], [>], [>]
responses of family and friends, [>]
Taylor’s survey of, [>]–[>]
Thoreau’s investigation of, [>]–[>]
“Short Essay on Critics” (Fuller), [>], [>], [>]
Sidney, Philip, [>]
Sigourney, Lydia, [>]
Sing Sing prison, [>]
Fuller visits, [>]–[>], [>]
addresses inmates at, [>]–[>]
progressive program for female prisoners at, [>], [>]
Slavery
Emerson opposes, [>]
woman’s situation compared to by Fuller, [>], [>]
See also Abolitionism
Smith, Elizabeth Oakes, [>]–[>], [>]
Social reform
of Georgiana Bruce at Sing Sing, [>]
Fuller advocates for as Tribune columnist, [>], [>], [>]
investigations by, [>]–[>], [>], [>], [>]
and Springs, [>], [>], [>]
Socialism, [>], [>]
Society in America (Martineau), [>]
Society of Christian Union church, [>], [>], [>]
Sojourner Truth, [>]
Sorrows of Young Werther, The (Goethe), [>], [>]
Specimens of Foeign Standard Literature (Ripley series), [>]
Fuller published in, [>]
Spenser, Edmund, [>]
“Sphinx” (Emerson), [>]
Spinoza, Benedict de, [>]
Spring, Eddie (Edward Adolphus), [>], [>], [>], [>]
Spring, Jeanie (Jeanne), [>]
Spring, Marcus, [>], [>], [>], [>], [>], [>], [>], [>]
and news of Fuller’s marriage, [>]
searches shipwreck site, [>]
Spring, Rebecca, [>]
and European trip, [>] (see also Springs in Europe)
and Female Refuge, [>]
on Fuller and Mickiewicz, [>]–[>], [>]–[>]
on Fuller’s mother after shipwreck, [>]
and Fuller’s quandary about leaving Nino, [>]
James Nathan investigated by, [>], [>]
and news of Fuller’s marriage, [>]
and George Sand, [>]
Springs in Europe, [>], [>], [>], [>], [>], [>], [>], [>], [>], [>], [>], [>], [>]
Fuller’s slow withdrawal from, [>]
and rescue of Fuller from Scottish ordeal, [>]
Staël, Anne-Louise-Germaine Necker, Madame de, [>], [>], [>], [>], [>], [>]
Stanton, Elizabeth Cady, [>], [>]
Stone, Lucy, [>]
Story, Emelyn, [>], [>], [>], [>], [>], [>], [>]
Story, William Wetmore, [>], [>], [>]
Strutt, J. G., “Tasso’s Oak, Rome,” [>]
Sturgis, Anna, [>]
Sturgis, Caroline (Cary), [>], [>]–[>], [>], [>]
and Ellery Channing invitation, [>], [>]
and William Clarke, [>]
in Conversations class, [>], [>], [>], [>], [>]
and The Dial, [>], [>]
and Emerson, [>]–[>], [>], [>], [>], [>], [>]–[>], [>], [>], [>], [>], [>], [>]
Cary visits with Fuller and Anna, [>]
at “Eloquence” lecture, [>]
and Emerson on marriage, [>]
and Emerson on Sam and Anna, [>]
Emerson’s letters to, [>], [>], [>], [>], [>]
and Fuller, [>], [>]–[>], [>]
and Niagara Falls recollections, [>]
and Tappan, [>]
and Waldo Emerson Jr., [>]–[>]
and Fuller, [>]–[>]
with Fuller in Cambridge, [>], [>]
Fuller in Europe given news of, [>]
with Fuller at Fishkill Landing (Sing Sing visit), [>], [>]
Fuller gives Raphael print to, [>], [>]
with Fuller in Newburyport, [>], [>]
and Fuller’s journey west, [>]
Fuller’s letters to, [>], [>], [>], [>], [>], [>]–[>], [>], [>], [>], [>], [>], [>], [>], [>], [>], [>], [>], [>], [>], [>], [>], [>]
on Fuller’s reform efforts, [>]
“Life” (poem), [>]
“Love and Insight” (poem), [>]
marriage of, [>]
wedding, [>]
and Woman in the Nineteenth Century, [>]–[>]
Sturgis, Ellen, [>], [>]. See also Hooper, Ellen
Sturgis, Susie, [>]
Sturgis, William, [>]
“Subject—History of Himself” (Thoreau), [>]
Summer on the Lakes, in 1843 (Fuller), [>], [>]–[>]
Sumner, Charles, [>]
Sumner, Horace, [>], [>], [>], [>]
“Sunset, The” (Shelley), [>]
Swedenborg, Emanuel, [>]
Switzerland, Fuller visits, [>]
Tanglewood (Highwood), [>]
Tappan, Cary Sturgis, [>]
Fuller reveals pregnancy to, [>]–[>]
and Fuller’s death, [>]–[>]
letters to, [>]. [>], [>]
marriage of, [>]
as potential guardian for Nino, [>]
See also Sturgis, Caroline
Tappan, William Aspinwall, [>], [>], [>]
“Tasso’s Oak, Rome” (engraving), [>]
Taylor, Henry, [>]
Taylor, Bayard, [>]–[>]
Tempest, The (Shakespeare), Fuller borrows “Miranda” from, [>], [>]
Temple School
demise of, [>]
disastrous controversy over teachings of, [>]–[>]
Fuller teaches at, [>]–[>], [>]–[>], [>]
Thoreau, Henry David, [>]
addresses Concord Lyceum, [>]–[>]
with Ellery Channing on vagabonding trip, [>]
as Dial contributor, [>], [>], [>]
and Emerson, [>], [>], [>], [>], [>], [>]–[>]
and Fuller as editor, [>], [>]
on Fuller’s writing, [>]
on “The Great Lawsuit,” [>]
and mission after shipwreck, [>]–[>]
on publishing of Summer on the Lakes, [>]–[>]
on Walden Pond, [>]
“Thoughts on Modern Literature” (Emerson), [>]
Titian. Sacred and Profane Love, [>]
“To a Daughter of Italy” (Fuller), [>]
“To a Golden Heart, Worn Round His Neck” (Fuller translation), [>]–[>]
Tombs, the, NYC jail, Fuller visits, [>]
“To Rhea” (Emerson), [>]
Torquato Tasso (Goethe), [>], [>]
Fuller’s translation of, [>]–[>]
Tracy, Albert, [>]
Trail of Tears, [>]
“Transcendental Bible” (Lidian Emerson), [>]–[>], [>]
Transcendental Club, [>]–[>], [>]
Emerson on women members of, [>]
and example of Emerson’s independence, [>]
and Fuller, [>], [>], [>], [>], [>]
and women’s group, [>]
and new journal (The Dial), [>], [>]–[>]
in Elizabeth Peabody’s bookroom, [>]
Transcendentalism, [>], [>], [>]
and Clarke on westerners, [>]
and Cranch, [>]
and critics, [>]
and The Dial, [>], [>]–[>], [>], [>]
and Emerson, [>]
and Fuller, [>]–[>], [>]
and Fuller’s mountain retreat, [>]
Mickiewicz introduces to Paris, [>]
and Elizabeth Peabody, [>], [>]–[>], [>]
and Temple School, [>]
Treaty of St. Peters, [>]
Truth, Sojourner, [>]
Tuckerman, Jane, [>], [>], [>]
Turtle Bay, Greeley residence on, [>]–[>]
as Fuller’s residence, [>], [>], [>], [>], [>], [>], [>]
and Fuller’s walks on grounds, [>], [>]
Tuscany, Fuller visits, [>]
“Twin Loves” (Ward), [>]
Unitarianism, [>], [>]–[>]
United States Magazine and Democratic Review, Fuller’s “Recollections of the Vatican” in, [>], [>]
“Valpy’s Chronology” (Fuller’s childhood reading), [>]
Van Bu
ren, Martin, [>], [>]
Venice, Fuller visits, [>], [>]
Victor Emmanuel II (king of Sardinia-Piedmont), [>]
Vindication of the Rights of Women (Wollstonecraft), [>], [>], [>]
Virgil, [>]. See also Aeneid, The
“Visit, The” (Emerson), [>], [>], [>]
Visitor of the Poor (de Gérando), [>]
Vita Nuova (Dante), Emerson translation of, [>]
Vulpius, Christiane, [>]
Walden Pond, [>]
Ward, Anna Barker, [>], [>]
and Conversations, [>]
in Emerson’s news to Fuller in Europe, [>]
and Fuller’s nightmare, [>]
letters to, [>], [>]
marriage of, [>]–[>], [>]
and story of Uncle Peter, [>]–[>]
See also Barker, Anna
Ward, Julia, [>]
Ward, Samuel Gray, [>]–[>]
and Anna Barker, [>], [>], [>]–[>], [>]
marriage, [>]–[>], [>], [>] (see also Ward, Anna Barker)
and Ellery Channing, [>]
as Dial contributor, [>], [>], [>]–[>]
and Emerson, [>], [>], [>], [>]
European trip of, [>], [>], [>]
and Fuller, [>]–[>], [>], [>], [>], [>]
books on Goethe sent, [>]
Fuller’s envisioned European trip, [>], [>]
Fuller’s letters to, [>]–[>], [>], [>], [>], [>]
and Fuller in Europe
Emerson passes along news of, [>]
Fuller sees as more beautiful than Europeans, [>]
photograph of, [>]
on Platonic vs. sexual relationships, [>]–[>], [>], [>], [>]
surprise announcement from, [>]
Tappans move to estate on property of, [>], [>]
Ware, William, [>]–[>]
Weeks & Jordan (publishers), and The Dial, [>]
West Bridge (Cambridge–Boston), [>], [>], [>]
Western Messenger, [>], [>]
Fuller poetry in, [>]
and Fuller reviews, [>], [>], [>], [>]
Goethe translation in, [>]
Wet nurses in Italy, [>]–[>]
Wharton, Edith, [>]
“What Fits a Man to Be a Voter?” (Fuller), [>]
Wheeler, Charles, [>]
Whipple, John Adams, [>]
White, William, [>]–[>]
Whitman, Walt, [>]
Wieland, Christoph, [>]
Wiley, John, [>]
Wiley and Putnam, as Fuller publisher, [>]
Wilhelm Meister’s Apprenticeship (Goethe), [>]
Wilkinson, James John Garth, [>]
Willow Brook, Jamaica Plain, Fuller living at, [>], [>], [>], [>], [>], [>], [>]
Wollstonecraft, Mary, [>], [>], [>], [>], [>], [>], [>], [>], [>]
“Woman” (Sophia Ripley), [>]
Woman in the Nineteenth Century (Fuller), [>], [>], [>]–[>], [>]–[>]
applied to Italian independence, [>]
on breaking bonds, [>]
on chastity, [>]
criticism of, [>]
Poe’s review, [>]
English edition of, [>]–[>]
and “ennui,” [>]
European readers of, [>]
and Fourier, [>]
Sophia Hawthorne on, [>]
on loving bad men, [>]
on magnetic element in women, [>]–[>]
on marriage, [>]–[>], [>]–[>], [>], [>]
Mickiewicz reads, [>]
Eliza Peabody on, [>]
popularity of, [>]–[>], [>]
and prospects for woman ambassador, [>]
and Putnam on Fuller’s Roman experience, [>]
on romance, [>]
Cary Sturgis on, [>]–[>]
and treatment of prostitutes, [>]–[>]
and women’s suffrage, [>]
Women’s rights and status
and Emerson’s “The American Scholar,” [>]
Fuller on, [>]
in Coliseum Club, [>]–[>]
as Dial editor, [>]
in Dial essay, [>], [>]
in “Great Lawsuit,” [>]
and housewives’ “littleness,” [>]
and “supersensuous connection,” [>], [>]
and Fuller on life scope, [>]
Fuller on reform of, [>]
and Fuller’s Conversations group, [>], [>]–[>], [>], [>]
and Fuller’s farewell in Tribune, [>]
and Fuller’s life, xvi–xvii, [>], [>], [>]
in Fuller’s “Magnolia” story, [>]–[>]
Fuller’s perception sharpened by European tour, [>]
and goals in Greene Street School, [>]–[>]
and “The Great Lawsuit,” [>], [>], [>] (see also “Great Lawsuit, The. Man versus Men. Woman versus Women”)
and “Great Lawsuit” expanded (Woman in the Nineteenth Century), [>]–[>], [>]–[>], [>] (see also Woman in the Nineteenth Century)
and men’s reaction to women of verbal superiority, [>]
Mickiewicz on, [>]
Ripley essay on, [>]–[>]
and Transcendental Club, [>]–[>]
woman ambassador foreseen, [>]
Women’s suffrage movement, Fuller seen as head of, [>]–[>]
Woolf, Virginia, [>]
Worcester State Lunatic Hospital, [>]
Words of a Believer (Lamennais), [>]
Wordsworth, William, [>], [>], [>], [>], [>]
Wright, John, [>]–[>]
Young Lady’s Friend, The (Farrar), [>], [>]
Zeluco (Moore), [>]
Zinzendorf, Count and Countess, [>]
Zoroastrianism, and “Orphic Sayings,” [>]
Part 1
Origins 1746–1803
1. Matriarch
ASIDE FROM ONE STIFFLY POSED SILHOUETTE, THE ONLY SURVIVING likeness of Mrs. Elizabeth Palmer Peabody is a small pencil drawing Sophia made in one of her sketchbooks in the early 1830s. By this time Sophia and her sisters were all in their twenties and their mother was approaching sixty. Eliza, as she was known to her family, had given birth to four daughters (one died in infancy) and three sons, moved her family in and out of nearly a dozen different houses, never owning one of them, and devoted most of her waking hours to augmenting her husband’s meager income by teaching or tutoring young girls. There are hints of that life of hard work in the set of Mrs. Peabody’s jaw, in her tired eyes. But the “Mamma” Sophia chose to depict is a woman apparently free of daily burdens. We see her in profile, settled happily at a table, hair tucked back into a lace-trimmed cap, reading a book, with a vase of flowers to complete the tableau.
A hint of a smile plays about Mrs. Peabody’s face, reminding us that she was not alone in the room. Was the affectionate look intended for Sophia or her sisters? Sophia manages to suggest a parlor scene with, perhaps, the rest of the family gathered outside the frame, reading or talking. The drawing could have been captioned with Mrs. Peabody’s words of advice, written about the same time the sketch was made, when the family had come to believe that Sophia would never be well enough to marry or to leave home. “The love which settles down upon the household circle tho’ more quiet, is deeper, steadier, more efficient than any other love,” she counseled Sophia. “Anchor your soul on domestic love.”
Sophia liked to draw spare, almost stylized sketches of her friends and family inspired by the English artist John Flaxman’s illustrations of Greek myths, then popular with the Boston intelligentsia. She gives us just the outlines of her mother’s short cape—it must have been a chilly New England spring day—and a long sleeve. But the simple props she selected for her mother’s portrait were as significant as Diana’s arrows or Pandora’s box in a Flaxman line drawing. Both book and flowers were signs of high culture and feminine refinement. Yet Mrs. Peabody was no dilettante. She was a published poet and read widely and critically all her life, passing along her passion for literature to her daughters, who made books and learning the central focus of their own lives. S
he prized flowers and—when she had the time, when she had a garden, and when her husband’s ridicule didn’t stop her—took long walks in search of unusual specimens to transplant to her own flower beds. Sophia sketched her mother as she wanted to be seen, and as Sophia wanted to remember her: at peace and surrounded by the elements of her favorite occupations. A decade after she drew this sketch, a month after she left home with her new husband, Nathaniel Hawthorne, Sophia was still trying to think of her mother this way. “I could see in you the image of a perfect woman,” she wrote to her mother, recollecting her years at home. But she couldn’t keep herself from adding: “through all the shadows of the world over you.”
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