Commonplace 171 George & The Bard PART TWO.
Some thoughts from 'The Shakespeare Sisterhood':
Cordelia from King Lear (written in August 1876). Cordelia is cast aside by her father for not swearing how much she loves him in return for a third of his kingdom (as her two sisters had done). It ends with Lear finally realising the symbolism of her gesture - she loves him without the promise of riches.
What is said about her:
Compared with any less perfect, but not less charming, lady of this sisterhood, Cordelia will appear transcendently superior, by as much as she who follows the dictates of true religious principle must ever take moral precedence of the creature of mere impulses, whether of passion or caprice; but side by side with Goneril and Regan -- those diabolical creations, who are women only physically -- she shines an angel of light.
It is only by careful study of the few master-strokes with which Cordelia is delineated that we can make out a faithful portrait of this matchless daughter; in fact, throughout the moving record of madness and crime, of which she is the heroine, her "heavenly beauty of soul" is felt rather than seen; although she is almost excluded from the action, her purity is ever present to the mind's eye, in dazzling contrast to the outer darkness of her surroundings.
Miranda from The Tempest (written September 22nd 1876 - in Nantasket, Mass.) Miranda was banished along with her father, Prospero, to live on an island with Caliban, their servant.Miranda has a pure heart and has led a sheltered life, as she lacks worldly experience. She is known for her compassion.
What is said about her:
In body, mind, and spirit, Miranda is essentially virgin; her grace, her beauty, her self, are as guiltless of any meretricious suggestion as in the hour when she was born: "society" is a sealed book to her innocent eyes -- the world, a myth. Her quick susceptibility to a love as pure as it is passionate seems the one only quality she possesses in common with her sisters; she is the child of Nature and super-Nature -- belonging to humanity, but a humanity so free from base alloy that it is but a step removed from the pure spiritual.
Portia from The Merchant of Venice (written September 22nd 1876). Portia is the heroine who has to choose between three suitors, and who ends up with the best one - the one she really wanted. She is also the woman who disguises herself as a man in order to defend the best friend of her betrothed, Antonio, from Shylock. (There is a Portia in Julius Caesar, but she doesn't seem to fit the sentiments of the poem.)
What is said about her - she comprises a
"heavenly compound of talent, feeling, wisdom, beauty, and gentleness," we must confess that to us it seems well chosen. "Clever" does not, indeed, imply the possession of illustrious powers; but it does signify that nice "dexterity in the adaptation of certain faculties to a certain end or aim" which is eminently graceful and feminine, and exactly describes the mental characteristics of Portia, as most conspicuously displayed in the trial scene, wherein her success is achieved, not by the exercise of inherent wisdom, or an educated judgement, but by the merely clever discovery of a legal quibble.
Perdita from The Winter's Tale (written in October 1876). Perdita - which means The Lost One - was born in prison because her mother was falsely accused of adultery. As a young adult she falls in love with Prince Florizel - his parents think it an unsuitable attachment because Portia has been raised by simple commoners and so they do what they can to keep them apart, The couple flee to Sicily, but it all ends well.
What is said about her:
George, a lifelong dabbler in writing poetry, took for
inspiration several of Shakespeare's female characters. Some of these poems are
to be found in the slim but valuable collection entitled 'Six Sonnets On
Shakespeare's Heroines', all from 1876, the year he got rusticated from Owens
College for the thefts and for associating (possibly cohabiting) with his girlfriend, served time in gaol for larceny and set sail to America for a gap
year. This edition is taken from the Beinecke Library Gissing collection at
Yale University. Who were these heroines
and what significance is there in the choice of these women?
First, a quick word in praise of a book George probably knew
well. It contains many insightful studies of the women Shakespeare brought us and would have been a useful resource to a student of the Bard especially one keen to impress his peers and college tutors. Here is the reference: Palmer, Henrietta L. The Stratford gallery, or, The
Shakespeare sisterhood. New York: D. Appleton and Co., 1859. Shakespeare
Online. 20 Oct. 2009. (accessed April 2016 at http://www.shakespeareonline.com).
Or click.
Some thoughts from 'The Shakespeare Sisterhood':
Imogen from Cymbeline (written in August,1876).
Imogen was falsely accused of adultery by a man who spied on her whilst she was
asleep. She was finally absolved of this. She was also the victim of rape
plot.
 |
| Imogen In Her Bed-chamber Where Iachimo Witnesses The Mole Under Her Breast. by Wilhelm Ferdinand Souchon 1872 (which certainly makes you study her bosom!)
What is said about her:
To Imogen has been awarded, almost without a dissenting voice, the high distinction of being the most admirable of her immortal company - a woman in whom all perfections meet in rare harmony - who never cloys, never disappoints.
Of all Shakspeare's wives -- and he delighted in shaping models
of conjugal fidelity -- she is the master-piece; chaste, ardent, brave,
devoted, and beautiful, she is indeed 'best of wives, most delightful of
women'.
|
 |
| Cordelia Comforting Her Father by George William Joy 1881 |
Compared with any less perfect, but not less charming, lady of this sisterhood, Cordelia will appear transcendently superior, by as much as she who follows the dictates of true religious principle must ever take moral precedence of the creature of mere impulses, whether of passion or caprice; but side by side with Goneril and Regan -- those diabolical creations, who are women only physically -- she shines an angel of light.
It is only by careful study of the few master-strokes with which Cordelia is delineated that we can make out a faithful portrait of this matchless daughter; in fact, throughout the moving record of madness and crime, of which she is the heroine, her "heavenly beauty of soul" is felt rather than seen; although she is almost excluded from the action, her purity is ever present to the mind's eye, in dazzling contrast to the outer darkness of her surroundings.
Miranda from The Tempest (written September 22nd 1876 - in Nantasket, Mass.) Miranda was banished along with her father, Prospero, to live on an island with Caliban, their servant.Miranda has a pure heart and has led a sheltered life, as she lacks worldly experience. She is known for her compassion.
 |
| Miranda by John William Waterhouse 1916 |
In body, mind, and spirit, Miranda is essentially virgin; her grace, her beauty, her self, are as guiltless of any meretricious suggestion as in the hour when she was born: "society" is a sealed book to her innocent eyes -- the world, a myth. Her quick susceptibility to a love as pure as it is passionate seems the one only quality she possesses in common with her sisters; she is the child of Nature and super-Nature -- belonging to humanity, but a humanity so free from base alloy that it is but a step removed from the pure spiritual.
Portia from The Merchant of Venice (written September 22nd 1876). Portia is the heroine who has to choose between three suitors, and who ends up with the best one - the one she really wanted. She is also the woman who disguises herself as a man in order to defend the best friend of her betrothed, Antonio, from Shylock. (There is a Portia in Julius Caesar, but she doesn't seem to fit the sentiments of the poem.)
 |
| Portia by John Everett Millais 1886 |
"heavenly compound of talent, feeling, wisdom, beauty, and gentleness," we must confess that to us it seems well chosen. "Clever" does not, indeed, imply the possession of illustrious powers; but it does signify that nice "dexterity in the adaptation of certain faculties to a certain end or aim" which is eminently graceful and feminine, and exactly describes the mental characteristics of Portia, as most conspicuously displayed in the trial scene, wherein her success is achieved, not by the exercise of inherent wisdom, or an educated judgement, but by the merely clever discovery of a legal quibble.
Perdita from The Winter's Tale (written in October 1876). Perdita - which means The Lost One - was born in prison because her mother was falsely accused of adultery. As a young adult she falls in love with Prince Florizel - his parents think it an unsuitable attachment because Portia has been raised by simple commoners and so they do what they can to keep them apart, The couple flee to Sicily, but it all ends well.
 |
| Perdita by Anthony Frederick Augustus Sands 1866 |
Perdita, perhaps, of all Shakspeare's heroines, is the completest exemplification of the intuitive lady, whose inbred daintiness no accident of life can affect.
Frequent mention is made of her rare personal beauty, and not by her lover only. Florizel says to her, touching her holiday attire at the sheep-shearing:
What is said about her:
The type of all gentle and refined beauty - "O, the world hath not a sweeter creature!" - Desdemona by her rare simplicity, her childlike artlessness of character, wins her way to the hearts of all who have conned the story of her woes and mourned her cruel fate.
In our own mind we class her naturally with Miranda and Ophelia; but she is less purely ideal than either of these; her dramatic condition differs from theirs in being simply domestic; though highly picturesque, it is dependent for its interest on no more romantic accessories than are afforded by the privacy of a sumptuous household, to the skilful management of which -- notwithstanding that she was "an admirable musician," and of "high and plenteous wit and invention" -- she does not scorn to devote a considerable portion of her time. With whatsoever of intense effects her married life is produced, herself is never part of them -- she, indeed, constitutes their principal figure, but she is never involved in them, never understands them; her identity is preserved intact throughout.
Subordination, in thought and word and act, is the prominent feature of Desdemona's character: not simply the non-resisting humility of a weak, spiritless nature, but that honourable submission to one having authority (whether God, king, father, or husband) which, then, as in the later day of English Margaret More, formed an essential part of the education of the gently bred, only less important than religion itself, or, rather, included in that.
These six have been carefully selected - the likes of Juliet and Ophelia are left out, despite their suitability foe the project - to provide an opportunity for him to discourse on some salient at that time topics, concerning his relationship with his girlfriend, Marianne aka Nell Harrison. These are :-
1) Women who have been wronged by society, often falsely accused of sexual impropriety.
2) Love between two apparently unsuited (by class) lovers.
3) The purity and innate goodness of the woman involved.
4) Naiveté and innocence in need of protection.
George's biographers assume that because Nell was described by the Owens College staff as 'unsuitable' they meant that she was a prostitute. Is that really what they meant? Wouldn't any working class girl be considered 'unsuitable' for a student at the college? If George had persuaded her to 'live in sin' with him - like he did with Gabrielle Fleury, his third 'wife' - did that make her a whore? If so, then Gabrielle should also be classed as that in biographies - at least Nell wasn't committing adultery, as was Gabrielle. It is a class-ridden affront to justice that Nell is regarded as immoral whilst Gabrielle is let off that charge. The same sort of emotional blackmail was used on both women, and both fell for it. In the case of Nell, George had the added bonus of crowing that he had 'saved' her from prostitution. But wasn't this because she was a naive and innocent girl being preyed on by the likes of George's friend, John George Black? Certainly according to Anthony West, HG Wells' son, writing from conversations with his father, it was Black who told George where he could find young and unsullied girls (Nell was 16 or 17 when she took up with George), emphasising how inexperienced they were. See Commonplaces 56-61 for more.
George was arrogant enough to think he had the strength of character and the unselfishness to deliver on his promises to Nell, but he was wrong, and Nell suffered for it. It's time his biographers made amends for their part in repeating the myth that she took advantage of him and that she was a working girl when they met - or at all, ever. There is no evidence for it, just their prejudice against the poorer classes, a lot of misogyny and a freakish need to explain the wrong deeds of George Gissing. Shame on them all.
These, your unusual weeds, to each part of youDesdemona from Othello (written in October 1876). Desdemona is the wife of Othello. Her father considered Othello to be an unsuitable match and so the couple eloped. She is subsequently wrongly accused of adultery by the treacherous Iago, who is eventually thrown from a high window by her murderous husband.
Do give a life -- no shepherdess, but Flora
Peering in April's front; this, your sheep-shearing,
Is as a meeting of the petty gods,
And you the queen on't.
 |
| Desdemona by Sir Frederic Leighton 1888 |
The type of all gentle and refined beauty - "O, the world hath not a sweeter creature!" - Desdemona by her rare simplicity, her childlike artlessness of character, wins her way to the hearts of all who have conned the story of her woes and mourned her cruel fate.
In our own mind we class her naturally with Miranda and Ophelia; but she is less purely ideal than either of these; her dramatic condition differs from theirs in being simply domestic; though highly picturesque, it is dependent for its interest on no more romantic accessories than are afforded by the privacy of a sumptuous household, to the skilful management of which -- notwithstanding that she was "an admirable musician," and of "high and plenteous wit and invention" -- she does not scorn to devote a considerable portion of her time. With whatsoever of intense effects her married life is produced, herself is never part of them -- she, indeed, constitutes their principal figure, but she is never involved in them, never understands them; her identity is preserved intact throughout.
Subordination, in thought and word and act, is the prominent feature of Desdemona's character: not simply the non-resisting humility of a weak, spiritless nature, but that honourable submission to one having authority (whether God, king, father, or husband) which, then, as in the later day of English Margaret More, formed an essential part of the education of the gently bred, only less important than religion itself, or, rather, included in that.
These six have been carefully selected - the likes of Juliet and Ophelia are left out, despite their suitability foe the project - to provide an opportunity for him to discourse on some salient at that time topics, concerning his relationship with his girlfriend, Marianne aka Nell Harrison. These are :-
1) Women who have been wronged by society, often falsely accused of sexual impropriety.
2) Love between two apparently unsuited (by class) lovers.
3) The purity and innate goodness of the woman involved.
4) Naiveté and innocence in need of protection.
George's biographers assume that because Nell was described by the Owens College staff as 'unsuitable' they meant that she was a prostitute. Is that really what they meant? Wouldn't any working class girl be considered 'unsuitable' for a student at the college? If George had persuaded her to 'live in sin' with him - like he did with Gabrielle Fleury, his third 'wife' - did that make her a whore? If so, then Gabrielle should also be classed as that in biographies - at least Nell wasn't committing adultery, as was Gabrielle. It is a class-ridden affront to justice that Nell is regarded as immoral whilst Gabrielle is let off that charge. The same sort of emotional blackmail was used on both women, and both fell for it. In the case of Nell, George had the added bonus of crowing that he had 'saved' her from prostitution. But wasn't this because she was a naive and innocent girl being preyed on by the likes of George's friend, John George Black? Certainly according to Anthony West, HG Wells' son, writing from conversations with his father, it was Black who told George where he could find young and unsullied girls (Nell was 16 or 17 when she took up with George), emphasising how inexperienced they were. See Commonplaces 56-61 for more.
George was arrogant enough to think he had the strength of character and the unselfishness to deliver on his promises to Nell, but he was wrong, and Nell suffered for it. It's time his biographers made amends for their part in repeating the myth that she took advantage of him and that she was a working girl when they met - or at all, ever. There is no evidence for it, just their prejudice against the poorer classes, a lot of misogyny and a freakish need to explain the wrong deeds of George Gissing. Shame on them all.
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