“On the Medway Life is Real” – E. Nesbit

I’ve been neglecting my blog recently as I transition from Wilde to Nesbit but I’m keen to keep posting when I can. We’re planning our holidays in England this year and our odyssey will take us from Keswick in the Lake District (where the husband is running a race), then diagonally down through England to Canterbury (I’m speaking at a conference) via Cambridge. We’ll stay a night in Whitstable, as featured in Sarah Water’s brilliant novel Tipping the Velvet, before heading on to Salisbury (where we’ll see Stonehenge), then to Cornwall to stay with friends and reacquaint ourselves with the lovely seaside town of St. Ives. We travel home via Stratford-Upon-Avon.

I cannot wait. I love England (I lived there for years and my eldest son was born there) but lately it’s just been Brexit Brexit Brexit and I need to fall back in love with that magnificent, historic country. As part of my research for my new biography I’ve been reading E. Nesbit’s beautiful descriptions of her beloved Kent countryside, in particular the River Medway, where she loved to go boating. She recognised an authenticity in river life. In The Incredible Honeymoon, she wrote:

On the Medway life is real, life is earnest. You mostly pull a hundred yards, anchor and fish; or if you do go farther from harbor you open your own locks, with your own crowbar.

River Medway, Kent

Here’s a lovely piece of descriptive writing from her novel Salome and the Head:

The Medway just above The Anchor (at Yalding, Kent) is a river of dreams. The grey and green of willows and alders mirror themselves in the still water in images hardly less solid-seeming than their living realities. There is pink loosestrife there, and meadow-sweet creamy and fragrant, forget-me-nots wet and blue, and a tangle of green weeds and leaves and stems that only botanists know the names of.

Particularly calming is this tranquil, languid excerpt from The Incredible Honeymoon:

The quiet river, wandering by wood and meadow, bordered by its fringe of blossoms and flowering grasses, the smooth backwaters where leaning trees touched hands across the glassy mirror, and water-lilies gleamed white and starry, the dappled shadows, the arch of blue sky, the gay sunshine, and the peace of the summer noon all wrought in one fine spell to banish from their thoughts all fear and dismay, all doubts and hesitations.

We won’t be boating on the Medway this time round but Edith Nesbit has inspired me to make plans for the future. I hope we’ll always have the opportunity to visit the beautiful home of our British neighbours, just as I hope they/you will continue to visit us.

For more on holidays in Kent visit: http://www.visitkent.co.uk

If you’re looking for a holiday read try Wilde’s Women

May 1883: Oscar Wilde Returns to London

To mark 1 May, here’s a tiny May-related excerpt from Wilde’s Women. Oscar, aged 28, returns from Paris to London. He has not been there for some time since he spent 1882 touring America before heading to Paris, where he wrote The Duchess of Padua for Mary Anderson:

Oscar with curls. Not a great look tbh.

In May 1883, Oscar returned to London with a head full of curls and an empty wallet. He stayed with Jane before taking furnished rooms, ‘for single men of distinction’ on nearby Charles Street in Mayfair. Frank Harris claimed that Jane had suggested Charles Street. She felt he should live at a suitably impressive address since she ‘never doubted his ultimate triumph’ and ‘knew all his poems by heart’.* These lodgings were managed by a retired butler, and his wife, an excellent cook, both of whom were devoted to their brilliant young tenant; they ‘could not speak too highly of his cleverness, kindness and consideration’ and overlooked his tardiness in settling his account.**

Sherard, who shared these lodgings for a time, tells us that ‘the rooms on the third floor that Oscar Wilde occupied were panelled in oak and there were old engravings in heavy black frames on the walls’. he adds: ‘The fact was that, in despite of an address which implied opulence, we were both very poor. It was while they were both staying in this house on Charles Street that Oscar woke Shepard early one morning to tell him that he had become engaged to Constance Lloyd; ‘At breakfast, he spoke of his bride and seemed much in love and very joyous,’ Sherard wrote.

As for the curls, they put Violet Hunt right off him for one.

For more, read Wilde’s Women:

*Frank Harris, Oscar Wilde; his Life and Confessions, Vol. I, p.82

**Robert Sherard, The Real Oscar Wilde, pp.282-3

Henry James versus Oscar Wilde

Today marks the anniversary of the birth of Henry James, who is regarded as one of the key figures of nineteenth century literature; his most famous works including Portrait Of A Lady, The Bostonians, The American and Washington Square.

Although born in New York City on 15 April 1843, James spent much of his life in London and became a British citizen. His grandfather, William James, was from Bailieborough in County Cavan, Ireland. Best remembered as a novelist, James was also a playwright and rival of a certain Oscar Wilde. The two clashed on several occasions and James actively campaigned to lessen Wilde’s success during his tour of America in 1882. In honour of his birthday I am posting two excerpts from Wilde’s Women that illustrate the professional rivalry between Henry James and Oscar Wilde:

FROM CHAPTER 1: THE REAL MRS. ERLYNNE

Also present [at the first performance of Lady Windermere’s Fan] was Henry James, another would-be playwright but someone who rarely had a kind word for Oscar. He deemed the play ‘infantine’ and of a ‘primitive simplicity’, a pronouncement that had all the characteristics of a fit of professional pique. Yet, even he could not ignore the obvious enjoyment of those seated around him, and he was forced to admit, albeit grudgingly:

There is so much drollery – that is, “cheeky” paradoxical wit of dialogue, and the pit and gallery are so pleased at finding themselves clever enough to “catch on” to four or five of the ingenious – too ingenious – mots in the dozen, that it makes them feel quite “décadent” … and they enjoy the sensation as a change from the stodgy.*

The interior of the St. James’s Theatre by John Gregory Crace

FROM CHAPTER 17: A LESS THAN IDEAL HUSBAND

Given the delight with which The Importance of Being Earnest was received, it is extraordinary to think that George Alexander [Actor-Manager at the St. James’s Theatre] passed it on to Charles Wyndham at the Criterion. He asked for it back once he realised that Henry James’s Guy Domville was failing to attract an audience.

For more on their rivalry, professional and personal, read Wilde’s Women:

*Source: Letter from Henry James to a friend written on 23 February 1892, quoted in Daniel Karlin, ‘Our precious quand même’: French in the Letters of Henry James », Cahiers victoriens et édouardiens [En ligne], 78 Automne | 2013, mis en ligne le 01 septembre 2013, accessed on 2 March 2015. http://cve.revues.org/945

In Honour of Millicent Fawcett

Here’s a tiny excerpt from Wilde’s Women to mark the announcement that a statue of Millicent Fawcett is to be erected in Parliament Square in London, the first of a woman to be commissioned. I love how forthright she was in expressing her opinion.

Oscar invited Millicent Garrett Fawcett, prominent suffragist and co-founder of Newnham College, Cambridge, to address the issue of women’s suffrage [in The Woman’s World, the magazine he edited]. In Fawcett’s opinion, the exclusion of women was, quite simply, morally reprehensible: ‘Even felons were not excluded when once their term of imprisonment was over; lunatics were joyfully admitted’, she argued. It was her bold contention that by enfranchising women, a nation could put an end to war.

Her full article can be read here: Millicent Garrett Fawcett, ‘Women’s Suffrage’, The Women’s World, Volume II, pp.9-12

Read more in Wilde’s Women: How Oscar Wilde was Shaped by the Women he Knew

Marie Corelli: ‘the idol of suburbia’

As Women’s History Month comes to a close I’m posting an excerpt from Wilde’s Women that describes the remarkable and hugely successful Victorian novelist Marie Corelli. It is difficult for us to imagine how significant she was nowadays, since she has fallen out of fashion, but at the height of her popularity, she was the best selling and most highly paid author in England. There is a website dedicated to her with a great deal more information. Here is my short profile from Wilde’s Women:

Marie Corelli as ‘Lily’ – Shakespeare Homeplace Trust

Marie Corelli’s origins are shrouded in mystery. Born in London on or around 1 May 1855, a date she rarely admitted to, she was almost certainly the daughter of Elizabeth Mills, lover and later second wife of the journalist Charles Mackay, who was believed to be Corelli’s father. Known affectionately as Minnie, she reinvented herself as Marie di Corelli in order to earn a paltry living giving piano recitals in private homes.

Corelli’s first novel, A Romance of Two Worlds, was published in February 1886. It struck a chord and, as a result, a second novel, Vendetta, appeared later that year. By June 1887, Corelli had published a third, Thelma, to great acclaim. Ellen Terry, who lived six doors down from her on Longridge Road, Kensington, adored her books. Lillie Langtry asked if she might dramatise them. Oscar Wilde would have sympathised to hear that she had been snubbed by Rhoda Broughton, who she had been particularly keen to meet.

At the height of her popularity, Marie Corelli was the best selling and most highly paid author in England. According to novelist and poet Arthur St. John Adcock, ‘many of her most enthusiastic admirers are men of the professional classes – doctors, barristers, lawyers, writers, men of education and intelligence’.[i] Her mystical, melodramatic novels were admired by Gladstone and Tennyson, and Queen Victoria had them sent to Balmoral as soon as they appeared.

Yet,Corelli attracted the scorn of critics; Grant Allen in the Spectator called her:

…a woman of deplorable talent who imagined that she was a genius, & was accepted as a genius by a public to whose commonplace sentimentalities & prejudices she gave a glamorous setting.

This didn’t dampen her popularity and she was described with great accuracy as ‘the idol of suburbia – the favorite of the common multitude’.[ii]

Wilde started out as a fan.On one occasion, heassured Corelli that he had ‘read the book [A Romance of Two Worlds] over again,’ adding, ‘you certainly tell of marvelous things in marvelous ways’. He advised her to ignore her detractors, writing: ‘Such a lot of talking-about-you does more good than an infinite number of reviews’.[iii]She appears to have heeded his counsel since, in the foreword to The Sorrows of Satan, she wrote:

No copies of this book are sent out for review. Members of the Press will therefore obtain it (should they wish to do so) in the usual way with the rest of the reading public – i.e. through the Booksellers and Libraries.[iv]

Although she was so pioneering and resourceful herself, Corelli was not a feminist. In her novels, she celebrated the frailty of women, and she opposed the extension of voting rights. Yet Wilde persuaded her to write a speculative article on ‘Shakespeare’s Mother’ for The Woman’s World. He admired her success, but would hardly have wished to emulate her style, which he grew to dislike. Years later, when a prison warder in Reading Jail asked him his opinion of Corelli, he replied: ‘Now don’t think I’ve anything against her moral character, but from the way she writes she ought to be here’.[v]

They had fallen out by then and she lampooned him mercilessly in The Silver Domino, or Side Whispers, Social and Literary, which was published anonymously in 1892, characterizing him as a lumbering elephant who was guided through life by a dainty fairy, a thinly disguised Constance Wilde. Corelli dismissed Constance as ‘a charming little Radical,’ but she found her compelling; she considered her ‘one of the prettiest things alive’ and ‘infinitely more interesting than the Elephant himself’.

Marie Corelli never married. She never discussed her sexuality but would appear to have been attracted to women; she wrote ambiguous love poems and co-habited happily for decades with her companion Bertha Vyver, who referred to her as ‘beloved wee pet’. When she died, on 21 April 1924, crowds gathered outside her home.

[i] Arthur St. John Adcock ‘Marie Corelli: A Record and an Appreciation’, TheBookman, 36, no. 212, 1909, pp.59-60

[ii] In a flattering profile included in ‘Chronicle & Comment’, The Bookman, July 1909, reproduced in The Bookman Volume XXIX, March 1909 – August 1909 (New York, Dodd, Mead & Co., 1909), p.461

[iii] Brian Masters, Now Barabbas was a Rotter (London, H. Hamilton, 1978), p.74

[iv] Reproduced in The Bookman, Volume XXIX, p.465

[v]Complete Letters, p.905n2

Read more about remarkable Victorian women in Wilde’s Women:

Oscar Wilde the Irishman: A speech he made in Minnesota on St. Patrick’s Day, 1882.

Much time is devoted to speculation as to exactly how Irish Oscar Wilde believed himself to be. Although he truly saw himself as a citizen of the world, and was careful to ingratiate himself with those who occupied the highest positions of power and influence in England, he was also the son of an Irish nationalist mother.

On 17 March 1882, Wilde, aged twenty-seven, participated in the St. Patrick’s Day celebrations that were organised in the city of St. Paul, Minnesota. He was touring America at the time, lecturing to audiences the length and breadth of that emerging nation. A comprehensive account of the event, including his apparently impromptu remarks, was carried in the Saint Paul Globe the following day. This is Wilde at his most Irish – he was wise to give his audience what they wanted. Perhaps he was also sincere in his sentiments.

Here’s my account of the occasion, based on the report in the Saint Paul Globe:

On a rainy St. Patrick’s Day in 1882, in the city of St. Paul, Minnesota, Father John Shanley took to the stage at the Opera House and declared that he was:

…pleased to announce the presence with them of a son of one of Ireland’s noblest daughters – of a daughter who in the troublous times of 1848 by the works of her pen and her noble example did much to keep the fires of patriotism burning brightly in the hearts of Ireland’s sons. A son of that noble woman was present in the person of Mr. Oscar Wilde, who had kindly consented to say a few words on this happy occasion, and whom he had the pleasure of introducing

Wilde, who had been sitting in a box to the side of the stage, ‘skipped’ onstage, dressed in ‘his too too raiment,’ the outfit he had worn when he had delivered a lecture the previous night. This was described as:

cut away coat, velveteen waistcoat, velvet knee britches, black stockings and pumps, one hand gloved in a white kid, the other bore lace handkerchief and necktie, and the long straight brown hair hanging down upon his shoulders.

Wilde was greeted with ‘a generous demonstration of applause,’ which he acknowledged with a slight bow from the front of the stage. He began to speak:

Ladies and gentlemen, when I gave myself the pleasure of meeting with you to-night, I had not thought I would be called upon to say anything, but would be allowed to sit quietly in my box and enjoy listening to the loving and patriotic sentiments that I knew would be given voice. But the generous response you have given to the mention of the efforts of my mother in Ireland’s cause, has filled me with a pleasure and a pride that I cannot properly acknowledge. It is also a pleasure to me that I am afforded this opportunity during my visit to America to speak to an audience of my countrymen, a race once the most artistic in Europe.

There was a time before the time of Henry II, when Ireland stood at the front of all the nations of Europe in the arts, the sciences and general intellectuality. The few books saved from the general wreck are remarkable for their literary excellence and beauty of illustration. There was a time, too, when Ireland was the university of Europe – when young Monks educated in Ireland went forth as educators to all other European countries, while at the same time students from these same countries flocked to Ireland to study the arts, etc., under the great masters of Ireland. There was a time when Ireland led all other nations in working in gold. In those times no nation built so splendidly as did Ireland. The cathedrals, monasteries and other public edifices of  those days showed a higher style of architecture than that of any other nation.

Those proud monuments to the genius and intellectuality of Ireland do not exist to-day. When the English came they were burned. But portions of these blackened, mouldering walls still remain to remind visitors of the beauty of the work wrought by Ireland, for the pleasure and enjoyment of Ireland, in the days of her greatness. But with the coming of the English, art in Ireland came to an end, and it has had no existence for over 700 years. And he was glad it had not, for art could not live and flourish under a tyrant.

Art was an expression of the liberty loving, beauty loving sentiment of a people. But the artistic sentiment of Ireland was not dead in the hearts of her sons and daughters, though allowed no expression in their native country. It is that sentiment which has reduced you to meet here to-night to commemorate our patron saint. It finds expression in the love you bear for every little nook, every hill, every running brook of your native land. It is shown in the esteem you bear for the names of the great men whose deeds and works have shed such lustre upon Irish history. And when Ireland gains her independence, its schools of art and other educational branches will be revived and Ireland will regain the proud position she once held among the nations of Europe.

He thanked the audience once more, and was rewarded with ‘generous applause as he withdrew from the stage’.

For more on Oscar Wilde read my book Wilde’s Women

For  more on Wilde’s lecture tour of America visit this brilliant website: http://www.oscarwildeinamerica.org

Lady Jane Wilde & Her Love for Sweden

I’m really pleased that Wilde’s Women is still being reviewed 18 months after publication. I’m particularly delighted that a Wildean scholar of the calibre of Professor Peter Raby reviewed it for Women’s Studies, a highly regarded, peer-reviewed journal. ‘The author writes sympathetically & vividly about Lady Wilde, as she does about Wilde’s wife, Constance,’ Raby writes.

In response, here is an extract that describes the admiration Jane Wilde had for Scandinavian women and the freedoms they were afforded:

Shortly after [her daughter] Isola arrived, Jane formed an extremely significant friendship with a progressive young Swedish woman named Charlotte ‘Lotten’ von Kraemer. Then, as now, Scandinavians took a more enlightened approach to gender equality and Jane’s admiration demonstrates how far ahead of her time she was. It must be remembered that many Victorian women were complicit in their subjugation, propping up male-dominated institutions that kept them down and shunning women who objected.

Lotten von Kraemer

As Lotten suffered from a painful and debilitating ailment of the ear, triggered by a bout of scarlet fever in adolescence, she had been advised to consult Dr. William Wilde, one of Europe’s leading aural specialists. She and her father, Baron Robert Fredrik von Kraemer, Governor of Uppsala, arrived at lunchtime one Sunday in July 1857. They were surprised to learn, by means of a wink and a nod that the lady of the house was not yet up. Instead, they were shown into William’s study. He arrived, holding one ‘unruly little boy’ by the hand and carrying a smaller boy in his arms. This was Oscar, not yet three, with ‘curly brown hair and large dreamy eyes’. Lotten was moved by the warm affection William showed towards his sons.1

Hospitable as ever, William invited these visitors to return for dinner. In the meantime, he volunteered his wife to take them on a tour of Dublin, which she did with great good humour. Willie and Oscar were present that evening, a highly unusual practice in a Victorian household and one that was to continue when Oscar had sons of his own. William stroked little Oscar’s cheek and sent him to fetch a book, while Jane prevailed upon Baron von Kraemer to teach her the rudiments of Swedish. Lotten admired her, ‘soulful and captivating vivacity’, recognising that the fire in her glance betrayed her past as a revolutionary poet. She was struck by the affability of the occasion and the exceptionally congenial bond that existed between husband and wife.

Lotten and Jane had much in common. During her lifetime, Lotten was a published poet, essayist, and editor of Var Tid (Our Time), a magazine of modern culture. She also endowed a scholarship enabling female medical students to attend Uppsala University; she founded Samfundet De Nio (the Nine Society), a prestigious and progressive Swedish literary society; and she provided vital finance to the Country Association for Women’s Suffrage. Although early correspondence was taken up with medical advice passed on by William, much of it involving the application of leeches, Lotten and Jane were soon discussing topics of mutual interest: literature, culture and the position of women in society. It impressed Jane that:

Clever and intellectual women, also, in Sweden hold a much higher position in society than their literary sisters in England. They are honoured and made much of, and treated with considerable distinction, solely from belonging to the peerage of intellect. Whereas in England wealth, with the ponderous routine of life that wealth entails, seems to be the chief measure of merit and the highest standard of perfection in social circles.2

Ever the linguist, Jane attempted to master Swedish, but the lack of a tutor obliged her to struggle alone with the aid of a dictionary. Although she did manage to write a few letters, she never mastered the language: ‘Even this endeavour [learning Swedish] I have given up with all other literary employment since the cares of a household have come on me’, she told Lotten.3 One ambition she did not abandon was that of instilling a love for literature in her children, and she was successful in this. While Willie enjoyed Tennyson’s epic ballad, Lady Clare and Longfellow’s Hiawatha, Oscar remembered his mother reading Walt Whitman’s recently published collection, Leaves of Grass (1855) to him. He mentioned this when he met the poet in New Jersey in 1882.

Once Willie turned six, Jane hired an English governess, an arrangement that allowed her to travel with her husband, William: ‘without this, we’re apt to fossilize in married state’ she declared’.4 They toured Scandinavia during the autumn of 1859, and Jane said of Stockholm, ‘I will never enjoy any place again so much’.5 She was less taken with Germany, concluding, erroneously as it happened, that people, ‘who live on beer and cheese, are not, and never can be, politically dangerous’.6

Years later, Jane organised her journals into Driftwood from Scandinavia, a moderately successful travel book in which she expressed her admiration for the elevated status of women in Swedish society. Through Lotten, Jane met Rosalie Olivecrona, a pioneer of the Swedish women’s rights movement and co-founder of Tidskriftför Hemmet (Journal for the Home), a campaigning feminist publication ‘devoted to general literature and the advancement of women politically and intellectually’. What impressed Jane about Rosalie was that, although she held ‘a very important place in the highest circles of Stockholm society’, she remained ‘with all her learning, a most attractive and elegant woman in style, look, and manner’.7

Jane admitted to Lotten that she had ‘little time for writing or even for thought,’ yet she managed to complete all three volumes – 1,446 pages – of The First Temptation; Or, “Eritis Sicut Deus”: A Philosophical Romance [by W. Canz]. Translated from the German by Mrs. W.R. Wilde.8 Although her skills as a translator were lauded, this odd and controversial book received mixed reviews; one damning assessment was motivated by revenge, as would later become apparent.

Jane Wilde enjoyed her status as a public figure. She began one very revealing letter to Lotten by writing: ‘When my correspondence is collected and published after my death…’ Yet, the incompatibility of literary and family life concerned her. ‘After all writing is a fatal gift for a woman,’ she told Lotten, who was childless, ‘I would be a much better wife, mother, & head of a household if I never touched a pen. I feel this so strongly that I shall never encourage my daughter to authorship.9 Such misplaced guilt remains familiar to her contemporary counterparts.

Lady Jane Wilde

When Jane learned that her Swedish friends were in the habit of hosting regular literary receptions, she decided to establish ‘weekly conversazione’ of her own  in order to ‘agglomerate together all the thinking minds of Dublin’.10 The Athenaeum described 1 Merrion Square as, ‘the first, and for a long time the only, bohemian house in Dublin,’ but expressed concern that Jane had gathered together all those, ‘whom prudish Dublin had hitherto kept carefully apart’.11 The Irish Times attributed her success to an absence of snobbery, ‘so fatal to social gatherings in Ireland’.12 Delighted with her initiative, Jane grew determined to live up to her maxim; one Oscar adapted and made his own. It is monotony that kills, not excitement,’ she wrote:

Dull people fail in the will to live, and so they soon lose their hold on life. Excellent good women, who give up society and devote themselves exclusively to home and homely duties, grow old so soon.13

As was her wont, she invited mostly men and those few women she admired: novelist Rosa Mulholland Gilbert, and literary sisters Alice and Henriette Corkran. Gilbert remembered Jane

‘dressed in long flowing robes of Irish poplin and Limerick lace…adorned with gold chains and brooches modelled on the ancient ornaments of Erin’s early queens’.

She considered Jane to be ‘of a kindly nature, and warm and sincere in her friendships,’ adding,

‘she had a commendable desire to make her house a social centre for all who were engaged in intellectual pursuits, or interested in literature or the arts’.14

Henriette Corkran thought Jane‘an odd mixture of nonsense, with a sprinkling of genius’, and declared that ‘her talk was like fireworks – brilliant, whimsical and flashy’.15 In time, Oscar’s conversation would be likened to fireworks too.

1 Lotten von Kraemer, ‘Författaren Oscar Wilde’s Föräldrahem i Irlands Hufvudstad’ Ord och Bild Illustrerad Månadsskrift, Volume 11, 1902, pp.429-435, http://runeberg.org/ordochbild/1902/0473.html accessed on 10 January 2015

2 Lady Jane Wilde, Driftwood from Scandinavia (London, R. Bentley and son, 1884), p.201

3 Letter to Lotten von Kraemer, 20 December 1858, National Library of Sweden

4 Letter to Lotten von Kraemer, 21 December 1858, National Library of Sweden

5 Letter to Lotten von Kraemer, 3 Dec 1859, National Library of Sweden; Later, Jane returned to Sweden with William, who was to receive the prestigious Nordstjärneorden (Order of the North Star) from King Karl XV.

6 Lady Jane Wilde, Driftwood from Scandinavia, p.275; Oscar appears to have inherited her low opinion of Germans (see Complete Letters, p.409)

7 Lady Jane Wilde Driftwood from Scandinavia, p.196

8 Letter to Lotten von Kraemer (fragment), 1860, National Library of Sweden

9 Letters to Lotten von Kraemer, 19 March 1862 & 22 April 1862, National Library of Sweden

10 Letter to John Hilson, 10 February 1859, University of Reading, Special Collections, MS 559

11 The Athenaeum Magazine, quoted in Victoria Glendinning ‘Speranza’ in Peter Quennell Genius in the Drawing-Room (London, Weidenfeld & Nicolson, 1980), p.103

12 ‘The Literati of Dublin’, Irish Times, March 1878

13 Lady Wilde, Social Science, p.74

14 Mulholland Gilbert, Life of Sir John Gilbert, p.78

15 Corkran, Celebrities & I, p.141

Marion Terry as Oscar Wilde’s Mrs Erlynne

Marion Bessie Terry (13 October 1853 – 21 August 1930), born Mary Ann Bessy Terry but known affectionately as “Polly”, was the fifth surviving child of actors Benjamin Terry (1818-1896) and Sarah Ballard (1819-1892).

While undoubtedly overshadowed by her older and more famous sister Ellen, Marion enjoyed considerable success throughout her career. Unlike Ellen, she rarely played any of Shakespeare’s women, and appeared in only a handful of his plays, although her first professional role was as Ophelia in Hamlet when she was nineteen.

After enjoying a successful and varied career for two decades, Marion, aged thirty-nine, was offered the role that was to become her most celebrated, as Mrs. Erlynne in Oscar Wilde’s Lady Windermere’s Fan. Although she was third choice for the role behind Lillie Langtry and Ada Rehan, she acquitted herself admirably. Theatre critic Clement Scott declared that she played the part ‘to perfection’.

In his memoir Yesterday, English writer Robert Hichens described how Marion had confided in him that:

the management had grave doubts about her during  the rehearsals, but that she felt certain she could “get away with it”.

His verdict was that she ‘scored a complete triumph in it’.

Offstage, Marion Terry was reserved and protective of her private life. She never married and died of a cerebral haemorrhage at her home in London, aged seventy-three, after a career that spanned five decades.

For more on the original production of Lady Windermere’s fan read Wilde’s Women:

Salomé in Paris: ‘a protest against English morality’.

Tragically, although Ada Leverson, one of Oscar Wilde’s closest friends, insisted that he cared little for any of his plays except Salomé since it most fully ‘expressed himself,’ Wilde never saw Salomé performed. Refused a licence by the English Examiner of Plays, it was staged during Wilde’s lifetime by Aurélien Lugné-Poe, founder of the Théâtre de l’Oeuvre, but its author was in prison at the time.

When Lugné-Poe visited London after Wilde had been sentenced to two years hard labour, he was shocked at how apathetic and powerless the playwright’s supporters appeared to have become. In an act of solidarity, he staged the world premiere of Salomé in his Théâtre de l’Oeuvre in Paris on 11 February 1896, performing the role of Herod himself and casting Lina Munte, a trained dancer, as Salomé.

Lina Munte

Several French newspapers reported on the performance and critics were unanimous in their praise for Munte; La Matin reported that she ‘was absolutely remarkable with her ferocious sensuality,’ while Francisque Sarcey of Le Temps noted that she imitated the diction of Sarah Bernhardt, the actress Wilde had originally intended for the part.

Théâtre de l’Oeuvre, Paris

A number of critics noted the sympathy expressed for Wilde by the French public. L’Événement described the staging of Salomé as ‘a protest against English morality’. The Journal des Débats reported that:

When the curtain fell, the audience responded to the name of the playwright with rapturous applause.

Wilde, who received no payment for the performance, assured his lover Lord Alfred Douglas:

‘All I want is to have my artistic reappearance, and my own rehabilitation through art, in Paris, not in London. It is a homage and a debt I owe to that great city of art’.

REFERENCE:

The Reception of Oscar Wilde in Europe by Stefano Evangelista, Bloomsbury Publishing

Wilde’s Women by Eleanor Fitzsimons, Duckworth Overlook

Stories for Children by Wilde, Constance Wilde

On 2 February 1889, a joint review of two collections of ‘fairytales’, one from Oscar Wilde and the other from his wife, Constance, was published in the Irish Times. 

Mr and Mrs Wilde possess charming children of their own and they have utilised their acquaintance with the infant world in giving to it some delightful fairytales, which even the elders must appreciate. “The Happy Prince and Other Tales,” illustrated by Walter Crane and Jacomb Hood, and published by David Nutt is one of the happiest works which Mr. Oscar Wilde has ever produced; whilst Mrs. Wilde’s fairytales, also published recently and entitled “There Was Once,” are a charming reproduction of the old stories, familiar to our childish days, which Nisbet [sic] has brought out.

The death of her beloved grandmother, ‘Mama Mary’ had prompted Constance to compile There Was Once – Grandma’s Stories, a beautifully illustrated collection of five traditional tales and four familiar rhymes. You can still buy this book by following the link. Mama Mary was Mary Atkinson, widow of Captain John Atkinson, who had been Receiver General of the Post Office. She had lived at 1 Ely Place in Dublin, close to the Wilde’s home on Merrion Square .

This was not Constance’s only foray into writing for children; The Bairn’s Annual of Old Fashioned Fairy Tales in 1887 featured a story called ‘Was It a Dream’ by Constance Wilde. In 1892, Ernest Nister, publisher of There Was Once, brought out A Long Time Ago, favorite stories retold by Mrs. Oscar Wilde & others. Nister also published A Cosy Corner and Other Stories, which included Constance’s story ‘For Japan’, featuring a little girl named Isola, probably after Oscar’s sister who had died in childhood.

In 1893, Nister brought out A Dandy Chair and Other Stories, an illustrated collection of children’s stories by Constance Wilde, Edith Nesbit and Mary Louisa Molesworth.  One story contributed by Constance was called ‘The Little Swallow’. Although her stories are mostly lost to us now, Constance Wilde’s literary career is covered comprehensively by Franny Moyle in Constance: The Tragic and Scandalous Life of Mrs. Oscar Wilde. You can also read about her life in Wilde’s Women: How Oscar Wilde Was Shaped By The Woman He Knew.