Toronto, Ontario (now part of the University of Toronto), graduating in 1882, with only second-class standing. While at university, he published early poems in Acta Victoriana, the literary journal of Victoria College. In 1883, after a frustrating attempt to teach high school in Orangeville, Ontario, he took an appointment as a low-paid clerk in the Post Office Department in Ottawa, a position he held for the rest of his life.

Lampman "was slight of form and of middle height. He was quiet and undemonstrative in manner, but had a fascinating personality. Sincerity and high ideals characterized his life and work."

On Sep. 3, 1887, Lampman married 20-year-old Maude Emma Playter. "They had a daughter, Natalie Charlotte, born in 1892. Arnold Gesner, born May 1894, was the first boy, but he died in August. A third child, Archibald Otto, was born in 1898."

In Ottawa, Lampman befriended poet William Wilfred Campbell. He also became a close friend of Indian Affairs bureaucrat Duncan Campbell Scott; Scott introduced him to camping, and Lampman introduced Scott to writing poetry. One of their early camping trips inspired Lampman's classic Morning on the Lièvre which, in 1961, became the text for, and subject of, an award-winning National Film Board of Canada film of the same name.

Lampman, Campbell, and Scott together wrote a literary column, "At the Mermaid Inn," for the Toronto Globe from February 1892 until July 1893. (The name was a reference to the Elizabethan-era Mermaid Tavern.) As Lampman wrote to a friend:

Campbell is deplorably poor.... Partly in order to help his pockets a little Mr. Scott and I decided to see if we could get the Toronto "Globe" to give us space for a couple of columns of paragraphs & short articles, at whatever pay we could get for them. They agreed to it; and Campbell, Scott and I have been carrying on the thing for several weeks now.

"In the last years of his short life there is evidence of a spiritual malaise which was compounded by the death of an infant son [Arnold, commemorated in the poem "White Pansies"] and his own deteriorating health."

Lampman died in Ottawa at the age of 37, due to his weakened heart. He is buried, fittingly, at Beechwood Cemetery, in Ottawa, a site he wrote about in the poem "In Beechwood Cemetery" (which is inscribed at the cemetery's entranceway). His grave is marked by a natural stone on which is carved only one word: Lampman. A plaque on the site carries a few lines from his poem "In November":

The hills grow wintry white, and bleak winds moan
About the naked uplands. I alone
Am neither sad, nor shelterless, nor gray
Wrapped round with thought, content to watch and dream.

Writing

In May 1881, when Lampman was at Trinity College, someone lent him a copy of Charles G. D. Roberts's recently published first book, Orion and Other Poems. The effect on the 19-year-old student was immediate and profound:

I sat up most of the night reading and re-reading "Orion" in a state of the wildest excitement and when I went to bed I could not sleep. It seemed to me a wonderful thing that such work could be done by a Canadian, by a young man, one of ourselves. It was like a voice from some new paradise of art, calling to us to be up and doing. A little after sunrise I got up and went out into the college grounds ... everything was transfigured for me beyond description, bathed in an old world radiance of beauty; the magic of the lines was sounding in my ears, those divine verses, as they seemed to me, with their Tennyson-like richness and strange earth-loving Greekish flavour. I have never forgotten that morning, and its influence has always remained with me.

Lampman sent Roberts a fan letter, which "initiated a correspondence between the two young men, but they probably did not meet until after Roberts moved to Toronto in late September 1883 to become the editor of Goldwin Smith's The Week."

Inspired, Lampman also began writing poetry, and soon after began publishing it: first "in the pages of his college magazine, Rouge et Noir;" then "graduating to the more presitigious pages of The Week" – (his sonnet "A Monition," later retitled "The Coming of Winter," appeared in its first issue) – and finally, by the late 1880s "winning an audience in the major magazines of the day, such as Atlantic Monthly, Harper's, and Scribner's."

Lampman published mainly nature poetry in the current late-Romantic style. "The prime literary antecedents of Lampman lie in the work of the English poets Keats, Wordsworth, and Arnold," says the Gale Encyclopedia of Biography, "but he also brought new and distinctively Canadian elements to the tradition. Lampman, like others of his school, relied on the Canadian landscape to provide him with much of the imagery, stimulus, and philosophy which characterize his work.... Acutely observant in his method, Lampman created out of the minutiae of nature careful compositions of color, sound, and subtle movement. Evocatively rich, his poems are frequently sustained by a mood of revery and withdrawal, while their themes are those of beauty, wisdom, and reassurance, which the poet discovered in his contemplation of the changing seasons and the harmony of the countryside."

The Canadian Encyclopedia calls his poems "for the most part close-packed melancholy meditations on natural objects, emphasizing the calm of country life in contrast to the restlessness of city living. Limited in range, they are nonetheless remarkable for descriptive precision and emotional restraint. Although characterized by a skilful control of rhythm and sound, they tend to display a sameness of thought."

"Lampman wrote more than 300 poems in this last period of his life, although scarcely half of these were published prior to his death. For single poems or groups of poems he found outlets in the literary magazines of the day: in Canada, chiefly the Week; in the United States, Scribner's Magazine, The Youth's Companion, the Independent, the Atlantic Monthly, and Harper's Magazine. In 1888, with the help of a legacy left to his wife, he published Among the millet and other poems," his first book, at his own expense. The book is notable for the poems "Morning on the Lièvre," "Heat," the sonnet "In November," and the long sonnet sequence "The Frogs"

"By this time he had achieved a literary reputation, and his work appeared regularly in Canadian periodicals and prestigious American magazines.... In 1895 Lampman was elected a Fellow of the Royal Society of Canada, and his second collection of poems, Lyrics of Earth, was brought out by a Boston publisher."

The book was not a success. "The sales of Lyrics of Earth were disappointing and the only critical notices were four brief though favourable reviews. In size, the volume is slighter than Among the Millet — twenty-nine poems in contrast to forty-eight — and in quality fails to surpass the earlier work." (Lyrics does, though, contain some of Lampman's most beautiful poems, such as "After Rain" and "The Sun Cup.")

"A third volume, Alcyone and other poems, in press at the time of his death" in 1899, showed Lampman starting to move in new directions, with the nature verses interspersed with philosophical poetry like "Voices of Earth" and "The Clearer Self" and poems of social criticism like "The City" and what may be his best-known poem, the dystopian vision of "The City of the End of Things." "As a corollary to his preoccupation with nature," notes the Gale Encyclopedia, "Lampman [had] developed a critical stance toward an emerging urban civilization and a social order against which he pitted his own idealism. He was an outspoken socialist, a feminist, and a social critic." Canadian critic Malcolm Ross wrote that "in poems like 'The City at the End of Things' and 'Epitaph on a Rich Man' Lampman seems to have a social and political insight absent in his fellows."

However, Lampman died before Alcyone appeared, and it "was held back by Scott (12 specimen copies were printed posthumously in Ottawa in 1899) in favour of a comprehensive memorial volume planned for 1900." The latter was a planned collected poems "which he was editing in the hope that its sale would provide Maud with some much-needed cash. Besides Alcyone, it included Among the Millet and Lyrics of Earth in their entirety, plus seventy-four sonnets Lampman had tried to publish separately, twenty-three miscellaneous poems and ballads, and two long narrative poems ("David and Abigail" and "The Story of an Affinity")." Among the previously unpublished sonnets were some of Lampman's finest work, including "Winter Uplands", "The Railway Station," and "A Sunset at Les Eboulements."

"Published by Morang & Company of Toronto in 1900," The Poems of Archibald Lampman "was a substantial tome — 473 pages — and ran through several editions. Scott's 'Memoir,' which prefaces the volume, would prove to be an invaluable source of information about the poet's life and personality."

Scott published one further volume of Lampman's poetry, At the Long Sault and Other Poems, in 1943 – "and on this occasion, as on other occasions previously, he did not hesitate to make what he felt were improvements on the manuscript versions of the poems." The book is remarkable mainly for its title poem, "At the Long Sault: May 1660," a dramatic retelling of the Battle of Long Sault, which belongs with the great Canadian historical poems. It was co-edited by E.K. Brown, who the same year published his own volume On Canadian Poetry: a book that was a major boost to Lampman's reputation. Brown considered Lampman and Scott the top Confederation Poets, well ahead of Roberts and Carman, and his view came to predominate over the next few decades.

Lampman never considered himself more than a minor poet, as he once confessed in a letter to a friend: "I am not a great poet and I never was. Greatness in poetry must proceed from greatness of character — from force, fearlessness, brightness. I have none of those qualities. I am, if anything, the very opposite, I am weak, I am a coward, I am a hypochondriac. I am a minor poet of a superior order, and that is all." However, others' opinion of his work has been higher than his own.

Malcolm Ross, for instance, considered him to be the best of all the Confederation Poets:

Lampman, it is true, has the camera eye. But Lampman is no mere photographer. With Scott (and more completely than Scott), he has, poetically, met the demands of his place and his time.... Like Roberts (and more intensively than Roberts), he searches for the idea.... Ideas are germinal for him, infecting the tissue of his thought.... Like the existentialist of our day, Lampman is not so much 'in search of himself' as engaged strenuously in the creation of the self. Every idea is approached as potentially the substance of a 'clearer self.' Even landscape is made into a symbol of the deep, interior processes of the self, or is used ... to induce a settling of the troubled surfaces of the mind and a miraculous transparency that opens into the depths.

Recognition

Lampman was elected a Fellow of the Royal Society of Canada in 1895.

He was designated a Person of National Historic Significance in 1920.

A literary prize, the Archibald Lampman Award, is awarded annually by Ottawa-area poetry magazine Arc in Lampman's honour.

Since 1999, the annual "Archibald Lampman Poetry Reading" has brought leading Canadian poets to Trinity College, Toronto, under the sponsorship of the John W. Graham Library and the Friends of the Library, Trinity College.

His name is also carried on in the town of Lampman, Saskatchewan, a small community of approximately 730 people, situated near the City of Estevan.

Canada Post issued a postage stamp in his honour on July 7, 1989. The stamp depicts Lampman's portrait on a backdrop of nature.

Canadian singer/songwriter Loreena McKennitt adapted Lampman's poem "Snow" as a song, writing original music while keeping as the lyrics the poem verbatim. This adaptation appears on McKennitt's album To Drive the Cold Winter Away (1987) and, with a different arrangement, on her 1995 EP, A Winter Garden: Five Songs for the Season, which was replaced in 2008 by the album A Midwinter Night's Dream.

Toronto choir the Upper Canada Choristers commissioned a setting of three of Lampman's poems ("The Bird and the Hour," "Snow" and "Voices of Earth") from Canadian composer Stephen Chatman.

William Henry Davies (3 July 1871 – 26 September 1940) was a Welsh poet and writer, who spent much of his life as a tramp or hobo in the United Kingdom and the United States, yet became one of the most popular poets of his time. His themes included observations on life's hardships, the ways the human condition is reflected in nature, his tramping adventures and the characters he met. His work has been classed as Georgian, though it is not typical of that class of work in theme or style.

Life and career

Early life

The son of an iron moulder, Davies was born at 6 Portland Street in the Pillgwenlly district of Newport, Monmouthshire, a busy port. He had an older brother, Francis Gomer Boase, born with part of his skull displaced, who Davies' biographer describes as "simple and peculiar". In 1874 a sister, Matilda, was born.

In November 1874, William was aged three when his father died. The next year his mother, Mary Anne Davies, remarried as Mrs Joseph Hill. She agreed that care of the three children should pass to their paternal grandparents, Francis and Lydia Davies, who ran the nearby Church House Inn at 14 Portland Street. His grandfather Francis Boase Davies, originally from Cornwall, had been a sea captain. Davies was related to the British actor Sir Henry Irving, known as Cousin Brodribb to the family. He later recalled his grandmother speaking of Irving as "the cousin who brought disgrace on us." According to a neighbour's memories, she wore "pretty little caps, with bebe ribbon, tiny roses and puce trimmings." Osbert Sitwell, introducing the 1943 Collected Poems of W. H. Davies, recalled Davies telling him that along with his grandparents and himself, his home held "an imbecile brother, a sister... a maidservant, a dog, a cat, a parrot, a dove and a canary bird." Sitwell also recounts how Davies's grandmother, a Baptist, was "of a more austere and religious turn of mind than her husband."

In 1879 the family moved to Raglan Street, Newport, then to Upper Lewis Street, where William attended Temple School. In 1883 he moved to Alexandra Road School and the following year was arrested, as one of five schoolmates charged with stealing handbags. He was given twelve strokes of the birch. In 1885 Davies wrote his first poem entitled "Death."

In Poet's Pilgrimage (1918) Davies recalls that, at the age of 14, he was left with orders to sit with his dying grandfather. He missed the final moments of his grandfather's life as he was too engrossed in reading "a very interesting book of wild adventure."

Delinquent to "supertramp"

After school, Davies worked as an ironmonger. In November 1886 his grandmother signed Davies up for a five-year apprenticeship to a local picture-frame maker. Davies never enjoyed the craft. He left Newport, took casual work and began his travels. The Autobiography of a Super-Tramp (1908) covers his American life in 1893–1899, including adventures and characters from his travels as a drifter. During the period, he crossed the Atlantic Ocean at least seven times on cattle ships. He travelled through many states doing seasonal work.

Davies took advantage of the corrupt system of "boodle" to pass the winter in Michigan by agreeing to be locked in a series of jails. Here with his fellow tramps Davies enjoyed relative comfort in "card-playing, singing, smoking, reading, relating experiences, and occasionally taking exercise or going out for a walk." At one point on his way to Memphis, Tennessee, he lay alone in a swamp for three days and nights suffering from malaria.

The turning point in Davies's life came after a week of rambling in London. He spotted a newspaper story about the riches to be made in the Klondike and set off to make his fortune in Canada. Attempting with a fellow tramp, Three-fingered Jack, to jump a freight train at Renfrew, Ontario on 20 March 1899, he lost his footing and his right foot was crushed under the wheels of the train. The leg was amputated below the knee and he wore a pegleg thereafter. Davies' biographers agree the accident was crucial, although Davies played down the story. Moult begins his biography with the incident, and his biographer Richard J. Stonesifer suggested this event, more than any other, led Davies to become a professional poet. Davies writes, "I bore this accident with an outward fortitude that was far from the true state of my feelings. Thinking of my present helplessness caused me many a bitter moment, but I managed to impress all comers with a false indifference.... I was soon home again, away less than four months; but all the wildness was taken out of me, and my adventures after this were not of my seeking, but the result of circumstances." Davies took an ambivalent view of his disability. In his poem "The Fog", published in the 1913 Foliage, a blind man leads the poet through the fog, showing the reader how someone impaired in one domain may have a big advantage in another.

Poet

Leisure

What is this life if, full of care,
We have no time to stand and stare.

No time to stand beneath the boughs
And stare as long as sheep or cows.

No time to see, when woods we pass,
Where squirrels hide their nuts in grass.

No time to see, in broad day light,
Streams full of stars, like skies at night.

No time to turn at beauty's glance,
And watch her feet, how they can dance.

No time to wait till her mouth can
Enrich that smile her eyes began.

A poor life this if, full of care,
We have no time to stand and stare.

from Songs of Joy and Others (1911)

Davies returned to Britain, to a rough life largely in London shelters and doss-houses, including a Salvation Army hostel in Southwark known as "The Ark", which he grew to despise. Fearing the reaction of his fellow tramps to his writings, Davies would pretend to sleep, while composing his poems in his head, for later transcription in private. At one point, he borrowed money to print some, which he attempted to sell door-to-door. The effort was not successful and Davies burned all of the printed sheets.

Davies self-published his first slim book of poetry, The Soul's Destroyer, in 1905, again by means of his savings. It proved to be the beginning of success and a growing reputation. To publish it, Davies forwent his allowance to live as a tramp for six months (with the first draft of the book hidden in his pocket), just to secure a loan of funds from his inheritance. After it was published, the volume was ignored. He resorted to posting individual copies by hand to prospective wealthy customers chosen from the pages of Who's Who, asking them to send the price of the book, a half crown, in return. He sold 60 of the 200 copies printed. One of the copies went to Arthur St John Adcock, then a journalist with the Daily Mail. On reading the book, he later wrote in his essay "Gods of Modern Grub Street", Adcock said he "recognised there were crudities and doggerel in it, there was also in it some of the freshest and most magical poetry to be found in modern books." He sent the price of the book, then asked Davies to meet him. Adcock is seen as "the man who discovered Davies." The first trade edition of The Soul's Destroyer was published by Alston Rivers in 1907. A second edition followed in 1908 and a third in 1910. A 1906 edition, by Fifield, was advertised but has not been verified.

Rural life in Kent

On 12 October 1905 Davies met Edward Thomas, then literary critic for the Daily Chronicle in London, who did more to help him than anyone else. Thomas rented for Davies the tiny two-roomed Stidulph's Cottage in Egg Pie Lane, not far from his own home at Elses Farm near Sevenoaks in Kent. Davies moved to the cottage from 6 Llanwern Street, Newport, via London, in the second week of February 1907. The cottage was "only two meadows off" from Thomas's house.

In 1907, the manuscript of The Autobiography of a Super-Tramp drew the attention of George Bernard Shaw, who agreed to write a preface (largely through the efforts of his wife Charlotte). It was only through Shaw that Davies' contract with the publishers was rewritten to retain him the serial rights, all rights after three years, royalties of 15 per cent of selling price, and a non-returnable advance of £25. Davies was also to be given a say in the style of illustrations, advertisement layouts and cover designs. The original publisher, Duckworth and Sons, rejected the new terms and the book passed to the London publisher Fifield.

Several anecdotes of Davies's time with the Thomas family appear in a brief account later published by Thomas's widow Helen. In 1911, he was awarded a Civil List pension of £50, later increased to £100 and then to £150.

Davies began to spend more time in London and make literary friends and acquaintances. Despite an aversion to giving his own autograph, he began a collection of his own. The Georgian Poetry editor Edward Marsh helped him to obtain that of D. H. Lawrence, which Davies was particularly keen to have, and subsequently arranged a meeting between Davies, Lawrence and Lawrence's wife-to-be Frieda. Lawrence was initially impressed but his view changed after reading Foliage and he later described Davies' Nature Poems as "so thin, one can hardly feel them."

By this time Davies had a library of some fifty books at his cottage, mostly 16th and 17th-century poets, among them Shakespeare, Milton, Wordsworth, Byron, Burns, Shelley, Keats, Coleridge, Blake and Herrick. In December 1908 his essay "How It Feels To Be Out of Work", described by Stonesifer as "a rather pedestrian performance", appeared in The English Review. He continued to send other periodical articles to editors, but without success.

Social life in London

After lodging at several addresses in Sevenoaks, Davies moved back to London early in 1914, settling eventually at 14 Great Russell Street in the Bloomsbury district. He lived there from early 1916 until 1921 in a small apartment, initially accompanied by an infestation of rodents, and adjacent to rooms occupied by a loud, Belgian prostitute. During this London period, Davies embarked on a series of public readings of his work, alongside others such as Hilaire Belloc and W. B. Yeats, impressing fellow poet Ezra Pound. He soon found he could socialise with leading society figures of the day, including Arthur Balfour and Lady Randolph Churchill. While in London he also took up with artists such as Jacob Epstein, Harold and Laura Knight, Nina Hamnett, Augustus John, Harold Gilman, William Rothenstein, Walter Sickert, Sir William Nicholson and Osbert and Edith Sitwell. He enjoyed the society and conversation of literary men, particularly in the rarefied downstairs at the Café Royal. He also met regularly with W. H. Hudson, Edward Garrett and others at The Mont Blanc in Soho.

For his poetry Davies drew much on experiences with the seamier side of life, but also on his love of nature. By the time he took a prominent place in the Edward Marsh Georgian Poetry series, he was an established figure, generally known for the opening lines of the poem "Leisure", first published in Songs of Joy and Others in 1911: "What is this life if, full of care / We have no time to stand and stare...."

In October 1917 his work appeared in the anthology Welsh Poets: A Representative English selection from Contemporary Writers collated by A. G. Prys-Jones and published by Erskine Macdonald of London.

In 1921, Davies moved to 13 Avery Row, Brook Street, renting from Quaker poet Olaf Baker. He was finding work difficult with rheumatism and other ailments. Harlow (1993) lists a total of 14 BBC broadcasts of Davies reading his work made between 1924 and 1940 (now held in the BBC broadcast archive) though none included his most famous work, "Leisure". Later Days, a 1925 sequel to The Autobiography of a Super-Tramp, describes the beginnings of Davies's writing career and his acquaintance with Belloc, Shaw, de la Mare and others. He became "the most painted literary man of his day", thanks to Augustus John, Sir William Nicholson, Dame Laura Knight and Sir William Rothenstein. Epstein's bronze of Davies's head was a successful smaller work.

Marriage and later life

On 5 February 1923, Davies married 23-year-old Helen Matilda Payne at the Register Office, East Grinstead, Sussex, and the couple set up home in the town at Tor Leven, Cantelupe Road. According to a witness, Conrad Aiken, the ceremony found Davies "in a near panic".

Davies's book Young Emma was a frank, often disturbing account of his life before and after picking Helen up at a bus-stop in the Edgware Road near Marble Arch. He had caught sight of her just getting off the bus and describes her wearing a "saucy-looking little velvet cap with tassels". Still unmarried, Helen was pregnant at the time. While living with Davies in London, before the couple were married, Helen suffered a miscarriage. Davies initially planned on publication of the book, and sent it to Jonathan Cape in August 1924. He later changed his mind and asked for its return, and for the destruction of all copies. Cape in fact retained the copies and, after Davies's death, asked George Bernard Shaw as to the advisability of publication. Shaw gave a negative reply and the work remained unpublished until after Helen's death in 1979.

The couple lived quietly and happily, moving from East Grinstead to Sevenoaks, then to Malpas House, Oxted in Surrey, and finally to a string of five residences at Nailsworth, Gloucestershire, the first being a comfortable, detached 19th-century stone-built house. Axpills (later known as Shenstone), with a garden of character. He lived in several houses, all close to one another, in his last seven years. His last home was the small roadside cottage Glendower in the hamlet of Watledge. The couple had no children.

In 1930 Davies edited the poetry anthology Jewels of Song for Cape, choosing works by over 120 poets, including William Blake, Thomas Campion, Shakespeare, Tennyson and W. B. Yeats. Of his own poems he added only "The Kingfisher" and "Leisure". The collection reappeared as An Anthology of Short Poems in 1938.

Decline and death

In September 1938, Davies attended the unveiling of a plaque in his honour at the Church House Inn; poet laureate, John Masefield, gave an address. Davies was unwell; the unveiling was his last public appearance.

Prior to his marriage, Davies often stayed in London with his friend Osbert Sitwell and Sitwell's brother Sacheverell. They enjoyed walks along the River Thames and attended musical recitals given by Violet Gordon-Woodhouse. Having moved to Watledge, these friendships continued. Some three months before his death, Davies was visited at Glendower by Gordon-Woodhouse and the Sitwells, Davies being too ill to travel. Sitwell noted that Davies looked "very ill", but that "his head, so typical of him in its rustic and nautical boldness, with the black hair now greying a little, but as stiff as ever, surrounding his high bony forehead, seemed to have acquired an even more sculptural quality." Helen privately told Sitwell that Davies' heart showed "alarming symptoms of weakness" caused, according to doctors, by the continuous dragging weight of his wooden leg. Helen kept the true extent of the medical diagnosis from her husband.

Davies himself confided in Sitwell:

I've never been ill before, really, except when I had that accident and lost my leg.... And, d'you know, I grow so irritable when I've got that pain, I can't bear the sound of people's voices.... Sometimes I feel I should like to turn over on my side and die.

Davies' health continued to decline and he died in September 1940 at the age of 69. Never a churchgoer in adult life, he was cremated at the Bouncer's Lane Cemetery, Cheltenham, and his remains interred there.

Glendower

From 1949, Glendower was the home of the poet's great-nephew Norman Phillips. In 2003, following a heart attack, Phillips moved into supported accommodation. A support group of local residents, The Friends of Glendower, was established to raise funds for renovation, with the aims of enabling Phillips to return to the cottage and for it to be a commemoration of Davies' life and work. In 2012 signed copies of five of Davies' books were found during restoration, together with personal papers. By 2017, remedial work on the cottage was sufficiently advanced to allow Phillips to return.

Literary style

Davies's main biographer Stonesifer compared the realism, directness and simplicity of Davies' prose to that of Defoe and George Borrow. His style was described by Shaw as that of "a genuine innocent", while the biographer L. Hockey said, "It is as a poet of nature that Davies has become most famous; and it is not surprising that he should have taken nature as his main subject."

For his honorary degree in 1926, Davies was introduced at the University of Wales by Professor W. D. Thomas. Thomas' citation attempted a summary of Davies' themes, style and tone:

"A Welshman, a poet of distinction, and a man in whose work much of the peculiarly Welsh attitude to life is expressed with singular grace and sincerity. He combines a vivid sense of beauty with affection for the homely, keen zest for life and adventure with a rare appreciation of the common, universal pleasures, and finds in those simple things of daily life a precious quality, a dignity and a wonder that consecrate them. Natural, simple and unaffected, he is free from sham in feeling and artifice in expression. He has re-discovered for those who have forgotten them, the joys of simple nature. He has found romance in that which has become commonplace; and of the native impulses of an unspoilt heart, and the responses of a sensitive spirit, he has made a new world of experience and delight. He is a lover of life, accepting it and glorying in it. He affirms values that were falling into neglect, and in an age that is mercenary reminds us that we have the capacity for spiritual enjoyment."

Davies' friend and mentor, the poet Edward Thomas, drew a comparison with the work of Wordsworth: "He can write commonplace or inaccurate English, but it is also natural to him to write, such as Wordsworth wrote, with the clearness, compactness and felicity which make a man think with shame how unworthily, through natural stupidity or uncertainty, he manages his native tongue. In subtlety he abounds, and where else today shall we find simplicity like this?"

Daniel George, reviewing the 1943 Collected Poems for Tribune, called Davies' work "new yet old, recalling now Herrick, now Blake – of whom it was said, as of Goldsmith, that he wrote like an angel but according to those who had met him talked like poor Poll, except that he was no parrot of other people's opinions."

Appearance and character

Osbert Sitwell, a close friend, thought Davies bore an "unmistakable likeness" to his distant actor cousin Henry Irving. Sitwell described him as having a "long and aquiline" face and "broad-shouldered and vigorous".

In an introduction to his 1951 The Essential W. H. Davies, Brian Waters said Davies's "character and personality rather than good looks were the keynote to his expressive face."

Honours, memorials and legacy

As I walked down the waterside
This silent morning, wet and dark;
Before the cocks in farmyards crowed,
Before the dogs began to bark;
Before the hour of five was struck
By old Westminster's mighty clock:

As I walked down the waterside
This morning, in the cold damp air,
I saw a hundred women and men
Huddled in rags and sleeping there:
These people have no work, thought I,
And long before their time they die.

from "The Sleepers", Songs of Joy and Others (1911)

In 1926 Davies received a degree of Doctor Litteris, honoris causa, from the University of Wales. He returned to his native Newport in 1930, where he was honoured with a luncheon at the Westgate Hotel. His return in September 1938 for the unveiling of the plaque in his honour proved to be his last public appearance.

The National Library of Wales holds a large collection of Davies manuscripts. Items include poems such as a copy of "A Boy's Sorrow", a 16-line poem about the death of a neighbor which appears never to have been published and a collection, Quiet Streams, again with some unpublished poems. Other materials include an archive of press cuttings, a collection of personal papers and letters, and a number of photographs of Davies and his family, as well as a sketch of him by William Rothenstein.

Davies's Autobiography of a Super-Tramp influenced a generation of British writers, including Gerald Brenan (1894–1987).

In 1951 Jonathan Cape published The Essential W. H. Davies, selected and introduced by Brian Waters, a Gloucestershire poet and writer whose work Davies admired, who described him as "about the last of England's professional poets". The collection included The Autobiography of a Super-tramp, and extracts from Beggars, A Poet's Pilgrimage, Later Days, My Birds and My Garden, along with over 100 poems arranged by period of publication period.

Many Davies poems have been set to music. "Money, O!" was set for voice and piano in G minor, by Michael Head, whose 1929 Boosey & Hawkes collection included settings for "The Likeness", "The Temper of a Maid", "Natures' Friend", "Robin Redbreast" and "A Great Time". "A Great Time" has also been set by Otto Freudenthal (born 1934), Wynn Hunt (born 1910) and Newell Wallbank (born 1914). There are also three songs by Sir Arthur Bliss: "Thunderstorms", "This Night", and "Leisure", and "The Rain" for voice and piano, by Margaret Campbell Bruce, published in 1951 by J. Curwen and Sons.

The experimental Irish folk group Dr. Strangely Strange sang and quoted from "Leisure" on their 1970 album Heavy Petting, with harmonium accompaniment. A musical adaptation of this poem with John Karvelas (vocals) and Nick Pitloglou (piano) and an animated film by Pipaluk Polanksi can be found on YouTube. Again in 1970, Fleetwood Mac recorded "Dragonfly", a song with lyrics from Davies's 1927 poem "The Dragonfly", as did the English singer-songwriter and instrumentalist Blake for his 2011 album The First Snow. In 1970 British rock band Supertramp named themselves after The Autobiography of a Super-Tramp.

On 3 July 1971 a commemorative postmark was issued by the UK Post Office for Davies's centenary.

A controversial statue by Paul Bothwell-Kincaid, inspired by the poem "Leisure", was unveiled in Commercial Street, Newport in December 1990, to mark Davies's work, on the 50th anniversary of his death. The bronze head of Davies by Epstein, from January 1917, regarded by many as the most accurate artistic impression of Davies and a copy of which Davies owned himself, may be found at Newport Museum and Art Gallery, donated by Viscount Tredegar).

In August 2010 the play Supertramp, Sickert and Jack the Ripper by Lewis Davies included an imagined sitting by Davies for a portrait by Walter Sickert. It was first staged at the Edinburgh Festival.

TIGHE, MARY (9 October 1772 – 24 March 1810), Irish poet, daughter of the Rev. William Blachford, was born on the 9th of October 1772. In 1793 she contracted what proved to be an unhappy marriage with her cousin, Henry Tighe, of Woodstock, Co. Wicklow. She died on the 24th of March 1810, at Woodstock, Co. Kilkenny, and was buried at Inistioge. Mrs Tighe was the author of a poem of unusual merit, Psyche or the Legend of Love, printed privately in 1805 and published posthumously in 1811 with some other poems. It is founded on the story as told by Apuleius, and is written in the Spenserian stanza. The poem had many admirers, and high praise is awarded it in a contemporary notice in the Quarterly Review (May 1811).

The 1911 Encyclopædia Britannica entry for Mary Tighe above sacrifices both substance and nuance in service to brevity.

The daughter of a wealthy Anglican minister and librarian (who died before her first birthday) and an Irish Methodist mother and increasingly ascetic follower of John Wesley, Tighe grew up in Ireland and, following a less than enthusiastic marriage to her anti-Union parliamentarian cousin Henry Tighe, relocated with him to London, where she flourished in a lively urban social milieu. She was a musician (when she traveled she took with her the harp that had been made to her order) and a visual artist (she adorned a two-volume manuscript of her poems, prepared in 1805 for her husband, with delicate and accomplished visual images and vignettes). She wrote a long novel, Selena (left in manuscript at her death), but Tighe is best known as a skillful poet who was proficient in briefer forms like the sonnet, the elegy, and the lyric, and whose most ambitious long poem, Psyche; or, The Legend of Love, is now regarded as a key document in Romantic poetry.

Composed in 1801–03, Psyche circulated widely in manuscript among Tighe’s acquaintances and admirers, prompting a printing in 1805 of fifty copies for private distribution. Even in these limited numbers, its popularity was immediate and widespread. Following her death in March 1810 from the tuberculosis that had afflicted her final decade, a posthumous edition appeared in 1811 and was twice reprinted in that year, further spreading her fame and influence, including to contemporary female poets like Melesina Trench and Felicia Hemans as well as male poets like Thomas Moore and John Keats, and garnering positive, admiring reviews even among notoriously combative and censorious periodical commentators. The British Review praised the poetry as not just elevated and refined but also pure and correct, while the frequently scathing Quarterly Review lauded Psyche’s virtually unrivaled delicacy of sentiment, style [and] versification. Notably, few of these male critics remarked on the poem’s intellectual depth and psychological sophistication.

Tighe applies to the tale from Apuleius a distinctly feminist perspective. She traces the progress of Psyche and Cupid through a parallel journey of self-discovery and affirmation involving moral and intellectual challenges that teach both how to cultivate a spiritual sense of self and to see one another accurately and companionately. Cast in the demanding form of Spenserian stanzas, this long poem (3,347 lines) also offers a metaphorical commentary on the situation of the artist—and particularly the woman artist—as both the author and the object of a process of gazing (or specularization) that at once reveals and exposes the author to a wide range of judgmental acts by that artist’s audience(s). The subject held special personal relevance for Tighe, whose literary celebrity among her lively social circle contrasted her own persistent ambivalence about that celebrity in light of the personal asceticism her disapproving mother consistently recommended to her.

Like her contemporaries in Scotland, Wales and England proper, Irish poets like Tighe benefit today from scholarly efforts to recover and reassess their poetry. Recent scholarly editions of Tighe’s poetry and journals (2005, 2015), of Selena (2012), and of her letters (2020), carefully edited and annotated by Harriet Kramer Linkin, together with ongoing contributions by other scholars, at last yield a more thorough and intellectually nuanced assessment of Tighe’s achievement and influence.

© Stephen Behrendt, 2023

Catherine Greenaway (17 March 1846 – 6 November 1901) was an English Victorian artist and writer, known for her children's book illustrations. She received her education in graphic design and art between 1858 and 1871 from the Finsbury School of Art, the South Kensington School of Art, the Heatherley School of Art, and the Slade School of Fine Art. She began her career designing for the burgeoning greetings card market, producing Christmas and Valentine's cards. In 1879 wood-block engraver and printer Edmund Evans printed Under the Window, an instant best-seller, which established her reputation. Her collaboration with Evans continued throughout the 1880s and 1890s.

The depictions of children in imaginary 18th-century costumes in a Queen Anne style were extremely popular in England and internationally, sparking the Kate Greenaway style. Within a few years of the publication of Under the Window Greenaway's work was imitated in England, Germany, and the United States.

Childhood

Kate Greenaway was born in Hoxton, London, the second of four children, to a working-class family. Her mother, Elizabeth, was a dress maker and her father, John, an engraver who gave up steady employment with Ebenezer Landells' engraving firm to strike out on his own. When Greenaway was very young, he accepted a commission to provide the engraved illustrations to a new edition of Charles Dickens's The Pickwick Papers, sending his young family away to relatives in the countryside to give himself solitude while producing the engravings. Kate's earliest memories are of Rolleston, Nottinghamshire, which affected her deeply. It was a place she returned to frequently in her childhood. According to children's literature scholar Humphrey Carpenter, the period was to Greenaway "crucial ... she felt it to be her real home, a country of the mind that she could always reimagine". After returning to grimy London streets Rolleston became a place to visit in her mind and constantly embellish.

The publisher who commissioned John Greenaway's work went bankrupt, leaving the family without an income. When Elizabeth Greenaway returned from Rolleston with the children, the family moved to Islington, where she opened a children's dress shop that attracted well-to-do clients. The family lived in the flat above the shop, and young Kate, often left to her own devices to explore, spent many hours in the enclosed courtyard garden, later writing about it in her unfinished autobiography as a place filled with "richness of colour and depth of shade."

John Greenaway provided for his mother and two sisters as well as for his own family. He took piecemeal engraving jobs, usually for weekly publications, such as The Illustrated London News. He frequently worked on the wood carving throughout the night in front of the fire. Kate enjoyed watching him, and through his work was exposed to illustrations by John Leech, John Gilbert, and Kenny Meadows.

As a young child Greenaway's parents taught her at home; later she was sent to various dame schools; she was an avid reader of chapbook versions of fairy tales – her favourites were "Sleeping Beauty", "Cinderella", and "Beauty and the Beast" – as well as illustrated editions of Shakespeare, writing later that children "often don’t care a bit about the books people think they will and I think they often like grown-up books – at least I did." Her father's engravings exposed her to weekly news stories, some of which were quite grisly, such as the series of his illustrations for the Illustrated London News in 1856 about murderer William Palmer.

Education and early work

In 1857, at age 12, she began night classes at nearby Finsbury School, a local branch of South Kensington School of Art participating in National Course of Art Training in the decorative arts. Night courses, open only to women, were offered in drawing, porcelain painting, wood engraving, and lithography. She enrolled full-time a year later. The curriculum, devised by Henry Cole, was meant to train artisans in designing decorative wallpaper, tiles, and carpets. It emphasised strict adherence to copying geometric and botanical elements without creativity. There were four stages of courses, which she completed in 1864 before going to the Royal Female School of Art.

The headmaster at the Royal Female School of Art was Richard Burchett, whom Elizabeth Thompson described as a "bearded, velvet-skull-capped and cold-searching-eyed man." Greenaway was quite shy and thought of herself as plain and unattractive compared to the other students. Yet she became friends with the much more popular Thompson, with whom she shared a studio. The two young women worked diligently in their studio to perfect their skills. At this point she was allowed to draw human figures, at first from plaster casts and then from models dressed in historical or ornamental costumes, skills she applied during the summers in Rolleston. However, she was unable to fully master human anatomy; frustrated that nude models were not permitted in the women's classes, she enrolled in night classes at Heatherley School of Fine Art where she met Edward Burne-Jones, Edward Poynter, and Walter Crane.

In 1871 she enrolled in the Slade School of Fine Art, where Poynter was head master. Determined to break from Henry Cole's rigid curriculum, he exhorted students to become more expressive and creative, concepts alien to Greenaway whose long early years of training consisted solely of copying and work with geometric designs. She struggled at Heatherley and once again was frustrated that women were segregated from men in the life class.

While she was still in school, Greenaway received commissions for children's book illustrations. The first came in 1867 for a frontispiece for Infant Amusements, setting a path towards specialization in children's books. Her reputation was built on the awards she had won while completing the National Art Courses, and buttressed with early exhibitions. She exhibited a set of fairy watercolours in 1868, which she sold to W. J. Loftie, publisher of People's Magazine. He set them to verse and printed them in his magazine. A year later Frederick Warne & Co purchased six illustrations for a toy book edition of "Diamonds and Toads", printed by Joseph Martin Kronheim, which took a year to complete. In 1871 Gall & Inglis published an edition of Madame d'Aulnoy's fairy tales, which she illustrated. That year she continued with her classes and earned more than 70 pounds.

She was aware that the work she produced was overly gaudy, in part because she lacked technical knowledge of the Chromoxylography process. To gain a better understanding of the colour process, she made frequent visits to the National Gallery, where she studied masters such as Jan van Eyck, whose Arnolfini Portrait she especially liked. At that time, she gained access to the manuscript room at the British Museum, where she studied illuminated manuscripts.

Freelance years

The new, popular and lucrative card market coincided with the end of Greenaway's formal training. Greetings cards first appeared in the 1840s, and by the 1860s the market had exploded. Card maker Marcus Ward & Co hired Greenaway in 1871 on a freelance basis. With its reputation for high quality work, the Belfast firm was one of the pre-eminent card printers of the Victorian era. Her designs sold well and they said of her work that “her special talent was in the direction of costume figures and dainty colours.” Her cards sold well, and early Valentines sold 25,000 copies in weeks.

Under the Window

Her first book, Under the Window (1879), a collection of simple, perfectly idyllic verses about children, was a bestseller.

Later years and death

In the 1880s, the most popular designers of bookplates were Greenaway, along with Crane and Aubrey Beardsley. Their work exhibited intricate art nouveau elements with flowing vines and floral patterns.

Greenaway was elected to membership of the Royal Institute of Painters in Water Colours in 1889. She exhibited her work at the Palace of Fine Arts at the 1893 World's Columbian Exposition in Chicago, Illinois. She lived in an Arts and Crafts style house she commissioned from Richard Norman Shaw in Frognal, London, although she spent summers in Rolleston.

Greenaway died of breast cancer in 1901, at the age of 55. She is buried in Hampstead Cemetery, London.

Style

Greenaway's paintings were reproduced by chromoxylography, by which the colours were printed from hand-engraved wood blocks by the firm of Edmund Evans. Through the 1880s and 1890s, her only rivals in popularity in children's book illustration were Walter Crane and Randolph Caldecott.

"Kate Greenaway" children, all of them girls and boys too young to be put in trousers, were dressed in her own versions of late 18th century and Regency fashions: smock-frocks and skeleton suits for boys, high-waisted pinafores and dresses with mobcaps and straw bonnets for girls. The influence of children's clothes in portraits by British painter John Hoppner (1758–1810) may have provided her some inspiration. Liberty of London adapted Kate Greenaway's drawings as designs for actual children's clothes. A full generation of mothers in the liberal-minded "artistic" British circles who called themselves The Souls and embraced the Arts and Crafts movement dressed their daughters in Kate Greenaway pantaloons and bonnets in the 1880s and 1890s. The style was often used by painter Maude Goodman in her depictions of children.

Legacy

The Kate Greenaway Medal, established in her honour in 1955, is awarded annually by the Chartered Institute of Library and Information Professionals in the UK to an illustrator of children's books.

Howard's style can be characterized by its directness and simplicity of language. She avoids ornate metaphors and highly structured rhyme schemes, favoring instead a more conversational tone and free verse forms. This approach aligns her with other poets of the era, such as Walt Whitman and Emily Dickinson, who sought to break free from traditional poetic constraints and create a distinctly American voice.

Though not as widely known today, Howard's poetry offers valuable insights into the social and cultural landscape of her time. Her willingness to address issues of gender and social class, combined with her accessible style, makes her work relevant to contemporary readers interested in exploring the evolution of American poetry and the voices of women writers who helped shape it.

Ranck was a dramatist, short story writer, and a dramatic critic and was published in numerous newspapers and magazines. Poetry and drama were his chief interests. His first published story was The Chosen People in Lippincott's Magazine, September 1906. His major works include: History of Covington (1903), Poems for Pale People: A Volume of Verse (1906), The Night Riders (1912) and The Doughboys' Book (1919). He wrote many plays and short stories as well.

He was a prolific writer and his lyrics were often characterized by their humor and wit. One of his standout works is the poem 'The Optimist', which reflects his positive outlook on life. He remains a somewhat obscure figure in literary history.

Edgar Lee Masters (August 23, 1868 – March 5, 1950) was an American attorney, poet, biographer, and dramatist. He is the author of Spoon River Anthology, The New Star Chamber and Other Essays, Songs and Satires, The Great Valley, The Serpent in the Wilderness, An Obscure Tale, The Spleen, Mark Twain: A Portrait, Lincoln: The Man, and Illinois Poems. In all, Masters published twelve plays, twenty-one books of poetry, six novels and six biographies, including those of Abraham Lincoln, Mark Twain, Vachel Lindsay, and Walt Whitman.

Life and career

He was born in Garnett, Kansas, to attorney Hardin Wallace Masters and Emma Jerusha Dexter. His father had briefly moved to set up a law practice, then soon moved back to his paternal grandparents' farm near Petersburg in Menard County, Illinois. In 1880 they moved to Lewistown, Illinois, where he attended high school and had his first publication in the Chicago Daily News. The culture around Lewistown, in addition to the town's cemetery at Oak Hill and the nearby Spoon River, were the inspirations for many of his works, most notably Spoon River Anthology, his most famous and acclaimed work.

He attended Knox Academy in 1889–1890, a now defunct preparatory program run by Knox College, but was forced to leave by his family's inability to finance his education.

After working in his father's law office, he was admitted to the Illinois bar and moved to Chicago, where he established a law partnership in 1893 with the law firm of Kickham Scanlan. He married twice. In 1898 he married Helen M. Jenkins, the daughter of Robert Edwin Jenkins, a lawyer in Chicago, and had three children. From 1903 to 1911, Masters was partners in the firm of Darrow, Masters and Wilson with Clarence Darrow, the famous trial lawyer, and Francis S. Wilson, who later served as Chief Justice of the Illinois Supreme Court. In 1911 he started his own law firm, despite three years of unrest (1908–1911) caused by extramarital affairs and an argument with Darrow.

Two of his children followed him with literary careers. His daughter Marcia Masters pursued poetry, while his son Hilary Masters became a novelist. Hilary and his half-brother Hardin wrote a memoir of their father.

Masters died in poverty at a nursing home on March 5, 1950, in Melrose Park, Pennsylvania, age 81. He is buried in Oakland cemetery in Petersburg, Illinois. His epitaph includes his poem, "To-morrow is My Birthday" from Toward the Gulf (1918):

"Good friends, let's to the fields ...
After a little walk, and by your pardon,
I think I'll sleep. There is no sweeter thing,
Nor fate more blessed than to sleep.

I am a dream out of a blessed sleep –
Let's walk, and hear the lark."

Family history

Edgar's father was Hardin Wallace Masters, whose father was Squire Davis Masters, whose father was Thomas Masters, whose father was Hillery Masters, the son of Robert Masters (born c. 1715, Prince George's County, Maryland, the son of William W. Masters and wife Mary Veatch Masters). Edgar Lee Masters wrote in his autobiography, Across Spoon River (1936), that his ancestor Hillery Masters was the son of "Knotteley" Masters, but family genealogies show that Hillery and Notley Masters were, in fact, brothers.

Poetry

Masters first published his early poems and essays under the pseudonym Dexter Wallace (after his mother's maiden name and his father's middle name) until the year 1903, when he joined the law firm of Clarence Darrow. Masters began developing as a notable American poet in 1914, when he began a series of poems (this time under the pseudonym Webster Ford) about his childhood experiences in western Illinois, which appeared in Reedy's Mirror, a St. Louis publication.

In 1915 the series was bound into a volume and re-titled Spoon River Anthology. Years later, he wrote a memorable and invaluable account of the book's background and genesis, his working methods and influences, as well as its reception by the critics, favorable and hostile, in an autobiographical article notable for its human warmth and general interest.

Although he never matched the success of Spoon River Anthology, he published several other volumes of poems including Book of Verses in 1898, Songs and Sonnets in 1910, The Great Valley in 1916, Song and Satires in 1916, The Open Sea in 1921, The New Spoon River in 1924, Lee in 1926, Jack Kelso in 1928, Lichee Nuts in 1930, Gettysburg, Manila, Acoma in 1930, Godbey, sequel to Jack Kelso in 1931, The Serpent in the Wilderness in 1933, Richmond in 1934, Invisible Landscapes in 1935, The Golden Fleece of California in 1936, Poems of People in 1936, The New World in 1937, and More People in 1939. Two of his later volumes were published by the Decker Press after its founder, James Decker, asked Masters for permission to print his work; Masters agreed and Illinois Poems was published in 1941 and Along the Illinois was released in 1942.

Awards and honors

Masters was awarded the Mark Twain Silver Medal in 1936, the Poetry Society of America medal in 1941, the Academy of American Poets Fellowship in 1942, and the Shelly Memorial Award in 1944. In 2014, he was inducted into the Chicago Literary Hall of Fame.

Dr. Thomas O'Hagan (March 6, 1855 - March 1, 1939) was a Canadian poet, teacher, and academic.

Life

O'Hagan was born in the Gore of Toronto (now part of Mississauga, Ontario), the youngest of 5 children of John and Bridget (O'Reilly) O'Hagan. When he was less than a year old, the family moved to rural Bruce Country to the township of Elderslie, three miles from the village of Paisley. The other settlers were mostly Highland Scotch, and Thomas as a lad learned to speak quite fluently not only the Gaelic tongue of his neighbours, but also the Keltic Irish, which was spoken freely by his parents. He attended the public school of the settlement where the teachers were Scotch, and where he applied himself with such diligence and ability that he won a Second Class Teacher's Certificate at the early age of sixteen

He attended St. Michael's College in Toronto, and then the University of Ottawa, where he received a Bachelor of Arts in 1882 and Master of Arts in 1885., and Syracuse University in 1889, where he was awarded a Ph.D. in 1889. He also did postgraduate work at Cornell, Columbia, Chicago, Louvain, Grenoble and Fribourg Universities.

He alternated, and paid for, his studies with periods of teaching. From 1884 to 1888 he taught classics and history at Barrie, Pembroke, and Mitchell Collegiates. After graduating from Syracuse he taught at Walkerton High School, and then became principal of Waterdown Collegiate.

He wrote both poetry and academic essays, and became known as a popular lecturer on many subjects. From 1910 to 1913 he was chief editor of The New World in Chicago.

He was a regular contributor to the Catholic World magazine for over 30 years.

He died, after a two-year illness, at Mercy Hospital in Toronto.  He is buried at St. Mary Immaculate Church in Chepstow, Ontario.

Writing

O'Hagan's debut collection of poetry, A Gate of Flowers, was praised by John Greenleaf Whittier, Oliver Wendell Holmes, Sr., Louis Fréchette, and Charles G.D. Roberts. Poet Nicholas Flood Davin wrote to him: "I cannot deny myself the pleasure of telling you what I think about these verses. They are instinct with true inspiration, and should have, for all time, a place in Irish literature."

The Canadian Magazine called "The Song My Mother Sings" (from his 2nd book, In Dreamland) "the finest poem of its kind ever published in Canada."

Recognition

O'Hagan was awarded Litt.D. degrees from Laval University in 1914 and the University of Ottawa in 1924, and an LL.D. from Notre Dame University in 1917.