{"id":207,"date":"2021-10-26T12:47:42","date_gmt":"2021-10-26T16:47:42","guid":{"rendered":"http:\/\/people.clas.ufl.edu\/snod\/?page_id=207"},"modified":"2026-03-19T09:03:06","modified_gmt":"2026-03-19T13:03:06","slug":"19th-century-texts","status":"publish","type":"page","link":"https:\/\/people.clas.ufl.edu\/snod\/texts-images\/19th-century-texts\/","title":{"rendered":"19th Century Texts"},"content":{"rendered":"\r\n
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19th Century Texts<\/h1>\n\n\n\n

(Categories & entries within categories, after any introductions, listed alphabetically)<\/p>\n\n\n\n

Background<\/h3>\n\n\n\n

Karl Beckson, Preface to Second Edition, Preface, Introduction<\/a>, from Aesthetes and Decadents of the 1890s<\/em> (1965; Chicago: Academy Chicago, 1981), vii-xliv<\/p>\n\n\n\n\n\n

Chronicle of Some 19th-Century Historical Events<\/a><\/p>\n\n\n\n\n\n

Facts, Themes, and Principles of Victorian Culture<\/a><\/p>\n\n\n\n\n\n

A Few Dichotomies that Haunted Victorians<\/a><\/p>\n\n\n\n\n\n

Sander L. Gilman and J. Edward Chamberlin, Preface, Degeneration: An Introduction<\/a>, from Degeneration: The Dark Side of Progress<\/em> (New York: Columbia UP, 1985), vii-xiv<\/p>\n\n\n\n\n\n

Holbrook Jackson, Fin de Sicle 18901900, Personalities and Tendencies, The Decadence<\/a>, The Eighteen-Nineties<\/em> (London: Richards, 1913), 13-71<\/p>\n\n\n\n\n\n

Sandra Siegel, Literature and Degeneration: The Representation of Decadence<\/a>, Degeneration: The Dark Side of Progress<\/em>, eds. J. Edward Chamberlin and Sander L. Gilman (New York: Columbia UP, 1985: 199-219<\/p>\n\n\n\n\n\n

Ian Small, Introduction<\/a>, from The Aesthetes: A Sourcebook<\/em> (London: Routledge, 1979), ix-xxix<\/p>\n\n\n\n\n\n

Some Reasons Why Americans Value the British<\/a><\/p>\n\n\n\n

Grant Allen<\/h3>\n\n\n\n

Introduction: Grant Allen (1848-1899)<\/a><\/p>\n\n\n\n\n\n

Some Plain Words on the Woman Question<\/a>, Fortnightly Review<\/em>, ns. 46 (1889): 448-58<\/p>\n\n\n\n

Aubrey Beardsley<\/h3>\n\n\n\n

Introduction: Aubrey Beardsley (1872-1898)<\/a><\/p>\n\n\n\n

Ernest Dowson<\/h3>\n\n\n\n

Introduction: Ernest Dowson (1867-1900)<\/a><\/p>\n\n\n\n\n\n

Mark Longaker, Introduction and Notes<\/a>, Stories of Ernest Dowson<\/em> (1947), 1-10, 116-22<\/p>\n\n\n\n\n\n

All Assigned Fiction<\/a><\/p>\n\n\n\n\n\n

All Assigned Poems<\/a><\/p>\n\n\n\n\n\n

A Case of Conscience<\/a> (The Century Guild Hobby Horse<\/em>, 1891) and Dilemmas<\/em> (1895), 27-49<\/p>\n\n\n\n\n\n

Selected poems from DECORATIONS<\/em> (1899)<\/strong>
\nBeyond<\/a><\/p>\n\n\n\n\n\n

Carthusians<\/a><\/p>\n\n\n\n\n\n

Dregs<\/a><\/p>\n\n\n\n\n\n

Exchanges<\/a><\/p>\n\n\n\n\n\n

A Last Word<\/a><\/p>\n\n\n\n\n\n

Saint Germaine-en-Laye<\/a><\/p>\n\n\n\n\n\n

Transition<\/a><\/p>\n\n\n\n\n\n

Venite<\/em>\u00a0Descendamus<\/em><\/a><\/p>\n\n\n\n\n\n

The Diary of a Successful Man,<\/a>\u00a0(Macmillans Magazine<\/em>, June 1890) and\u00a0Dilemmas<\/em>\u00a0(1895),\u00a01-26<\/p>\n\n\n\n\n\n

The Fortunate Islands,<\/a>\u00a0Decorations<\/em>\u00a0(1899)<\/p>\n\n\n\n\n\n

An Orchestral Violin,<\/a>\u00a0(Macmillans Magazine<\/em>, August 1891) and\u00a0Dilemmas<\/em>\u00a0(1895), 51-85<\/p>\n\n\n\n\n\n

The Princess of Dreams,<\/a>\u00a0Decorations<\/em>\u00a0(1899)<\/p>\n\n\n\n\n\n

Souvenirs of an Egoist,<\/a>\u00a0(Temple Bar<\/em>, Jan. 1888) and\u00a0Dilemmas<\/em>\u00a0(1895), 87-122<\/p>\n\n\n\n\n\n

Selected poems from VERSES<\/em> (1896):<\/strong><\/p>\n\n\n\n\n\n

Ad Domnulam Suam<\/em><\/a><\/p>\n\n\n\n\n\n

Ad Manus Puellae<\/em><\/a><\/p>\n\n\n\n\n\n

Amantium Irae<\/em><\/a><\/p>\n\n\n\n\n\n

April Love<\/a><\/p>\n\n\n\n\n\n

Beata Solitudo<\/a><\/p>\n\n\n\n\n\n

Benedictio Domini<\/em><\/a><\/p>\n\n\n\n\n\n

Cease smiling,\u00a0Dear!\u00a0a\u00a0little while be sad<\/a><\/p>\n\n\n\n\n\n

A Coronal<\/a><\/p>\n\n\n\n\n\n

Epigram<\/a><\/p>\n\n\n\n\n\n

Extreme Unction<\/a><\/p>\n\n\n\n\n\n

Flos Lunae<\/em><\/a><\/p>\n\n\n\n\n\n

The Garden of Shadow<\/a><\/p>\n\n\n\n\n\n

Growth<\/a><\/p>\n\n\n\n\n\n

Impenetentia Ultima<\/em><\/a><\/p>\n\n\n\n\n\n

In Preface: For Adelaide<\/a><\/p>\n\n\n\n\n\n

My Lady April<\/a><\/p>\n\n\n\n\n\n

Non Sum<\/em>\u00a0Qualis\u00a0Eram\u00a0Bonae\u00a0Sub Regno Cynarae<\/em><\/a><\/p>\n\n\n\n\n\n

Nuns of the Perpetual Adoration<\/a><\/p>\n\n\n\n\n\n

O Mors! Quam Amara\u00a0Est\u00a0Memoria<\/em><\/a><\/p>\n\n\n\n\n\n

A Requiem<\/a><\/p>\n\n\n\n\n\n

To One in Bedlam<\/a><\/p>\n\n\n\n\n\n

Terre Promise<\/a><\/p>\n\n\n\n\n\n

Vain Hope<\/a><\/p>\n\n\n\n\n\n

Vain Resolves<\/a><\/p>\n\n\n\n\n\n

A Valediction<\/a><\/p>\n\n\n\n\n\n

Vesperal<\/a><\/p>\n\n\n\n\n\n

Villanelle of His Ladys\u00a0Treasures<\/a><\/p>\n\n\n\n\n\n

Vita summa brevis . . .<\/em><\/a><\/p>\n\n\n\n\n\n

You would have understood me had you waited<\/a><\/p>\n\n\n\n\n\n

Yvonne of Brittany<\/a><\/p>\n\n\n\n

Ella D’Arcy<\/h3>\n\n\n\n

Introduction: Ella D’Arcy (1856?57?-1939)<\/a><\/p>\n\n\n\n\n\n

At Twickenham,<\/a>\u00a0Yellow Book<\/em>\u00a012 (Jan 1897), 313-32<\/p>\n\n\n\n\n\n

The Death Mask,<\/a>\u00a0Yellow Book<\/em>\u00a010 (July 1896), 155-64<\/p>\n\n\n\n\n\n

Irremediable,<\/a>\u00a0Yellow Book\u00a0<\/em>1 (April 1894): [87]-108, and\u00a0Monochromes<\/em>\u00a0(London: John Lane, Bodley Head, 1895), 87-120<\/p>\n\n\n\n\n\n

The Pleasure-Pilgrim,<\/a>\u00a0Yellow Book<\/em>\u00a05 (April 1895) and\u00a0Monochromes<\/em>\u00a0(1895), 165-218<\/p>\n\n\n\n

George Egerton<\/h3>\n\n\n\n

Introduction: George Egerton [Mary Chavelita Dunne Bright] (1859-1945)<\/a><\/p>\n\n\n\n\n\n

Martha Vicinus, Introduction,<\/a>\u00a0Keynotes & Discords<\/em>, ed. Martha Vicinus (London: Virago, 1983), pp. v-xix<\/p>\n\n\n\n\n\n

A Cross Line,<\/a>\u00a0Keynotes<\/em>\u00a0(London: Mathews & Lane, Bodley Head, 1893), 1-36<\/p>\n\n\n\n\n\n

An Empty Frame,<\/a>\u00a0Keynotes<\/em>\u00a0(London: Mathews & Lane, Bodley Head, 1893), 115-23<\/p>\n\n\n\n\n\n

The Little Gray Glove,<\/a>\u00a0Keynotes<\/em>\u00a0(London: Mathews & Lane, Bodley Head, 1893), 91-114<\/p>\n\n\n\n\n\n

Virgin Soil,<\/a>\u00a0Discords<\/em>\u00a0(London: John Lane, 1894), 144-62<\/p>\n\n\n\n\n\n

Wedlock,<\/a>\u00a0Discords<\/em>\u00a0(London: John Lane, 1894), 115-44<\/p>\n\n\n\n

Sarah Grand [Frances Elizabeth Bellenden Clarke]<\/h3>\n\n\n\n

Introduction: Sarah Grand [Frances Elizabeth Bellenden Clarke] (1854-1943)<\/a><\/p>\n\n\n\n\n\n

The New Aspect of the Woman Question,<\/a>\u00a0North American Review<\/em>\u00a0158 (1894): 270-76<\/p>\n\n\n\n\n\n

The New Woman and the Old,<\/a>\u00a0Ladys Realm<\/em>\u00a0(1898)<\/p>\n\n\n\n

Eliza Lynn Linton<\/h3>\n\n\n\n

Introduction: Eliza Lynn Linton (1822-1898)<\/a><\/p>\n\n\n\n\n\n

The Girl of the Period,<\/a>\u00a0Saturday Review<\/em>\u00a0(14 March 1868): 356-60<\/p>\n\n\n\n\n\n

The Wild Women\u00a0As\u00a0Social Insurgents,<\/a>\u00a0Nineteenth Century<\/em>\u00a030 (October 1891): 596-605<\/p>\n\n\n\n

New Woman Texts of Criticism<\/h3>\n\n\n\n

Introductory Note on The Angel in the House<\/a><\/p>\n\n\n\n\n\n

Introductory Note on The New Woman<\/a><\/p>\n\n\n\n\n\n

Sally Ledger, Introduction and Who Was the New Woman,\u00a0The New Woman: Fiction and feminism at the\u00a0<\/em>fin de sicle<\/a>\u00a0(Manchester and New York: 1997), 1-34<\/p>\n\n\n\n\n\n

Hugh E. M.\u00a0Stutfield, Tommyrotics.\u00a0<\/em><\/a><\/em>Blackwoods<\/em>\u00a0Edinburgh Magazine<\/em>\u00a0157.956 (June\u00a01895): 833-45<\/p>\n\n\n\n

Quida [Marie Louise de la Rame]<\/h3>\n\n\n\n

Introduction\u00a0:\u00a0Ouida\u00a0[Marie Louise de la Rame] (1839-1908)<\/a><\/p>\n\n\n\n\n\n

The New Woman,<\/a>\u00a0North American Review<\/em>\u00a0158 (1894): 610-19 [a response to Grands The New Aspects of the Woman Question]<\/p>\n\n\n\n

Walter Pater<\/h3>\n\n\n\n

Introduction: Walter Pater (1839-1894)<\/a><\/p>\n\n\n\n\n\n

Child in the House,<\/a>\u00a0Miscellaneous Studies<\/em>\u00a0(1895)<\/p>\n\n\n\n\n\n

Emerald Uthwart,<\/a>\u00a0Miscellaneous Studies<\/em>\u00a0(1895)<\/p>\n\n\n\n\n\n

Selections from\u00a0The Renaissance<\/em>\u00a0(1873):\u00a0Preface,<\/a>\u00a0The Poetry of Michelangelo,<\/a>\u00a0Leonardo de Vinci,<\/a>\u00a0Conclusion<\/a><\/p>\n\n\n\n\n\n

Style,<\/a>\u00a0Appreciations<\/em>\u00a0(1889)<\/p>\n\n\n\n\n\n

Sebastian von Storck,<\/a>\u00a0Imaginary Portraits<\/em>\u00a0(1887)<\/p>\n\n\n\n

George Romanes<\/h3>\n\n\n\n

Introduction:\u00a0George Romanes (1848-94)<\/a><\/p>\n\n\n\n\n\n

Mental Differences\u00a0Between\u00a0Men and Women,<\/a>\u00a0Nineteenth Century<\/em>\u00a021 (May 1887): 654-72<\/p>\n\n\n\n

Robert Louis Stevenson<\/h3>\n\n\n\n

Introductions: Robert Louis Stevenson\u00a0(13 November\u00a01850-3 December\u00a01894)\u00a0&\u00a0The<\/em>\u00a0Strange Case of Dr. Jekyll and Mr. Hyde<\/em><\/p>\n\n\n\n

Arthur Symons<\/h3>\n\n\n\n

Introduction: Arthur Symons (28 February 1865-22 January 1945)<\/a><\/p>\n\n\n\n\n\n\n\n\n\n\n\n

Introduction and Conclusion,<\/a>\u00a0The Symbolist Movement in Literature<\/em>\u00a0(1896-99; London: Constable, 1908), 1-9, 170-75<\/p>\n\n\n\n\n\n\n\n\n\n\n\n

The Symbolist Movement in Literature<\/a><\/em>\u00a0(1896-99; London: Constable, 1908) [entire book]<\/p>\n\n\n\n

Graham R. Tomson [Rosamund Marriott Wattson]<\/h3>\n\n\n\n

Introduction: Graham R. Tomson [Rosamund Marriott Watson] (1860-1911)<\/a><\/p>\n\n\n\n\n\n

Virginia Blain, Rosamund Marriott Watson (1860-1911)<\/a><\/p>\n\n\n\n\n\n

All Assigned Poems<\/a><\/strong><\/p>\n\n\n\n\n\n

Selection poems:<\/strong><\/p>\n\n\n\n\n\n

Ballad of the Bird-Bride<\/a><\/p>\n\n\n\n\n\n

A Ballad of the Were-Wolf<\/a><\/p>\n\n\n\n\n\n

The Cage<\/a><\/p>\n\n\n\n\n\n

Children of the Mist<\/a><\/p>\n\n\n\n\n\n

Epitaph<\/a><\/p>\n\n\n\n\n\n

Hic Jacet<\/a><\/p>\n\n\n\n\n\n

The Moor Girls\u00a0Well<\/a><\/p>\n\n\n\n\n\n

Nirvana<\/a><\/p>\n\n\n\n\n\n

Old Pauline<\/a><\/p>\n\n\n\n\n\n

A Ruined Altar<\/a><\/p>\n\n\n\n\n\n

Vespertilia<\/a><\/p>\n\n\n\n

Victoria Cross [Annie Sophie Cory]<\/h3>\n\n\n\n

Introduction: Victoria Cross [Annie Sophie Cory] (1 October 1868-2 August 1952)<\/a><\/p>\n\n\n\n\n\n

Theodora, A Fragment,<\/a>\u00a0The Yellow Book<\/em>\u00a04 (January 1895): [156]-188<\/p>\n\n\n\n

Oscar Wilde<\/h3>\n\n\n\n

Introduction: Oscar Wilde (1854-1900)<\/a><\/p>\n\n\n\n\n\n

The Critic as Artist,<\/a>\u00a0[published in\u00a0Nineteenth Century<\/em>\u00a0(July and September 1890), and in\u00a0Intentions<\/em>\u00a0(1891), [98]-224]<\/p>\n\n\n\n\n\n

The Decay of Lying<\/a>\u00a0[published in\u00a0Nineteenth Century<\/em>\u00a0(January 1889);\u00a0Intentions<\/em>\u00a0(1891); and\u00a0Intentions and\u00a0the Soul of Man Under Socialism<\/em>, Vol. 8 of\u00a0The First Collected Edition of the Works of Oscar Wilde<\/em>\u00a0(1908-22), [1]-57]<\/p>\n\n\n\r\n\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t<\/div>\r\n<\/section>\r\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1075,"featured_media":0,"parent":184,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"featured_post":"","footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-207","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/people.clas.ufl.edu\/snod\/wp-json\/wp\/v2\/pages\/207","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/people.clas.ufl.edu\/snod\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/people.clas.ufl.edu\/snod\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/people.clas.ufl.edu\/snod\/wp-json\/wp\/v2\/users\/1075"}],"replies":[{"embeddable":true,"href":"https:\/\/people.clas.ufl.edu\/snod\/wp-json\/wp\/v2\/comments?post=207"}],"version-history":[{"count":5,"href":"https:\/\/people.clas.ufl.edu\/snod\/wp-json\/wp\/v2\/pages\/207\/revisions"}],"predecessor-version":[{"id":956,"href":"https:\/\/people.clas.ufl.edu\/snod\/wp-json\/wp\/v2\/pages\/207\/revisions\/956"}],"up":[{"embeddable":true,"href":"https:\/\/people.clas.ufl.edu\/snod\/wp-json\/wp\/v2\/pages\/184"}],"wp:attachment":[{"href":"https:\/\/people.clas.ufl.edu\/snod\/wp-json\/wp\/v2\/media?parent=207"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}