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\nObserves that it's typical for scholarship on 19th-c. women writers to group them \"as domestic and private\" (97), but women-authored plays for performance problematizes this characterization. But she doesn't see scope for \"a triumphalist feminist account of recuperation of forgotten work into the canon of Romantic writing, or 'rediscover' a powerful tradition of women's writing\" (96). Still it's an indicator of what was possible for women to assert in the public sphere.
\nForegrounds the censorship of Charles I as distressingly ironic for MRM with what Newey reads as a \"resolutely Royalist\" play (95).
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Engaging with the rudiments of John Horne Tooke’s early speech‐act theory, Mitford demonstrates the ability of language to transform reality. In Rienzi, however, speech acts have the ability to become oppressive when only one person is allowed to speak; thus Mitford demonstrates how necessary it is for a variety of voices – and women’s voices in particular – to be heard. 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considers how to read MRM in applying \"masculine\" in her praise of Baillie as a \"female\" writer--as perhaps \"a nod to convention\" (124) and also a way consistent with Baillie's own sense \"of belonging to a group of women writers at the forefront of a different, specifically female, development in British literature\" (124) in which MRM was also classed.
\nNotes Joanna Baillie's particular praise of MRM's Rienzi in a letter of 1829 to Andrews Norton (American prof. of divinity and literary reviewer/editor): Tragedy of Rienzi--acted to full houses in Drury Lane and \"deserving its success\" (124).
\nObserves Joanna Baillie in her letter writing as indicating \" a community of female authors centred on the outstanding achievements of Hemans, Edgeworth, Mitford, and herself, a community that she bodldly pitches against the 'half-learned &weaker part' of the male sex\" (125).
\nSaglia describes Rienzi as \"the most popular and successful dramatic work by a woman playwright on the later Romantic-period stage\" (125)--first performed on 11 October 1828 at Drury Lane.
\n40 years later, as MRM recorded in her Recollections of a Literary Life, MRM, Baillie, and Harness discussed Rienzi together at Lady Dacre's drawing-room-- for Baillie and Harness it was unforgettable to attend a performance of Rienzi! (125)
", "tags": [], "relations": {}, "dateAdded": "2016-05-23T17:48:17Z", "dateModified": "2016-05-26T11:30:36Z" } }, { "key": "73R2U4KB", "version": 391, "library": { "type": "group", "id": 541311, "name": "Mary Russell Mitford", "links": { "alternate": { "href": "https://www.zotero.org/groups/mary_russell_mitford", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/541311/items/73R2U4KB", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/mary_russell_mitford/items/73R2U4KB", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/541311/items/NX8ZVMRX", "type": "application/json" } }, "meta": { "createdByUser": { "id": 1931395, "username": "ebeshero", "name": "Elisa Beshero-Bondar", "links": { "alternate": { "href": "https://www.zotero.org/ebeshero", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "73R2U4KB", "version": 391, "parentItem": "NX8ZVMRX", "itemType": "note", "note": "* ultimately: pits Appadurai against Ian Duncan to present an alternative model of provincial fiction and MRM's work in forming it.
\ncites Ian Duncan as the generally accepted standard on \"the provincial novel\" (Duncan, Ian. “The Provincial or Regional Novel.” A Companion to the Victorian Novel. Ed. Patrick Brantlinger and William B. Thesing. Oxford: Blackwell, 2002. 318–35.):
\"Duncan sees provincial fiction as being initially backward-looking and conservative (as opposed to the more progressive regional novel), disconnected from the global historical economy and its transforming pressures\" (400) and Duncan takes MRM's OV as his example of a successful serially published provincial fiction. It's in a dialectical relationship with Walter Scott's historical novels. Later, after 1850, it'll be in a dialectical response to industrial novels (e.g. Cranford and Middlemarch),, and it's around then that provinc ial fiction becomes associated with nationalism/Englishness.
--Duncan separates \"regional\" from \"provincial\":
regional: creates a setting via natural and cultural features \"that differentiate it from any other region\"
vs.
provincial: \"defined more simply by its difference from the metropolis\" such that any province \"may take the place of any other\" (Duncan qtd. in McDonagh 400)
Duncan associates regional fiction with Walter Scott and John Galt, and sees it revived by Thomas Hardy in the 1870s.
\nMcDanagh questions Duncan on three counts:
1) provincial writing isn't only connected to book production, but from periodicals and newspapers.
2) provincial is strongly connected to women's writing
\n3) In the \"metropolitan/provincial binary\", provincial isn't the lesser of the two, \"but rather is a term that is rooted from its beginning in emerging global networks.\"
\nFor McDonagh, provincial writing isn't nostalgic but is just as connected as the regional novel with social and economic issues, and was just as influential to people \"at a time of demographic flux\"(401). So, she complicates the clean distinction that Duncan makes.
\n1st half of her essay is on MRM's OV, and the point ultimately is to reevaluate Charlotte Bronte's Villette (1853), to see it afresh in the provincial novel context (401), for Bronte \"a ready framework in which to explore her own sense of cultural and geographical marginality\" (401).
\nProvincial writing was new in the early 19th century, and developed in periodicals via monthly literary magazines, as in MRM's \"Village Stories\" in The Lady's Magazine (1822-1824), and MRM came to be identified with this writing even though there were precedents in Washington Irving's Sketch-book of Geoffrey Crayon (1819) and John Galt's \"Tales of the West\" as published in Blackwood's Edinburgh Magazine (1820s).
Book publication of OV boosted circulation and MRM's reputation and profit, but the origins in magazine publication \"are key to their structure and affect\" (404).
Note parallel interest with Lauterbach's old 1963 piece, \"Let the Printer Do It\" on the letter-writing informality of style or the relationship between letter-writing and sketches: Elford had written that her OV sketches were like reading letters but MRM claimed that really they're more like letters in Johnson's day because modern letters are a lot more about \"kindness\" rather than wit. (405) So, periodical publication is like formal letter writing to the reading public, a \"new form of sociability\" acc. to McDonagh (405).
\nTime record of the sketches: McDonagh calls the sketches \"articles\" and observes they are \"dated by month and day and often recorded in the present tense\" (406). Notes relevance of Gilbert White's Natural History of Selborne (1789) to documenting the natural year as a corrective to calendars.Marking time by nature and periodical issues. Organization of time is what organizes the series. McDanagh finds that \"The beguiling mixture of nostalgic longing and satisfaction with the present is one of the work's most significant contributions, enabling a sense of time that is both traditional and progressive, in which changes are silently drawn into a customary order through the cyclical rhythms of the seasons.\" (407) At the \"end\" of the first series, the roads have been \"macadamized\" and the population has shifted--people have moved out and in.
\nThe records of such changes and the time record helps to \"universalize the experience of the village...The pulsations of the natural seasons abstract particularity from the village and turn it into something like a species, a specific example of a general case (407).
--McDanagh compares this to Gilbert White's writing about species, types, and categories instead of individuals. Every instance references a collective grouping. This kind of flattens the affect, drains out emotional response, claims McDanagh
--Sensory impressions contribute as well: \"Mitford's writing disaggregates the senses, separating sound from vision: voices are heard from a distance without being distinguished by the speaker\"--so there's a kind of blurring of distinct inputs; emphasis on general impression.
\n--range of emotions is limited--so everybody's happy/ happy endings. So we don't deal with tragedies of loss or lack of equality. Nobody's a hero, either.
\n--Replies to Helsinger and Moretti: No, McDonagh says, this is not nostalgic retreat\" but \"produces her senses of the everyday \" and the ordinary, even in the very \"pointless\" trajectory of the some of the stories--the idea is to foreground how the social tapestry fits together.
\n--HOW TO UNDERSTAND THIS: McDanagh cites (408) the anthropological theory of Arjun Appadurai, \"The Production of Locality\" in Modernity at Large: Cultural Dimensions of Globalization (Minneapolis: Un of Minnestoa P, 1996, 178-99: Acc. to Appadurai, to produce locality, we make an emotional structure out everyday rituals and practices. So the local then (my reflection) is a thing we participate in collectively to make in our ordinary, repeated interactions with each other. Locality to Apparadurai is delicate and easily broken structure in the face of violent action and change. McDonagh sees MRM's OV as limiting such violence: when it's shown it never threatens the social fabric of the local.
Via Appadurai, then, McDonagh classifies MRM's OV as \"a literature documenting the socialisation of time and space\" (Appadurai 180 qted in McDonagh 408). This is her alternative to Duncan.
Map-view experience within MRM's sketches: it only seems like we're walking the streets but really we're looking down from up high like reading a map, and that experience applies to the comparisons of the village to exotic Italian or Indian locations--helps relate to a wider world. \"The world is immanent within the local. It is characteristic of Mitford's style that she produces a sense of attachment to a particular place while simultaneously, and paradoxically, abstracting this. Relationship to place thus exists as a set of formal possibilities and performative gestures that are transferrable to a new location.\"(409) Perhaps this is why, acc. to McDonagh, American writers like Caroline Kirkland found MRM's style so adaptable to their regional fiction (cf. Kirkland, A New Home: Who'll Follow? (1839). Adaptable writing style for writers and readers experiencing movement and change and settling in unfamiliar new places. On this, she cites John Plotz re the provincial fiction treating place as \"portable\"--a portable kit of locality! (410)
Ref: John Plotz, Portable Property: Victorian Culture on the Move (Princeton: Princeton UP) 2008: does not cover MRM. Of interest: Plotz observes that Hardy and Wm. Morris attack the concept of cultural portability in favor of geographic specificity. Think: Are we seeing competing models in play for cultural relativity in 19th-c literature, from MRM to Hardy?
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Helsinger's material on MRM's OV is in Part II: Contested Ground: Ch. 3 titled \"Cobbett's Radical Husbandry\". In section III of that chapter, she writes about MRM's first writing of the eventual OV sketches, as \"Sketches of Rural Character and Scenery\" in 1821, and her beginning to publish them in The Lady's Magazine in 1822 or 1823 (119), and observes the target audience for the collected sketches in OV was the same as The Lady's Magazine, The New Monthly Review and the volumes of annuals to which she contributed. Briefly notes her producing historical tragedies for the London theatre and her support of her family by writing--an indicator of economic necessity.
\nContrasts MRM's pastoral publications with Cobbett's Rural Rides: Cobbett's is \"less physically impressive\"--emphasis on comparatively inexpensive publications: totally different from the tony, upscale Lady's mag or New Monthly, \"the Political Register was not designed to be retained in the hands of the purchaser, displayed and consumed in the drawing room or in the guinea-and-a-half-subscription reading room.\" (120)
\nThis is mainly about Cobbett--She notes that the subject matter is indeed like MRM's, but Cobbett seems purposely to have lowered the cost to dissociate his work from hers (121).
\nEmphasis on the materiality of the book and magazine in the venues in which MRM published.
\"the politics of sight\" in MRM's characters(123): the readers are invited to see characters in their places, and the artist in the text affixes characters in their places even as he intervenes in their lives for the better (123-24). Watching is conflicted and complicated.
The commons are not truly wild: \"This is Mitford's version of the rural scene: islets of wilderness in a world that is all culture. The familiar landscape of a highly organized social space contains but also shelters not the truly wild but swallows, dogs, and children.\" (125) The pond is the focus of the common, where there are children and swallows.
\nNote gender difference in those capable of pure happiness: children and especially country boys; not girls or adult men and women. Adults are anxious. (125) Boys play cricket happily; girls are stuck dealing with tough financial considerations in courtship--but get happy endings in \"the establishment of a home\" (125). Sadness is found in the ruining of homes (125).
\nHow Cobbett is different: (p. 128)
\"Cobbett's writings resist readings that reduce the country to a cultural commodity in part because they insist on the uneven relations of power that make the countryside inseparable from the larger nation. Mitford, by contrast, develops strategies for creating a stable, metaphorically English space by inviting us to forget how it is embedded in a national geography.\" (Note: this is where Morrison is citing Helsinger.) \"Mitford's sensitivity to social and economic insecurities, particularly of women, generates what became a class fantasy of stability and social harmony to be found in the countryside. she insists that nothing has changed, or need change in the geographically and temporally isolated space of the village. What makes her pictures and stories possible however, is not her omissions--she can describe at some length the suburban growth of the nearest town and the arrival of newly macadamized roads in the village, for example, or record the departures of village youth for London--but rather her refusal to regard these as signs that village life is already deeply implicated in national time and space and is likely to become more so. Her village, 'far in the country,' exists in a free-floating here and now belied by many of the details she records (1:1). Although she insists on the Englishness of her scenes, England for her is embodied in an idea of the local that obscures relations between rural locality and the larger nation\" (128). --And it was really hard to sustain this illusion given the realities of the 1820s and 30s--especially given \"rural violence\" outbreak near Three Mile Cross that scared everyone, and MRM's father's own situation as gentry being displaced and losing/ downgrading home.
\"include but deflect\" is Helsinger's characterization of what MRM does in her sketches re things like workhouse and changes for the worse...deflect with something of private happiness. Thus Helsinger finds that she omits real laborers' grievances. Account of a fire indicates danger of social violence but shows off community friendship--getting one arsonist off on good character--and results in happy marriage of wealthy farmer's daughter to poor teacher's son: MRM finds a sunny way to right the situation and obscures the real serious problems! Cobbett won't do that.
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OV as part of phenomenon defining short fiction in the early 19th c. MRM, Irving, and James Hogg are all part of this. Quotes MRM letter to Elford in 1820 on how sustained novel-writing really isn't in her. She wrote to Elford that she was influenced by Irving's Sketch Book of Geoffrey Crayon, but \"sought to distance herself\" from that association later (par 8). Monthly Magazine reviewer commented on derivation of one of her stories, \"Jack Hatch\" from Irving's \"The Fat Gentleman\" (par. 8).
\nIn OV, \"the countryside is as much a state of mind as a location.\" (par 14) and in the sketches we experience an \"internal social code and logic\" in the village's insularity--not sealed off but \"meniscoid\" (par 14)
\nLike Peter David Edwards in Idyllic Realism from MRM to Hardy, Killick situates the phenomenon of OV in context with Raymond Williams's The Country and The City (1973) (par 12)--Williams' critique of the idyllic's \"rosy retrospection\" (par 13) but nevertheless finds that rural writing needed to be \"convincing\" to an urban readership even if it doesn't convince us in our time (par 13).
\nstructure of short sketches permits a \"repetitive pattern to evolve without the constant demands of plot progression\" (par 17): This comment on form might be paired wtih McDonagh's more extensive observations.
appreciates MRM's landscape writing as a \"utopian vision\" (par 21) wherein \"the land acts simultaneously as a bountiful provider, a canvas for the application of artistic endeavour, a cornerstone of the appreciation of those endeavours, and an untouched natural haven\" (par 21)--balance between improvement and wild areas to be sought out by the villagers: rural aestheticism.
cites Elizabeth Barrett Browning's reference to her as \"a sort of prose Crabbe in the sun\" (citation to EBB's letter to Richard Hengist Horne, 20 October 1843 in Philip Kelley and Ronald Hudson (eds.), The Brownings' Correspondence, 14 vols (Winfield, ks: Wedgestone Press, 1984-98), viii: October 1843-May 1844, p. 1. She's most like Crabbe in the meticulous rendering of landscape and nature, but she is more sentimental and nostalgic than Crabbe.
Sees MRM wanting to hold up OV as a stable model for society, something that doesn't take to dramatic changes (par 24) due to \"cyclic existence, daily reinforced\" (par 25), though we do not get a very deep impression of the past--no more than generational memory (par 26).
\nAlso positions OV with respect to Walter Scott (par 30), who set a standard on what was considered realistic in fiction--a relation of the particular to the universal; but nevertheless OV is aware of its illusory painterly qualities (par 31)
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"creators": [ { "creatorType": "author", "firstName": "Katherine", "lastName": "Newey" }, { "creatorType": "editor", "firstName": "Catherine", "lastName": "Burroughs" } ], "abstractNote": "", "bookTitle": "Women in British Romantic Theatre", "series": "", "seriesNumber": "", "volume": "", "numberOfVolumes": "", "edition": "", "date": "2000", "publisher": "", "place": "", "originalDate": "", "originalPublisher": "", "originalPlace": "", "format": "", "pages": "79-101", "ISBN": "", "DOI": "", "citationKey": "", "url": "", "accessDate": "", "ISSN": "", "archive": "", "archiveLocation": "", "shortTitle": "", "language": "", "libraryCatalog": "", "callNumber": "", "rights": "", "extra": "", "tags": [], "collections": [ "PDHJGHPG" ], "relations": {}, "dateAdded": "2016-05-23T18:25:49Z", "dateModified": "2016-05-23T18:29:45Z" } }, { "key": "V8N3NXV8", "version": 361, "library": { "type": "group", "id": 541311, "name": "Mary Russell Mitford", "links": { "alternate": { "href": 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"dateAdded": "2016-05-23T18:12:36Z", "dateModified": "2016-05-23T18:12:36Z" } }, { "key": "5ZBB247W", "version": 361, "library": { "type": "group", "id": 541311, "name": "Mary Russell Mitford", "links": { "alternate": { "href": "https://www.zotero.org/groups/mary_russell_mitford", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/541311/items/5ZBB247W", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/mary_russell_mitford/items/5ZBB247W", "type": "text/html" } }, "meta": { "createdByUser": { "id": 1931395, "username": "ebeshero", "name": "Elisa Beshero-Bondar", "links": { "alternate": { "href": "https://www.zotero.org/ebeshero", "type": "text/html" } } }, "creatorSummary": "Duncan-Jones", "parsedDate": "1971", "numChildren": 1 }, "data": { "key": "5ZBB247W", "version": 361, "itemType": "journalArticle", "title": "Miss Mitford and Adonais", "creators": [ { "creatorType": "author", "firstName": "Katherine", "lastName": "Duncan-Jones" } ], "abstractNote": "", "publicationTitle": "The Review of English Studies", "publisher": "", "place": "", "date": "1971", "volume": "22", "issue": "86", "section": "", "partNumber": "", "partTitle": "", "pages": "170-172", "series": "", "seriesTitle": "", "seriesText": "", "journalAbbreviation": "The Review of English Studies", "DOI": "", "citationKey": "", "url": "http://www.jstor.org.pitt.idm.oclc.org/stable/513011", "accessDate": "2016-05-23T18:12:36Z", "PMID": "", "PMCID": "", "ISSN": "0034-6551", "archive": "", "archiveLocation": "", "shortTitle": "", "language": "", "libraryCatalog": "JSTOR", "callNumber": "", "rights": "", "extra": "", "tags": [], "collections": [], "relations": {}, "dateAdded": "2016-05-23T18:12:36Z", "dateModified": "2016-05-23T18:12:36Z" } }, { "key": "8MDNS3VK", "version": 360, "library": { "type": "group", "id": 541311, "name": "Mary Russell Mitford", "links": { "alternate": { "href": 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Also scenes of domestic vs. public speaking where women are seen to be vulnerable to being silenced (88).
\n\"Mitford's ingenuity as a playwright is manifest in her mastery of manipulating alternatives, teasing her audience with forked roads among the causal connections. Explanations, revelations, and confessions are forestalled and come too late. Failures in communication heighten the dramatic tensions. . . With plot and dialogue crafted from the unspoken and unexplained, she created grand suspense out of a murder scene performed on an empty stage.\" (100)
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While the patent conflicts in these plays are between new estates and previous absolutist regimes, also at stake is a conflict located within a liberal idea that was still emerging out of a confused ideological terrain. If, in proto-liberal Romantic tragedy, freedom is a talking demon, a conflicting and contended concept, language is where the fight for its definition, appropriation and control takes place, and this dramatic tradition takes centre stage as an essential hinge in the cultural and ideological developments of early nineteenth-century Great Britain.", "publicationTitle": "Romanticism", "publisher": "", "place": "", "date": "May 2005", "volume": "11", "issue": "1", "section": "", "partNumber": "", "partTitle": "", "pages": "99-113", "series": "", "seriesTitle": "", "seriesText": "", "journalAbbreviation": "Romanticism", "DOI": "", "citationKey": "", "url": "http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,uid&db=aph&AN=17549672&scope=site", "accessDate": "2016-05-23T17:41:44Z", "PMID": "", "PMCID": "", "ISSN": "1354991X", "archive": "", "archiveLocation": "", "shortTitle": "Mediterranean Unrest", "language": "", "libraryCatalog": "EBSCOhost", "callNumber": "", "rights": "", 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