The Martian, by George du Maurier, published in 1898, largely autobiographical, novel that describes the lives of two bosom friends, Barty Josselin and Robert Maurice, starting from their school days in Paris in the 1850s. Written in long descriptive passages with very little dialogue and many digressions, the book had considerably less success in its time than its predecessor, the popular Trilby.Of a rather loose construction, its main points of interest lie for today's readers in lively descriptions of "la vie de boh me" and different parts of Paris through the second half of the 19th century, pages on Mechelen in Belgium and Whitby in the 1870s, and its superb illustrations. As in Trilby, we find the recurrent theme of antisemitism, but less prominently than in the earlier work. What is new in it is the use of Swedenborgianism. Du Maurier writes that, to the most sceptical he Swedenborg] has restored that absolute conviction of an indestructible germ of Immortality within us, born of remembrance made perfect and complete after dissolution: he alone has built the golden bridge in the middle of which science and faith can shake hands. (p. 385) In fact the "Martian" of the title is none other than an entity that undergoes successive reincarnations ad infinitum. This concept is linked to contemporary interest in eugenics. This theme is explored in the context of the life of Barty and his offspring in the second half of the novel, starting with the beginnings of his loss of eyesight and his consultation of a reputed ophthalmologist in D sseldorf, which is a genuine autobiographical piece of writing from du Maurier. It is implied that Barty's and his wife Leah's moral, intellectual and physical perfection will be passed on to evolve into even more perfect children to build a more perfect race of beings in the future And to whom but Barty Josselin do we owe it that our race is on an average already from four to six inches taller than it was thirty years ago, men and women alike; that strength and beauty are rapidly becoming the rule among us, and weakness and ugliness the exception?.............. George Louis Palmella Busson du Maurier (6 March 1834 - 8 October 1896) was a Franco-British cartoonist and author, known for his cartoons in Punch and for his novel Trilby. He was the father of actor Sir Gerald du Maurier and grandfather of writers Angela du Maurier and Dame Daphne du Maurier. He was also the father of Sylvia Llewelyn Davies and grandfather of the five boys who inspired J.M. Barrie's Peter Pan.
George Louis Palmella Busson du Maurier (6 March 1834 - 8 October 1896) was a Franco-British cartoonist and author, known for his cartoons in Punch and for his novel Trilby. He was the father of actor Sir Gerald du Maurier and grandfather of writers Angela du Maurier and Dame Daphne du Maurier. He was also the father of Sylvia Llewelyn Davies and grandfather of the five boys who inspired J.M. Barrie's Peter Pan. Early life: George du Maurier was born in Paris, the son of Louis-Mathurin du Maurier and Ellen Clarke, daughter of Regency courtesan Mary Anne Clarke. He was brought up to believe that his aristocratic grandparents fled France during the Revolution, leaving vast estates behind in France, to live in England as migr s. However, du Maurier's grandfather, Robert-Mathurin Busson, was actually a tradesman who left Paris in 1789 to avoid fraud charges, and later changed the family name to du Maurier. Du Maurier studied art in Paris, and moved to Antwerp, Belgium, where he lost vision in his left eye. He consulted an oculist in D sseldorf, Germany, where he met his future wife, Emma Wightwick. He followed her family to London, where he married Emma in 1863. The couple settled in Hampstead around 1877, first in Church Row and later at New Grove House.They had five children: Beatrix (known as Trixy), Guy, Sylvia, Marie Louise (known as May) and Gerald.
Though well-known as the author of Trilby and the creator of Svengali, the writer-artist George Du Maurier had many other accomplishments that are less familiar to modern audiences. This collection traces Du Maurier’s role as a participant in the wider cultural life of his time, restoring him to his proper status as a major Victorian figure. Divided into sections, the volume considers Du Maurier as an artist, illustrator and novelist who helped to form some of the key ideas of his time. The contributors place his life and work in the context of his treatment of Judaism and Jewishness; his fascination with urbanization, Victorian science, technology and clairvoyance; his friendships and influences; and his impact on notions of consumerism and taste. As an illustrator, Du Maurier collaborated with Thomas Hardy, Elizabeth Gaskell and sensational writers such as M. E. Braddon and the author of The Notting Hill Mystery. These partnerships, along with his reflections on the art of illustration, are considered in detail. Impossible to categorize, Du Maurier was an Anglo-Frenchman with cultural linkages in France, England, and America; a social commentator with an interest in The New Woman; a Punch humourist; and a friend of Henry James, with whom he shared a particular interest in the writing of domesticity and domestic settings. Closing with a consideration of Du Maurier’s after-life, notably the treatment of his work in film, this collection highlights his diverse achievements and makes a case for his enduring significance.
Though well-known as the author of Trilby and the creator of Svengali, the writer-artist George Du Maurier had many other accomplishments that are less familiar to modern audiences. This collection traces Du Maurier’s role as a participant in the wider cultural life of his time, restoring him to his proper status as a major Victorian figure. Divided into sections, the volume considers Du Maurier as an artist, illustrator and novelist who helped to form some of the key ideas of his time. The contributors place his life and work in the context of his treatment of Judaism and Jewishness; his fascination with urbanization, Victorian science, technology and clairvoyance; his friendships and influences; and his impact on notions of consumerism and taste. As an illustrator, Du Maurier collaborated with Thomas Hardy, Elizabeth Gaskell and sensational writers such as M. E. Braddon and the author of The Notting Hill Mystery. These partnerships, along with his reflections on the art of illustration, are considered in detail. Impossible to categorize, Du Maurier was an Anglo-Frenchman with cultural linkages in France, England, and America; a social commentator with an interest in The New Woman; a Punch humourist; and a friend of Henry James, with whom he shared a particular interest in the writing of domesticity and domestic settings. Closing with a consideration of Du Maurier’s after-life, notably the treatment of his work in film, this collection highlights his diverse achievements and makes a case for his enduring significance.
The Frozen Deep is an 1856 play, originally staged as an amateur theatrical, written by Wilkie Collins under the substantial guidance of Charles Dickens. Dickens's hand was so prominent - beside acting in the play for several performances, he added a preface, altered lines, and attended to most of the props and sets - that the principal edition of the play is entitled "Under the Management of Charles Dickens". John C. Eckel wrote: "As usual with a play which passed into rehearsal under Dickens' auspices it came out improved. This was the case with The Frozen Deep. The changes were so numerous that the drama almost may be ascribed to Dickens". Dickens himself took the part of Richard Wardour and was stage-manager during its modest original staging in Dickens's home Tavistock House. The play, however, grew in influence through a series of outside performances, including one before Queen Victoria at the Royal Gallery of Illustration, and a three-performance run at the Manchester Free Trade Hall for the benefit of the Douglas Jerrold Fund to benefit the widow of Dickens's old friend, Douglas Jerrold. There, night after night, everyone - including, by some accounts, the carpenters and the stage-hands - was moved to tears by the play. It also brought Dickens together with Ellen Ternan, an actress he hired to play one of the parts, and for whom he would later leave his wife Catherine. The play remained unpublished until a private printing appeared sometime in 1866.......... William Wilkie Collins (8 January 1824 - 23 September 1889) was an English novelist, playwright, and short story writer. His best-known works are The Woman in White (1859), No Name (1862), Armadale (1866) and The Moonstone (1868). The last is considered the first modern English detective novel. Born into the family of painter William Collins in London, he lived with his family in Italy and France as a child and learned French and Italian. He worked as a clerk for a tea merchant. After his first novel, Antonina, was published in 1850, he met Charles Dickens, who became a close friend, mentor and collaborator. Some of Collins's works were first published in Dickens' journals All the Year Round and Household Words and the two collaborated on drama and fiction....... George Louis Palmella Busson du Maurier (6 March 1834 - 8 October 1896) was a Franco-British cartoonist and author, known for his cartoons in Punch and for his novel Trilby. He was the father of actor Sir Gerald du Maurier and grandfather of writers Angela du Maurier and Dame Daphne du Maurier. He was also the father of Sylvia Llewelyn Davies and grandfather of the five boys who inspired J.M. Barrie's Peter Pan..... James Mahony or Mahoney (1810-1879) was a leading nineteenth century Irish artist and engraver. 1] His father was a joiner in Cork, Ireland, and little is known of his early life. He seems to have studied painting and drawing in Rome, travelling in Italy and France until aged 32 when he returned to Cork. He quickly became known for his watercolour paintings, with townscapes from Rome, Venice, Paris, and Rouen....
Title: Wives and daughters. An every-day story ... With eighteen illustrations by George Du Maurier.Publisher: British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC.The FICTION & PROSE LITERATURE collection includes books from the British Library digitised by Microsoft. The collection provides readers with a perspective of the world from some of the 18th and 19th century's most talented writers. Written for a range of audiences, these works are a treasure for any curious reader looking to see the world through the eyes of ages past. Beyond the main body of works the collection also includes song-books, comedy, and works of satire. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library Gaskell, Elizabeth Cleghorn; Du maurier, George; 1866. 2 vol.: plates. 22 cm. 12620.f.22.
Title: The hand of Ethelberta. A comedy in chapters ... With eleven illustrations by George Du Maurier], etc.Publisher: British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC.The NOVELS OF THE 18th & 19th CENTURIES collection includes books from the British Library digitised by Microsoft. The collection includes major and minor works from a period which saw the development and triumph of the English novel. These classics were written for a range of audiences and will engage any reading enthusiast. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library Hardy, Thomas; 1876. 2 vol.: plates. 22 cm. 12637.k.13.
