“He unites the exactness of the [medieval] chronicles, the majestic grandeur of history, and the all-compelling interest of romance.”
Revolution is humanity’s surgeon, it cuts out the tumour, it cuts off the gangrened limb—What! would you have pity for the virus? For the gangrened limb!
“G. W. M. Reynolds we devoured in The Coral Island, a big tome of horrors; and there was Eugéne Sue’s Mysteries of Paris in three big volumes.”
His rage knew no bounds. He muttered threats of deadly vengeance; and on the following morning, he commanded the prisoners to be brought into his presence. Then commenced a terrible massacre, the horrors of which no human pen nor tongue can narrate.
In those days, a joke would lead the perpetrator to the gibbet, and a pun was so highly penal—as, perhaps, it ought to be—that a dull dog who had dropped one by mistake, was called upon to find heavy securities for his good behaviour.
Thomas Hood (1799–1845) was born in London and, his father being a bookseller, grew up around books. He went on to become a poet, novelist, and satirist. Most famous for his poetry, William Michael Rossetti in 1903 declared him “the finest English poet” between the generations of Shelley and Tennyson.” Although by their nature pandemics are very serious affairs, this particular short story takes a somewhat lighter approach to portraying a pandemic.
In 1851 G.W.M. Reynolds launched a new series of ‘memoirs’ novels that told the story of poor women struggling to make their way in a heartless and alienating capitalist world.
Let the king live, but let the government perish!” May we not profit by this bright example, or shall the pages of history continue unfolded to us in vain?
This poem “The Good Old Times” was written in 1849 and printed in Reynolds’s Miscellany; it mocks the idea that things were better in the past.
A Victorian-era tale of woe and adversity for a brother and sister abandoned by their parents.
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.
A poem written by Susannah Frances Reynolds in 1841 and transcribed by Jessica Elizabeth Thomas: Oft does th’ unconscious vessel fly / To distant coasts were billows high / In dread confusion roar; / And of the danger unaware.
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.
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