12. See G. Wilson Knight, “The Philosophy of Troilus and Cressida,” in The Wheel of Fire: Interpretations of Shakespearean Tragedy (London, 1961).
13. See, for instance, William Hazlitt, “Characters in Shakespeare’s Plays,” in Duncan Wu, Selected Writings of W. Hazlitt, 9 vols. (London, 1998), I, pp. 85–266.
14. David Crystal, The Stories of English (London, 2004), pp. 309–333.
15. H. Neville Davis, “The Phoenix and Turtle: Requiem and Rite,” in Review of English Studies, XLVI (1995).
16. J. H. Long, Shakespeare’s Use of Music (Florida, 1977).
17. F. W. Sternfield, Music in Shakespearean Tragedy (London, 1967).
18. R. Savage, “The Shakespeare-Purcell ‘Fairy Queen,’” Early Music, I (1973).
19. Kenneth Muir, Shakespeare’s Sources (London, 1957); Keith Dockray, William Shakespeare, the Wars of the Roses, and the Histories (Stroud, U.K., 2002).
20. Leslie Hotson, Shakespeare versus Shallow (London, 1931).
21. See my Elizabeth I: A Study in Power and Intellect (London, 1988), pp. 377ff.
22. Sidney Lee, A Life of William Shakespeare (London, 1916), pp. 246ff.
23. See G. R. Hibbard (ed.), Hamlet (Oxford, 1987).
24. B. Everett, Young Hamlet: Essays on Shakespeare’s Tragedies (Oxford, 1989).
Chapter 5: J. S. Bach: The Genetics of the Organ Loft
1. Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, 20 vols. (London, 1995), I, pp. 774–779, with geneological tree; many of these Bachs have separate entries. This should be supplemented by the entry on Bach in H. C. Coller (ed.), Grove’s Dictionary of Music and Musicians, 5 vols. (London, 1929), I, pp. 148ff, which is livelier and contains additional material.
2. The story about wife swapping is gossip. For the family see P. M. Young, The Bachs 1500–1800 (London, 1970).
3. F. Walker, “Some Notes on the Scarlattis,” Musical Review, XII (1951).
4. New Grove, 1995, XX, pp. 240–241.
5. R. Hughes (ed.), A Mozart Pilgrimage: Being the Travel Diaries of Vincent and Mary Novello in the Year 1829 (London, 1975).
6. See the English translation (1978), of B. Schwendowins and W. Dömling (eds.), J. S. Bach: Zeit, Leben, Werken (Kassell, Germany, 1976).
7. For a popular account of this episode, see J. R. Gaines, Evening in the Palace of Reason (New York, 2004).
8. For a detailed list of works see New Grove, 1995, I, pp. 818–836.
9. Grove, 1929, III, pp. 765–767.
10. E. H. Geer, Organ Registration in Theory and Practice (Glen Rock, New Jersey, 1957); New Grove, 1995, XV, pp. 684–689.
Chapter 6: Turner and Hokusai: Apocalypse Now and Then
1. Quoted in Mary Lloyd, “A Memoir of J. M. W. Turner” (1880), in Turner Studies, IV, 1, summer 1984.
2. Lives of Turner include A. Wilton (1979), J. Gage (1987), and J. Lindsay (1986).
3. The catalogue raisonné of Turner’s oil paintings is published by Yale University Press in 2 volumes (2001).
4. Quoted by Mary Lloyd in Turner Studies, IV, 1984.
5. A. J. Finberg, Life of J. M. W. Turner RA (Oxford, 1961), p. 198.
6. Ibid., pp. 201–202.
7. John Gage, Color in Turner (London, 1969), p. 35.
8. All four, plus three similar views of Lake Como done on the same trip, are reproduced in Lindsay Stainton, Turner’s Venice (London, 1985), plates 1–5.
9. Gage, 1969, p. 35.
10. Quotations from Finberg, 1961, pp. 198ff.
11. Much of this appears in Turner Studies, 1982.
12. Gage, 1969, pp. 56ff.
13. Finberg, 1961, p. 289.
14. R. B. Bennett (ed.), John Constable’s Correspondence, 6 vols. (Suffolk, UK, 1962–1968), letter to C. R. Leslie, 14 January 1832.
15. William S. Rodner, “Turner and Steamboats on the Seine,” Turner Studies, VII, 2, winter 1987.
16. Judy Egerton, The Fighting Temeraire (London, 1995).
17. John Gage, Turner: “Rain, Steam and Speed” (London, 1972); John McCowbrey, “Turner’s Railway: Turner and the Great Western,” Turner Studies, VII, 1, summer 1986.
18. Twain’s attack appeared in A Tramp Abroad, 2 vols. (New York, 1880), 1, p. 219; see also Jerrold Ziff, “Turner’s Slave Ship: What a Red Rag Is to a Bull,” Turner Studies, III, 2, winter 1984.
19. By, for instance, Jerrold Ziff; see his “J. M. W. Turner’s Last Four Paintings,” Turner Studies, IV, 1, summer 1984.
20. Quotation from Turner Studies, I, 1; and IV, 1, summer 1984.
21. See Joyce Townsend, Turner’s Painting Techniques (London, 1996), chapter 2.
22. Quoted in Finberg, 1961. See also Turner Studies.
23. Quoted in Finberg, 1961, p. 169.
24. Ruskin, Modern Painters, 1, part II, chapter 7, note 249 (Library Edition).
25. Joyce H. Townsend, “The Changing Appearance of Turner’s Paintings,” Turner Studies, X, 2, winter 1990.
26. Ibid., p. 71.
27. The list of his principal names as an artist is given in Hokusai, edited by Matthu Forrer with text by Edmond de Goncourt (New York, 1988), pp. 370–371.
28. See Louis Gouse, L’Art Japonais, 2 vols. (Paris, 1883), 1, p. 286.
29. For a detailed chronological table see Forrer, 1988, pp. 384–388.
30. Jack Hillier, The Art of Hokusai in Book Illustration (London, 1980), gives an appendix with a chronological list of Hokusai’s illustrated books, pp. 263–280.
31. See the chapter on waterfalls in Gian Carlo Calza (ed.), Hokusai (London, 2003), in which drawings by Hokusai are accompanied by photos of the actual waterfalls.
32. For the evolution of the Great Wave, see the chapter in ibid., pp. 23–32.
33. For pupils, see Forrer, 1988, pp. 372–373.
34. For contents and chronology of the Manga see Hillier, 1980, pp. 97–111.
35. J. A. Michener, The Hokusai Sketchbooks: Selections from the Manga (Rutland, Vermont, 1958).
36. For Hokusai on crafts, see Hillier, 1980, pp. 181–189.
37. For Shungi, see ibid., pp. 158–180; illustrations from Nami Chiduri are plates 149–153.
38. The Pearl Diver and Two Octopuses is from the album Young Pines (1814), 3 vols., an erotic tale written and illustrated by Hokusai but published anonymously. The original of the famous drawing is in the Gerhard Pulverer Collection.
39. Quoted in Forrer, 1988, p. 32.
40. For these final works see Forrer, 1988, pp. 353ff.
Chapter 7: Jane Austen: Shall We Join the Ladies?
1. See Deirdre le Faye (ed.), Jane Austen’s Letters (3rd edition, Oxford, 1995).
2. For the wild side of her character in her youth, reflected in her juvenilia, see David Nokes, Jane Austen (London, 1997), pp. 115, 126–127, 141.
3. The most recent life is Maria Fairweather, Madame de Stael (London, 2005); but see the review by Douglas Johnson, Spectator, 20 February 2005.
4. See Griselda Pollock, “Women and Art History,” in Grove’s Dictionary of Art, XXXIII, pp. 307–316, with an excellent bibliography.
5. I saw this myself in 1966; the women Royal Academicians were led by Dame Laura Knight.
6. See Marion Kingston Stocking (ed.), The Clairmont Correspondence, 2 vols. (Baltimore, 1995).
7. The best book about Jane Austen as a person is George Holbert Tucker, Jane Austen the Woman (London, 1994).
8. Of the many biographies of George Sand, the one I prefer, mercifully short, is Donna Dickenson, George Sand: A Brave Man, the Most Womanly Woman (London, 1989); for the latest research see the special edition on George Sand of Magazine Littéraire (Paris, 2004). There is a recent life by Elizabeth Harlan, George Sand (New Haven, Connecticut, 2004).
9. The standard life of George Eliot is Gordon S. Haight, George Eliot (Oxford, 1968); two recent lives, both good, are by Frederick Karl (1995) and Rosemary Ashton (1996).
10. For details of Eliot’s writings, etc., see John Rignall (ed.), A Reader�
�s Companion to George Eliot (Oxford, 2000).
11. Quoted ibid., pp. 412–413.
12. For the influence of Daniel Deronda in Europe, see my History of the Jews (London, 1987), pp. 378–379.
13. For Eliot and women, see Rignall, A Reader’s Companion to George Eliot, pp. 466–471.
14. For the background to Austen’s novels provided by her circumstances, see Mary Lascelles, Jane Austen and Her Art (Oxford, 1939), pp. 1–40. This is the best book on Austen as a novelist.
15. For the juvenilia, etc., see R. W. Chapman, Minor Works (Oxford, 1982), vol. IV of his Works of Jane Austen. This explains the various manuscripts.
16. Jane Austen’s realism has often been challenged: why did she write so little about the great war that dominated so much of her life? I answer this in my annual address to the Jane Austen Society, 1996, “Jane Austen, Coleridge, and Geopolitics,” in Report of the Society (1997). See also Brian Southam, Jane Austen and the Navy (London, 2000).
Chapter 8: A. W. N. Pugin and Viollet-le-Duc: Goths for All Seasons
1. There is no biography of the elder Pugin that I know of, though he figures in Dictionary of National Biography; Howard Colvin’s Dictionary of British Architecture, pp. 667–668, and Grove’s Dictionary of Art, XXV, pp. 710–711, with bibliography. There is an essay by F. G. Roe, “The Elder Pugin,” Journal of the Old Watercolour Society Club, XXXI, 1956.
2. If you can get hold of it, the elder Pugin’s fine illustrations are found in the book he did with J. Britton, Illustrations of the Public Buildings of London, 2 vols. (London, 1825, 1828).
3. For Pugin the man, see M. Trappes-Lomax, Pugin: A Medieval Victorian (London, 1932); and P. Stanton, Pugin (London, 1971).
4. For early work, see Paul Atterbury and Clive Wainwright, Pugin: A Gothic Passion (London, 1994).
5. Gothic Furniture in the Style of the Fifteenth Century, Designed and Etched by A. W. N. Pugin (London, 1835).
6. For items at the Victoria and Albert Museum see Atterbury and Wainwright, 1994.
7. See Michael McCarthy, The Origins of the Gothic Revival (Yale, 1987).
8. Quoted in Guy Williams, Augustus Pugin v. Decimus Burton: A Victorian Architectural Duel (London, 1990), p. 109.
9. A list of Pugin’s writings is given in Grove’s Dictionary of Art, XXV, p. 716.
10. For Pugin’s work, see P. Waterhouse, “The Life and Work of Welby Pugin,” Architectural Review, 1897–1898 (six parts).
11. See M. H. Port (ed.), The Houses of Parliament (London, 1976); see also The History of the King’s Works, vol. 6 (London, 1973). E. W. Pugin, A. W. N. Pugin’s son, wrote a pamphlet on the subject, published in 1867, to which A. Barry replied in 1868.
12. For Pugin’s craftsmen see Alexander Wedgwood, A. W. N. Pugin and the Pugin Family (London, 1985).
13. Quoted ibid.
14. Quoted in Atterbury and Wainwright, 1994.
15. Kenneth Clark, The Gothic Revival (London, 1928), p. 95.
16. Quoted in Atterbury and Wainwright, 1994.
17. The best biography of Morris is Fiona MacCarthy, William Morris (London, 1994).
18. For an overview of Morris see L. Parry (ed.), William Morris (exhibition catalog, Victoria and Albert Museum, London, 1996).
19. Jean-Paul Midant, Viollet-le-Duc and the French Gothic Revival (Paris, 2002).
20. For Viollet-le-Duc’s own houses see his Habitations Modernes, 2 vols. (Paris, 1877); there is a drawing in Midant, 2002, p. 161, of the villa at Lausanne.
21. For Carcassone and Pierrefonds, and Viollet-le-Duc’s work there, see Midant, 2002, pp. 96ff, 110ff. See also Grove’s Dictionary of Art, V, pp. 726–728, with diagrams and bibliography of Carcassone.
Chapter 9: Victor Hugo: The Genius Without a Brain
1. The Distance, the Shadows, a translation by Harry Guest of sixty-six important poems (London, 1981), is the fairest attempt to bring Hugo’s poetry to an English-speaking audience.
2. The first complete edition is called Édition d’Imprimerie Nationale, 45 vols. (Paris 1904–1952); a better one is Édition Chronologique, 18 vols., Jean Massin (Club Français de Livre 1967–1971); a third, eds. Jacques Seebacher and Guy Rosa, was published by Laffont in 15 vols. of what it called its “Bonquins” (1985–1990). H. Guillemin edited three volumes of Oeuvres Poétiques for Pleiade (1964–1974). The so-called 45 vols. of the complete works contain 4 vols. of correspondence, and there are various other selections. See bibliography in Graham Robb, Victor Hugo (London, 1997), pp. 634–637.
3. Robb, 1997. There is no good French life—André Maurois, Olympio (1954), is the best. Herbert Juin, Victor Hugo, 3 vols. (Paris, 1980–1986), is the longest. Joanna Richardson, Victor Hugo (London, 1976), is also useful.
4. For an annotated list see Stanley Sadie (ed.), New Grove Dictionary of Music (London, 1980), VIII, pp. 769–770.
5. Honoré de Balzac, Lettres à Madame Hauska, 2 vols. (Paris, 1990), II, p.8.
6. See his poem “Ce qui se passient aux Feuillantines,” from Les Rayons et les Ombres, Oeuvres poetiques (Pleiade edition, Paris), i, p. 1064.
7. La Civilisation, Oeuvres complètes, XII, p. 608.
8. Les Misérables, II, p. 362.
9. A. Lambert, Le Siège de Paris (Paris, 1965), p. 336.
10. Philip Mansel, Paris between Empires, 1814–1852 (London, 2001), p. 294.
11. See Robb, 1997, p. 247. Robb gives a full account of the affair, pp. 241–272.
12. Verlaine, Oeuvres en Prose Complètes (Paris, 1972), p. 107.
13. This story may be bien trouvé rather than exact. When I lived in Paris, there were still people who had known acquaintances of Hugo and his family, and such stories abounded. I have forgotten the name of my informant, but he had held a high post in the administration of the former royal palaces of France. See Henri Guillemin, Hugo et la Sexualité (Paris, 1954), p. 134.
14. For the funeral, see Robb, 1997, pp. 527ff.
15. For Tennyson, see Robb, 1997, p. 515; for Thackeray, see Gordon N. Ray, Letters and Private Papers of W. M. Thackeray, 4 vols. (Oxford, 1945), I, p. 228; II, pp. 44, 139–154.
16. Pilgrim Edition of the Letters of Charles Dickens, 12 vols. (Oxford, 1965–2002), X, p. 155; V, p. 15; VI, pp. 334–335.
Chapter 10: Mark Twain: How to Tell a Joke
1. I have used for convenience the Oxford Mark Twain, ed. Shelley Fisher Fishkin, 27 vols. (1996), facsimile of the original editions. This is cheap, with (on the whole) excellent introductions by a variety of writers, and the original types and layouts give a flavor of the period. There is also, however, a scholarly edition, The Works of Mark Twain, in process of publication for the Iowa Center for Textual Studies, by the University of California Press. This includes much previously uncollected work.
2. Twain is best presented, as a phenomenon, by his Speeches, originally collected with an introduction by William Dean Howells, reprinted in the Oxford Mark Twain (1996), with an introduction by the actor Hal Holbrook. Holbrook toured the United States in a one-man show as Twain and made a study of Twain’s appearance and mannerisms.
3. J. H. and R. Hagood, Hannibal: Mark Twain’s Town (Marcelline, Missouri, 1987). See also M. M. Brashear, Mark Twain, Son of Missouri (New York, 1964).
4. See Randall Knoper, Acting Naturally: Mark Twain in the Culture of Performance (Berkeley, 1995).
5. E. M. Branch, The Literary Apprenticeship of Mark Twain (Urbana, Illinois, 1950).
6. The Celebrated Jumping Frog of Calaveras County and Other Sketches forms a volume in the Oxford Mark Twain (1996), with an introduction by Roy Blount, Jr.
7. Twain’s own voice was variously described as a “nasal twang,” or “a little buzz inside a corpse.” He was variously said to have a “Missouri drawl” or a “Down East” accent. See Paul Fatout, Mark Twain on the Lecture Circuit (Carbondale, Illinois, 1960).
8. There are many biographies of Twain. The one I like best is Andrew Hoffman, Inventing Mark Twain (London, 1997), which has a good chapter on Twain le
cturing, pp. 162–167.
9. Fred W. Lorch, The Trouble Begins at Eight: Mark Twain’s Lecture Tours (Ames, Iowa, 1960).
10. David R. Sewell, Mark Twain’s Languages: Discourse, Dialogue, and Linguistic Variety (Berkeley, 1981).
11. It is important to note that Pudd’nhead Wilson, though dotted with one-liners and with each chapter headed by an aphorism, is in essence a story about the race problem.
12. The best edition of the book I know is Mark Twain: Adventures of Huckleberry Finn: The Only Comprehensive Edition (Mark Twain Foundation, U.S.A.; London, 1996), with an introduction by Justin Kaplan and textual addenda by Victor Doyno. This also includes a facsimile of the original mss., an eye-opener.
Chapter 11: Tiffany: Through a Glass Darkly
1. For an outstanding account of how glass is made, see Keith Cummings, A History of Glassforming (London, 2002).
2. Susan Frank, Glass and Archaeology (London, 1982).
3. For terms see H. Newman, An Illustrated Dictionary of Glass (London, 1977).
4. H. Tait (ed.), 5000 Years of Glass (London, 1991).
5. D. Klein, Glass: A Contemporary Art (London, 1989); see also D. Klein and W. Lloyd, The History of Glass (London, 1984).
6. M. Wiggington, Glass in Architecture (London, 1990).
7. For the original firm of Tiffany, see J. Loring, Tiffany’s 150 Years (New York, 1987).
8. For Tiffany silverware see W. P. Hood et al., Tiffany Silver Flatware (London, 1999).
9. See B. MacLean Ward and G. W. R. Ward, Silver in American Life (Yale, 1979–1982).
10. For the influence of Inness, see Adrienne Baxter Bell, George Inness and the Visionary Landscape (New York, 2003).
11. For Tiffany’s firm see “Dictionary of Firms and Artists” in the exhibition catalog In Pursuit of Beauty: Americans and the Aesthetic Movement (Metropolitan Museum, New York, 1986).
12. Robert Koch, Louis C. Tiffany: Rebel in Glass (New York, 1964).
13. For Tiffany’s stained-glass work, see Vivienne Couldrey, The Art of Louis Comfort Tiffany (London, 1989).
14. Sarah Brown, Stained Glass: An Illustrated History (London, 1994).
Creators Page 35