Monetas Veil: Essays on Nineteenth Century Literature
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www.farmersmarketmusic.com: Moneta's Veil: Essays on Nineteenth Century Literature eBook: Malabika Sarkar: Kindle Store. Moneta's Veil: Essays in Nineteenth Century Literature seeks to uncover relatively unexplored aspects of nineteenth-century literature and culture, important not.
Skip to main content. Log In Sign Up. Rhoda Broughton and Marie Corelli: Two Bentley Authors, , in Malabika Sarkar ed. Essays on 19th Century Literature New Delhi: Is it possible, they ask in sad and angry amazement, that people can be imposed on by this? And they have an impulse to fling down the pen and take to grocery. Arnold Bennett, Fact and Fiction Recent scholarly excursions into the hinterland of Victorian fiction continue to swell the roll- call of women novelists. With growing access to archival sources, we are now able to turn from the more canonised writers to their less famous peers.
In the mid-Nineties, S. It is a fairly well-worn critical commonplace that after the death of George Eliot in , English women novelists entered a period of critical decline. He blamed the education of the lower classes and women for a general levelling of the literary tastes, and complained that large sales figures were replacing traditional literary standards of value.
Following this Olympian abdication, the critical furore gradually died out.
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During the three or four years preceding the publication of Jude the nerves of conservative readers and reviewers had been increasingly irritated by a series of novels, mainly by women, which deliberately set out to attack marriage, to break the bonds of censorship which tacitly forbade the treatment of sexuality in fiction, and above all to argue, from various points of view, the feminist case. For most of the others it was business as usual.
Yet the sound and fury over the New Woman novel deflected attention from other developments in the book trade which were to signally affect the profession of authorship. While some women novelists were being pilloried by critics on moral and aesthetic grounds, the vast majority of their colleagues faced a more far-reaching and faceless challenge from another direction.
It is my argument that the real threat to the woman novelist came not from critics and reviewers but from the altogether more impersonal process of change in the publishing industry. On the other hand, sufficient attention has perhaps not been paid to the way in which women writers adapted themselves to these changes and evolved new survival strategies.
As a test case for the above proposition, I wish to compare the publishing careers of two vastly different women writers of the last quarter of the 19 th century. Neither Rhoda Broughton nor Marie Corelli have been considered part of the literary avant-garde of the s and have thus received scant scholarly attention.
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In the case of Corelli, the neglect was perhaps deserved; not so in the case of Broughton. Yet, if we are to really understand the status of women novelists in 19th century England, it is to these so-called second-rate practitioners we must turn. Both Broughton and Corelli wrote and published at a time when the book trade in England was in the throes of far-reaching changes, but how far-reaching nobody realised, least of all the authors.
Most authors, without being aware of it, made decisions during this period which were to decide the nature of their subsequent literary survival, or the lack. Bentley is also notable among 19 th century publishers for deriving most of its income from a group of bestselling women writers. At a time when most publishers played safe by pricing the three-decker novel way beyond the reach of the average book-buyer, Bentley along with the publisher Henry Colburn broke ranks by launching cheap editions of both classics and contemporary novels during A separate accounts ledger was maintained for the Favourite series from to , when it was at the height of its popularity.
Catalogues for the series can be found appended to almost any Bentley publication of this period. For example, the catalogue at the end of Olive Varcoe, by Mrs Notley itself a Favourite Novel lists 19 authors, all but four of whom were women. In , the periodical Athenaeum had carried the following checklist of titles in print by individual authors in the Standard series Five of the 14 writers listed here are women.
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Further substantiation is provided by an advertisement for the monthly Temple Bar Magazine the Bentley house magazine , which appears in Olive Varcoe. Of the 29 stories listed as many as 23 are by women. Prominent among the writers listed are Rhoda Broughton and Marie Corelli, with nine and five titles in print respectively.
The sale figure for The Three Clerks was one!
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From her letters to Bentley it appears that Broughton was quite willing to do this. In the summer of , she wrote: On 25 August , she wrote to Bentley: The large circulating libraries, such as Mudie and W. Smith, insisted on this as they operated on a volume-subscription rather than a title-subscription system; this enabled them to have one title broken up into three books. Since most publishers depended on the circulating libraries for buying up at almost 50 per cent of their print run, few dared to take the risk of alienating the libraries by issuing the first edition of a novel in a cheaper format.
However, there were authors who had real difficulties producing the minimum number of words to make up three volumes. As we shall see, Broughton had problems throughout her career producing enough words for a three-volume novel. This had originally been featured in the Dublin University Magazine and was duly published by Bentley in two volumes in I have consequently been compelled to make an agreement with Mr Tinsley for it. Broughton thus found herself in the embarrassing position of two different publishers issuing her books more or less simultaneously.
This upset Le Fanu who decided to desist from advising his niece on literary matters. In the case of Cometh, Broughton was paid in royalties but following the successful sales of the book, Bentley was able to persuade Broughton to sell the copyrights of her subsequent books outright. How much did Bentley and Broughton respectively make from Cometh? Figures are not available for the early years, but according to the Favourite Novels ledger, from through , the following were the annual sale receipts from Cometh: On 28 January she wrote: I cannot say I admire the frontispiece, in fact if it does not stop the sale, nothing can.
Furious, she wrote to Bentley: Thanks for the cheque which filled me with considerable disgust. I am in exceeding bad humour about it I can tell you.
Prof. Malabika Sarkar is new Presidency VC
My present intention is never to write again. According to him, there were three impressions: Thus the sales figures quoted earlier during would apply to the edition of 2, Practical courses are offered in both Creative Writing and Theatre Studies. Plays by students are professionally staged under his direction. Meanwhile, the Department continues to maintain its strength in traditional areas like Renaissance Studies, Romantic, Victorian and Modern Literature, and Translation. Chatterjee Orient Blackswan, , Renaissance Themes: Essays for Arun Kumar Das Gupta, ed.
The Hidden Face of the 19th Century, ed. Malabika Sarkar Pearson, , as well as new translations of Sharatchandra and Bankimchandra. The impact of Europe upon India, both in the earliest period of contact and under colonialism, leading to radical transformations in all spheres of material culture and imaginative and intellectual activity, has been a major field for CAS and ASIHSS research. The CAS has sponsored important translation projects as well as research in all its areas of strength, and hosted international conferences, workshops and lectures.
Recent conferences include The Expanding Universe: Science and Literature in the 19th century , celebrating the Darwin bicentenary; Staged Encounters: A Renaissance Resource Centre was set up with the support of the Italian culture ministry, and collaborative projects are under way with Italian universities like Bologna and Naples.
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Chicago, , edited by Santanu Biswas, was released in December Sukanta Chaudhuri General Editor: Chatterjee Orient Blackswan, , Renaissance Themes: Bentley is also notable among 19 th century publishers for deriving most of its income from a group of bestselling women writers. I cannot say I admire the frontispiece, in fact if it does not stop the sale, nothing can. Why fill up your Wallet? Most widely held works by Malabika Sarkar.
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