Theodore Watts-Dunton's Aylwin (1898) and the reduplications of Romanticism.

Theodore Watts-Dunton's Aylwin (1898) and the reduplications of Romanticism. ABSTRACT This essay examines Theodore Watts-Dunton's fascinating,best-selling, but now neglected, novel Aylwin (1898), focusing on thework's links with the poetry of Coleridge, its specific treatmentof looking and the gaze as affected by trauma, and its complex structureof repetition and transmission. The article proposes that by such meansand through its prefigurement pre��fig��ure?tr.v. pre��fig��ured, pre��fig��ur��ing, pre��fig��ures1. To suggest, indicate, or represent by an antecedent form or model; presage or foreshadow: of what Frank Kermode Sir John Frank Kermode (born 29 November, 1919), is a British literary critic.Frank Kermode was born on the Isle of Man, and was educated at Douglas High School and Liverpool University. identifies in thework of modernists as the 'Romantic Image' Aylwin reveals thelines of a Romantic genealogy that extends from Coleridge throughRossetti to writers such as Yeats, demonstrating the hidden continuitybetween Romantic and late Victorian literature Victorian literature is the literature produced during the reign of Queen Victoria (1837—1901) and corresponds to the Victorian era. It forms a link and transition between the writers of the romantic period and the very different literature of the 20th century. and mapping the crucialtransition from late Victorian literature to literary modernism. ********** For most modern readers of Victorian literature, the name TheodoreWatts-Dunton Theodore Watts-Dunton (October 12 1832 - June 6 1914) was an English critic and poet. He is now best remembered as the friend and minder of Algernon Charles Swinburne, whom he rescued from alcoholism.Walter Theodore Watts was born at St. carries little weight; if he is registered at all, it is asa peripheral figure--a friend of the Pre-Raphaelites and the companionof Swinburne in his latter years. Few know that he was once regarded asone of the most important critics of his generation, or that he achievedconsiderable fame late in his career with his best-selling novel Aylwin(1898), which was one of the literary successes of its year. AlthoughAylwin went into an Oxford World's Classics Oxford World's Classics is an imprint of Oxford University Press. First established in 1901 by Grant Richards and purchased by the Oxford University Press in 1906, this imprint publishes primarily dramatic and classic literature for students and the general public. imprint in 1904, wellwithin its author's lifetime, had sold over 100,000 copies by hisdeath in 1914, and was still in print in 1950, it is now almost unknownand has received virtually no academic attention. (1) Yet Aylwin is afascinating work with many features that might prove attractive tomodern readers. Influenced by the sensation fiction of Wilkie Collins and in part aroman-a-clef featuring members of Watts-Dunton's own literary andartistic circle, including his close friend Dante Gabriel Dante Gabriel may refer to: Dante Gabriel Ram��rez Erazo (21st century), Director of Roads in Honduras Dante Gabriel Rossetti (1828-1882), English poet, illustrator, painter, and translator Rossetti, thenovel is a strange amalgam of gypsy lore, the occult, mesmerism mesmerism:see hypnotism. , andRomanticism. The occult and Romantic elements help constitute thatpervasive aspect of the book that Watts-Dunton called 'theRenascence of Wonder', basically a reaction to the growingmaterialism of the later nineteenth century and a revival of belief inthe redemptive powers of nature and the imagination. With its strongcommitment to a spiritual realm and life beyond death, and its refusalof materialism and positivistic pos��i��tiv��ism?n.1. Philosophya. A doctrine contending that sense perceptions are the only admissible basis of human knowledge and precise thought.b. values, the novel should recommenditself to anyone interested in the growth of non-orthodox religiousbelief or spirituality in the late Victorian period See Dionysian period, under Dyonysian.See also: Victorian ; however, otherelements such as the novel's intimately drawn characterization ofRossetti, its generic debts to sensation fiction and Romantic poetry,its observations on the contemporary medical treatment of hysteria, andits positive portrayal of gypsy life also deserve to win it a largeraudience. My own interest in the novel lies in its restatement of certainRomantic values at the turn of the nineteenth century. It is thecontention of this essay that Aylwin, by explicitly associating keyaspects of the narrative with Coleridge's visionary poetry,participates in a strategic, late Victorian revival of Romanticism. Ipropose that repetition and reduplication--structural devices that areintegral to the organization, movement, and symbolic and thematic matterof Aylwin--are also part of the novel's larger purpose tocommunicate its transmission and reproduction of a visionaryRomanticism. However, some preliminary words of introduction about Watts-Dunton,his interests, and the circumstances in which he came to write hisextraordinary novel are in order. Walter Theodore Watts (1832-1914), orWatts-Dunton as he became after 1896, first made acquaintance withRossetti and Swinburne through his professional legal expertise. Atrained and skilful solicitor, he handled the sometimes delicate affairsof both men. But it was not merely for his professional tact anddiscretion that he was valued. His passionate love of art andliterature, his lively conversational manner, and his great personalwarmth, loyalty, and generosity were among those qualities that causedSwinburne to describe him as 'closer than a brother' and madeRossetti declare that 'Watts is a hero of friendship'. (2)Rossetti's 'friend of friends' was one of the few peoplewhom the poet continued to see during the last reclusive re��clu��sive?adj.1. Seeking or preferring seclusion or isolation.2. Providing seclusion: a reclusive hut. years of hislife, was the dedicatee ded��i��ca��tee?n.One to whom something, such as a literary work, is dedicated. of Ballads and Sonnets (1881), his last volume,and was among the close friends and family present at his death in April1882. (3) But Watts-Dunton was more than just a friend to poets. Aftersettling in London in the early 1870s, he began to write journalisticarticles on literature and eventually became the leading critic ofpoetry for the Examiner and, from 1876, the Athenaeum ath��e��nae��umalso ath��e��ne��um ?n.1. An institution, such as a literary club or scientific academy, for the promotion of learning.2. A place, such as a library, where printed materials are available for reading. . Robert Browningand the poet and American Minister in London James Russell Lowell James Russell Lowell (b. 22 February 1819, Cambridge, Massachusetts – d. 12 August 1891, Cambridge, Massachusetts) was an American Romantic poet, critic, satirist, diplomat, and abolitionist. Early lifeJames Russell Lowell was the son of the Rev. wereamong his admirers, and Swinburne described him as 'the firstcritic of our time--perhaps the largest-minded and surest-sighted of anyage'. (4) Hyperbole apart, his opinions were generally held in thehighest regard, and he was an influential and supportive figure for manyaspirant young poets and writers. Yet Watts-Dunton's prominence as a critic is now hardlyrecognized, partly owing to owing toprep.Because of; on account of: I couldn't attend, owing to illness.owing toprep → debido a, por causa dethe fact that he failed to bring outcollections of his essays during his heyday. Constant deferral, anxietyabout finalizing and perfecting his work, and a lack of interest inpromoting himself, all contributed to his failure to see book projectscome to fruition. The essay-length entry on 'Poetry' in theninth or 1888 edition of the Encyclopaedia Britannica, and a piecetitled 'The Renascence of Wonder in Poetry', written for the1903 Chambers's Cyclopaedia, were his most admired critical works,but they were not published in book form until 1916, after his death, bywhich time they looked rather dated. (5) In spite of his later involvement in literary matters,Watts-Dunton's initial education had been in the sciences, andnatural history remained a lifelong preoccupation. Natural beauty had amystical, quasi-religious significance for him, which he celebrated inhis own creative writing, most of which at that point was known only tohis immediate circle of friends. Nature stimulated another passion, hisintense interest in British gypsy life and culture, and this again wasconspicuous in his creative work. In 1897 he published a long-awaitedand well-received collection of poems The Coming of Love, the contentsof which had appeared piecemeal in the Athenaeum from 1882 onwards. Themost important poems in this collection tell the story of a youngupper-class poet and sailor, Percy Aylwin, and his love for a gypsygirl For other meanings see Gypsy Girl (disambiguation). Gypsy Girl was a TV series that ran on CITV in early 2001. It centred around a titular gypsy girl and her gypsy family, who lived in a typical gypsy caravan on the corner of a typical suburban , Rhona Boswell. Thwarted by his family, Percy is temporarilyseparated from Rhona, but the couple are eventually married. When Rhonais murdered, the anguished Percy retreats to live alone in the Alps,where he experiences mystical visions and, finally, a consoling dream ofhis lost love. The following year, 1898, saw the appearance of what the writerRupert Croft-Cooke has called 'that curious, so nearly splendidbest-selling novel Aylwin', which Watts-Dunton had been working onfor over twenty-five years. (6) His biographers Thomas Hake hake:see cod. hakeAny of several large marine fishes (genus Merluccius) usually considered part of the cod family. Hakes are elongated, large-headed fishes with large, sharp teeth, two dorsal fins (one notched), and a notched anal fin. and ArthurCompton-Rickett relate that he read versions of the first few chaptersto Gordon Hake and his sons in 1872. (7) Proofs were set up andcorrected in 1885 and were evidently circulated amongWatts-Dunton's friends and associates, but he found it impossibleto let go and kept revising and adding to the novel for another thirteenyears. (8) Croft-Cooke's qualification 'so nearlysplendid' is probably prompted by the commonly held belief that thenovel is overlong o��ver��long?adj.Excessively long: an overlong play.adv.For too long: talked overlong.and would have been better if cut by a third, a viewstrongly supported by Hake and Compton-Rickett (i, 308, 312). Aylwin, a prequel pre��quel?n.A literary, dramatic, or cinematic work whose narrative takes place before that of a preexisting work or a sequel.[pre- + (se)quel.] or parallel narrative to The Coming of Love,tells the story of Henry Aylwin of Raxton Hall, Percy's cousin, theson of a famous family and 'heir of one of the largest landownersin England', who falls in love with his childhood sweetheart,Winifred Wynne, the daughter of the local church organist and custodian.(9) Brought up since infancy by her aunt in Wales Wales,Welsh Cymru, western peninsula and political division (principality) of Great Britain (1991 pop. 2,798,200), 8,016 sq mi (20,761 sq km), west of England; politically united with England since 1536. The capital is Cardiff. , Winifred comes tovisit her alcoholic father every year and begins a friendship with Henrythat ripens into love. Henry's mother, mindful of her son'sstatus, does not approve, and after a succession of tragic events thecouple are separated, Winifred disappears, and Henry starts a long andfrustrating search to find her, aided by his close friend, a young gypsywoman, Sinfi Lovell. Both The Coming of Love and Aylwin illustrate, inWatts-Dunton's own words, 'love's warfare withdeath', and were written to show 'how terribly despair becomesintensified when a man has lost--or thinks he has lost--a woman whoselove was the only light of his world' (pp. xviii, xix). Aylwin became the publishing sensation of 1898. Brought out inOctober, it had gone into nine editions by December and was deemed by G.P. Gooch in The Annals of Politics and Culture, 1492-1899 to be firstamong the three most important books published that year. (10) It wasreviewed admiringly in Britain and on the continent and there were manyrequests for its translation, although Watts-Dunton again hung fire,doubting that the translators possessed the necessary fluency. (11)Those parts of the north Norfolk North Norfolk is a local government district in Norfolk, England. Its council is based in Cromer. HistoryThe district was formed on April 1, 1974, under the Local Government Act 1972. coast and North Wales North Wales (known in some archaic texts as Northgalis) is the northernmost unofficial region of Wales, bordered to the south by Mid Wales and to the east by England. where a largepart of the action of the novel is set were immediately claimed by theirinhabitants :This article is about the video game. For Inhabitants of housing, see Residency Inhabitants is an independently developed commercial puzzle game created by S+F Software. DetailsThe game is based loosely on the concepts from SameGame. as 'Aylwin-land'. 'I wonder', commentedthe poet William Sharp William Sharp might be William Sharp (1749–1824) the English engraver William Sharp (1803–1875) the English painter and printmaker William Sharp (1855–1905) the Scottish author and poet, pseudonym Fiona MacLeod William Sharp composer , 'if any other first romance has ever had soswift and so great a success.' (12) Why was the novel so popular? It is likely that the non-sectarian,generalized and positive religious message of the book, attesting thespiritual power of nature, life beyond the grave, and a love that defiesdeath, appealed to a large number of readers who may no longer have feltable to believe in orthodox Christianity The term Orthodox Christianity may refer to: The Oriental Orthodox Churches: the Eastern Christian churches adhering to the teachings of only the first three Ecumenical Councils (plus the Second Council of Ephesus). . This religious element isskilfully and sensitively handled, being, in the words of one reviewer,'felt rather than seen, [...] not so much an assertion as anunmistakeable presence'. (13) The supernaturalism su��per��nat��u��ral��ism?n.1. The quality of being supernatural.2. Belief in a supernatural agency that intervenes in the course of natural laws. ofAylwin--another attraction--is deftly handled, so that thediscriminating reader, on careful examination, can see much, if not all,of it as the work of unconscious suggestion in the minds of thecharacters. Oddly, such a discovery does not seem to diminish thenovel's power, in that in its own way a psychologically determinedsupernaturalism is made to seem just as marvellous. Other allurementsinclude the romance of star-crossed lovers who succeed against the odds,an excitingly sensationalistic sen��sa��tion��al��ism?n.1. a. The use of sensational matter or methods, especially in writing, journalism, or politics.b. Sensational subject matter.c. Interest in or the effect of such subject matter. plot, a cast of interesting,idiosyncratic id��i��o��syn��cra��sy?n. pl. id��i��o��syn��cra��sies1. A structural or behavioral characteristic peculiar to an individual or group.2. A physiological or temperamental peculiarity.3. characters (some of whom, it seemed, might be based onreal-life personages), and curiosities such as gypsy beliefs and customsand French mesmeric mes��mer��ism?n.1. A strong or spellbinding appeal; fascination.2. Hypnotic induction believed to involve animal magnetism.3. Hypnotism.[After Franz Mesmer. therapy. A review in the Athenaeum speaks of the novel's strong pull onits readers' sympathy and identification. Somehow mergingWatts-Dunton with his narrator NARRATOR. A pleader who draws narrs serviens narrator, a sergeant at law. Fleta, 1. 2, c. 37. Obsolete. Henry Aylwin--an interesting conflation (database) conflation - Combining or blending of two or more versions of a text; confusion or mixing up. Conflation algorithms are used in databases. ,as Henry is undoubtedly part-based on his author--the reviewer remarkshow Watts-Dunton's readers 'identify themselves, to an almostpainful degree, both with him and with his creations'. (14)Certainly, the affective experience of reading Aylwin is powerful.Henry's passionate despair at losing his lover, and his sensationthat she is always just beyond his reach become in the second half ofthe novel a kind of frustrated delirium deliriumCondition of disorientation, confused thinking, and rapid alternation between mental states. The patient is restless, cannot concentrate, and undergoes emotional changes (e.g., anxiety, apathy, euphoria), sometimes with hallucinations. ; and readers, through theircontinued involvement with his feverishly intense point of view, maybegin to feel oddly disorientated and destabilized as they experiencethe peculiarly heightened, almost hallucinatory hal��lu��ci��na��to��ryadj.1. Of or characterized by hallucination.2. Inducing or causing hallucination. , unfolding of thenarrative. It now seems appropriate to say something about the novel'sRomantic origins and influences and to indicate how these help determineand strengthen its structure of repetition and transference TRANSFERENCE, Scotch law. The name of an action by which a suit, which was pending at the time the parties died, is transferred from the deceased to his representatives, in the same condition in which it stood formerly. . In histreatment of nature and the imagination Watts-Dunton is influenced bythe Romantic poets, in particular Coleridge, whom he called 'thegreat lord of romance' and whose 'Christabel','Ancient Mariner', and 'Kubla Khan' he rated as thesupreme works of 'the romantic spirit'. (15) Thesupernaturalism that marks these poems permeates Watts-Dunton'snovel, as do other Coleridgean devices such as curses and states ofenthralment that demand that individuals compulsively act out or repeatspecific behavioural scripts. Coleridge's Ancient Mariner Ancient Marinercursed by the crew because his slaying of the albatross is causing their deaths. [Br. Poetry: Coleridge The Rime of the Ancient Mariner]See : CurseAncient Marinertelling his tale is penance for his guilt. [Br. , doomedby a curse for shooting the albatross, has to work out his salvation andthen finds himself periodically compelled to repeat his story by way ofatonement. Enchanted en��chant?tr.v. en��chant��ed, en��chant��ing, en��chants1. To cast a spell over; bewitch.2. To attract and delight; entrance. See Synonyms at charm. by Geraldine, Christabel finds herself forced tomimic the daemonic dae��mon��ic?adj.Variant of demonic. woman's look of hate, while Edward, Mary, andEllen in Coleridge's unfinished poem 'The ThreeGraves'--a poem that, like 'Christabel', is directlymentioned in Aylwin (p. 89)--are traumatized by, and thus cannot helpthemselves fulfilling, the curse of Mary's wicked mother. In his'Preface' to this poem Coleridge said that the subject matterinterested him as 'a stunning proof of the possible effect of theimagination, from an idea violently and suddenly impressed'. (16) Ideas suddenly or violently impressed on the imagination and thetendency to repeat or duplicate them, a tendency characteristic ofobsession or trauma, are, as we shall see, defining features of Aylwin.Repetition is present from the beginning of the novel, whose openingparagraph is a quotation taken from a spiritualist spir��i��tu��al��ism?n.1. a. The belief that the dead communicate with the living, as through a medium.b. The practices or doctrines of those holding such a belief.2. text named The VeiledQueen, (17) itself the product of obsessive mourning for a lost love.This text, the work of Henry's father, Philip Aylwin, and inspiredby the bereavement BereavementDefinitionBereavement refers to the period of mourning and grief following the death of a beloved person or animal. The English word bereavement of his first wife, acts as the novel's strangeshadow-self. Henry, a rationalist and Darwinian, is initially scepticalof his father's beliefs, but after enduring, like his father, theloss of the woman he loves, gradually comes into sympathy with hisviews. Philip Aylwin's 'Veiled Queen' is the mysticalspirit of nature whose true aspect and body are but glimpsed through thematerial veil, yet she is also the spirit of the lost woman seen throughthe veil of mortality. The text The Veiled Queen thus acts as a primerof belief and a script that Henry comes to repeat or follow; presentedas the philosophical message of the novel, it is a book within a book, apartly buried or veiled subtext sub��text?n.1. The implicit meaning or theme of a literary text.2. The underlying personality of a dramatic character as implied or indicated by a script or text and interpreted by an actor in performance. that comes to double with the novelitself. Watts-Dunton opens his 'Preface' to the World'sClassics edition of the novel with the statement that 'Theheart-thought of the book [is] the peculiar doctrine in PhilipAylwin's The Veiled Queen, and the effect upon it, upon thefortunes of the hero and the other characters' (p. xi). It should be noted that this gradual replication in Henry of hisfather's views is prompted, in good Coleridgean style, by thepressure of a curse, also emanating from his father. The action of thenovel stems from a precious Gnostic jewelled cross that carries a curse.Henry's father Philip Aylwin, a mystic, is devoted to the memory ofhis first wife, with whom he believes himself to be in directcommunication. Before his death he shows Henry, his son by his secondmarriage, the cross he gave his first wife as an engagement present andwhich he always wears in memory of her. He makes Henry promise to burythe cross with him when he dies and places a curse on whoever mightattempt to steal it--a curse that would also descend on the thief's children, who would be forced to live as vagabonds and beg theirbread. The cross, inevitably, is stolen, and by none other than thefather of Henry's sweetheart, Tom Wynne, who dies in a landslip land��slip?n.See landslide.Noun 1. landslip - a slide of a large mass of dirt and rock down a mountain or clifflandslideslide - (geology) the descent of a large mass of earth or rocks or snow etc. almost immediately afterwards and whose shattered corpse, bearing thecross, is later discovered by his horrified hor��ri��fy?tr.v. hor��ri��fied, hor��ri��fy��ing, hor��ri��fies1. To cause to feel horror. See Synonyms at dismay.2. To cause unpleasant surprise to; shock. daughter. Henry, knowing Tomwas the thief, has feared for Winifred's discovery of herfather's crime: 'Her sweet soul would pine under the blazingfire of a curse real or imaginary; her life would be henceforth but abitter penance. Like the girl in Coleridge's poem of "TheThree Graves", her very flesh would waste before the fires of herimagination' (p. 89). The hideous shock of the actual discovery,'an idea violently and suddenly impressed' on the imaginationof the suggestible sug��gest��i��bleadj.Readily influenced by suggestion. Winifred, traumatizes the girl and eventually causesher to take flight in madness. Winifred's implicit belief in thetransmission of the curse from father to child, which effectivelyincriminates her, also thus entangles Henry in the action of the curse,finally rendering him responsive to the transmission of hisfather's spiritual legacy. While Coleridge's poems act as a structuring influence onAylwin, a more immediate but complementary influence is the sensationnovelist Wilkie Collins, and principally his two best novels. (18) Ifthe cursed jewelled cross recalls the cursed diamond of Collins'sThe Moonstone moonstone,an orthoclase feldspar, found in Sri Lanka, Myanmar, and Madagascar (and formerly in the St. Gotthard district of Switzerland). In spite of its pronounced cleavage, it is widely used as a gem. (1868), Sinfi Lovell, the resourceful young gypsy womanwho helps Henry search for Winifred and is clearly in love with him,recalls the courageous Marian Halcombe in The Woman in White (1860),who, though drawn to the hero Walter Hartwright, helps him recover hisbeloved, Laura Fairlie--another woman, like Winifred, whose fate seemsto hover between death and madness. Having been friends with Winifredfrom childhood, Sinfi regards her as a sister and feels bound to helpher, just as Marian Halcombe, the half-sister of Laura, makes herwelfare paramount. While Winifred is considerably more attractive thanthe insipid Laura, Sinfi, like Marian, will be seen by most readers asthe real heroine of the novel. Watts-Dunton's treatment of her isdistinct and original. Her gypsy background means that he can dispensewith all the proprieties that usually attend on the portrayal ofVictorian heroines. Fiercely independent, strong-minded, and forcefullyspoken, Sinfi is a tall, powerful, handsome woman, a talented musician,skilled in gypsy lore, who drinks ale, smokes a pipe, and is capable ofdecking a man in a fight. Henry's cousin Cyril, a bohemian artist,calls her 'The finest girl in England' (p. 218), and hisadmiration was shared by many of the novel's readers, includingSwinburne, Ford Madox Brown Ford Madox Brown (April 16, 1821 – October 6, 1893) was an English painter of moral and historical subjects, notable for his distinctively graphic and often Hogarthian version of the Pre-Raphaelite style. , and George Meredith, who professed himselfin love with her. (19) Although Henry, wholly absorbed by his obsession with Winifred, isquite unaware of Sinfi's feelings for him, he has a strong affinitywith her and adapts easily to gypsy life while carrying out his search.The narrative has prepared for this affinity and adaptation byindicating another kind of genealogical transmission. It is explainedearlier that Henry's paternal great-grandfather had married FenellaStanley, a 'famous Gypsy beauty' (p. 33) and seeress seer��ess?n.A woman who acts as a prophet or clairvoyant. , whoseportrait, painted by Reynolds (p. 256), hangs in the picture gallery atRaxton Hall, and whose papers and diaries show her to be what Henrycalls 'the very embodiment of the wildest Romany beliefs andsuperstitions' (p. 34). This gypsy ancestry, visible inHenry's dark complexion, can be seen to condition his love ofnature and the outdoor life, and, although his rationalism makes himinitially unsympathetic to any mystical beliefs, this prejudice willgradually give way during the course of the narrative. It is alsoexplained that Fenella Stanley had previously been married to a gypsynamed Lovell, who had died after she had a child by him. Fenella is thusSinfi's great-grandmother too (p. 250), making Henry and Sinfiblood relatives and increasing the bond between them. When Henryrevisits the picture of Fenella Stanley, whom Reynolds has portrayed asa sybil, he notices 'The likeness to Sinfi was striking' (p.256). Like Fenella, Sinfi has various psychic gifts and abeliever's respect for the curse, and urges the sceptical Henry toreplace the cross, recovered from Tom Wynne's body, in hisfather's tomb. When he views Fenella's portrait, he observeshow 'The face seemed to pass into my very being and Sinfi'svoice kept singing in my ears, "Fenella Stanley's dead anddust, and that's why she can make you put that cross in yourfeyther's tomb, and she will, she will"' (p. 256).Finally bowing to Sinfi's advice, he is fearful on opening thecoffin lest he find his father's face distorted by the curse: I looked into the coffin. The face (which had been left by theembalmer em��balm?tr.v. em��balmed, em��balm��ing, em��balms1. To treat (a corpse) with preservatives in order to prevent decay.2. exposed) confronted mine. 'Fenella Stanley!' I cried,for the great transfigurer Death had written upon my father's browthat self-same message which the passions of a thousand Romany ancestorshad set on the face of her whose portrait hung in the picture-gallery.(p. 284) In an important review of the novel the Revd Robertson Nichollnoted that 'One point will specially strike the reader of"Aylwin"--the influence of heredity heredity,transmission from generation to generation through the process of reproduction in plants and animals of factors which cause the offspring to resemble their parents. That like begets like has been a maxim since ancient times. which, since the vogue ofIbsen's dramas, has permeated imaginative literature'. (20)Like many of the sensation novels that predate it and like morecontemporary novels such as Hardy's Tess of the d'Urbervilles Tess of the D’Urbervillesbeautiful country girl. [Br. Lit.: Tess of the D’Urbervilles]See : Beauty, Rustic (1891), Aylwin shows a fascination with genealogy, with the unveiling ofhidden family relations, and with family characteristics, likenesses,beliefs, and burdens passed from one generation to another. Henry laterreflects on the 'prepotency of transmission in descent' (p.474), and the legacy of Fenella Stanley's blood that he shares withSinfi. Elsewhere, pondering the curse that she believes to be all thestronger because it is a paternal curse, Sinfi sagely observes of theoedipal oed��i��palor Oed��i��paladj.Of or characteristic of the Oedipus complex. legacy: '"There's no one can't hurt you andthem you're fond on as your own breed can. As my poor mammy used tosay, 'For good or for ill you must dig deep to bury yourdaddy'"' (p. 159). Aylwin also shares with Coleridge's writings andCollins's novels a profound interest in mental strain and hysteria.As in The Moonstone, there is something contagious about heightenedemotions and hysteria that are communicated like electric shocks betweenthe lead characters. While The Moonstone starts off by attributinghysteria to its female characters but then finds it is a displacedeffect of male unconsciousness, mutability mu��ta��ble?adj.1. a. Capable of or subject to change or alteration.b. Prone to frequent change; inconstant: mutable weather patterns.2. , and irrationality, key malecharacters in Aylwin such as Henry, his father Philip Aylwin, and theartists Wilderspin and D'Arcy, whom we meet later in the novel, areimmediately shown as emotionally susceptible and prone to nervousdisturbance. Each man suffers because of the loss of a beloved woman,with that loss defining his character and subsequent actions. In eachcase the bereaved man will turn to mystical belief to allay his grief,(21) while the mourning process has the effect of softening him, evenfeminizing him. Henry himself speaks of 'the unmanning effect ofthe sorrowful sor��row��ful?adj.Affected with, marked by, causing, or expressing sorrow. See Synonyms at sad.sorrow��ful��ly adv. brooding' (p. 381), and in his case grief brings outa stronger resemblance to his lost love. The close identity between the unstrung Winifred Wynne and heranguished lover Aylwin is immediately signalled in the similarity orpartial twinning partial twinningA group of rare congenital anomalies of cloacally-derived structures–eg, focal doubling of the GI tract at Meckel's diverticulum, extending to anus, doubling of bladder, vagina, penis, sacrum, or lumbar vertebrae of their names. The young Henry suffers a temporarylameness, and the vulnerability and greater sensitivity that he developsas a result of this disability evidently deepens Winifred'sattraction to him. As he notes, 'She loved me because I was lame!Those who say that physical infirmity Flaw, defect, or weakness.In a legal sense, the term infirmity is used to mean any imperfection that renders a particular transaction void or incomplete. For example, if a deed drawn up to transfer ownership of land contains an erroneous description of it, an does not feminise Verb 1. feminise - assume (more) feminine characteristics; "feminized language"; "feminized frogs"feminizechange - undergo a change; become different in essence; losing one's or its original nature; "She changed completely as she grew older"; "The weather the characterhave not had my experience' (p. 27). Henry later recovers from hislameness, and, when the couple first meet again as adults and rekindle re��kin��dle?tr.v. re��kin��dled, re��kin��dling, re��kin��dles1. To relight (a fire).2. To revive or renew: rekindled an old interest in the sciences. their love for each other, Winifred admits she misses 'the pathosand yearning' of his voice and gaze (p. 74). Yet, although theadult Henry is a strong, vigorous man, readers do not really experiencehim as such because for the greater part of the narrative, while he isvainly searching for Winifred, his highly wrought mental state seemsakin to the mania that afflicts her. Thus mental rather than physicalinfirmity refeminizes Henry and restores his former look of 'pathosand yearning'. Moreover, his frantic pursuit of Winifred, hishaunting of the places frequented by her, his ever-present consciousnessof what she might be suffering--'"Oh Sinfi", I said,[...] "she is starving--starving on the hills--while millions ofpeople are eating, gorging, wasting food. I shall go mad!"'(p. 172)--means that he experiences the curse just as much as she does,becoming through sympathetic identification a kind of version of her.The epipsyche or 'reflecting beloved' of visionary Romanticpoetry, best defined in Shelley's essay 'On Love' and hispoem Epipsychidion (1821), is typically a woman who mirrors back to hermale lover the best or purified aspects of himself; but inWatts-Dunton's version of this figure it is the woman who exactsfrom the man a mimicry mimicry,in biology, the advantageous resemblance of one species to another, often unrelated, species or to a feature of its own environment. (When the latter results from pigmentation it is classed as protective coloration. , repetition, or emulation of herself. (22) This pattern has been played out before by Henry's father.Earlier we learn that Philip Aylwin, who helplessly watched his firstbeloved wife drown before his eyes, manifests in his bereavement anobsession with his dead partner: 'He was a monomaniac mon��o��ma��ni��a?n.1. Pathological obsession with one idea or subject.2. Intent concentration on or exaggerated enthusiasm for a single subject or idea. , and all histhoughts in some way clustered around the dominant one' (p. 48).This obsession develops into a form of mimicry. He wears the jewelledcross he gave his wife as a betrothal gift on a cord made of her hair(p. 47), and studies amulets 'because the "MoonlightCross" had been cherished by her' (p. 48). Although previouslyuninterested in books, he becomes a savant sa��vant?n.1. A learned person; a scholar.2. An idiot savant.[French, learned, savant, from Old French, present participle of savoir, to know through emulating her love ofreading and study (p. 36), takes up brass rubbing brass rubbingNounan impression of an engraved brass tablet made by rubbing a paper placed over it with heelball or chalk because it was one ofher hobbies (p. 48), and travels to Switzerland annually 'torevisit the old spots made sacred to him by reminiscences of hisromantic love' (p. 37). Finally he becomes a mystic, joins a sectfounded by Lavater, and believes himself to be in direct communicationwith his dead wife's spirit (p. 38). His curse allows the sameparadigm of mimicry to be repeated in Henry and Winifred, with Henrydoubling as versions of both his father and his own beloved. At aturning point in the novel Henry, remembering his father's words'"Should you ever come to love as I have loved, you will findthat materialism is intolerable--is hell itself--to the heart that hasknown a passion like mine"' (p. 276), falls into a wakingdream. On coming to, he is taken aback: I gave a start of horror, and cried, 'Whose face?'Opposite to me there seemed to be sitting the figure of a man with afiery cross fiery crossused as symbolic threat by Ku Klux Klan. [Am. Hist.: Jobes, 387]See : Bigotryfiery crosstraditional Highlands call to arms. [Scot. Hist.: Brewer Note-Book, 324–325]See : Warning upon his breast. That strange wild light upon the face, asif the pains of the heart were flickering up through the flesh--wherehad I seen it? (p. 276) Momentarily he recalls his father showing him the jewelled cross,but then realizes that he has been looking at his own reflection in themirror. In such ways the theme of doubling and reduplication reduplication/re��du��pli��ca��tion/ (re?doo-pli-ka��shun)1. a doubling back.2. the recurrence of paroxysms of a double type.3. duplication (3). , present inkey poems by Coleridge, the Romantic epipsyche, and novels such asCollins's The Woman in White, is replayed in Aylwin's uncannyand elaborate structure of mimicry, repetition, and transference. One of the principal ways in which the novel dramatizes repetitionis through the power of looking and the gaze. From the very start of thenovel the young Henry is described as enthralled en��thrall?tr.v. en��thralled, en��thrall��ing, en��thralls1. To hold spellbound; captivate: The magic show enthralled the audience.2. To enslave. by Winfred's'quivering, glittering, changeful eyes'--'yet it was nother beauty perhaps, so much as the look she gave me, that fascinated me,melted me' (p. 8). Those glittering eyes recall Coleridge'sAncient Mariner, who fixes the Wedding-Guest with his 'glitteringeye', and Geraldine in 'Christabel', whose eyes''gan glitter bright'. The young Winifred is repeatedlydescribed as an object of 'wonder' (p. 12), irresistible (p.15), 'bewitching' (p. 16), absorbing (p. 17), and'fascinating' (p. 24). The boy Henry is the object ofWinifred's own beguiled be��guile?tr.v. be��guiled, be��guil��ing, be��guiles1. To deceive by guile; delude. See Synonyms at deceive.2. gaze. She admires what she calls his'love-eyes' (p. 26) and, when adult, misses '"theexpression in your eyes which won me as a child"'. AlthoughWinifred remarks '"That expression [...] will [...] neverreturn to you now"' (p. 74), it is precisely that saddenedwistful look that will characterize the bereft Henry Aylwin, as Winifredinadvertently makes him reproduce the look she longs for. However, there are other looks that are much more formidable. Earlyon, Henry's disapproving mother, coming across the lovers in thechurchyard, directs a baleful glare of hatred at Winifred that bringsterror to her eyes (p. 57). But even more powerful is the traumatic lookof horror that is passed from one character to another. This look isfirst transferred from the corpse of Tom Wynne to his daughter Winifred.In spite of Henry's attempts to prevent her seeing herfather's body, Winifred finds the corpse on Raxton Sands, standingin the fallen earth, 'Bolt upright [...], staring with horriblydistorted features, as in terror, the crown of the head smashed by afallen gravestone' (p. 104). She is discovered squatting in frontof the body, 'and on her face was reflected and mimicked, in themost astonishing a��ston��ish?tr.v. as��ton��ished, as��ton��ish��ing, as��ton��ish��esTo fill with sudden wonder or amazement. See Synonyms at surprise. way, the horrible expression on the face of the corpse,while the fingers of her right hand were [...] closely locked round thecross' (p. 130). Winifred suffers an hysterical attack, which thephysician Dr Mivart, a man who has studied with the famous clinicalneurologist Jean-Martin Charcot Jean-Martin Charcot (29 November 1825 – 16 August 1893) was a French neurologist and professor of anatomical pathology. His work greatly impacted the developing fields of neurology and psychology. He was nicknamed "the Napoleon of the neuroses". at the Salpetriere Institute in Paris,describes as 'a seizure brought on by terror in which thesubject's countenance mimics the appearance of the terrible objectthat has caused it' (p. 129). (23) As Henry tries to track downWinifred in Wales, he is haunted by her eyes, whose expressionfluctuates between this appalled and 'appalling' (p. 153) lookof trauma and a state of innocent dreamy unconscious trance that herefers to as 'the witchery of the gaze!' (p. 164). On the twooccasions he manages to encounter her (pp. 150-54, 163-69), herentranced dream state is broken by recollections from the past,'the awful mimicry of her father's expression spread over herface' (p. 169), and, terrified ter��ri��fy?tr.v. ter��ri��fied, ter��ri��fy��ing, ter��ri��fies1. To fill with terror; make deeply afraid. See Synonyms at frighten.2. To menace or threaten; intimidate. , she flees so swiftly that Henry isunable to stay her. During her subsequent amnesiac am��ne��si��acn.One who is afflicted with amnesia.amnesiac (amnē´zēak),n a person affected by amnesia. wanderings Winifred is found andlooked after by Mrs Gudgeon, a working-class woman who takes her toLondon and later brings her to pose for a Pre-Raphaelite painter calledWilderspin, a spiritual follower of Henry's father, Philip Aylwin.Wilderspin, who lost his beloved mother when he was a child and paintsonly women, sees Winifred as the perfect face he has been searching for,and believes she has been sent by his mother to be the subject of hismasterwork mas��ter��work?n.See masterpiece. . He paints Winifred as Aylwin's 'VeiledQueen', and the resulting picture, 'Faith and Love',becomes famous throughout London. Yet, strangely, Winifred has alreadytaken this role before, when, as a child, the young Henry persuaded herto pose for a photograph on Raxton Sands wearing a crown of sea-flowersand draped drape?v. draped, drap��ing, drapesv.tr.1. To cover, dress, or hang with or as if with cloth in loose folds: draped the coffin with a flag; a robe that draped her figure. in a long white veil of his mother's. Henry'sfather, charmed by the image, adorns the title-page of the third editionof his book The Veiled Queen with a woodcut woodcutDesign printed from a plank of wood incised parallel to the vertical axis of the wood's grain. One of the oldest methods of making prints, it was used in China to decorate textiles from the 5th century. based on this photograph (p.39), an association that eerily prefigures the identity Winifred willassume when she is lost and presumed dead; and Henry himself, followingin his father's footsteps, will come to see her as 'the VeiledQueen'. We learn that it is the title-page woodcut that firstenticed Wilderspin to buy Philip Aylwin's book, by means of whichhe became a mystic. His instinctive decision that Winifred should be hismodel for his painting is thus already determined by an unconscioussuggestion that makes him replicate the original woodcut more preciselythan he realizes. Having first encountered Wilderspin in Wales, Henry meets him laterin London and finds out that he has also painted his mother'sportrait. He accompanies his mother to Wilderspin's studio to view'Faith and Love', the famous painting of his father's'Veiled Queen', recognizes Winifred as the subject, andfrantically questions Wilderspin about her. Wilderspin, who had notrealized that his model was the same person as Henry's lost love,relates how he found the girl selling matches, tracked her to herlodgings, and asked the working-class woman he presumed to be her motherif her daughter could model for him. In her daily life as match-girl andmodel Winifred bears the dreamy, entranced look that makes herWilderspin's ideal subject, but the painter tells how she suffereda seizure when she came across the portrait of Henry's mother thathe was working on in his studio: 'Her face became suddenlydistorted by an expression of terror such as I have never seen and neverimagined possible. [...] She revived and tried to run out of the studio.Her mother and I seized her, and then she fell down insensible' (p.302). The look of terror that the girl has on her face inspiresWilderspin to paint another picture of her as Coleridge'sChristabel, and he unconsciously uses Henry's mother as model forGeraldine (p. 306), the enchantress who causes such terror. On viewing,with her son, Wilderspin's painting of 'The Lady Geraldine andChristabel', Henry's mother, who has remained unsympathetic tohis sufferings, swoons away at the recognition or reflection of herselfand her own cruelty (p. 306). As mentioned earlier, 'Christabel' is centred on atransferred or transmitted look. Christabel, in thrall to Geraldine,'by forced unconscious sympathy' is induced to replicate herlook of hatred and so alienate her father: I know not how, in fearful wise, So deeply had she drunken in That look, those shrunken serpent eyes, That all her features were resigned To this sole image in her mind: And passively did imitate That look of dull and treacherous hate (24) However, as we have seen, Winifred imitates her father'spetrified pet��ri��fy?v. pet��ri��fied, pet��ri��fy��ing, pet��ri��fiesv.tr.1. To convert (wood or other organic matter) into a stony replica by petrifaction.2. expression rather than that of Mrs Wynne's hatred,although it is the recollection of Mrs Wynne's baleful glare thattriggers her traumatized recall of her former life, her father'ssin and his death, apparently the result of the curse. Thus looks inAylwin always carry within them and reduplicate re��du��pli��cate?v. re��du��pli��cat��ed, re��du��pli��cat��ing, re��du��pli��catesv.tr.1. To repeat over and again; redouble.2. Linguisticsa. the memories of otherlooks, carry the condensed con��dense?v. con��densed, con��dens��ing, con��dens��esv.tr.1. To reduce the volume or compass of.2. To make more concise; abridge or shorten.3. Physicsa. histories of tangled family romances. Wilderspin's painting depicts the scene from'Christabel' in which the daemonic Geraldine undresses inChristabel's chamber, revealing, it is hinted, some terrible sightto the innocent maiden: Her silken robe, and inner vest, Dropped to her feet, and full in view Behold! Her bosom and half her side-- A sight to dream of, not to tell! O shield her! shield sweet Christabel. (25) In trying to account for his model's horror, Wilderspinunconsciously recreates an analogue for the unspeakable locus of trauma:'A sight to dream of, not to tell!'. The Coleridgean pictureat the heart of the novel depicts Winifred's temporary traumaticrecovery of memory, but it is also a painful recognition scene for Henryand his mother, a scene that will prompt Mrs Wynne to remorse andrepentance for her treatment of Winifred. At the time of the latter stages of the novel's composition,Freud, exploring the treatment of hysteria, was developingpsychoanalysis or 'the talking cure', in which patientsexplored the root causes of their psychically determined physicalsymptoms in a specially directed dialogue with their physician. Patientswere explicitly invited to revisit the psychical origins of a possibletrauma, which they were encouraged to 'tell'. In Aylwin,however, Winifred's friends and allies feel that in order to cureher she must 'forget' and so obliterate o��blit��er��atev.1. To remove an organ or another body part completely, as by surgery, disease, or radiation.2. To blot out, especially through filling of a natural space by fibrosis or inflammation. the cause of hertrauma; it must not be 'told'. Indeed the techniques used forher treatment are those immediately predating Freud's and draw onmesmeric practices involving magnets. We know from a Postscript to the novel added by Watts-Duntonhimself that the practices described in the novel, however seeminglystrange or incredible, were derived from accounts of psychologicalexperiments undertaken in France during the late 1880s. Watts-Duntonquotes from an article in the Quarterly Review for July 1890, which,when examined in full, turns out to be a detailed, unsigned reviewarticle of six of the latest French academic texts on mesmerism andhypnotism hypnotism(hĭp`nətĭzəm)[Gr.,=putting to sleep], to induce an altered state of consciousness characterized by deep relaxation and heightened suggestibility. published between 1888 and 1890. (26) In the novel we are toldthat Winifred's treatment is based on a series of magneticexperiments made by a friend of Dr Mivart's, a French medical mancalled Marini at the Salpetriere Hospital in Paris. Mivart, explainingthese procedures, reads out an account taken from the British newspaperthe Daily Telegraph (p. 464), a report that Watts-Dunton, in his'Postscript', claims to be an authentic source with only thenames changed (p. 488). A footnote explains that the experiments were'mostly effected by M. Babinski of the Salpetriere. They excitedgreat attention in Paris' (p. 465). So what are the mesmeric or magnetic means of Winifred's cure?True to the novel's own logic, if Winifred gained her agonized ag��o��nize?v. ag��o��nized, ag��o��niz��ing, ag��o��niz��esv.intr.1. To suffer extreme pain or great anguish.2. To make a great effort; struggle.v.tr. looks from mimicking someone else, then she can be cured by passing themto another party who mimics her. Her hysterical symptoms are transferredby the aid of a magnet to a much stronger patient who has been placed ina hypnotic trance Noun 1. hypnotic trance - a trance induced by the use of hypnosis; the person accepts the suggestions of the hypnotisttrance - a state of mind in which consciousness is fragile and voluntary action is poor or missing; a state resembling deep sleep and who, it is understood, will experience thetransferred symptoms only temporarily, although there is a risk if shehas a strong imagination. That patient is Sinfi Lovell, who volunteersto undergo magnetic transmission when she learns that Winifred'sseizures are increasing in strength and liable to become fatal. Sinfiundertakes the experiment, believing that she is transferring the cursefrom Winifred to herself. A witness reports that the seizure was transmitted in a way that was positivelyuncanny--she passed into a paroxysm paroxysm/par��ox��ysm/ (par��ok-sizm)1. a sudden recurrence or intensification of symptoms.2. a spasm or seizure.paroxys��malpar��ox��ysmn.1. so severe that Mivart was seriouslyalarmed for her. Her face assumed the same expression of terror which Ihad seen on Miss Wynne's face, and she uttered the cry'Father!' and then fell back into a state of rigidity. (p.468) Possessing a strong and fertile imagination, Sinfi is painfullyafflicted af��flict?tr.v. af��flict��ed, af��flict��ing, af��flictsTo inflict grievous physical or mental suffering on.[Middle English afflighten, from afflight, and takes a long time to recover, and when she re-encountersHenry, who has not been party to the magnetic transmission, he startlesher by approaching her from behind, prompting a fit that exactlyreplicates Winifred's seizures (p. 393). Astonished a��ston��ish?tr.v. as��ton��ished, as��ton��ish��ing, as��ton��ish��esTo fill with sudden wonder or amazement. See Synonyms at surprise. , Henry decidesthat 'Long brooding over Winnie's dreadful fate had unhingedher mind' and tells her '"You are suffering throughsympathy, Sinfi"' (p. 393), which is, after a fashion, true inthat the magnetic transmission or transference of symptoms represents anoddly literalized or physicalized form of sympathy. Sinfi, Henry'sclosest sympathizer, his own kin, and a dear friend of hisbeloved's, finally gives him back his lost lover by temporarilytaking on her trauma. Winifred makes a full recovery and is able torecall all the events prior to finding her father's corpse, but shehas no memory of that grisly spectacle or of anything after that event.The interval between her first lapse into madness and her cure is acomplete blank to her, and her friends do not seek to enlighten her. It appears that Watts-Dunton, in his description of Winifred'scure, is drawing on experimental techniques Experimental research designs are used for the controlled testing of causal processes. The general procedure is one or more independent variables are manipulated to determine their effect on a dependent variable. of magnetic transmissiondeveloped by Charcot's student Joseph Babinski, which Babinskidescribed in an influential report of 1886. (27) It was this report thatprompted the Daily Telegraph article which caught Watts-Dunton'sinterest and which I have dated to 12 November 1886. As Anne Harrington,an historian of science, has explained, Babinski conceived the idea of transferring hysterical disorders, not justfrom one side of the body to another, but from one patient to another.By means of magnets, Babinski said, he had caused one hemi-anaestheticpatient, A, to take up the half sensibility of another hemi-anaestheticpatient, B, making A fully sensible and B fully anaesthetic an��aes��thet��ic?adv. & n.Variant of anesthetic.anaestheticor US anestheticNouna substance that causes anaesthesiaAdjectivecausing anaesthesia . Thetransfer had then reversed itself; B taking back not only her ownsensibility but that of A, leaving A now anaesthetic on both sides ofher body. (28) Harrington comments that Babinski 'would eventually repudiate TO REPUDIATE. To repudiate a right is to express in a sufficient manner, a determination not to accept it, when it is offered. 2. He who repudiates a right cannot by that act transfer it to another. his researches in this area, but his 1886 report became and remained aparadigm for a certain branch of the metalloscopy and transferexperimental enterprise that sought to develop the work along lines bestcharacterized as "fluidist" or "bio-metallic"',(29) and she also discusses the work of Jules Bernard Luys Jules Bernard Luys (1828–1897) was a French neurologist who made important contributions to the fields of neuroanatomy and neuropsychiatry.Born in Paris on 17 August 1828 he became a doctor of medicine in 1857 and conducted extensive research on the anatomy, pathology , who directedthe school of hypnotism at the La Charite hospital and claimed in areport of 1888 that 'it was possible to transfer betweenindividuals, not only diseases (as Babinski had done) but also mentalstates. The emotions in question were artificially induced usingmagnets'. (30) The description Harrington provides of Luys'smagnetic experiments concerning physiological and psychological transferbetween individuals, experiments usually conducted on hystericalpatients, bears a strong resemblance to the kind of procedure Mivartapplied to Winifred and Sinfi. Clearly then, Watts-Dunton, as he stated in his Postscript, didbase his notion of Winifred's cure on what he believed to be aninnovative medical procedure. However, the recourse to magnetic therapyis primarily interesting to me not because of its contemporaryresonances (fascinating though those are), but because of the way itbeautifully enacts or dramatizes a pattern of replication that isintegral to the novel as a whole. What the novel calls the'magnetic transmission of the seizure' (p. 220) and'transmission of hysterical symptoms from one patient toanother' (p. 465) has much in common in that other form oftransmission, what Henry elsewhere terms 'prepotency oftransmission in descent' (p. 474), an especially effective bloodlegacy. Genealogy or heredity, a significant theme of the novel, mightwell make us aware that the novel's repetitions are ultimatelydetermined by its genealogical kinship to a certain strain ofRomanticism and its devices. The complex pattern of replication inAylwin that I have sketched only briefly here is itself a replication ofkey structures in Romantic and post-Romantic poetry that I haveidentified elsewhere, whereby certain awesome figures--Medusas, Sapphos,hermaphrodites--have the power to repeat themselves, or reflect ormirror themselves in their beholders. (31) These repetitions typicallyoccur in response to loss, just as in Aylwin the lost woman continuallyrepeats herself in her bereaved mate or impresses herself on hisconsciousness. Moreover, Henry Aylwin's effective re-enactment ofhis father's bereavement under the influence of his curse isstrongly reminiscent of the way in which poets act out their ownversions of the scripts of loss and compensation they inherit from theirpoetic forefathers forefathersnpl → antepasados mplforefathersnpl → anc��tres mplforefathersnpl → Vorfahren . (32) The Victorian poet whom Watts-Dunton would have seen as acting outa script given by Coleridge is Rossetti, appearing in the novel as thepainter D'Arcy, a colleague of Wilderspin's, who befriendsHenry while he is searching for Winifred in London. Watts-Dunton'sentry on Rossetti, in the ninth edition of the Encyclopaedia Britannica(1888), sees his writing as the flowering of a visionary poetictradition Poetic tradition is a concept similar to that of the poetic or literary canon (a body of works of significant literary merit, instrumental in shaping Western culture and modes of thought). that has its roots in Coleridge, and especially'Christabel': We must turn [...] to the most perfect efflorescence efflorescence:see hydrate. of the poetryof wonder and mystery--to such ballads as the 'Demon Lover,'to Coleridge's 'Christabel' and 'Kubla Khan'[...], for parallels to Rossetti's most characteristic designs.[...] It is perhaps with Coleridge alone that Rossetti can be comparedwith as a worker in the Renascence of Wonder. [...] in permanence of theromantic feeling, in vitality of belief in the power of the unseen,Rossetti stands alone. Even the finest portions of his historical ballad'The King's Tragedy' are those which deal with thesupernatural. Modern critics have seen Rossetti as influenced by Keats orShelley, but, when it comes to the question of affinity, William MichaelRossetti William Michael Rossetti (September 25,1829 – February 5, 1919) was an English writer and critic.Born in London, he was a son of immigrant Italian scholar Gabriele Rossetti, and the brother of Maria Francesca Rossetti, Dante Gabriel Rossetti and Christina Georgina in the Preface to his edition of his brother's collectedworks Collected Works is a Big Finish original anthology edited by Nick Wallace, featuring Bernice Summerfield, a character from the spin-off media based on the long-running British science fiction television series Doctor Who. informs us that 'In the long run he perhaps enjoyed andrevered Coleridge beyond any other poet whatsoever'. (33) Moreover,from a purely biographical point of view, Rossetti replicates somestriking features of Coleridge's life--the consuming love for amarried woman, the harrowing drug addiction drug addictionor chemical dependencyPhysical and/or psychological dependency on a psychoactive (mind-altering) substance (e.g., alcohol, narcotics, nicotine), defined as continued use despite knowing that the substance causes harm. , the physical and mentalbreakdown--that may have helped secure the connection inWatts-Dunton's mind. D'Arcy, though depicted as a painter rather than a poet, is atype of Rossetti, who is himself a Victorian version of Coleridge. He isone of the novel's male characters stricken by the loss of abeloved woman--a loss that echoes Rossetti's bereavement of hiswife Elizabeth Siddal Elizabeth Siddal (July 25, 1829 – February 11, 1862) was a British artist's model, poet and artist who was painted and drawn extensively by artists of the Pre-Raphaelite Brotherhood.Siddal was perhaps the most important model to sit for the Pre-Raphaelite Brotherhood. , who died of an overdose of laudanum laudanum(lôd`ənəm), tincture, or alcoholic solution, of opium, first compounded by Paracelsus in the 16th cent. Not then known to be addictive, the preparation was widely used up through the 19th cent. to treat a variety of disorders. in 1862.D'Arcy plays more than an incidental role in the novel in that hisexperience of loss helps him establish a bond with Henry, to whom hegives important advice. Later on he effectively rescues Winifred and,through Dr Mivart, engineers her cure. We know from Watts-Dunton'sadmission to his biographer James Douglas James Douglas is the name of: Scottish noblemenSir James Douglas (1286–1330), ("the Good", "the Black"), Scottish Warlord and champion of Robert the Bruce James Douglas, 2nd Earl of Douglas (c. that large portions of thenarrative about D'Arcy replicate details from Rossetti's life.(34) D'Arcy's house, garden, and menagerie are faithfulreproductions of 16 Cheyne Walk Cheyne Walk (pronounced Chain-ee) is an historic street in Chelsea, a bit of picturesque old London. Most of the houses were built in the early eighteenth century. Before the construction in the nineteenth century of the busy Embankment, which now runs in front of it, the houses , London, where Rossetti lived, whileHurstcote, the other house D'Arcy owns in the country, is adepiction of Kelmscott Manor Kelmscott Manor is a limestone house in the Cotswold village of Kelmscott, Oxfordshire, England. It dates from around 1570, with a late 17th-century wing, and was the country home of the writer, designer and socialist William Morris from 1871 until his death in 1896. in Oxfordshire, rented by Rossetti andMorris in the early 1870s. D'Arcy himself reproduces whatWatts-Dunton termed Rossetti's 'magnetism' (p. 222), hisanimation, his musical voice, his humour and lively conversation, aswell as his melancholy and superstition. (35) Shortly after Henry has visited D'Arcy's house andencountered in his garden various members of his menagerie, the painterremarks, 'Has it ever occurred to you how fascinating a beautifulyoung girl would be if she were as unconscious as a young animal?'.Henry is immediately reminded of Winifred in her 'wakingdream' (p. 166), her unconscious entranced state, and thinks'"How he would have been fascinated by a sight likethat!"' (p. 233). When Winifred is glimpsed at a London streetcorner singing and selling matches, she is described by Henry'saunt as 'quite unconscious of the bustle and confusion aroundher' (p. 242); and Wilderspin, at the corner of Essex Street, firstsees her 'gazing before her, murmuring a verse of Scripture,perfectly unconscious whether she was dressed in rags or velvet'(p. 292). This image of the unconscious woman, Winifred's chief guise inthe novel, can be seen as a version of what Frank Kermode identified asthe 'Romantic Image', a master trope trope?n.1. A figure of speech using words in nonliteral ways, such as a metaphor.2. A word or phrase interpolated as an embellishment in the sung parts of certain medieval liturgies. of modernism and a keyYeatsian figure, which offers us as the emblem of the work of art abeautiful woman 'with a speaking body and [...] face devoid ofintellect', passive, self-involved or absorbed in movement,typically a dancer, but predominantly unified in body and soul. (36) Theimage reconciles opposites; as Kermode puts it: 'emblematic of themysterious resolution between outward and inward [...] the dancer turnsin her narrow luminous circle, still but moving, dead but alive'(p. 59). He also demonstrates the continuity between this figure and'the inward-looking or expressionless face' that recurs inRomantic painting and poetry, although he tries to distinguish what hesees as the modern version of the Image from what he identifies as its'pathological' aspect, as seen in the femme femme?adj.Slang Exhibiting stereotypical or exaggerated feminine traits. Used especially of lesbians and gay men.n.1. Slang One who is femme.2. Informal A woman or girl. fatale (pp. 60,61). As Cassandra Laity has pointed out in a re-examination of theRomantic Image, this distinction is by no means as clear as Kermodewould like. (37) What is interesting is that in tracing Yeats's version of theImage, Kermode explicitly signals a debt to Rossetti: 'When anEnglish reader contemplates such faces, he will probably find himselfthinking first of Rossetti'. Kermode then quotes fromRossetti's sonnet 'Body's Beauty', in which Lilithis described as 'subtly of herself contemplative', and alsothe sonnet 'Heart's Hope': 'Lady, I fain fain?adv.1. Happily; gladly: "I would fain improve every opportunity to wonder and worship, as a sunflower welcomes the light"Henry David Thoreau.2. would tellhow evermore ev��er��more?adv.1. Forever; always.2. In a future time.evermoreAdverball time to comeAdv. 1. | Thy soul I know not from thy body'. (38) But one isalso reminded of Coleridge's short poem 'Phantom', whosefemale subject's expressionless yet radiant face is illuminated byher soul: there seemed no Trace Of Aught upon her brighten'd Face Upraised beneath the rifted Stone, Save of one Spirit, all her Own She, she herself, and only she Shone in her body visibly. (39) When the distressed Wilderspin tells him that he has found hisfavourite model lying dead in a squalid squal��id?adj.1. Dirty and wretched, as from poverty or lack of care. See Synonyms at dirty.2. Morally repulsive; sordid: "the squalid atmosphere of intrigue, betrayal, and counterbetrayal"room at Mrs Gudgeon'shouse, D'Arcy, who does not know that she is Henry's belovedWinifred, goes at once to view the body, determined that the girl shouldnot be buried by the parish. On examining Winifred, he realizes that sheis not dead but suffering an extreme form of seizure, and when she comesto he takes her to Hurstcote and places her in his housekeeper'scare. Thereafter, as she remains under his protection, he comes toexperience the charm of her unconscious self, which he recalls in aletter to Henry: do you remember my saying that the most fascinating creature in theworld would be a beautiful young girl as unconscious as a child or ayoung animal, if such a combination of charms were possible? Such ayoung girl as this it was whom I was now seeing every day and all day.The charm exercised over me was no doubt partly owing to my own peculiartemperament--to my own hatred of self-consciousness and to an innateshyness which is apt to make me feel at times that people are watchingme, when they most likely are doing nothing of the kind. (pp. 461-62) Interestingly this male voyeurism VoyeurismSee also Eavesdropping.Actaeonturned into stag for watching Artemis bathe. [Gk. Myth.: Leach, 8]elders of Babylonwatch Susanna bathe. is also a form of identification,as D'Arcy sees in Winifred the unconsciousness he would wish forhimself. The self-involved self-containment of the female Romantic Imagehas an integrity that the male artist desires for himself and perhapspossesses vicariously through his art, or, in D'Arcy's case,his guardianship. While Henry imitates his beloved throughout hismourning for her, he subsequently discovers that the men closest to him,artists whose experiences of loss most resemble his own, turn outinadvertently to have meditated upon, identified with, or imitated herimage. In certain cases--one thinks here of Philip Aylwin as well asD'Arcy and Wilderspin--creative meditation on the lost woman or herRomantic Image seems to be an intrinsic part of the making of the man asa writer or artist. Henry, too, initially inspired by the young Winifred(p. 52), desires to be an artist, and, when he is reunited with her,voices that desire, which she then urges him to fulfil using herself asa model (pp. 484-85). Certainly, D'Arcy's charge of Winifred gives him theprolonged pleasure of surveying an incarnated Romantic Image, but, asWinifred continues periodically to suffer the seizures, with each moreserious than the last, he realizes further action is necessary. WhenSinfi, who has sat for D'Arcy before, turns up to model for him atHurstcote, she immediately recognizes Winifred and reveals her identityto the painter. D'Arcy, believing Henry to be travelling abroad,consults Dr Mivart, who has been treating him for insomnia, and the cureis effected using Sinfi as the object of transfer. When Winifred iscured, the Image disappears. As D'Arcy writes, 'and charmingas she is now, restored to life and consciousness [...] theinexpressible witchery I have tried to describe has now vanished,otherwise I don't know Don't know (DK, DKed)"Don't know the trade." A Street expression used whenever one party lacks knowledge of a trade or receives conflicting instructions from the other party. how I should have borne what I have nowbrought myself to bear, parting from her' (p. 462). After Winifred's cure Sinfi takes her to Wales, and Henry, whohad believed she was dead, is reunited with her in a magical scene onthe slopes of Snowdon. He has experienced, like D'Arcy and hisfather, 'the tragedy of tragedies [...] the death of a belovedmistress or a beloved wife' (p. 470), but with a saving grace. AsD'Arcy's letter, which he reads after meeting with Winifred,tells him: 'All that death has to teach the mind and heart of manyou have learnt to the very full, and yet she you love is restored toyou and will very soon be in your arms' (p. 470). The larger part of the narrative, which thus charts Henry'sspiritual education, takes place while he believes that his beloved isdead, or dying, or living precariously on the borders of life and death;and indeed, Winifred, in her somnambulistic som��nam��bu��lism?n.See sleepwalking.som��nambu��list n.som��nam unconsciousness, has thekind of death-in-life typical of the Romantic Image. It is also surelyindicative that when D'Arcy, a celebrated late Romantic painterfinds her apparently dead, he recognizes that she has life in death,takes her away for safe-keeping, and cherishes her as the livingembodiment of a master trope. But for all D'Arcy'sdomestication domesticationProcess of hereditary reorganization of wild animals and plants into forms more accommodating to the interests of people. In its strictest sense, it refers to the initial stage of human mastery of wild animals and plants. of Winifred, his tender nurture of her as a bewitching be��witch?tr.v. be��witched, be��witch��ing, be��witch��es1. To place under one's power by or as if by magic; cast a spell over.2. To captivate completely; entrance. See Synonyms at charm. Image, he still cannot prevent the other--what we might, after Kermode,call the extreme pathological aspect of the Image--breaking through inWinifred's seizures, in that petrified and petrifying pet��ri��fy?v. pet��ri��fied, pet��ri��fy��ing, pet��ri��fiesv.tr.1. To convert (wood or other organic matter) into a stony replica by petrifaction.2. look ofhorror that she absorbs from her dead father, had reinforced by theterrible recollection of Henry's mother, and will pass on in turnto Sinfi by mesmeric transmission. In this narrative the unconsciousbenign side of the Romantic Image cannot be had without, and thus mustcoexist with, its malign aspect, which preserves the traces of thetrauma that gave it birth. Thus Aylwin shows us another genealogical transfer or transmission,this time a cryptic literary one, whereby the dual-natured RomanticImage--an image associated with Coleridge in both its pathological andideal aspects--is transmitted to Rossetti, Coleridge's inheritor,indicating, in Watts-Dunton's eyes, a powerful continuity betweenRomantic and a certain strand of late Victorian visionary literature.Moreover, from our own much later vantage point, we can see that thenovel, which so strangely manages to occupy the last quarter of thenineteenth century that went into its making, also encompasses a largeand crucial part of the transition to literary modernism as the RomanticImage transmitted to Rossetti will in turn be taken up by Yeats andother modernists. Far from being a curious Victorian relic, Aylwin is ahighly complex meditation on and dramatization dram��a��ti��za��tion?n.1. The act or art of dramatizing: the dramatization of a novel.2. A work adapted for dramatic presentation: of the making ofvisionary artists and their images, offering us in 1898 an unusuallyprivileged viewpoint into a key moment in literary history. (1) In his 'Introduction' to an anthologized selection ofpoems by Watts-Dunton, Mackenzie Bell states that Aylwin, by the time ofits author's death in 1914, had reached its twenty-sixth editionand had sold upwards of 100,000 copies; see The Poets and Poetry of theNineteenth Century: William Morris Noun 1. William Morris - English poet and craftsman (1834-1896)Morris to Robert Buchanan Robert Buchanan (1813 – March 4, 1866) was an Owenite poet, playwright, lecturer and journalist, and the father of Robert Williams Buchanan. , ed. by Alfred H.Miles (London: Routledge, 1915), pp. 255-80 (p. 262). The latest OxfordWorld's Classics edition of Aylwin that I have so far traced datesfrom 1950. (2) Swinburne's words are taken from the dedicatory sonnetwith which he prefaces his epic poem Noun 1. epic poem - a long narrative poem telling of a hero's deedsepic, heroic poem, epospoem, verse form - a composition written in metrical feet forming rhythmical lineschanson de geste - Old French epic poems Tristram of Lyonesse, and bears thesub-epigraph 'The Pines', April 1882'. His CollectedPoetical po��et��i��cal?adj.1. Poetic.2. Fancifully depicted or embellished; idealized.po��eti��cal��ly adv. Works (1904) are also prefaced by a 'DedicatoryEpistle' addressed to Watts-Dunton; see The Collected PoeticalWorks of Algernon Charles Swinburne, 6 vols (London: Chatto &Windus, 1904), i, pp. iii, v-xxix. Rossetti's remark, to ThomasHall Thomas Hall may refer to: Thomas Hall (Gainesville, Florida) Thomas Hall (North Dakota), North Dakota politician Thomas F. Hall, current Assistant Secretary of Defense for Reserve Affairs Thomas Sergeant Hall, Australian geologist Caine, is reportedly one of his last, made at Birchington, where hedied on 9 April 1882; see T. Hall Caine Sir Thomas Henry Hall Caine CH, KBE (May 14, 1853–August 31, 1931), usually known as Hall Caine, was a British author. He is best known as a novelist and playwright of the late Victorian and the Edwardian eras. , Recollections of Dante GabrielRossetti (London: Stock, 1882), p. 75. (3) Dante Gabriel Rossetti, Ballads and Sonnets (London: Ellis andWhite, 1881). The Dedication (p. iii) reads: 'To Theodore Watts,the Friend whom my verse won for me, these few more pages areaffectionately inscribed in��scribe?tr.v. in��scribed, in��scrib��ing, in��scribes1. a. To write, print, carve, or engrave (words or letters) on or in a surface.b. To mark or engrave (a surface) with words or letters. .' (4) A. C. Swinburne, 'Whitmania', in Studies in Poetryand Prose (London: Chatto & Windus, 1894), pp. 135-36. (5) Theodore Watts-Dunton, Poetry and the Renascence of Wonder(London: Jenkins, 1916). In the text of this collection the second essayis titled 'The Renascence of Wonder in English Poetry' (myitalics). (6) Feasting with Panthers: A New Consideration of Some LateVictorian Writers (London: Allen, 1967), p. 89. (7) Thomas Hake and Arthur Compton-Rickett, The Life and Letters ofTheodore Watts-Dunton, 2 vols (London: Jack, 1916), i, 71. (8) Hake and Compton-Rickett, Life and Letters, I, 305. See thewarm letter from William Sharp in Life and Letters, I, 307-10. See, too,the heartfelt letter of praise by Swinburne's mother, Lady JaneSwinburne, dated 11 August 1889, in The Swinburne Letters, ed. Cecil Y.Lang, 6 vols (New Haven New Haven,city (1990 pop. 130,474), New Haven co., S Conn., a port of entry where the Quinnipiac and other small rivers enter Long Island Sound; inc. 1784. Firearms and ammunition, clocks and watches, tools, rubber and paper products, and textiles are among the many : Yale University Yale University,at New Haven, Conn.; coeducational. Chartered as a collegiate school for men in 1701 largely as a result of the efforts of James Pierpont, it opened at Killingworth (now Clinton) in 1702, moved (1707) to Saybrook (now Old Saybrook), and in 1716 was Press; London: OxfordUniversity Press, 1959-62), v: 1883-1890 (1962), p. 271. It is clearthat Lady Jane has read only part of the novel, because she indicatesthat she is 'longing for the rest'. (9) I use as text the World's Classics edition of Aylwin(London: Milford, Oxford University Press, 1914), as it usefullycollects various prefaces by Watts-Dunton as well as two importantAppendices, which provide information about the events and personalitiesmentioned in the novel. The quotation here appears on p. 59 (furtherreferences to Aylwin will be given in the text). (10) According to according toprep.1. As stated or indicated by; on the authority of: according to historians.2. In keeping with: according to instructions.3. Hake and Compton-Rickett (Life and Letters, I,319), Aylwin reached its sixteenth edition in six months.('Edition' here seems to mean 'impression'.) Thepublisher's advertisements in the Athenaeum for the last threemonths of 1898 trace sales of the various 'editions',indicating that the novel was prepared in batches of 1000 copies at atime. An advertisement appearing on 31 December 1898 (p. 918) declaresthat the twelfth edition is now ready, 'making 12,000 copies of theEnglish edition' and that the thirteenth edition is in the press.See G. P. Gooch, The Annals of Politics and Culture, 1492-1899, with anintroductory note by Lord Acton (Cambridge: Cambridge University Press Cambridge University Press (known colloquially as CUP) is a publisher given a Royal Charter by Henry VIII in 1534, and one of the two privileged presses (the other being Oxford University Press). ,1901), item 3737, p. 469. (11) The Bookman (December 1898), pp. 310-11 gives a useful digestof some leading reviews of what it calls 'Mr Watts-Dunton'sfascinating romance, which is the book of the moment in England'(p. 310). See also the large advertisement for the US third edition ofAylwin in The Bookman (February 1899), which contains positive commentby the following British newspapers and periodicals: Daily Chronicle The Daily Chronicle was a London newspaper company in the United Kingdom that was founded in 1872. It merged its publication with the Daily News to become the News Chronicle. ,Daily News, The Athenaeum, Lloyd's Weekly Newspaper, Literature,London Echo, The Star, Daily Telegraph. On proposed translations seeHake and Compton-Rickett, Life and Letters, i, 321; and 'LiteraryGossip', The Athenaeum, 12 November 1898, p. 679. (12) 'Aylwin-Land: Wales and East Anglia', in WilliamSharp, Literary Geography (London: Office of the 'Pall MallPublications', 1904), pp. 125-45. (13) Wilson Eccles, Primitive Methodist Quarterly, 22 (January1900), 99-109 (p. 108). (14) Unsigned review, The Athenaeum, 22 October 1898, pp. 561-62(p. 561). (15) See 'The Renascence of Wonder in English Poetry', inPoetry and the Renascence of Wonder, pp. 260, 271. (16) See Coleridge's Poems, ed. by John Beer (London: Dent,1974), p. 144. (17) The title The Veiled Queen is, of course, another distortedrepetition, evoking Helena Petrovna Blavatsky's theosophical the��os��o��phy?n. pl. the��os��o��phies1. Religious philosophy or speculation about the nature of the soul based on mystical insight into the nature of God.2. treatise Isis Unveiled: A Master-Key to the Mysteries of Ancient andModern Science and Theology, 2 vols (New York New York, state, United StatesNew York,Middle Atlantic state of the United States. It is bordered by Vermont, Massachusetts, Connecticut, and the Atlantic Ocean (E), New Jersey and Pennsylvania (S), Lakes Erie and Ontario and the Canadian province of : Baton, 1877). Aylwinrefers specifically on a number of occasions to nature as the figure ofIsis; for example, see pp. 205, 209. (18) Concerning Swinburne and Watts-Dunton's admiration forCollins's novels see Thomas Hake and Arthur Compton-Rickett, TheLetters of Algernon Charles Swinburne with Some Personal Recollections(London: Murray, 1918), p. 184. Swinburne preferred The Woman in Whiteand Watts-Dunton The Moonstone. (19) Hake and Compton-Rickett, Life and Letters, ii, 68, 126. (20) 'The Significance of Aylwin', Contemporary Review(December 1898), 798-809 (p. 807). (21) See D'Arcy's response to Henry's query aboutwhen he became a mystic: '"When? Ask any man who haspassionately loved a woman and lost her"' (pp. 239-40). (22) See Shelley's Poetry and Prose, ed. by Donald H. Reimanand Sharon B. Powers (New York and London: Norton, 1977), pp. 473-74,371-88. For a discussion of the epipsyche see Catherine Maxwell, TheFemale Sublime from Milton to Swinburne: Bearing Blindness (ManchesterUniversity Press, 2001), p. 53. (23) Mivart is partly based on Watts-Dunton's friend, thephysician Gordon Hake, although he did not share Watts-Dunton'sbelief in mesmerism. Mivart's name may be Watts-Dunton'sconscious or unconscious repetition of St George Jackson Mivart St. George Jackson Mivart (November 30, 1827 - April 1, 1900) was an English biologist.He was born in London, and educated at Clapham grammar school, Harrow School, and King's College London, and afterwards at St Mary's, Oscott (1844-1846; he was confirmed there on 11 May, (1827-1900), a prominent zoologist and biologist who tried to integratea version of evolutionary theory ''This article is about the creole theory. You may be looking for the concept of biological evolution. For other uses, see Evolution (disambiguation).Main article: Creole language The evolutionary perspective with Catholic theology. His son,Frederick St George Mivart, was also a distinguished medical man. (24) Coleridge's Poems, pp. 208-09 (ll. 600-06). (25) Coleridge's Poems, p. 200 (ll. 250-04). (26) 'Mesmerism and Hypnotism', Quarterly Review, 171(July-October 1890), 234-59. (27) Babinski's report was published as Recherches servant aetablir que certaines manifestations hysteriques peuvent etretransferees d'un sujet a un autre sous l'influence del'aimant (Paris: Delahaye and Lecrosnier, 1886). (28) Anne Harrington, 'Metals and Magnets in Medicine:Hysteria, Hypnosis, and Medical Culture in Finde-siecle Paris',Psychological Medicine, 18 (1988), 21-38 (p. 32). For more on Babinskisee also another essay by Harrington, 'Hysteria, Hypnosis, and theLure of the Invisible: The Rise of Neo-Mesmerism in Fin-de-siecle FrenchPsychiatry', in The Anatomy of Madness: Essays in the History ofPsychiatry, ed. by W. F. Bynum, Roy Porter Roy Porter (31 December 1946 to 3 March 2002) was a British historian noted for his work on the history of medicine. He grew up in South London and attended Wilson's School in Camberwell.He won a scholarship to Christ's College, Cambridge, where he studied under J. H. Plumb. , and Michael Shepherd, 3 vols(London and New York: Routledge, 1985-88), iii: The Asylum and itsPsychiatry (1988), pp. 226-46 (pp. 234-35). My thanks to Forbes Morlockfor alerting me to the second essay. (29) Harrington, 'Metals and Magnets', p. 32. (30) Harrington, 'Metals and Magnets', p. 33. See also J.B. Luys, 'Du transfert comme methode therapeutique dans letraitement des maladies nerveuses', in his own journal Revued'hypnologie theorique et pratique pra��tique?n.Clearance granted to a ship to proceed into port after compliance with health regulations or quarantine.[French, from Old French practique, from Medieval Latin (1890), 39-48. For a Britisharticle that examines Luys's work in more detail see George M.Robertson, 'Hypnotism at Paris and Nancy: Notes of a Visit',Journal of Mental Science, 38 (October 1892), 494-531; section IV (pp.522-28) deals with Luys's treatment by transference (see especiallypp. 523-24). Robertson was the Senior Assistant Physician at the RoyalEdinburgh Asylum, Morningside. (31) See Catherine Maxwell, Female Sublime, p. 213. (32) See my discussion in The Female Sublime of the ways poetsrespond to the Miltonic paradigm. (33) See Harold Bloom '''Harold Bloom (born July 11, 1930) is an American professor and prominent literary and cultural critic. Bloom defended 19th-century Romantic poets at a time when their reputations stood at a low ebb, has constructed controversial theories of poetic influence, and , 'Dante Gabriel Rossetti', in TheOxford Anthology of English Literature English literature,literature written in English since c.1450 by the inhabitants of the British Isles; it was during the 15th cent. that the English language acquired much of its modern form. , ed. by Frank Kermode and others,2 vols (New York: Oxford University Press, 1973), ii, 1402-03; DavidRiede, Dante Gabriel Rossetti and the Limits of Victorian Vision(Ithaca, NY: Cornell University Cornell University,mainly at Ithaca, N.Y.; with land-grant, state, and private support; coeducational; chartered 1865, opened 1868. It was named for Ezra Cornell, who donated $500,000 and a tract of land. With the help of state senator Andrew D. Press, 1983), pp. 122-33;William MichaelRossetti, preface to The Works of Dante Gabriel Rossetti (London: Ellis,1911), p. xv. (34) For details about Rossetti see James Douglas, TheodoreWatts-Dunton: Poet, Novelist, Critic (London: Hodder & Stoughton,1904), pp. 140-05, 165; Aylwin, Appendix II, pp. 493-97 (this Appendixwas written by Watts-Dunton's former secretary and his biographer,Thomas St E. Hake, son of Gordon Hake). (35) The inclusion of Rossetti as D'Arcy in Aylwin is part ofa larger strategy of real-life replication. We know from other sourcesthat a number of the characters in the book have real-life correlates:D'Arcy is first seen dining in Dining in is a formal military function for members of a company or other unit. The practice is thought to have begun in 16th Century England, in the monasteries and early universities. a Haymarket restaurant in thecompany of De Castro, based on the raconteur rac��on��teur?n.One who tells stories and anecdotes with skill and wit.[French, from raconter, to relate, from Old French : re-, re- + aconter, and swindler SWINDLER, criminal law. A cheat; one guilty of defrauding divers persons. 1 Term Rep. 748; 2 H. Blackst. 531; Stark. on Sland. 135. 2. Swindling is usually applied to a transaction, where the guilty party procures the delivery to him, under a pretended CharlesAugustus Charles Augustus,1757–1828, duke and, after 1815, grand duke of Saxe-Weimar-Eisenach; friend and patron of Goethe, Schiller, and Herder. Though his duchy was small, he was important in German politics. Howell whose preposterous stories and scams Rossetti foundextremely entertaining. Sinfi Lovell and Rhona Boswell are based onyoung gypsy women known to Watts-Dunton; Philip Aylwin, on his uncleJames Orlando Watts; and Cyril Aylwin, on his brother Alfred EugeneWatts, who died in 1870. Wilderspin is based on the painter JamesSmetham, and Mrs Gudgeon, the grotesquely tragicomic working-class womanwho takes care of Winifred, on a cockney CockneyBow Bellsfamous bell in East End of London; “only one who is born within the bell’s sound is a true Cockney.” [Br. Hist.: NCE, 347]Doolittle, ElizaCockney girl taught by professor to imitate aristocracy. coffee-stall holder who livedin the Lincoln's Inn Fields Coordinates: Lincoln's Inn Fields is the largest public square in London. It is thought to have been one of the inspirations of Central Park, New York. area of London. Henry Aylwin seems tohave certain of his author's characteristics, including his darkcomplexion, while Winifred, presumably pre��sum��a��ble?adj.That can be presumed or taken for granted; reasonable as a supposition: presumable causes of the disaster. late in the novel'sevolution, got tinged with something of Clara Reich, Watts-Dunton'swife, whom he met for the first time in 1890. (36) Frank Kermode, Romantic Image (London: Routledge & KeganPaul, 1957), pp. 57, 58. (37) H. D. and the Victorian Fin de siecle Fin` de sie´cle1. Lit., end of the century; - mostly used adjectively in English to signify: belonging to, or characteristic of, the close of the 19th century. : Gender, Modernism,Decadence (Cambridge: Cambridge University Press, 1996), pp. 25-26. (38) Kermode, Romantic Image, pp. 61-62; See Works of Dante GabrielRossetti, pp. 100, 76. The full quotation from 'Heart'sHope' is 'Lady, I fain would tell how evermore | Thy soul Iknow not from thy body, nor | Thee from myself, neither our love fromGod'. In the painting by Rossetti that partners 'Body'sBeauty', Lilith looks at her reflection in a mirror. (39) Coleridge's Poems, p. 293. CATHERINE MAXWELL Queen Mary, University of London It is a research-based university, with a strong international reputation, and with twenty-four percent of its students coming from abroad.[4] Queen Mary incorporates several leading international research units such as the Centre for Commercial Law Studies, the