Showing posts with label Anne Thackeray-Ritchie. Show all posts
Showing posts with label Anne Thackeray-Ritchie. Show all posts

Friday, November 27, 2020

Virginia Woolf reflects on Christina Rossetti and Annie Thackeray Ritchie from Virginia Woolf's A Writer's Diary

 

Virginia Woolf by George Charles Beresford
platinum print, July, 1902


What sort of diary should I like mine to be? Something loose knit and yet not slovenly, so elastic that it will embrace anything, solemn, slight or beautiful that comes into my mind. I should like it to resemble some deep old desk, or capacious hold-all, in which one flings a mass of odds and ends without looking  through them.

Christina Rossetti by Lewis Carroll
albumen print, 7 October 1863
National Portrait Gallery

1918
Monday, August 4th

Christina (Rossetti) has the great distinction of being a born poet, as she seems to have known very well herself. But if I were bringing a case against God she is one of the first witnesses I should call. It is melancholy reading. First she starved herself of love, which meant also life; then of poetry in deference to what she thought her religion demanded. There were two good suitors. The first indeed had his peculiarities. He had a conscience.She could only marry a particular shade of Christian. He could only stay that shade for a few months at a time. Finally he developed Roman Catholicism and was lost. Worse still was the case of Mr. Collins a really delightful scholar an unworldly recluse a single-minded worshiper of Christina, who could never be brought into the fold at all. On this account she could only visit him affectionately in his lodgings, which she did to the end of her life. Poetry was castrated too. she would set herself to do the psalms into verse; and to make all her poetry subservient to the Christian doctrines. Consequently, as I think, she  starved into austere emaciation a very fine original gift, which only wanted licence to take to itself a far finer form than, shall we say Mrs. Browning's. She wrote very easily; in a spontaneous childlike kind of way one imagines, as is the case generally with a true gift; still underdeveloped. She has the natural singing power. She thinks too. She has fancy. One could say she is profane enough to guess, have been ribald and witty. And, as a reward for all her sacrifices, she died in terror, uncertain of salvation. I confess though that I have only turned her poetry over, making way inevitably to the ones I knew already.

Anne Thackeray Ritchie
Daughter of William Makepeace Thackeray
Albumen print taken by Julia Margaret Cameron
Freshwater Bay, Isle of Wight, 1867


1919
Wednesday, March 5th

But oh, dear, what a lot I've got to read! The entire works of Mr. James Joyce, Wyndham Lewis, Ezra Pound, so as to compare them to the entire works of Dickens and Mrs. Gaskell; besides that George Eliot; and finally Hardy. And I've just done Aunt Anny on a really liberal scale. Yes, since I wrote last she has died, a week ago today to be precise, at Freshwater, and was buried up at Hampstead yesterday, where six or seven years ago we saw Richmond buried in a yellow fog. I suppose my feeling for her is half moonshine, or rather half reflected from other feelings. Father cared for her, she goes down the last, almost of that old nineteenth century Hyde Park Gate world. Unlike most old ladies she showed very little anxiety to see one; felt, I sometimes think, a little painfully at the sight of us, as if we'd gone far off and recalled unhappiness, which she never liked to dwell on. Also, unlike most old Aunts she had the wits to feel how sharply we differed on current questions; and this, perhaps, gave her a sense, hardly existing with her usual circle, of age, obsoleteness, extinction. For myself though she need have had no anxieties on this head, since I admired her sincerely; but still the generations certainly look very different ways. Two or perhaps three years ago L. and I went to see her, found her much diminished in size,wearing a feather boa round her neck and seated alone in a drawing room almost the copy, on a smaller scale, of the old drawing room; the same subdued pleasant air of the eighteenth century and old  portraits and old china. She had our tea waiting for us. Her manner was a little distant, and more than a little melancholy. I asked her about father, and she said how those young men laughed in a "loud melancholy way" and how their generation was a very happy one, but selfish; and how ours seemed to her fine but very terrible; but we hadn't any writers such as they had, "Some of them have just a touch of that quality; Bernard Shaw has; but only a touch. The pleasant thing was to know them all us ordinary people, not great men" And then a story of Carlyle and father; Carlyle saying he'd as soon wash his face in a dirty puddle as write journalism. She put her hand down, I remember, into a bag or box standing beside the fire, and said she had a novel, three quarters written, but couldn't finish it. Nor do I suppose it ever was finished; but I've said all I can say, dressing it up a trifle rosily, in The Times tomorrow. I have written to Hester, but how I doubt the sincerity of my own emotion!



Thursday, November 5, 2015

My review of Virginia Woolf's Influential Forebears by Marion Dell

In Virginia Woolf's Influential Forebears, Marion Dell reveals nineteenth-century legacies which inform Woolf's work and shape her as a writing woman, pre-eminent in twentieth-century literary modernism. She identifies specific lines of descent from three of Woolf's forebears: her great-aunt, the photographer Julia Margaret Cameron, the writer she called aunt, Anny Thackeray Ritchie, and her mother Julia Prinsep Stephen. Dell shows how the work and influence of these three women is textually, artistically, biographically and genealogically embedded in Woolf's own. Woolf's response to them was ambivalent, revealing her conflicted relationship with her past. But ambivalence was also one of their legacies to her and a positive aesthetic in her work. Though she frequently obscures their influence she recognises them as invisible presences. Close reading of the novels which frame this book, Night and Day and The Years, shows Woolf's lifelong engagement with the lives and works of Cameron, Ritchie, and Stephen.
 
Hardcover, 222 pages
Published October 13th 2015 by Palgrave Macmillan

Thank you to Palgrave Macmillan for my review copy.

I happen to adore Virginia Woolf's novels. Her writing is beautiful. For me, the words come alive on the page; her characters seem real, the events feel as if they have occurred regardless of whether it be a war, a death or a love affair. However, I am no expert on her I just hope to understand where her insecurities and fears come from. To do that one must inevitably research the family line. One must find out all there is to know from recorded documentation.

In Virginia Woolf's case, I urge every person who loves her novels as I do to make a space on your bookshelf for this very special critical analysis of Virginia Woolf's Influential Forebears. For at the heart of it Dell traces the influence of the lives of Julia Margaret Cameron, Anny Thackeray Ritchie and her mother, Julia Prinsep Stephen. In a chapter by chapter overview two of Woolf's novels are focused upon, e.g. Night and Day and The Years. Characters are culled out from novel chapters and they seem to re-emerge almost in a reincarnated state, thus rexamined by Dell herself as she juxtaposes each forbearing woman.

What stands out most to me is the expert and thorough research Marion Dell has done. Having researched the personal lives of these 'Influential Forebears' a bit myself, I was fascinated to read of the fear of 'the black Stephen madness' that worried Virginia Woolf as genetically linked between The Stephen Family and The Ritchie Family.  This was a light bulb moment for me, I must say!  Dell's research is magnificent. Immediately, I was turning page after page, smiling in recognition of especially Julia Margaret Cameron's descriptions in mention of stories by Virginia Woolf's The Searchlight and photographic descriptions of some of Cameron's sitters as well.  Understandably, some of the most heartwarming and heartbreaking chapters focused on Woolf's memories of her mother, the acclaimed beauty, Julia Prinsep Stephen. The maternal bond between mother and daughter does not end or perish as a result of paternal death. Instead, Julia Prinsep Stephen's is resurrected, lovingly lifted out of her aunt Cameron's albumen prints and placed back into the loving childhood arms of her troubled and talented daughter, Adeline Stephen better known as Virginia Woolf.

Virginia Woolf's Influential Forebears by Marion Dell is dense, complicated reading but the familial bonds of love and pride transcend time and Dell has captured it.

For more information or to order directly, Palgrave Macmillan

If you prefer, Amazon US  or if you live overseas, Amazon UK

Friday, July 26, 2013

Anne Thackeray Ritchie and photographs of Julia Margaret Cameron and Lionel Tennyson

I never do this but I've bought two books/biographies about the life of Anne Thackeray Ritchie. She lived from (9 June 1837 – 26 February 1919). She was the daughter of William Makepeace Thackeray. She was a novelist, essayist, and memoirist. She and her father knew The Tennyson's very well throughout his life amongst others. 

Well, my books arrived earlier today and one in particular contained some beautiful photographs that I've never seen before. One of Julia Margaret Cameron and one of Lionel Tennyson, son of Alfred Tennyson looking quite Dickensian. I just had to share these few photos with you all.  


Julia Maragaret Cameron's house, Dimbola in 1871

I have never seen this photograph of Julia Margaret Cameron playing her Erridge Piano, 1863, by Oscar Gustave Rejlander. 

Son of Alfred Lord Tennyson, Lionel Tennyson, no year provided but looking rather Dickensian. I just love this photograph!

Lionel Tennyson's widow, Eleanor, photographed after his death but no year provided

One of the last photographs of Anne Thackeray Ritchie (Anny reading) no year provided

Just a quick post. I hope you enjoyed the photographs and have a lovely weekend <3



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