This is as close as we get to a mention of correspondence in All The Year Round. It’s a note from the editors of the journal to it’s expectant readers signifying what will be contained in the following weeks serial. Essentially it is a note from one party to another to expect future correspondence. Although it does not indicate the rising popularity of the written word in the form of letters, it instead becomes more the promise of a producer to a consumer that there will be more publications to come.
All The Year Round
The text in All the Year Round is double paneled on its pages, with no illustration, breaking only to transition paragraphs. All font is the same throughout the text, reading like a book or magazine which would have been read individually or in more intimate settings. Illustrations were popular in American literature because it was thought that they were less intelligent, whereas in the English journal no illustrations are included. The dates in the sections of Ezra Jennings’ diary are noticeable with dashes at the beginning of each entry which helps to break up the page and emphasize the progression of time throughout the installment, but otherwise the text in All the Year Round is left as a standard literary journal, distinguished primarily by its association with the reputation of Charles Dickens as opposed to by illustration. By being left without images, The Moonstone is almost blank for the reader to project their own imagination onto, which itself may be a marketing advantage to the Victorian audience in England.
All the Year Round
All the Year Round Header- Chapter XXI of the Moonstone
The layout of the text in All the Year Round is uniform throughout the journal and quite formal. Each text is presented without images, in two separate columns, and with the large All the Year Round header. The formality of the layout and the unified look of all of the texts presented within the publication also draw the audience to the quality of the publisher. As the publisher was well known to the readers of the journal since he was also a contributor to the texts in the journal, and as the publisher was considered a marketable author already, unifying all the texts in the journal to give them a "Dickens brand" look would have increased the marketability of the works.
Whereas the title of The Moonstone was a highlight of the page in All the Year Round, the titles of following works in the publication are not nearly as notable. The plain text of The Moonstone transitions unceremoniously into a new story with an entirely unremarkable title. The titles of the other works in the issue are the capitalized form of the same font as the plain text, with a single line separating it from the story above. The story following The Moonstone is much less spatially defined on the page. Though Wilkie Collins is not mentioned in the title of his work he is referenced by way of one of his works at the beginning of the installment; in the title of the next work in of the periodical, Leaves from the Mahogany Tree, no reference is made at all to an author. This highlights the relative priority that The Moonstone has in this periodical. When flipping through the collection of issues from All the Year Round, the title of The Moonstone is easily distinguishable from every other entry. It is clear that this is a form of branding that readers could easily recognize to consume this literary commodity.
All the Year Round Table of Contents- Moonstone listing
The table of contents lists the texts by title rather than by author but it is in the table of contents where The Moonstone is given a bit of distinction from everything else. While the entry for The Moonstone still lacks the name of the author, another written by Wilkie Collins is listed here too. This is not the case for all works in the table of contents. While The Moonstone is still not separated from the publisher's "brand", the text is given some distinction and thus is marketable, and being marketed, in multiple ways.
All the Year Round, a weekly journal published in England by Charles Dickens, featured an unillustrated version of The Moonstone. Each installment of the story was released in plain text in standard magazine or book format with double panelled pages. The title from the periodical, heads the first image in this exhibit, introducing the issue. Directly under the title of the weekly journal is the title of the current installation of The Moonstone. That The Moonstone is the first story in the periodical shows that it is one of the most prominent works in the issue. The title of the Moonstone itself is in a large, capitalized, font that echoes the style of the journal title and separates it from the titles of other pieces included in the publication. Its brief description is mildly stylized and spatially laid out to draw attention to the title where every other part of the page is densely packed with text. This description also mentions a previous work of the author (not mentioned by name), “The Woman in White”, to draw on his previous reputation and state the authenticity of the story’s source (All the Year Round) to make it more marketable, given “the lack of international copyright law” (Leighton and Surridge 208) at the time.
The ascetic differences between the two journals can be easily spotted. While the inclusion of illustrations in Harper’s appears to further accommodate a middle-lower class readership and a taste for the sensational, All the Year Round’s exclusion of those elements perhaps forces readers to gather the sensational genre and class struggle from the text alone. Another major theme in the novel is the idea of “book as religion.” This is exhibited through one of the many narrators, Gabriel Betteredge, who narrates this section of the periodical. As Lanning states in her essay “Tessellating Texts: Reading The Moonstone in All the Year Round”: “Betteredge immediately establishes a connection with his reading audience by presenting himself as a reader.” (2). Through the text alone, All the Year Round attempts to engage the new, common reader in a similar way Harper’s illustrations attempt to do the same. By naming Betteredge, a working class man, an individual worthy of both readership (of Robinson Crusoe) and narrator-ship, Collins reaches out to the middle-lower classes to say they too are worthy. Both Betteredge and Miss Clack demonstrate the importance of material, physical books in the Victorian’s life. To both characters, their materials are considered religious, and the act of reading them like worship. In many ways, by relying on text alone (no sensational illustrations or news) in All the Year Round, Dickens send a similar message to those reading the periodical: literature can be as important as religion in raising the spirit. As mentioned by Altick, the enjoyments of lower-class Victorians were far and few between, and so, both Collins and Dickens appear to suggest reading as an appropriate antidote to the mundanity of common life. Lanning, Katie. “Tessellating Texts: Reading The Moonstone in All the Year Round.” Victorian Periodicals Review 45.1 (2012): 1-22. Alitck, Richard. The English Common Reader : A Social History of the Mass Reading Public, 1800-1900. Chicago: U of Chicago, 1957. Print.
Collins, Wilkie
All the Year Round, The Moonstone Title Page, 1 August 1868. [text]
The All the Year Round title page for Wilkie Collins’ The Moonstone serves as the main point of comparison and contrast to Harper’s Weekly. This journal is concerned entirely with its own reputation, harnessing not only the fame of Dickens’ to propel it into further success and increased readership, but also exploiting an unrelated Shakespeare quote to elevate All the Year Round above any other journal. Catherine Waters, in her book mainly discussing Dickens’ other weekly journal Household Words (which took its name from a Shakespearean quote), asserts that “the material form is certainly not attractive [...] boldface capitals linking the title to the concluding announcement that the 'weekly journal' is 'CONDUCTED BY CHARLES DICKEN.'S [...] a form of branding that capitalized on Dickens's reputation and resembles the rhetoric of authenticity established through stamps and seals used to verify patent-protected products in advertisement" (21). While Waters is not specifically discussing this page in her comment, the argument holds its validity. The journal’s title as well as Dickens’ name are capitalized and much larger than that of The Moonstone. Furthermore, Collins’ name is not even mentioned, only identifying him as “the author of “The Woman in White,” &c &c”, perfectly illustrating the unimportance of the individual author and his or her story in Dickens’ journal. Waters, Catherine. Commodity Culture in Dickens's Household Words: The Social Life of Goods. Burlington: Ashgate Publishing Co. 2008. Print.
All the Year Round, The Moonstone, 1 August 1868. [text]
While the text itself of the second and third page of All the Year Round’s publication of The Moonstone does not differ much from the second page of the same publication in Harper’s Weekly, the display of the journal on these pages do contrast with one another. Unlike Harper’s, All the Year Round displays Dickens’ name (‘Conducted by Charles Dickens’) in the corner of every page of text. There are no images, and paired along with the title page before it, the alluring draw of the story present in Harper’s is entirely non-existent.
Almost indistinguishable from the pages before, the sixth and seventh pages of All the Year Round’s The Moonstone do little to stimulate the imagination or attention of its readers. It is important to note that page 172 and 173 were missing from the source, however, it seems hard to believe it would make much of a difference having those pages present to analyse, given the mundane similarity between those remaining. However, it is interesting to consider how those pages and what they contain might affect an examination of the publication. While there are surprisingly no advertisements on these pages, the focus on the journal itself as a commodity is once again apparent. The lack of images in this story suggests a concern regarding monetary gain and material value that is not as evident in Harper’s Weekly. All the Year Round appears to be interested primarily in making money, and the publication and display of individual works seems to take a backseat in terms of importance.
The last page of All the Year Round’s publication of Wilkie Collins’ The Moonstone does not surprise the reader with any interesting images or foreshadowing illustrations. This is especially interesting when considering the fact that this page contains the revelation readers have been awaiting for months; Godfrey is the thief! This climax is realised only in the text itself. As mentioned, there are no images at all throughout the publication, and even the placement of the text sullies the big reveal. The thirty-first installment of Wilkie Collins’ The Moonstone is followed immediately by an article titled ‘BEAVERS’. The readers’ eye goes directly from ‘GODFREY ABLEWHITE!’ to ‘BEAVERS’ with little more than a small dividing line to separate these two proclamations. While the inconspicuous title of the next article does seem to be commonplace in weekly journals, its presence here only heightens the underwhelming nature of how Collins’ narrative is presented in All the Year Round. All the Year Round appears to be entirely interested in promoting itself as a journal, rather than advertising its necessary contributors. This is especially evident when compared to Harper’s, which took nearly every opportunity to at least make the first page engaging. The commodity focus of All the Year Round is particularly thought provoking when considering the fact that Dickens was an author himself. It is strange that someone who has gained fame from publishing periodical works would be so uninterested in adequately displaying other authors’ texts, and rather would utilize their place in the print industry to further their own reputation.
All the Year Round: Advertisement Page [text]
Unmistakably, the advertisement section of All the Year Round is much different than that of Harper’s. All the Year Round’s exclusion of illustrations in the advertisement section continues to place an emphasis on text alone. Furthermore, the inclusion of only literary advertisements solidifies this emphasis. Only two advertisements appear in All the Year Round. One, advertising a “Holiday Romance” and another for “George Silverman’s Explanation.” Notably, both of these texts would appear in All the Year Round itself, and both are written by Charles Dickens, editor of the periodical. Placing emphasis on the text itself underlines the importance of literature in Victorian society, whether intentional or unintentional. The reader is left only to engage with text (and minimal advertisements for more text), giving the literature inside the periodical more significance than it perhaps would with the inclusion of pictures and accompanying advertisements. The use of textual emphasis in All the Year Round is also particularly fitting for The Moonstone. The text itself is riddled with letters, correspondences, and the presence of an “editor” (Blake) who overlooks the narratives within the novel. In many ways, the structure of The Moonstone’s narrative mirrors the editorial presence of Charles Dickens in All the Year Round. Overall, the relationship between editor, writer, and reader is strongly portrayed in this periodical and in The Moonstone. Both Harper’s and All the Year Round must cater to the new, common reader. The preferences and abilities of the masses are taken into account when assembling both materials, making The Moonstone a perfect piece of sensational fiction for the Victorian middle-lower class reader.
Arrivals (locals): Wolfville -- 30 mins L: [poem]
poems
Wolfville -- Nova Scotia
Part of second draft and drafts six, seven, eight and nine of poem. Includes holograph insert by E. Birney: "various drafts of Arrivals".
Birney, Earle, 1904-1995
Beatrice Ross Fonds Christmas Card from CMHQ London WWII
Ross, Beatrice Claudie, 1914-2004
The Military Museums Library and Archives
1944
concrete poems
Vancouver -- British Columbia
File consists of drafts of poem. Item two has E. Birney's holograph annotation "not final form."
This is the article that immediately follows The Moonstone in All the Year Round, entitled "Carnival Time in Britany". John Drew and Tony Williams, the editors of Dickens Journals Online, identify “Carnival Time in Britany” as a piece of travel-writing related to the subjects of “Christmas, New Year, Holidays and Seasonal Celebrations”, “France, Description and Travel”, “France, Social Life and Customs”, and “Travel, Tourism, Hotels, Resorts”. They ascribe the role of the author to Marguerite Agnes Power, a correspondent of Dickens’s, although Power’s name never actually appears alongside the article itself, as far as I can tell. This article adds to a tradition of story in the 8 August 1868 edition of The Moonstone, through the narrative style. “Carnival Time in Britany” is reminiscent of Collins’ fiction, and picks up on the promise of adventure in the last line of the British Moonstone. There is already a sense of adventure in the first line of the article, when the narrator enters “old quaint” French city of Nantes “escorted by a motley caravan of peasants”. This, and other, vivid images of exotic people and places in "Carnival Time in Britany" complement similar images in The Moonstone, without a moral undercurrent, as in Harper’s Weekly.
Unknown
This is the article that immediately follows The Moonstone in Harper's Weekly, entitled “Children's Selfishness”. Katie Lanning, like Leverenz, recognizes that “Victorian editors were ‘sensitive’ to the connections readers made between texts in an issue, and editors often carefully selected and arranged materials with those possible connections in mind (Lanning 15). Harper’s Weekly exploits the idea that “readers could collapse borders [between the ‘inside’ and the ‘outside’ of a text] as they explored ways to connect various texts into some meaningful pattern” (Lanning 17), and so not only asks the reader to make their own conclusions about the end of the story, but also looks to influence those conclusions, to shape readers’ interpretations of the story. “Children’s Selfishness” is a moralistic prose piece; the author starts with the idea that “a love of property is generally considered so harmless in a child that it is encouraged rather than controlled”, but goes on to advise that children should invest less in materialistic concerns, and learn generosity. This is a “useful lesson” than which “there are few lessons more desirable to be learned in early life”. Harper’s Weekly subtly connects the anonymous, selfish child with Rachel Verinder in The Moonstone, who even as a young woman of eighteen is consistently referred to as a child by the narrators, especially by Betteredge. Rachel initially seems too materialistic, but we as readers learn over the course of the novel that Rachel’s odd behavior after the theft of the moonstone is attributable to love for Franklin Blake, not selfish self-indulgence. Harper’s Weekly strategically uses “Children’s Selfishness” to convince readers that the change in Rachel’s character is one of the most important lessons of the novel, and simultaneously indoctrinates readers into a typically-American conservative reading of The Moonstone.
Christmas 1916 Letter from William Proven
Proven, William (1889-1917)
1916
Skibinski, Benjamin
The King's Own Calgary Regiment Archives
1942
Cure for neuralgia and all nervous diseases
Hepner, David, fl. 1920-1970
Diamond Advertisement in Harper's Weekly [text]
This diamond advertisement is shown in Harper’s Weekly’s May 30, 1868 issue. The advertisement is seen as “sensational advertising” due to the fact that it is eye catching. The letters are different fonts and sizes. Once the advertisement catches the readers attention, the reader notices that they have the “finest” diamonds. This differs from the older style of advertisements, where advertising had long instructive and detailed description. The only detailed description that is given about their diamonds are that they are the “Finest.” This advertisement is placed here purposely for the readers to do a tessellated reading between this ad and The Moonstone. This shows up a page or two before The Moonstone instalment. Therefore, when reading The Moonstone, the readers mind will keep going back to the diamond ad that caught their eye. This part of The Moonstone, has Franklin Blake coming back from England for one purpose, which is to solve the mystery of the Moonstone. It would be pretty hard for a reader, not to recall the diamond ad while reading this instalment.
Harper's Weekly
Poem, draft, Sounding the Name
Typescript draft of Robert Kroetsch's poem, Sounding the Name
Kroetsch, Robert
Archives and Special Collections, Folder 53 File 1
ca. 1980
Poem, Draft, Sounding the Name
Typescript draft of Robert Kroetsch's, Sounding the Name with annotations
Archives and Special Collections, Folder 53, File 1
Kroetsch, Robert,
Archives and Special Collections, Box 53, Folder 1
Typescript draft of Robert Kroetsch's, Sounding the Name, with annotations
Typescript draft of Sounding the Name with annotations
Poem, Draft, The Poets Mother
Typescript draft of Robert Kroetsch's, The Poets Mother, with annotations
Archives and Special Collections, Box 47, Folder 15
Draft, Poem, The Poets Mother
Written draft of Robert Kroetsch's, The Poets Mother
Archives and Special Collections: Box 47, File 15
Earl Payson Gartley Fonds Christmas Card WWII
Gartley, Earl Payson, 1906-1944
[194-]
Alsgard, Elsa Othelia, 1919-
1945
Excerpts from Chapter X 'The Moonstone' [text]
This excerpt from All the Year Round alludes to a number of sources, of varying genre. There is the scientific "lecture on physiology" ("All the Year Round" 100), which is referenced and cited twice, and the reference to Confessions of an English Opium Eater (101). Upon first glance there is a blurring of genres, between the sensational Confessions and the realistic science lectures. However, the reference to Confessions of an English Opium Eater creates an interesting dynamic between another commonly found material in British newspapers of the Victorian period: the agony column (Rubery 51). Like the agony column, Confessions was published anonymously, and was based upon scandalously biographical experience. Such "tales of personal distress" (51) soon found their way into the advertisements of British newspapers, and quickly became "a meeting place as much as a marketplace for readers" (50). Rather than sensational, Rubery argues that influence of newspaper articles, agony columns, and advertisements is more a "shock of actuality" that stems from the "relevance, accuracy, and ... realism" (48).
The visual scene of Ezra Jennings waiting for Mr. Blake in Harper's Weekly is the key illustration for chapter X. The object details of this scene follow closely to the description of the novel, from the "book-case filled with dingy medical works, and ornamented at the top with a skull", to the "copious ink" stain on the table (Collins 378). However, the composure of Ezra Jennings is not presented to the reader through the text. Rather, the illustration seen here presents Ezra in a pensive, and thoughtful composure. What the text does not mention, the illustration presents in this moment. It is an example of the relationship between illustration and text, the "complex interplay of realist detail and sensational events" (Leighton 75). This pictorial representation demonstrates the approach of two fold literacy in Victorian literature. Ezra's composure, which is a sensationalism beyond the realistic realm of the textual representation, creates an expectation in sensational genre.
Feb. 8, 1868 "General Falcon" - All the Year Round
This excerpt is from the story printed immediately after “The Moonstone”. This story appears to be a fictionalized depiction of a gentleman’s visit to Venezuala. Throughout the narrative, the speaker is fascinated and bemused by the behavior of General Falcon. The section ends with the narrator noting that he was “pleased with [General Falcon’s] manners, but not too deeply convinced of his sincerity”. The narrator also states that he “was shown a diamond star [General Falcon] wears” and this leads the narrator to cryptically think “so much…for equality, republican simplicity, and all that sort of thing”. This is a piece of fiction, as well as a rather pointed political opinion about the opulence of foreign leadership. The narrator is clearly cynical about General Falcon’s effectiveness and slyly insults the diamond star and all that it represents. Read in this way, the viewers who had just had their minds filled with images of the Moonstone would be led to question the morality of such a jewel. In this excerpt, the use of fiction to prove a point, as well as the dismissiveness of material wealth seems to insinuate that words, and not money, are the pillars of a successful civilization.
Feb. 8, 1868 "Holiday Romance" Grandmarina's words - All the Year Round
This is another piece of fiction that follows ‘The Moonstone’ in All the Year Round. The predominance of fiction shows the importance placed on words and creativity in the magazine. This particular section details a conversations between a poor, dejected king, and his daughter Princess Alicia. In one section, the King admits to his daughter that he is “dreadfully poor”. The Princess inquires him further about the absolute destitution of his circumstances, and then produces a “magic fish-bone” from her pocket. She then tells her father a secret that she had learned from “the good fairy Grandmarina’s WORDS, and which she had so often whispered to her…friend” [emphasis added]. Even though the fish-bone does end up getting the king the money that he needs, it is Princess Alicia’s memory of the fairy’s words, as well as her belief in the power of a mere fishbone that leads to salvation for her family. In this story, the mind and imagination is rewarded. This kind of instruction would potentially influence the viewers to focus more on the intellectual puzzle of the Moonstone, instead of simply the blinding distraction of the diamond itself.
Feb. 8, 1868 Advertisement page - Harper's Weekly
This page is covered in fiscally influenced words. These words include: free, warranted, merchants, bankers, coppers, sells, lower classes, poor, economy, wealth, gold, savings, rich, ounce, stock, and reduced prices, among others. Almost every advertisement emphasizes the ability of the product to either save the consumer money, or make the consumer rich. “White china dinner sets” are a display of wealth, but can still be purchased at reduced prices. Coffee is referred to as gold and is “for sale everywhere”. A certain soap is very cheap, and the ensuing “savings will make you rich”. There is a Horse Doctor who will answer questions in a column for free. Even the stereotyped “Colored Individuals” are able to enhance their social standing by pointing out that a poorer person sifting through ashes will “pick[] ‘em over, an…sell[] to de lower classes”. Every statement and image on this page emphasizes a society that is built on the obtaining and trading of material wealth. Everything is commodified, including written column advice, and discarded ashes. As the last page that viewer’s would see in the magazine, the information would be foregrounded in their minds and deeply influence how they proceeded in their daily lives.
Harper's Magazine
Feb. 8, 1868 Gettysburg Asylum Advertisement - Harper's Weekly
This advertisement is an appeal to citizens to help contribute to the aid of invalid soldiers. It is a wonderful humanitarian venture that is founded securely on financial donations. The monetary emphasis of this piece is highlighted in the use of the words “Valuable Presents”, the assurance that “the Diamond Goods, Pearls, Emeralds, Rubies…” have all been examined, the bold font of the figure $641,950, and the exhaustive list of valuable rewards. This piece emphasizes the monetary emphasis of American society of the time. It even begins with “an appeal to the American people”, insinuating that this is the best way for American people to help better the living conditions of their veterans. This emphasis on the need for financial aid portrays the importance of material wealth to help enhance all levels of society. Just as the “Diamond Goods” in this fundraiser are beneficial for the veterans, so too could the Moonstone of Collins’ narrative be taken from its place of moral ambiguity and elevated as an inherently virtuous commodity.
Feb. 8, 1868 Literary advertisement - Harper's Weekly
This advertisement is representative of the foregrounding of facts over fiction in Harper’s Weekly. In contrast to All the Year Round which seeks to instruct through fiction, Harper’s Weekly chooses to instruct by advertising a piece of literature that has to be purchased and consumed elsewhere. This piece also takes care to note that “the fidelity of [the author’s] statements [were] confirmed”. This emphasizes the magazine’s concern with the presentation of viable facts to its viewers as proving the literature worthy of promotion and consumption. This makes the exaggeration of the Moonstone image even more remarkable because of the willingness shown to bend the truth in order to emphasize a material commodity. This advertisement is also careful to name Harper’s as the book publisher. Not only is Paul du Chaillu given credit, but Harper’s is ensured to gain profit as well. The fact that it is a French explorer being censured by English critics showcases another aspect of the literary disparity across cultures. Perhaps it is the fact that it is a Frenchman’s writing that makes the book more suspect in the eyes of British critics who might favor British literary craftsmanship.
Feb. 8, 1868 Moonstone Image - Harper's Weekly
This image emphasizes the overt materialistic perspective of this edition of Harper’s Magazine. Even though Part VI of “The Moonstone” clearly describes the diamond as being small enough to shine in Rachel Verinder’s dress, this image depicts the diamond as being a giant stone that outshines the moon and the background Indian architecture. The diamond floats freely and is not constrained by any physical container. If the building behind it is seen as a temple which represents religion, the foregrounding of the diamond seems to emphasize that the diamond is of even more importance than any established creed. It is not part of the old religion, as suggested in the story, but actually takes on a religious entitlement that is entirely its own. The image of wealth is foregrounded, and becomes of dominant importance in the viewers mind. Even though the magazine takes care to describe the serial edition as “Printed from the Author’s Manuscript”, it takes liberty with the story to enhance the plot by emphasizing the gigantic nature of the stone. In a magazine that seems to focus on facts, this must be a very important emphasis if it is willing to stretch the truth in this way.
Feb. 8, 1868 Title Page - Harper's Weekly
First page of All the Year Round, no. 462 [text]
All the Year Round—a London-based periodical edited by Charles Dickens—was marketed as a literary journal that would “assist in the discussion of the Social Questions of the Day” (“New Readerships”). While it purported to be a journal for “all Classes of Readers” (“New Readerships”), the initial advertisements for the journal foregrounded its links to high-brow culture. Not only was All the Year Round compiled by a distinguished contemporary author, its title was derived from a line in William Shakespeare’s Othello (c. 1603).1 The header for All the Year Round no. 462 appears to contain only descriptive information for the periodical. However, it works on another level to establish its intended privileged readership and the object of its criticism. The quote from Othello is positioned before any other print in the periodical, and the line “Conducted by Charles Dickens” is separated from the rest of the text by virtue of its sans-serif font. The journal positions itself as a journal of Englishness by claiming inspiration from a canonized writer of England’s past while simultaneously solidifying its links with a contemporary literary icon. Moreover, All the Year Round reaches out to an educated and literary English audience. The Moonstone is the first piece in number 465 of All the Year Round and is positioned directly below the heading. However, Collins’s name is omitted and the author is instead listed as “by the author of ‘The Woman in White,’ &c. &c.” While this was certainly a stylistic convention of the day, and moreover, a marketing ploy within periodical culture, the omission of Wilkie Collins’s name signals that the journal expected its readers to be well-read in contemporary cultural and literary texts. Notes 1. The title All the Year Round was advertised as a play on the line “The story of our lives, from year to year”, which Dickens attributes to Shakespeare (“New Readerships”). The full line is delivered by the eponymous character of Othello, and reads “Her father loved me, oft invited me,/ Still questioned me the story of my life/ From year to year, the battles, sieges, fortunes/ That I have passed” (1.3.127-130). Works Cited “New Readerships.” John Bull and Britannia [London] 16 Apr. 1859: 242. Web. 5 Oct. 2015. Shakespeare, William. The Tragedy of Othello, the Moor of Venice. The Norton Shakespeare. Ed. Stephen Greenblatt et al. 2nd ed. New York: W.W. Norton & Co., 2009. 1179-1251. Print.
Frederick Gerald MacLellan Fonds Christmas Card WWI #2
MacLellan, F. Gerald, 1893-
1918
Frederick Smith Fonds Christmas Card WWI
Smith, Frederick Edwin, 1887-1978
[191-]
Front Page of All the Year Round, 8 August 1868 [Text]
This is the front page of the 8 August 1868 edition of All the Year Round. There is a marked contrast in the way that the American and the British front pages present the story; most importantly, All the Year Round emphasizes the story itself in a way that Harper’s Weekly does not. All the Year Round was a literary periodical, published by Charles Dickens himself, and so the emphasis on story is more natural than in Harper’s Weekly, which was more of a news periodical. The Moonstone also occupies the central place on the front page of the 8 August 1868 edition of All the Year Round. The Moonstone actually consistently appeared on the front page of All the Year Round, from January to August 1868, which one might attribute to the fact that Collins and Dickens were close friends, but Collins’ own name never actually appeared alongside the story, so Collins obviously did not receive any special attention from Dickens. All the Year Round emphasizes the story itself above all else; the lack of images emphasizes the actual text over visuals, and even the layout of the text on the page makes the story more readable, and more accessible, than in Harper’s Weekly.
Front Page of Harper's Weekly, 8 August 1868 [Text]
This is the front page of the 8 August 1868 edition of Harper’s Weekly. Collins' “popularity [was such] with American readers that his name always appeared before any other novelist in Harper’s catalogues” (Leighton and Surridge 208), and such is also the case with The Moonstone. Collins’ name appears prominently at the start of the story, but not (unlike the British version) at the start of the periodical. Harper’s Weekly instead leads with the current news. They use the whole front page to illustrate the top news for the week of 8 August 1868, a flood in the Maryland area. These illustrations act as a sort of introduction to The Moonstone in Harper’s Weekly; specifically the illustrations of natural catastrophe on the front page ask readers to consider the outcome of the conspiracy around the moonstone in the novel, and to relate images of catastrophe to the conclusion of the novel, even if coincidentally (the editors obviously did not orchestrate a flood for literary effect). Leighton and Surridge would write that the images are “proleptic, anticipating the events of the letterpress to come” and intentionally guiding readers’ interpretations of those events (210). I will note also that the front page of Harper’s Weekly is generally less readable than the front page of All the Year Round: the page itself is too large, the text is too small, and the layout is too tight to encourage readers to actually read the whole installment, which adds to the idea that Harper’s Weekly is less interested in the story itself than All the Year Round.
George Washington and "Relieving the Poor"
Image of George Washington + 2 smaller images both entitled "Relieving the Poor." Published in Harper's Weekly, 29 February 1868.
short stories
Holograph fragments of "Going to Russia."
Vanderhaeghe, Guy, 1951-
n.d.
Gordon Gilmour Fonds Christmas Card WWI #1
Gilmour, Gordon, 1890-1962
1915