Empire and the World
Kimberly J. Stern, “The Publication of John Pentland Mahaffy’s The Decay of Modern Preaching (1882)”
This contribution to BRANCH documents the historical and biographical conditions surrounding the publication of John Pentland Mahaffy’s controversial volume The Decay of Modern Preaching (1882). Although often deemed to be a secular or even heretical thinker, Mahaffy emerges here as a thoughtful scholar of religion standing at the crossroads of faith and reason. In the years preceding the publication of The Decay of Modern Preaching, Mahaffy witnessed a number of changes at Trinity College Dublin that threatened the principles he deemed essential both to good preaching and to intellectual culture more broadly. Mahaffy’s views on intellectual work and religion were mutually sustaining, a fact that helps to enrich our understanding of this important text, its troubled reception in the nineteenth century, and the evolving narrative of nineteenth-century faith.
Elizabeth Barrett Browning’s 1857 verse-novel Aurora Leigh entered the cultural and social-political life of the Netherlands in the 1870s and 1880s through the work of three Dutch people: a literary critic, a social reformer, and a novelist. Conrad Busken Huet, the country’s leading literary and cultural critic, first brought the poem to Dutch attention in 1873 by showcasing it as a model of great art with high social and moral purpose, from which Dutch contemporary poetry could learn. Hélène Mercier, one of the leading social reformers of the country, then translated the poem into Dutch in 1883 to inspire the country’s social reform efforts. Its prophetic voice, Mercier declared, spoke as directly to the social conditions of the Netherlands in the 1880s as it had to those of England in the 1850s. Arguing that it was not necessary to retain Aurora Leigh’s poetic form for this voice to have effect, she translated the poem as prose. But Dutch novelist Martina van Walcheren did not agree. She produced a poetic translation in 1885 that her publisher supported at least in part because he opposed the emerging art-for-art’s sake movement. All these literary, social reformist, and aesthetic developments or debates were also fueled or complicated by national and international book economies and copyright questions.
The Ceylon National Review (1906-1911) was the official organ of the Ceylon Social Reform Society, an organization founded by the art historian Ananda Coomaraswamy in an effort to combat colonial influence and reinvigorate Ceylonese cultural production. Coomaraswamy also served as an editor at the Ceylon National Review. This essay focuses on the manner in which Coomaraswamy, in the essays he contributed to and solicited for the journal, fostered transethnic Ceylonese nationalism and anticolonial resistance as well as transnational engagement with British countercultural movements and radical thought. Paying particular attention to Coomaraswamy’s interest in socialist aestheticism, Theosophy, and British discourses concerning vegetarianism, I foreground the highly cosmopolitan inflection of Coomaraswamy’s brand of Ceylonese nationalism as expressed in the pages of the Ceylon National Review. In the essays he wrote and selected for publication in the periodical, Coomaraswamy integrated the discourses of anticolonialism and socialist aestheticism and allowed British and Ceylonese vegetarians and Theosophists to speak in relation to one another, engendering a rich and surprising form of Ceylonese nationalism inflected by late-Victorian radicalism.
Martin Danahay “‘Valiant Lunatics’: Heroism and Insanity in British and Russian Reactions to the Charge of the Light Brigade”
The charge of the Light Brigade has always elicited ambivalent responses from eyewitnesses. Even though he was writing at a remove of time and distance from the action, Alfred, Lord Tennyson’s poem echoes the conflicted reactions of both British and Russian witnesses who characterized the charge both as heroic and an act of insanity. Tennyson’s polyvocal term “wild” in particular holds in suspense both admiration and the suggestion that it was an insane act, which resonates with accounts by Russians on the receiving end of the charge. Russian cavalry officers were convinced that their British counterparts were brave but deranged “valiant lunatics” after witnessing the charge. Both the British and Russians had difficulty in coming to terms with this incident, as they did with the Crimean War as a whole, because it was neither wholly a victory nor defeat for either side. As a result, even monuments to the Crimean War such as that in Waterloo Place or those in Sevastopol attest to loss as much as victory, and like the charge of the Light Brigade itself represent heroic failure.
The series of annual international exhibitions held during the early 1870s at South Kensington, London, were not particularly successful, or popular, but they were influential in the history of exhibitions. The alleged failures and the cancellation of the final annual exhibition halfway through the intended decade-long series of events provoked considerable discussion about the purpose, scale and expectations for exhibitions, which were no longer novel or limited to a particular city or nation-state. There were some successes, notably for the Australian colonies and British India, and for very specific trades and exhibitors, but the public discussion and those limited successes have generally failed to capture the attention of scholars. These events are rarely mentioned in books and articles about exhibitions and, when discussed, are considered to be failures without merit. This BRANCH contribution recognizes that other exhibitions were more popular and more successful, but also recognizes that the South Kensington shows were significant in addressing criticisms of exhibitions in general and in the generational history of both the shows and their organizers. The 1870s proved to be a pivotal period in the history of such exhibitions and the consideration of what merited public culture. The mantle was passed from Sir Henry Cole to his successors and the ambition of holding annual international exhibitions was replaced by more thematic shows in Britain and bold international shows in the Australian colonies. Amidst the general impressions of failure, there were also successes at the shows and those highlighted how inter-national exhibitions could prove useful in a changing world.
Kathleen Frederickson, “British Writers on Population, Infrastructure, and the Great Indian Famine of 1876-8″
This article examines British writing about the 1876-8 famine in southern and western India. In British newspapers and journals, the turn to thinking about famine in terms of the total population obscured the extreme variations in food access that worsened with rising economic inequality. When the British press in the late-1870s turned to human causes of famine, they either argued that India’s population overburdened India’s land, or suggested that more rail construction would prevent enough deaths sufficiently to mitigate British responsibility for famine conditions. The turn to population-based arguments helped either to perpetuate the belief that famine was a quasi-natural part of India or to parse the sudden increase in the frequency and severity famines in India under British rule.
Nicholas Daly, “Anthony Hope’s The Prisoner of Zenda (April, 1894) and the Rise of Ruritanian Fiction”
Anthony Hope’s bestseller of 1894, The Prisoner of Zenda, inspired a subgenre of adventure romances set in imaginary, semi-feudal European countries, of which Ruritania is the original. English and later American protagonists stumble into plot-driven narratives that usually feature some combination of schemes against the throne, doubles or mistaken identities, swordplay, and love at first sight. Since the 1890s, Ruritanian backdrops have been reworked for a variety of purposes, from Balkan spy novels, to interwar operetta, to Cold War satires, in such fictional territories as Ixania, Krasnia, and Grand Fenwick.
Shanyn Fiske, “Modeling Masculinity: Engendering the Yellow Peril in Fu-Manchu and Thomas Burke’s Limehouse Nights”
This entry deals with the event of the Yellow Peril, which generated fears of “Chinamen” as sexual predators, savage murderers, and criminal masterminds plotting world domination. Curiously, while these images lend Chinese men an aura of powerful virility, popular fiction credited with sensationalizing the Yellow Peril often depicted them as asexual or effeminate. Focusing on the first three novels of Sax Rohmer’s Fu-Manchu series and Thomas Burke’s Limehouse Nights (1916), I challenge the common critical assumption that the feminization or desexualization of Chinese men served to symbolically disempower a political threat. Instead, I suggest that in their interactions with their white counterparts, effeminized and / or desexualized Chinese male characters highlight problems in turn-of-the-century reconfigurations of masculinity. Such problems included recalibrating the Victorian balance between gentlemanly restraint and soldierly aggression in an unstable imperial context; redefining a sense of autonomy in a mechanized world; and renegotiating gender relations in a feminist environment. More broadly, I venture that the critical apparatus of Orientalism, which a number of theorists have applied to Rohmer’s works, is inadequate in explaining the complex interactions between Chinese and Britons in the early twentieth century. In examining the entangled racial and sexual tensions in these works, this entry historicizes the Yellow Peril within a broader context of Western male self-fashioning.
Denae Dyck and Marjorie Stone, “The ‘Sensation’ of Elizabeth Barrett Browning’s Poems before Congress (1860): Events, Politics, Reception”
Elizabeth Barrett Browning’s Poems before Congress paradoxically addresses a political event that never took place: a meeting of European powers to discuss the “Italian question” planned for January of 1860. Nevertheless, the collection addresses several momentous historical developments, including the Second Italian War of Independence in 1859, the intervention of Napoleon III of France in the Italian struggle, and the international conflict his intervention precipitated. Indeed, the book’s publication and the sensation it created in themselves constitute a plurality of events, since the collection appeared under differing titles in England and America and encountered differing responses in each country. Contrary to the still dominant critical view that the volume was almost universally denounced, its reception was shaped by diverse locations, shifting chronological contexts, and conflicting political affiliations. Close analysis of the reviews underscores the importance of these wider contexts, which influence what otherwise appear to be primarily literary or aesthetic judgements. At the same time, analysis of varying responses to not only “A Curse for a Nation” but also “Napoleon III in Italy” and other poems in the volume demonstrates a number of recurring points of contention. These include the collection’s title, the politics of interventions across national borders, English liberalism, the nature of democracy, cosmopolitanism versus nationalism, women writers in relation to politics, poetic form, and, most of all, EBB’s representation of Napoleon III—the issue that is front and centre in most of the 1860s reviews and that shaped, in turn, reactions to all the rest.
This article examines the writings of The Mikado producers and opera reviewers in 1885. It shows that the British were eager to create a quaint, picturesque, “authentic” image of Japan, based on familiar art objects, in order to ease national anxiety about a quickly developing country that was difficult to understand.