Stephen Basdeo is a historian and writer based in Leeds, UK.
Nicolas Poussin (1594–1655) was born in Normandy, France and received a basic education before running away to Paris at the age of eighteen to become an artist. Having spent some time in Paris under the tutelage of several French and Flemish artists where he honed his craft. Poussin specialised in painting religious scenes as well as depictions of the classical era.
Plague, or Yersinia pestis, has “plagued” humankind throughout history. Since at least the reign of Byzantine Emperor Justinian in the 500s—and likely for much longer before that—it has claimed millions of lives. This section presents the voices of people throughout history who have recorded their experiences of the plague and who have also represented it in popular culture.
I concluded this was a case of genuine malignant cholera, and in consequence felt somewhat alarmed and anxious for the safety of the family. I examined the house, and found the walls dark-looking and damp. The whole place had an air of discomfort; the woman had been washing for two days previous, and had been drying her clothes in the house; damp stockings were hung around the bed place, and undried clothes on lines. I examined the close or yard, and found one wretched dirty old petty or closet for the whole pile of houses, and near to it some small houses where animals were kept, with much filth about them, and human excrement in the channel of the yard and near to the closet.
Presented here is an abridged version of Mary Shelley’s post-apocalyptic pandemic novel “The Last Man” (1826). The plague makes its way across the world killing all in its path and eventually arrives in England. Many of the motifs we find in modern-day apocalypse movies can be found in Shelley’s novel: lawlessness and rioting, the rise of religious madmen, the hoarding of food, and scenes of desolate towns and cities. The extract presented here is a highly abridged one which provides an overview of how Shelley imagined the end of the world as ushered in by a pandemic.
This poem was originally written in 1850 and published in the Home Circle, a magazine edited by Pierce Egan the Younger (1814-80): Ye by whom once the clear blue sky / And zephyrs of returning spring / Were hailed with joy, but now no more / Responses from the spirit bring.
The notary sank upon a chair, gazed wildly at that brother whom he had never wished to encounter more, and in whose presence he so singularly and unexpectedly found himself: Alfred de Moirot crossed his arms on his breast, and returned the timid glance of the notary with one of scorn, indignation, and reproach. The Baroness and de Montville exchanged looks of mingled satisfaction and anxiety.
While the inhabitants of the chateau were thus thrown into a strange state of doubt, anxiety, and alarm, the approaching steps of horses and the wheels of a heavy vehicle indicated the arrival of some visitor. A loud knocking speedily commenced at the front door, and in a few minutes the gallery, with which the room the room where the evening meal had been spread, communicated, re-echoed to the steps of’ several individuals.
“Traitor!” cried M. Delville, when he had managed to put himself in possession of the contents of the letter; “I could tear your very flesh from your body; but I prefer the adoption of other measures, which I shall put into immediate effect, and thus avenge my injured honour;” and having delivered himself of this eloquent oration, M. Delville reeled, fell back into his chair, and relieved his sorrows by the powerful medicine recommendable in such cases—Moëtt’s best Champagne.
“The days were passed in amusements of all kinds—the evenings in dancing, fétes champétres, or with music and cards. There were barges upon the canals, beautifully fitted up for the use of the visitors who were fond of water-excursions; hounds and huntsmen for the chase; and shooting apparatus for the sportsman. The ponds were filled with an abundance of fine fish; and many sought a recreation in, to me, the cruel art of angling. Thus was time whiled away on the wings of pleasure; and ennui was banished from those halls of delight.
Whilst he was dying in May 1885, Paris was but the first mourner for all France; and the magnificent funeral pageant which conducted the pauper’s coffin, antithetically enshrining the remains considered worthy of the highest possible reverence and honours from the Champs Elysées to the Panthéon, was the more memorable from all that was foremost in French art and letters having marched in the train, and laid a leaf or flower in the tomb of the protégé Chateaubriand, the brother-in-arms of Dumas, the inspirer of Mars, Dorval, Lemaitre, Rachel, and Bernhardt, and, above all, the Nemesis of the Third Empire.
It was these interesting characters that represented the new cosmopolitan elite of 18th-century London. In the characters of Mister Spectator’s club was a microcosm of the people who mattered in society: the aristocracy and the middle classes.
A poem written by Victor Hugo and translated by G.W.M. Reynolds that celebrates the Greek freedom fighter Konstantinos Kanaris.
Written by Victor Hugo and published in Les Chants des Crepuscules in 1835; Translated by George W.M. Reynolds and published in Songs of Twilight in 1836: Say, Lord! for Thou alone canst tell / Where lurks the good invisible / Amid the depths of discord’s sea— / That seem, alas! so dark to me!
Distinguished G W M Reynolds specialist, Prof. Louis James, talks about Reynolds’s only known play.
Written by Victor Hugo and published in Les Chants des Crepuscules in 1835 and Translated by George W.M. Reynolds and published in Songs of Twilight in 1836: Now, vot’ries of the Muses, turn your eyes, / Unto the East, and say what there appears! / “Alas!” the voice of Poesy replies, / Mystic’s that light between the hemispheres!”
The anxiety and interest which were depicted on the countenances of Eugenie and Clemence, as the count made this declaration, were most pungent in the breasts of both; and as they knew that the young nobleman was particularly cautious in the statements he usually advanced, they naturally fancied he had some just reasons to authorize the expression of his opinion with regard to the Abbé.
Professor Rohan McWilliam gives his own account of how he was introduced to the life and work of George W M Reynolds
What would a Chartist republic look like in practice? Very few Chartist novelists discussed this question in depth, as most of them merely shined a light on social issues of the day. G W M Reynolds, however, used the fictional Italian state of Castelcicala in The Mysteries of London as a ‘laboratory’ in which his progressive theories of government might be tested.
Written by G.W.M. Reynolds in 1837 and originally published in The Monthly Magazine: On Sarnia’s shores the gales are soft / And all the maids are passing fair / That wander in her gardens oft, / To meet their own true lovers there.
Having made vast inroads on the copious repast which was shortly placed upon his table, and having thought it expedient to wash down the same with a couple of bottles of old Chambertin, Sans-géne not only felt himself considerably refreshed, but also made a point of communicating that important fact to the waiter, whose toilet he had so materially disarranged a short time before. He then wrote a very short note, in a very unsteady hand, to a certain quarter, which missive was immediately despatched, and the following reply was returned:—
The individual who occupied the second place in the Calais mail was a man who had probably seen fifty summers. His cheeks were florid, his hair still dark, his teeth well preserved, and his large black eye seemed capable of piercing to the very soul, and of scanning the secret thoughts of the most wary and the most skilful in concealing their intentions beneath a mask of hypocrisy.
There have been many brief and detached accounts of the Bastille current in the English sphere of literature; but this is the first connected and important history that has hitherto satisfied the curiosity of the public regarding an event that must be considered with no ordinary degree of attention. The throne of him whom the French deemed a despot was only to be essentially shaken by the destruction of the worst engine of its tyranny; and when the adamantine bars of the gates of that terrible castle were destroyed—when the secrets of the prison-house were displayed—when the dark dungeon of slavery was illuminated by the torch of popular vengeance—then emanated from that dismal abode young Liberty.
Originally written by G.W.M. Reynolds and published in The Monthly Magazine in 1837: List awhile, and I will tell / Crimes that caus’d a doom so fell / I Know, then, that as we led afar / The Saviour unto Golgotha, / Where, as the ban of all our race, / The cross was rear’d tow’rds heay’n’s face.
Belgium is now an independent kingdom, which, although circumscribed to exceedingly narrow limits, may still one day stand conspicuously amongst the nations of the European continent, if its government continue to be wisely administered, and its vast resources appreciated and brought into action, as they are at present.