On 15 November we are hosting a conference on European Political exiles and émigrés in Britain. This is one of a series of blog posts on the same topic. Conference details can be found here. Attendance is free, but registration is required.

Dimitrije Mitrinović (1887-1953) was a noteworthy figure in the cultural and philosophical circles of the early 20th century, who left a lasting impact on both European thought and the communities he engaged with.

Mitrinović in 1920 (Image from Wikimedia Commons)

Born in Bosnia-Herzegovina, Mitrinović’s early activism centred on the struggle for independence from the Austro-Hungarian Empire and the vision of a united Yugoslavia. His educational background in art history in Munich further cultivated his intellectual pursuits.

With the outbreak of the First World War, he relocated to England in 1914, securing a position with the Serbian Legation in London. Mitrinović quickly integrated into influential cultural circles on the European continent and in England. He contributed extensively to The New Age, a radical journal, writing under the pseudonym M. M. Cosmoi, where he addressed ‘World Affairs’. His commentary often reflected his vision of a new stage in human development, emphasising the importance of recognising the complementary roles of various ethnic, religious, and social groups. He believed that societal conflicts could be resolved through intermediation, guided by a deep re-evaluation of historical wisdom in fields such as religion, philosophy, psychology, and the arts.

In England, Mitrinović established himself as a private philosophy teacher in London’s Bloomsbury. He gathered a significant library filled with annotated works, which he shared with his followers. This collection was crucial for those studying with him, as it facilitated an exploration of diverse intellectual traditions.

Front cover of an essay about Mitrinović by Nenad V. Petrović (Windsor, Ontario, 1967), X.900/10994.

He also founded the English Branch of the International Society for Individual Psychology in 1927, focusing on the teachings of Alfred Adler. The group’s practical approach to psychological studies led to the creation of the Chandos Group and later, in 1931, the New Europe Group.

The New Europe Group advocated for a federal Europe with a decentralised political system and a renewed cultural consciousness. This vision expanded with the formation of the New Britain Movement in 1932, which proposed comprehensive societal reforms, including national changes, financial restructuring, and workers’ control through national unions.

Title page of Andrew Rigby, Initiation and Initiative: an Exploration of the Life and Ideas of Dimitrije Mitrinović (New York, 1984; X.529/70412), which draws from Predrag Palavestra, Dogma i utopija Dimitrija Mitrinovića: počeci srpske književne avangarde (Belgrade, 1977; X.989/88735) and the Archives of New Atlantis Foundation, Ditchling, East Sussex.

While the New Britain Movement dissolved in the mid-1930s, the New Europe Group persisted into the 1950s, promoting cultural activities through the Renaissance Club, which hosted lectures and concerts.

From the late 1930s, Mitrinović focused on fostering personal development, gender studies, spiritual growth and mutual self-exploration among a close circle of friends and associates, all aspiring to the ideal of the ‘cosmopolitan citizen’.

A portrait of Mitrinović in London, from Andrew Rigby, Initiation and Initiative...

After Mitrinović's death in 1953, a group of his closest friends established the New Atlantis Foundation (later renamed the Mitrinović Foundation), to preserve and promote his cultural and social philosophy, carrying his legacy forward. One of the Foundation’s early actions was to donate a substantial portion of Mitrinović’s annotated books to the University of Belgrade. This collection is held at the Svetozar Marković University Library in Belgrade. In 1994, the Foundation donated the Mitrinović Library to the University of Bradford, where it remains an important resource for researchers in Special Collections. The Mitrinović Archive, including documents from the New Europe Group and related organizations, was also donated to the University of Bradford in 2003 and 2004.

Title page of Certainly, future, edited by H.C. Rutherford (New York, 1987; YC.1988.a.9005), a selection of Mitrinović’s articles originally published in the journals Bosanska vila (1913), The New Age (1920-21), New Britain (1933), Purpose (1934), and his editorials published in New Britain, New Europe, New Atlantis and Eleventh Hour (1933-35).

Mitrinović’s intellectual legacy, preserved through the activities of the Mitrinović Foundation, continues to resonate with those interested in the intersection of culture, philosophy, and social change. His efforts to foster dialogue, personal transformation, and cultural re-evaluation remain significant, highlighting a vision of a more integrated and conscious society.

Milan Grba, Lead Curator South-East European Collections

References/further reading:

Dimitrije Mitrinović, The Religion of Logos and Sophia from the writings of Dimitrije Mitrinović on Christianity. 12th New Atlantis Foundation lecture, 1966 (London, 1968), X.0529/21.(12.).

Dimitrije Mitrinović, Sabrana djela [Collected works], edited by Predrag Palavestra (Sarajevo, 1991), 3 vols. ZF.9.a.10589.

Dimitrije Mitrinović, Lectures 1926-1950 (Bradford, 1995), YC.1996.b.2972.

Predrag Palavestra, Dogma i utopija Dimitrija Mitrinovića: počeci srpske književne avangarde (Belgrade, 2003), 2nd rev. ed. YF.2006.a.13809.

Dimitrije Mitrinović, Treća sila (Čačak, 2004), YF.2006.a.22892.

Andrew Rigby, Dimitrije Mitrinović: a biography (York, 2006), 2nd ed. YK.2007.a.20791.

Dragana Mihailović, Stvaralačka kritika Dimitrija Mitrinovića (Belgrade, 2008), YF.2011.a.1677.

Slađana Milenković, Pesničkim stazama Dimitrija Mitrinovića (Sremska Mitrovica, 2009), YF.2018.a.5443.

Andrew Rigby, ‘Mitrinović, Dimitrije (1887–1953)’, Oxford Dictionary of National Biography, (Oxford, 2013), YC.2013.b.2479.

See also a Serbian Public Service broadcast programme from 2021 (In Serbian): Dimitrije Mitrinović: From a Teacher of National Energy to a Cultural James Bond

 

Join us on Friday 15 November 2024 for the ‘European Political Refugees in the UK from 1800’ conference taking place in Pigott Theatre, Knowledge Centre at the British Library. This one-day in-person event will explore the rich history of political refugees from Europe who sought asylum in the UK from the 19th century onwards. International academics, scholars, and curators will investigate how European diaspora communities have woven themselves into the fabric of British society, fostering intercultural exchange and contributing to the shaping of modern Britain.

‘European Political Refugees in the UK from 1800’ conference poster

The conference is organised by the European Collections section of the British Library in partnership with the European Union National Institutes of Culture (EUNIC) London. It will be accompanied by the exhibition ‘Music, Migration, and Mobility: The Story of Émigré Musicians from Nazi Europe in Britain’ and by events run by the conference partners.

The event is open to all and attendance is free, but registration is required. Booking details can be found here.

Programme

10:00 Welcome

10:05 Session 1: Artists

Moderator: Olga Topol, British Library

‘Leaving Home’ – Franciszka Themerson and Her Artistic Community in the UK, Jasia Reichardt, Art Critic and Curator

Austrian Musicians and Writers in Exile in the 1930s and 1940s, Oliver Rathkolb, University of Vienna and Vienna Institute of Contemporary and Cultural History and Art (VICCA)

On the Rock of Exiles: Victor Hugo in the Channel Islands, Bradley Stephens, University of Bristol

Music, Migration & Mobility, The Story of Émigré Musicians from Nazi Europe in Britain, Norbert Meyn, Royal College of Music, London

12:00 The stone that spoke screening

Introduction by Gail Borrow, ExploreTheArch arts facilitated by EUNIC London

12:15 Lunch

13:00 Session 2: Governments in Exile

Moderator: Valentina Mirabella, British Library

London Exile of the Yugoslav Government during the Second World War and its Internal Problems, Milan Sovilj, Institute of History of the Czech Academy of Sciences, Prague

The Spanish Republican Exile in Great Britain: General Characteristics and the case of Roberto Gerhard, Mari Paz Balibrea, Birkbeck, University of London

Fascism and anti-fascism in London's 'Little Italy' and Giacomo Matteotti's secret visit to London in 1924, Alfio Bernabei, Historian and Author

14:30 Break

14:45 Session 3: Building Communities

Moderator: Katya Rogatchevskaia, British Library

Tefcros Anthias: poet, writer, activist, and public intellectual in Cyprus and the Cypriot Community in London, Floya Anthias, University of Roehampton, London

The Journeys in Stories: Jewish emigration from Lithuania via United Kingdom, Dovilė Čypaitė-Gilė, Vilna Gaon, Museum of Jewish History, Vilnius University

Political migration from Hungary, 1918-1956, Thomas Lorman, UCL's School of Slavonic and East European Studies, London

16:15 Break

16:30 – 17:00 Session 4: Writing Diaspora

Moderator: Anthony Chapman-Joy, Royal Holloway, University of London, British Library

Newspapers published by 19th-century German political exiles in England, Susan Reed, British Library

Clandestine WWII pamphlets, Marja Kingma, British Library

We look forward to welcoming you to the conference in November. In the meantime, we invite you to discover a new display of works by Franciszka Themerson ‘Walking Backwards’, currently on show at Tate Britain, and to explore the history of Lithuanian Jewish immigration to the UK at the annual Litvak Days in London.

The year was 1908. The shock waves of the 1905 Revolution still reverberated throughout the Russian Empire when two letters from an Indian revolutionary Taraknath Das reached Leo Tolstoy at home in Iasnaia Poliana. Das wrote to the ailing Tolstoy, then a world-renowned author, pacifist and anarchist, asking for his support for India’s liberation from British colonial rule. Das’s appeal prompted the 80-year-old Russian writer to pen a lengthy response expressing his sympathy with the oppressed and advocating for nonviolence as the only justifiable form of resistance. It was not the answer Das had hoped for, but when the letter was published, it immediately struck a chord with a young Indian lawyer grappling with racial and social injustices in Johannesburg, Mohandas Gandhi. He was so impressed by Tolstoy’s logic that he sought his permission to translate the letter into Gujarati and to republish it in South Africa. Although the two never met, they continued to exchange letters and ideas until Tolstoy's death in 1910. Their shared philosophy of peace, tolerance, and nonresistance to evil inspired such prominent political leaders as Martin Luther King, Jr, Nelson Mandela, and the Dalai Lama. The letter to Das, mailed from Iasnaia Poliana on December 14, 1908, was about to influence the course of history on the Indian subcontinent.

Cover of Osvobozhdenie narodov: Pisʹmo Indusu by Leo Tolstoy (Iasnaia Poliana, 190?) RB.23.a.32254 and a photograph of
Mahatma Gandhi (Image from Wikipedia)

In the appendices of his book Indian Home Rule, Gandhi listed twenty books that impacted him as a political and spiritual leader. Tellingly, the first six works are all by Tolstoy, and the 5000-word missive published by Das as A Letter to a Hindu (AKA A Letter to a Hindoo; Pis’mo Indusu, 1908) is among them. In it, Tolstoy argues that only by overcoming the urge to retaliate and abiding by the principle of love and compassion for the enemy could the Indian people shake off the colonial yoke. He admonishes: “Do not resist the evil-doer and take no part in doing so, either in the violent deeds of the administration, in the law courts, the collection of taxes, or above all in soldiering, and no one in the world will be able to enslave you.” According to the author, only peaceful resistance epitomised by civil disobedience could break the cycle of violence perpetuating injustice and feeding hatred. He marvels at how a commercial company was able to enslave “two hundred millions of clever, capable, freedom-loving people” and concludes that the numbers speak for themselves: “it is not the English who have enslaved the Indians, but the Indians who have enslaved themselves.”

Tolstoy’s definition of violence is broad, encompassing inequitable distribution of authority, power and wealth, as well as violation of one’s conscience. He divides the letter into short chapters, each of which opens with a range of ethical sources, including the Bible, quotations from the Vedas, and passages from Krishna.

Opening pages of Tolstoy’s Pis’mo Indusu 

He warns against false ideologies, both religious and pseudo-scientific, that promote the use of violence and the necessity of war, distorting the sheer truth that it is “natural for men to help and to love one another, but not to torture and kill one another”. At the core of Tolstoy’s Christianity is the Sermon on the Mount, which he sees as a complete justification for nonresistance to evil. His literal reading of Jesus’s commandment to ‘turn the other cheek’ led to his questioning social, political and religious assumptions, including the authority of the state, the credibility of the Church, and the justifications of both for waging violence. Tolstoy admits that overthrowing oppressive regimes is not an easy task. Nonviolence, unlike physical force, requires great courage and readiness to expose oneself to political violence and unjust treatment.

Another book that profoundly affected Gandhi’s thought formation was Tolstoy’s Christian anarchist philosophical treatise, ‘The Kingdom of God is Within You’ (Tsarstvo Bozhie Vnutri Vas, 1894). Banned in Russia for its espousal of Jesus’s nonviolent resistance teachings as true gospel, it inspired Gandhi to set up a community devoted to love, work, and simple living, known as Tolstoy Farm. He reflected on the impact the book had on him in his 1928 speech commemorating Tolstoy’s death: “At that time, I was skeptical about many things… I was a votary of violence. I had faith in it and none in nonviolence. After I read this book, lack of faith in nonviolence vanished.”

Title page of Tsarstvo Bozhie Vnutri Vas (London, 1898) 3926.bb.50.

In ‘The Kingdom of God is Within You’, Tolstoy objects to the idea of Russian religious nationality as the rationale for political repressions inside Russia and imperialist oppression internationally. He points the finger at the corrupt union of religion and autocratic political power that coerces men to join the army and take part in unjust wars. Tolstoy is especially critical of conscription, which he sees as an extreme abuse of power and a form of slavery. He also opposes any form of modern patriotism but is not blind to the differences between oppressor and oppressed: “A Russian should rejoice if Poland, the Baltic Provinces, Finland, Armenia, should be separated, freed from Russia (...) The greater the state, the more wrong and cruel its patriotism, and the greater is the sum of suffering upon which its power is founded.” Tolstoy asserts that the eponymous Kingdom of God could only be found inside the self and outside the state-run church with its stupefying rituals and ceremonies.

Tolstoy’s essay ‘The First Step’ (also known as ‘The Morals of Diet’; Pervaia stupen’, 1892) helped to shape Gandhi’s views on ahimsa, an ancient ethical principle of not causing harm to other living beings. It was instrumental in convincing Gandhi to maintain his vegetarian diet. The essay was published as a preface to a book by Howard Williams, The Ethics of Diet, which Tolstoy translated into Russian. It is likely the 19th century’s most important statement on the subject. 

Cover of Tolstoy’s Pervaia stupen’ (Moscow, 1906) YA.2001.a.3749

The principle of nonviolence and refusal to participate in coercion is at the core of Tolstoyan vegetarianism. He views slaughtering and eating animals as “simply immoral, as it involves the performance of an act which is contrary to the moral feeling—killing; and is called forth only by greediness and the desire for tasty food.” While the pamphlet advocates for animal rights, it also takes on a religious tone, underscoring the need for self-abnegation, fasting, and renouncing worldliness. One can and should control bodily desires by exercising moderation, restraint and hard work, and refraining from eating animal flesh is the first step towards a moral life. Tolstoy concludes the piece with a bold statement that the killing and eating of animals compromise the ability of men to feel pity and compassion for fellow human beings.

Tolstoy enjoying a vegetarian meal (Image from Wikipedia)

Tolstoy’s philosophical and polemical works have often been deemed rigid and doctrinaire, becoming a neglected footnote to the widely acclaimed War and Peace and Anna Karenina. Nevertheless, their message is disturbingly relevant today as the world faces a swelling tide of imperial violence with Russia's brutal war against Ukraine. The question once posed by George Orwell: “Is there a Gandhi in Russia at this moment? And if there is, what is he accomplishing?” remains open. Orwell had no illusions - in a country without a free press and the right of assembly, where “opponents of the regime disappear in the middle of the night and are never heard of again”, practising civil disobedience is a perilous exercise incapable of bringing a mass movement into being. While Russia is waiting for its Mahatma, dissenting voices and peaceful anti-war protests inside the country command the utmost respect and give hope for change. Gandhi prescribes patience: “You need not be afraid that the method of nonviolence is a slow long-drawn-out process. It is the swiftest the world has seen, for it is the surest.”

Hanna Dettlaff-Kuznicka, Interim Curator of Slavonic and East European Collections

References/further reading:

Charlotte Alston, Tolstoy and his disciples : the history of a radical international movement (London, 2014) YC.2014.a.11549

Imraan Coovadia, Revolution and non-violence in Tolstoy, Gandhi, and Mandela (Oxford, 2020) YC.2022.a.1259

Gandhi, Leo Tolstoy, Mahatma Gandhi and Leo Tolstoy letters (Long Beach, California, 1987) 

Ramin Jahanbegloo, Introduction to nonviolence (Basingstoke, 2014) SPIS303.61

Ilacai and Rajesh, V. Maniyan, The Russian Revolution and India (London, 2020) ELD.DS.554272

Tony Milligan, Civil disobedience: protest, justification, and the law (New York, 2013) m13/.13487

Keith Gessen, George Packer, George Orwell, All art is propaganda: critical essays (Boston, 2009) ELD.DS.678441

David A. J. Richards, Disarming manhood: roots of ethical resistance (Athens, OH, 2005) YK.2007.a.20263

Patricia M. Shields, Jane Addams: progressive pioneer of peace, philosophy, sociology, social work and public administration (Cham, 2017) ELD.DS.351903

Leo Tolstoy, A Letter to a Hindu (from Project Gutenberg)

Bryan S. Turner, War and peace: essays on religion, violence, and space (London, 2013) ELD.DS.83774

On Thursday 26 September the novelist, biographer and columnist A.N. Wilson will be discussing his new book The Life of Goethe with Emeritus Professor Paul Hamilton at an event in the British Library’s Pigott Theatre. Full event and booking details can be found here. Meanwhile, to get you in a Goethe mood, we take a look at the book that first brought him international fame.

September 1774 saw the appearance of the 25-year-old Johann Wolfgang Goethe’s first novel, Die Leiden des jungen Werthers (The Sorrows of Young Werther). Goethe had already become famous in Germany with his play Götz von Berlichingen, published the previous year, but the novel was to make his name throughout Europe.

Title-page of the first edition of Die Leiden des jungen Werthers (Leipzig, 1774) C.58.bb.12

The novel is mainly narrated in letters from the eponymous Werther to his friend Wilhelm. It tells the story of Werther’s doomed love for Lotte, a woman who seems to reciprocate his feelings but is betrothed to another man, Albert, as was her mother’s dying wish. When he realises that he can neither suppress his love for Lotte nor prevent her marriage, Werther leaves town to take up a post at court, but returns after a few unhappy months. Lotte and Albert are now married but Werther continues to visit Lotte, becoming ever more tormented by his feelings for her. After an emotional encounter where Werther embraces and kisses Lotte, she sends him away. Having already decided that only his, Lotte’s or Albert’s death can resolve the situation between them, Werther decides to kill himself. An afterword by the supposed editor of the letters tells of Werther’s suicide and its aftermath.

Werther at his writing-desk, engraving by J. Buckland Wright from a Halcyon Press edition of  Die Leiden des jungen Werthers (Maastricht, 1931) C.115.s.26.

The novel was a huge success. It combined the time-honoured genre of the tragic love story with the contemporary cult of ‘sensibility’, featuring a protagonist who is guided entirely by his emotions. There were also titillating hints that the story was based on true events: Goethe had indeed drawn on his own brief infatuation with Charlotte Buff, who was engaged to his friend Johann Christian Kestner, and on the suicide of a colleague, Karl Wilhelm Jerusalem, who was hopelessly in love with a married woman. A pamphlet published in 1775 identified the ‘real’ locations and characters, albeit only by initials in the case of the characters. Nonetheless, the book’s fame brought some unwanted attention to these ‘originals’. Jerusalem’s grave even became a place of pilgrimage for Werther fans.

Pages from H. von Breidenbach, Berichtigung der Geschichte des jungen Werthers (Frankfurt & Leipzig, 1775; 12547.a.20.)  identifiyng the setting of the novel as a village near Wetzlar and the surname of Lotte’s father as beginning with B rather than S. (Image from a copy in the Staatsbibliothek Bamberg)

A French translation of Werther appeared in 1775 and translations into other European languages, including English (initially via the French version) in 1779, soon followed. As well as German, French and English, the British Library holds editions in Afrikaans, Danish, Esperanto, Hungarian, Italian, Latvian, Romanian, Russian, Spanish and Swedish. 

Title-pages of early French, English and Italian translations of Die Leiden des jungen Werther 

The novel also spawned a wave of imitations, critiques, parodies, continuations and dramatizations, and was represented in other media. Illustrations of scenes from the story decorated crockery and playing cards, and a handbill from 1785 in the British Library’s collections (1850.c.10.(151.)) announces that “At Mrs. Salmon’s Royal Historical Wax-work ... Is to be seen the ... Group of the Death of Werter, attended by Charlotte and her Family.” Fashionable young men adopted Werther’s outfit of a blue tailcoat with a yellow waistcoat and breeches, although stories of a wave of copycat suicides while so dressed are almost certainly exaggerated. Werther’s name could even be used to sell unrelated works: a German translation of Isaac D’Israeli’s Mejnoun and Leila, a retelling of an Arabic story, was entitled Der arabische Werther (‘The Arabian Werther’).

Title-page of Confidential Letters of Albert; from his first attachment to Charlotte to her death (London, 1790) RB.23.a.18744. The work has been variously attributed to John Armstrong and Mary Eden

A popular form of ‘Wertheriad’ presented letters from other characters, such as William James’s The Letters of Charlotte during her Connexion with Werter (early English editions generally dropped the h of Werther) or The Confidential Letters of Albert. August Cornelius Stockmann’s Die Leiden der jungen Wertherinn (‘The Sorrows of the young female Werther’), although its title suggests a version with the gender roles reversed, similarly retells the story from Lotte’s perspective although not in epistolary form. However, the French novelist Pierre Perrin’s Werthérie (translated into English as The Female Werter) was the story of a woman tragically obsessed with a married man.

Title-page and frontispiece of Pierre Perrin, Werthérie (Paris, 1791) 1074.h.32. (Image from a copy in the Bayerische Staatsibliothek)

Another common theme in both poetry and art was Lotte mourning at Werther’s grave. The original story leaves her own fate uncertain, saying that her grief and shock at Werther’s death made her family fear for her life, and some continuations do indeed have her dying also, but the idea of her rallying at least enough to visit the grave was clearly irresistible.

Title page of Carl Ernst von Reizenstein, Lotte bey Werthers Grab (‘Wahlheim’, 1775) 11521.aa.14. (Image from a copy in the Staatsbibliothek Bamberg)

Illustrators were also fond of depicting the famous scene where Werther first sees Lotte as she butters and cuts slices of bread for her younger siblings. This was also popular with the parodists, and bookends William Thackeray’s famous satirical verses about the story. 

Werther meets Lotte as she cuts slices of buttered bread for her younger siblings. Engraving by Daniel Chodowiecki. (Image from Wikimedia Commons)

Despite (or perhaps because of) its popularity, many commentators criticised the work, and in particular Werther’s extreme emotions and his suicide. A popular riposte to Goethe’s work was Friedrich Nicolai’s Freuden des jungen Werthers (‘Joys of Young Werther’). Here Albert renounces Lotte, who marries Werther. Things do not at first go smoothly, and the remarkably tolerant Albert has to act as marriage counsellor, but Werther gradually becomes practical and responsible. The story ends with him and his family happily cultivating their garden in good Voltairean fashion.

Title page of Friedrich Nicolai, Freuden des jungen Werthers: Leiden und Freuden Werthers des Mannes (Berlin, 1775) 12547.aaa.8. (Image from a copy in the Staatsbibliothek zu Berlin)

The economist Johann August Schlettwein wrote two pamphlets criticising Goethe’s work, one of which is couched as a letter from Werther, now suffering the torments of damnation, appealing to others not to follow his example. Ernst August Anton von Göchhausen, in his Das Werther-Fieber (‘The Werther Fever’) shows a family divided over the story – daughter Sibylle is dangerously obsessed, but the rest of the family consider Werther a fool (which I must admit was my own assessment reading the novel as an undergraduate!).

Title-page of Ernst August Anton von Göchhausen, Das Werther-Fieber, eine unvollendetes Familienstück (Nieder-Teutschland [i.e Leipzig], 1776) 12547.b.5. (Image from a copy in the Österreichische Nationalbibliothek)

Goethe would later distance himself from Werther as he left behind the wild enthusiasm of his youthful ‘Sturm und Drang’ works and embraced a more measured classicism. A revised version published in 1787 gave the editor more of a voice and made Albert more sympathetic, somewhat counterbalancing Werther’s emotionalism. But even after it had passed the peak of its popularity, Werther continued to be much read, and it inspired literary responses into the 20th century. Thomas Mann’s Lotte in Weimar (1939) is a fictional retelling of the real-life encounter between Charlotte Kestner (née Buff) and Goethe 42 years after the publication of Werther, while Ulrich Plenzdorf’s Die neuen Leiden des jungen W. (The New Sorrows of Young W.) maps Goethe’s novel onto the story of a disaffected young man in 1960s East Germany. And in the 21st century the story has been reinvented as a graphic novel in a contemporary setting, Werther Reloaded.

Cover of Franziska Walther, Werther reloaded: nach dem Roman ‘Die Leiden des jungen Werther’ von Johann Wolfgang von Goethe (Mannheim, 2016) YF.2016.b.2045  

250 years after its first appearance, Werther may no longer have the powerful appeal that it had at the time,  but the novel still stands as a literary classic and a offers glimpse into a particular mindset that briefly held sway over romantically inclined readers in the late 18th century.

References/Further reading 

Johann Wolfgang von Goethe, Les souffrances du jeune Werther, translated by Karl Siegmund von Seckendorff (Erlangen, 1886) 244.e.10.

Johann Wolfgang von Goethe, The Sorrows of Werter: a German Story, translated by Richard Graves (London, 1779) 12555.a.34.

Johann Wolfgang von Goethe, Werther, opera di sentimento, translated by Gaetano Grassi (Poschiavo, 1782) 012553.e.35.

Isaac Disraeli, Der Arabische Werther, oder Mejnun und Leila, eine romantische Erzählung für Liebende (Leipzig, 1804) 12618.a.45. 

William James, The letters of Charlotte, during her connexion with Werter (Dublin, 1786) 1489.g.7.

August Cornelius Stockmann, Die Leiden der jungen Wertherinn (Eisenach, 1775) 12547.b.6.

“Diesem viehischen Trieb ergeben”: J. A. Schlettweins Kritik an Goethes Werther: Briefe an eine Freundinn über die Leiden des jungen Werthers (1775), Des jungen Werthers Zuruf aus der Ewigkeit an die noch lebende Menschen auf der Erde (1775), herausgegeben von Volker Hoenerbach. (Hamburg 2009) YF.2012.a.7890

Johann August Schlettwein, Werther in die Hölle (Frankfurt am Main, 1775) 8630.b.2.(5.) (A reissue of his Briefe an eine Freundinn über die Leiden des jungen Werthers with new introductory material)

Thomas Mann, Lotte in Weimar (Stockholm, 1939) YA.1989.a.3081 

Ulrich Plenzdorf, Die neuen Leiden des jungen W. (Frankfurt am Main, 1973)  X.908/27279.

Robyn L. Schiffman, ‘A Concert of Werthers’, Eighteenth-Century Studies, vol. 43, no. 2 (2010), pp. 207-222  P.901/754

Karol Sauerland, ‘Wertherfieber’, European History Online Website

 

A selection of other early responses, adaptations and imitations from the BL collections:

Heinrich Leopold Wagner, Prometheus Deukalion und seine Recensenten (Hamburg, 1775) 11746.c.35. (A satire on reviewers of Die Leiden des jungen Werthers)

Heinrich Gottfried von Bretschneider, Eine entsetzliche Mordgeschichte von dem jungen Werther ([s.l.], 1776) 12547.aaa.9. (A free adaptation of the original)

Man denkt verschieden bey Werthers Leiden. Ein Schauspiel in drey Aufzügen (s.l., 1779) 11745.c.1.

Edward Taylor, Werter to Charlotte: a Poem (Lonndon, 1784) 11632.d.49.(1.)

Jean-Marie-Jérôme Fleuriot, Le Nouveau Werther, imité de l’Allemand (Neuchâtel, 1786) 12547.c.8.

Elizabeth Sophia Tomlins, The Victim of Fancy (London, 2009) YC.2010.a.15559 (Originally published 1786; French translation, La Victime de l’imagination, ou l’enthousiaste de Werther (Paris, 1795?) Ch.790/127.)

Eglantine Wallace, A Letter to a Friend, with a poem called the Ghost of Werter (London, 1787) 11632.h.16. 

George Wright, The unfortunate lovers, abridged from the Sorrows of Werter ... (London, 1788) RB.23.a.8495

Sarah Farrell, Charlotte, or, A sequel to the sorrows of Werther ... and other poems (Bath, 1792) 11642.h.17.

Amelia Pickering, The Sorrows of Werter: a Poem (London, 1788) 1346.m.11.

Joseph Antoine de Gourbillon, Stellino, ou le Nouveau Werther (Paris, 1791)

Werter and Charlotte. A German story containing many wonderful and pathetic incidents (London, 1800?) 12611.ee.32.(4.) (A loose adaptation of the original)

Carl Phillip Bonafont, Der neue Werther, oder Gefühl und Liebe (Nuremberg, 1804) 12547.cc.11.

James Bell, Letters from Wetzlar, written in 1817, developing the authentic particulars on which the “Sorrows of Werter” are founded (London, 1821) 11851.c.7. 

Georges Duval, Le Retour de Werther, ou les derniers épanchemens de la sensibilité, comédie en un acte, mêlée de vaudevilles (Paris, 1821) 11738.e.16.(10.) 

 

An anonymous and undated poem beginning ‘Cold in this tomb the dust of Werter lies’ C.116.g.22.(2.)

The digitisation and preservation of over 10,000 old photographs, negatives and glass plates in the British Library’s Endangered Archives Programme was a significant project completed in 2006.

The photographic collections of the Ethnographic Institute and Museum, housed in the old royal palace in Sofia, are a treasure trove, comprising 10,000 black-and-white and colour photonegatives, alongside 5,000 photographs, and an additional 5,000 plates. These visual records offer a vivid glimpse into various facets of Bulgarian culture and heritage.

A farmhouse in the village Glozhene, Teteven district, Bulgaria [1956]. Creator: N. Nikolov EAP103/1/1/1.

Capturing a wide array of subjects, these photographs provide invaluable insights into traditional Bulgarian costume, architectural marvels, ceremonial rituals, women's traditional dresses, as well as the everyday customs and lifestyle of the Bulgarian village. They serve as meticulous documentation, facilitating a comprehensive and objective reconstruction of lost cultural phenomena, agricultural tools, folk-style artefacts, and national attire.

Market in Teteven district (Central Bulgaria). Date: 1956. Creator: N. Nikolov EAP103/1/1/4.

By preserving and showcasing these images, the project intended to safeguard a rich tapestry of cultural heritage for future generations. This extensive visual documentation not only offers a glimpse into the past but also serves as a vital resource for understanding the socio-economic dynamics and cultural evolution of Bulgarians during the pre-industrial era.

Photograph from a wedding in Bulgaria. Bulgarian women in traditional costumes. Date: 1962. Creator: G. Vaisilov. EAP103/1/1/76.

Furthermore, these collections represent a unique repository of information, presenting a perspective on Bulgarian life that, as the project concludes, is unparalleled by any other archive in Bulgaria. Through this project, the Ethnographic Institute and Museum endeavours to ensure that this invaluable and diverse cultural heritage remains accessible and appreciated for years to come.

Photographs of boys and girls in traditional costumes. Date: 1962. Creator: G. Vaisilov. EAP103/1/1/80

Digital copies of photographs dating back to the mid-20th century form an integral part of the Ethnographic Institute and Museum archive, compiled as a result of extensive ethnographic, historical, and artistic research activities. These photographs give a multifaceted glimpse into various aspects of Bulgarian culture and society during that period. 

Photograph of two researchers standing at the entrance of a building in Tikhomir village, Kirkovo district. The sign above the entrance reads: ‘Narodno chitalishte’ (Community’s reading centre). Communist slogans are written on the wall next to the entrance of the building. Date: 1962. Creator: N. Nikolov. EAP103/1/1/85.

Among the diverse subjects captured in these images are rural architectural structures providing insights into the building environment of Bulgaria during the mid-20th century. Bulgarian material culture is presented in visual records showcasing a wide array of pottery, tools, kitchen utensils, and other artefacts, offering a glimpse into the craftsmanship of the region.

A girl carrying fresh water in water buckets. Popsko village, Ivailovgrad district. Date: 1962. Creator: N. Nikolov. EAP103/1/1/88.

The photographs capture scenic vistas and natural landscapes, showing the beauty and diversity of Bulgaria's geographical terrain. These photographs are records of religious structures, icons, and artefacts, reflecting the spiritual and cultural significance of religion in Bulgarian society.

Ploughing in Pastrotsi village, Ivailovgrad district. Date: 1962. Creator: N. Nikolov. EAP103/1/1/89.

The images portray traditional Bulgarian cuisine, food markets, and culinary practices, providing a window into gastronomic traditions and dietary habits. There are photographs capturing festive celebrations, traditional rituals, and cultural ceremonies, illustrating the rich tapestry of Bulgarian customs and traditions. The photographs are visual documentation of traditional Bulgarian attire and costumes, showcasing the diversity and intricacies of regional dress. There are also reproductions or photographs of paintings, illustrations, or artistic representations relevant to Bulgarian culture and history.

A woman in a mill in Teteven region (Central Bulgaria). Date: c 1956. Creator: N. Nikolov. EAP103/1/1/8.

These digital copies serve as invaluable resources for researchers, scholars, and enthusiasts alike, offering a comprehensive visual archive of Bulgarian life and culture during the mid-20th century. Through digitization, the project aimed to preserve these cultural artefacts for posterity and ensure their accessibility to future generations.

Women in a village are getting ready for the wedding in Teteven region (Central Bulgaria). Date: c 1956. Creator: N. Nikolov. EAP103/1/1/14.

Each photograph in this collection serves as a window into Bulgaria's past, contributing valuable insights into its cultural, social, and artistic heritage. We in the Library are excited to share these digital copies with researchers, scholars, and enthusiasts alike, ensuring that this rich cultural legacy is preserved and accessible for future generations to explore and appreciate.

A saddler at work in Divlia village, Radomir district (Western Bulgaria). Date: c 1957. Creator: N. Nikolov. EAP103/1/1/23

A tinsmith, Kilifarevo village, Veliko Turnovo district (Central Bulgaria). Date: c 1957. Creator: Marinov. EAP103/1/1/44/18.

The project digitised a fascinating collection of mid-20th-century photographs, methodically curated from ethnographic, historical, and artistic research endeavours. These photographs provide a rich tapestry of Bulgarian life and culture during this era, capturing a diverse range of subjects.

Saia (a traditional female costume) Date: 1961. Creator: N. Nikolov. EAP103/1/1/61/4.

Milan Grba, Lead Curator South-East European Collections

The Gdańsk Agreement of 1980, established between the workers of the Lenin shipyard and the Polish People’s Republic’s undemocratically elected government, saw the beginning of the ‘Solidarity’ trade union’s fight against the Communist Regime. In the following seven years, around 4830 books and 2027 journals, many of which are in the British Library’s Solidarity Collection, were published underground in a so-called ‘second circulation’. As far as the records go, only 175 of these works were authored by a mere 97 female writers.

Superficial research into female involvement in Polish anti-government publishing could end here. Women in print? Official numbers leave no doubt: they were few and far between. To broaden the scope of this quest to uncover unheard female voices in the Solidarity Collection, avenues other than scholarly browsing of the Library’s basements had to be incorporated. And so, on a brisk December morning, one of them led all the way out of the bustle of central London into the quiet of Hampshire countryside.

“At that time my involvement in the anti-communist opposition was very important for me, probably more important than my medical studies”, recalls Anna Młynik-Shawcross, a retired psychiatrist based in Britain since 1985 – the year when she arrived here as a political refugee. Anna reflects on the times after the strikes in the shipyard ended and she graduated from the medical school. “However, I decided to follow medicine instead of getting involved as the unions’ activist”, she confirms. But how does this story begin? The interview with her is meant to deepen the present understanding of diverse roles women played in the 1970s-1980s Polish underground publishing.

Anna Młynik-Shawcross in her home (photo by Olga Topol).

Anna, born in 1955 in Gdańsk, first became involved with the democratic anti-communist movement at the beginning of her Medical School years, in the winter of 1976. When the communist government pushed for changes in the Polish constitution of the time, Anna, alongside a small group of Gdańsk students, joined the movement which started with signing the protest letters against those changes. In the summer of the same year the famous strikes began in Radom and Lublin and spread all over the country, while lots of people lost their employment. At that time the famous ‘Committee for Social Self-Defence’ (KOR) was set up. “I was able to get the list of names of the workers who were sacked [so that they could be helped by KOR]”, recalls Anna. In the years 1977-1978, she was part of the ‘Movement for the Defence of Human and Civic Rights’ (ROPCiO). She was a founder member of the Student Solidarity Committee set up in Gdańsk in November 1977 and was involved in organising student discussion groups and helping those persecuted by the Communist regime.

Around the same time, one of the first printing machines intended for the independent underground printing of works by authors censored by the regime was shipped from abroad with the help of Jaraczewski family, Józef Piłsudski’s descendants. Anna remembers the times she spent printing leaflets and the establishment of an underground periodical Bratniak published by the ‘Movement of Young Poland’, a Free Trade Union periodical called Robotnik Wybrzeża, as well as the first independent publishing house involved in distributing books across the country, Nowa.

An example of an underground publication, Kazimierz Brandys, Miesiące, (Warszawa 1980) Sol. 241w.

“I was in contact with them and was involved into distribution of books across Poland. They had to be well protected, so we had to have a network of people. We would distribute them through friends, all just through networks”, recalls Anna. Distribution of printed material posed challenges, with private flats acting as places of conspiracy. In the following years, Anna contributed to nothing less than the establishment of a new publishing house, Klin. Together with a small group of friends they set the ambitious goal of about 3,500 published books to be published, and worked tirelessly towards it. Still today she recalls, not without excitement, getting a ‘Western’ paper trimmer, as well as gaining the support of a bookbinder.

“It started with my money that I earned working as a student abroad”, Anna recalls, “We needed a lot of paper, but you couldn’t simply go into a shop and buy tons of paper. So we were going to different shops and buying small amounts.” The printing was primitive, primarily in the offset technique. “We got the paint and were spending hours and hours copying books”, adds Anna, a 2009 recipient of an Order of Polonia Restituta. Now, let us look again at the initial number mentioned above: 97 female writers? What about the women behind the scenes?

Anna expands on female involvement in the opposition movement, including the free press. Although often reluctant about such contribution because of concern for the welfare of their children, especially at that challenging time, many women were involved. She and Magda Modzelewska were involved in Gdańsk’s Student Solidarity Commitee. Joanna Duda-Gwiazda and Alinka Pieńkowska belonged to the Wolne Związki Zawodowe trade unions, which published journal Robotnik Wybrzeża. Finally, Bożena Rybicka, Małgorzata Rybicka, and Magda Modzelewska supported the journal Bratniak: “Małgorzata Rybicka was writing articles in Bratniak, while Magda Modzelewska was involved into editing and publishing”, recalls Anna.

Back cover of Marguerite Duras Kochanek (Siedlce, 1987) Sol.235j. featuring a dedication to female colleagues working in the independent publishing movement.

Any involvement in the opposition’s fight for democracy and freedom of speech involved high risk and intimidation. Secret police employed numerous tactics, including arrests, house searches, sending anonymous letters with false information and all kind of threats. “One day my parents received an anonymous letter informing them that I was under the influence of drug addicts and that [my parents] should put pressure on me to disengage from the opposition. My parents were threatened that they would lose their employment. Also, for me, getting a job was hard, especially locally”, she recollects.

Friendships developed during her involvement with underground publishing, which were based on enormous levels of trust to support the clandestine activities. She reflects upon the fact that most of the people involved in the opposition groups belonged to the intelligentsia: “After Wałęsa joined the movement it was a bit easier to reach the working-class people. But they were being persecuted”.

The fascinating conversation goes on for hours. Initial conclusions drawn from limited research done so far into women in Poland’s ‘second circulation’ go down the drain.  And with that emerges a richer picture: that of publishing houses which, although dominated by men, could not have accomplished their mission fully without female efforts around printing and distribution of illegal pro-democratic materials. And so, a brisk December morning spent in a quiet Hampshire town can alone paint a fascinating picture of women working alongside men to help true information reach larger numbers of Poles during the Cold War. Imagine what could more such encounters, and digging deeper into the potential of oral history, bring to surface. 

Agata Piotrowska, Doctoral Fellow 2024, Slavonic and East European collections

Further reading:

Wojciech Chojnacki, Marek Jastrzębski, Bibliografia Publikacji Podziemnych w Polsce. Tom Drugi, 01 I 1986 – 31 XII 1987, (Warszawa: 1993). YA.1994.a.5556

Ann M. Frenkel, Paweł Sowiński, Gwido Zlatkes, Duplicator underground: the independent publishing industry in Communist Poland 1976-89, (Bloomington, Indiana: 2016). YD.2017.a.460

Józefa Kamińska (real names: Władysław Chojnacki, Wojciech Chojnacki), Bibliografia Publikacji Podziemnych w Polsce, 13 XII 1981 – VI 1986, (Paris: 1988). 2725.e.184

Shana Penn, Solidarity’s secret: the women who defeated Communism in Poland (Ann Arbor, Michigan: 2005). YC.2007.a.10368

The British Library’s collection of 1870-71 caricatures from the Franco-Prussian War and Paris Commune (shelfmark 14001.g.41, Cup.648.b.2, Cup.648.b.8) offer insight not only into their contemporary conflicts, but the political and cultural worlds which had formed the outlooks of their artists.

The theme of Empire reappears several times in the collection. Building on earlier royal invasions of Algeria, between 1852-70 Napoleon III’s Second Empire launched several campaigns of imperial expansion across the globe, including in China, Southeast Asia, Lebanon, Mexico, and continued interventions in North Africa.

Though designed in part to boost French prestige on an international level, often the campaigns were deeply unpopular at home. This was particularly acute in cases where French forces combatted republican foes, such as the repeated interventions on the Italian peninsula and in Mexico, where Napoleon III’s attempts to put Austrian archduke Maximilian on the throne were eventually thwarted by Benito Juarez’s [https://www.britannica.com/biography/Benito-Juarez] republican army. Yet thanks to strict censorship laws, those wishing to be critical of these campaigns – particularly of Mexico – could make only vague allusions for fear of arrest or fines.

When these systems of censorship fell away with the Empire in September 1870, the floodgates opened, exemplified by the remarks of Jules Ferry – who would go on to decree several of the Third Republic’s own colonial efforts less than a decade later - in his description of the French people as ‘sickened by the overseas adventures of the Second Empire’.

Caricaturists likewise centralised the Second Empire’s imperial follies in their criticism of the fallen regime. An excellent example of this is A. Belloguet’s twelve-print series Pilori-Phrénologie, each of which rather resemble the artwork of Giuseppe Arcimboldo. Belloguet applies popular interest in phrenology – the pseudo-science which reasoned that one could detect personality traits from skull shape – to twelve leading figures of 1870-1, including Prussian minister Otto von Bismarck, future French president Adolphe Thiers and Pope Pius IX, all found in the Library’s third volume.

A. Belloguet, Pilori-Phrénologie (1), Napoleon III, (Paris, 1870) Volume 3 14001.g.41].

The first of the set takes on fallen French Emperor Napoleon III, which is actually an update of an earlier print circulated in Belgium towards the end of the Second Empire. Belloguet details the Emperor’s visage with a series of ad hominem attacks and details of his eclectic political life, including mentions of his two unsuccessful attempted coups in Strasbourg (1836) and Boulogne (1840) and his surrender at Sedan in 1870.

Belloguet also highlights Napoleon III’s collar with four moments of repression. In addition to that of Paris in the aftermath of his coup in 1851, the collar lists ‘Mexico’, ‘Rome’, and ‘Aspromonte’. Each of the three were part of the Second Empire’s later expansionary aims – particularly offensive given that French opponents were republican, and in the case of the Italian campaigns in Rome and Aspromonte, French troops fought radical hero Giuseppe Garibaldi. As if to emphasise this, the bloody rag which drips from where Napoleon III’s mouth should be reads ‘Mentana’ – a conflict in November 1867 where Garibaldi was injured by French forces defending Rome on behalf of the Pope.

Though many caricatures directly attacked political personages or ideologies, several sets were dedicated to examining and gently mocking the disrupted rhythm of life in Paris under the siege. For instance, artists routinely produced images depicting the food crisis, making light of the fact that Parisians had turned to horsemeat to survive, and that some were even put into the position of eating cats, dogs, and even rats. Such social commentary also could include references to the Second Empire’s imperial campaigns.

An exemplar of such social caricature is found in the Library’s second volume, in a set entitled Paris Assiégé (Besieged Paris) by Jules Renard - signing his images as under a pseudonym the reverse of his surname, ‘Draner’. The twentieth of the set depicts novel positions taken up by Parisians in the boulevards in order to avoid the falling Prussian shells during their bombardment of the city, which had intensified in January 1871 after German forces had reached Paris in September.

Jules Renard (Draner), Paris Assiége (20) Les Effets du Bombardement (The Effects of Bombardment), (Paris, 1870) Volume 2 14001.g.41.

The figure in the foreground – subtly dressed in the colours of the French tricolore – claims that the Parisians kneeling were neither men nor women, but instead Ambassadors of Siam. Perhaps a rather obscure reference at first glance, but like the caricatures discussed in the previous blog of this series, Renard takes a cue from high art as inspiration for this print.

Jean-Léon Gérôme, Réception des ambassadeurs siamois par l’Empereur Napoléon III au palais de Fontainebleu, 27 juin 1861 (Reception of Siamese Ambassadors by Emperor Napoleon III at Fontainebleu Palace, 27 June 1861). (Picture from Wikimedia Commons)

Renard references a painting presented at Paris’s 1865 Salon, Réception des ambassadeurs siamois par l’Empereur Napoléon III au palais de Fontainebleu, 27 juin 1861 by Jean-Léon Gérôme. In it, rows of ambassadors from the Kingdom of Siam (modern-day Thailand) kneel before the French imperial couple, presenting them with a letter from their king Mongkut (Rama IV). The two states had long since established relations: almost two centuries before this meeting, the court of Louis XIV had received visits from the Kingdom of Siam.

In 1856 Siam and France had signed a commercial treaty which granted France a foothold in Southeast Asia – which simultaneously reduced Siamese influence on its neighbouring areas. Fifteen years later, upon hearing the news of Napoleon III’s forced abdication in September, the rulers of Siam expressed their ‘exaggerated sympathies’ for the fallen Emperor.

These exaggerated sympathies were shared by the vast majority of French caricaturists operating in 1870-71. Yet despite their antipathy towards the regime’s foreign exploits, it was not long before France once again pursued foreign glory, their colonial policies now led by who had once been at the forefront of the criticism of such policies. If the ire of caricaturists towards foreign expansion was ever-present during 1870-71, it certainly waned from any long-lasting political programme in the years thereafter.

Anthony Chapman-Joy, CDP Student at the British Library and Royal Holloway

References/further reading

Morna Daniels, ‘Caricatures from the Franco-Prussian War of 1870 and the Paris Commune’, Electronic British Library Journal, (2005), pp. 1-19

Quentin Deluermoz, D’ici et d’ailleurs: histoires globales de la France contemporaine (XVIIIe-XXe siècle) (Paris, 2021) YF.2022.a.12094

Bertrand Tillier, La Commune de Paris: Révolution sans images? (Paris, 2004), YF.2004.a.14526

David Todd, A Velvet Empire: French Informal Imperialism in the Nineteenth Century (Princeton, 2021) YC.2022.a.7337

On this day, Ukraine celebrates the 33rd anniversary of its independence. On August 24, 1991, the Act of Declaration of Independence of Ukraine was adopted by the Supreme Soviet of the Ukrainian SSR. Following international recognition and the dissolution of the Soviet Union, Ukraine became de facto a sovereign state in December of that year.

Today, on the 914th day of the full-scale Russian invasion, Ukraine is still bravely defending its independence and existence. Against all odds, publishing in the country is getting stronger. Only in 2023, 270 new publishers appeared on the Ukrainian book market, and book production increased by 73% in 2023 compared to 2022. According to the Ukrainian Book Chamber, as many as 6,951 monographs and brochures were published in the first half of 2024. In this blog, I would like to mark Ukrainian Independence Day by featuring a small selection of books that we received in the latest consignment from our vendor in Ukraine.

One of the most striking titles we have acquired is a posthumous edition of Viktoriia Amelina’s poetry Svidchennia (‘Testimony’) (Lviv: "Vydavnytstvo Staroho Leva", 2024). In April 2023, Viktoriia visited the British Library and took part in a panel discussion on the role of writers during times of war. Some readers of this blog might remember her passionate and emotional presentation. Viktoriia Amelina died on July 1, 2023, as a result of injuries received in a Russian missile attack on Kramatorsk. You can watch a recording of the event in her memory organised by the Ukrainian Institute in London and the British Library here.

Cover of Svidchennia by Viktoriia Amelina

In her short interview with the Ukrainian online media Chytomo.com, the head editor of the publishing house Vydavnytstvo Staroho Leva Sofiia Cheliak commented on their decision to choose illustrations to complement Viktoriia’s poetry: “we wanted [the illustrations to convey] sacredness, for me it was the only possible option for the illustration, so that it sounded in unison with the poetry. Looking at the layout, we realized how much it was the right decision <...> This book is what my broken heart looks like."

One of the poems in this book is titled A word in the dictionary (Future), and it reads:

Future – is what we ask
each other about in silence:
Do you see it?
Can you see it?
Here she asks and explains:
because I don’t see it, I don’t.
She squints.
Recently – she says, –
I’ve started seeing a little bit of
“tomorrow”, and beyond that – nothing.
And all the way to the end of her darkness we are walking through the sunny
Obolon: two women
and a dog.
(Translation: Katya Rogatchevskaia)

In 2021, Viktoriia organised the first literary festival in the small town of New York in the Donetsk region. She suggested the theme “De-occupation of the Future” for the following one, but it appears to be even more relevant for the post-war times. Apparently, today the town is under Russian occupation. We strongly believe that the festival will soon return to Ukrainian New York, where people will rebuild their future and remember Viktoriia's life and legacy.

Another book that stood out to me is Pisnia vidkrytoho shliakhu (‘Song of the Open Road’) by Artem Chekh (Chernivtsi, 2024). At the beginning of the full-scale Russian invasion, the author, who took part in the war in Donbas in 2015-16, joined the Ukrainian army. The new book was presented at the International Literary Festival Meridian Czernowitz held in Chernivtsi.

Cover of Pisnia vidkrytoho shliakhu by Artem Chekh

As literary critics tell us in their reviews, the book is about a war, but not about the current war, as readers might expect. The action takes place in the 19th century, and the main character is a former serf from the Russian Empire who is trying to escape from his master. His adventures take him through Europe, Great Britain and eventually to America, where he finds himself just before the start of the Civil War. Critics agree that the symbolic meaning of the novel is a long, difficult, bloody, but open road to freedom and identity.

Among research publications, I would like to single out a new fundamental chronological overview of Ukrainian visual arts by two prominent Ukrainian art historians, Paola Utevs’ka and Dmytro Horbachov, Budynok iz levamy: Narysy istorii ukrains'koho vizual'noho mystetstva XI–XX stolit' (‘The House with Lions: Essays on the History of Ukrainian Visual Arts, 11th -20th centuries’) (Kyiv: Vydavnytstvo "Dukh i Litera", 2024).

Cover of Budynok iz levamy: Narysy istorii ukrains'koho vizual'noho mystetstva XI–XX stolit' by Paola Utevs’ka and Dmytro Horbachov

The monograph focuses on the formation of the main artistic movements and techniques and touches on all visual arts, from architecture to book illustrations and graphic design. It is also important that the authors analyse primarily artworks located in Ukraine, among them works by Taras Shevchenko, Petro Levchenko, Mykola Pymonenko, Oleksandra Ekster, Oleksandr Bohomazov, Anatol Petrytskyi, Oleksandr Arkhipenko, and Kazimir Malevich. This book is especially timely now as the world is making the acquaintance of Ukrainian art from a new perspective, for example, through the current exhibition at the Royal Academy of Arts ‘In the Eye of the Storm’.

In this blog, I have highlighted just three titles out of over 300 received in the last five months. The books are being processed, and we are working hard to make them available to our readers as soon as possible.

Ukrainian books awaiting processing by our cataloguing team

Meanwhile, I would like to draw your attention to a recent publication by Vernon Press. In June 2024, they released a volume edited by Lada Kolomiyets and titled Living the Independence Dream: Ukraine and Ukrainians in Contemporary Socio-Political Context. We will make sure to add this important contribution to our collections.

Katya Rogatchevskaia, Lead Curator East European Collections

The British Library’s collection of Franco-Prussian War and Paris Commune caricatures (shelfmarks 14001.g.41, Cup.648.b.2, Cup.648.b.8) exemplifies how artists from a variety of diverse national, political and cultural backgrounds engaged with l’année terrible.

Broadly speaking, 1870-71 prints can be split into two formats. Single-sheet images produced by small teams of editors and artists were sold on the street, pasted onto buildings and displayed in shop windows. On the other hand, pre-existing publishing houses – including those which produced weekly satirical journals, like Le Charivari (1832-1937), designed sets with print collectors in mind. This latter form was adorned with title pages, and arguably maintained a higher artistic sophistication. Artists did not limit themselves to just one category: for instance, Faustin Betbeder (1848-1914), who claimed that his first single-sheet image sold more than 50,000 copies, also created multiple sets during 1870-71, several of which can be found in the BL’s collections.

Both formats touched on the same topics. For example, references to Christianity shaped both single sheets and co-ordinated sets. Their use most frequently relied on the ironic comparison of biblical figures or parables with their contemporary parallels. The BL’s fifth volume (14001.g.41) holds a set of three images which each parody three scenes from the Bible immortalised in famous works of art. The first, drawn by F. Mathis, is a spoof of Leonardo’s Last Supper mural.

F. Mathis, La Nouvelle Cène (The New Last Supper), (Paris, 1871) Volume 5 14001.g.41.

It is an almost stroke-for-stroke reproduction, but for the substitution of Jesus and John with figures wearing a Phrygian-cap and an allegory of Paris, respectively. Further, Jesus’s apostles are replaced by figures of the twelve members of the ephemeral and unpopular Government of National Defence, which led France following the fall of the Second Empire in September 1870 until a new government was formed by Adolphe Thiers (the bespectacled figure on the far left of Mathis’s print, ominously peeping through the door) in February 1871.

The gesticulating guests at Leonardo’s Last Supper respond to Jesus’s proclamation that one of his disciples will soon betray him. Conversely, La Nouvelle Cène (‘The New Last Supper’) insinuates that all of the members of this flimsy government will betray France – if they had not already. Paris suffered under a winter of Prussian siege, before the government capitulated in late January. To make matters worse, their humiliation was ratified by the signing of a peace treaty which included the secession of the provinces of Alsace and Lorraine, a significant war indemnity, and a Prussian military march through Paris – augmenting an already biblical sense of betrayal. This theme was central to the set’s second print, in which Jules Favre plays the familiar role of Judas Iscariot, again drawn by Mathis.

The final print from the set, this time drawn by Charles Vernier (1813-92), is a little more complex. Though still a send-up of a famous Italian painting of a biblical scene – Paolo Veronese’s The Wedding Feast at Cana , hung in the Louvre – Vernier mixes the story of Jesus’s first miracle, the turning of water into wine, with the narrative of a popular French song Le Baptême du p’tit ébéniste (‘The Baptism of the li’l ebonist’).

Paolo Veronese, Nozze di Cana (The Wedding Feast at Cana), (Venice, 1563), (Picture from Wikimedia Commons)

The scene is transformed from a wedding to a baptism, that of the latest French Republic (the Third, which lasted until 1940), with a couplet from the song in the image’s caption noting how France is like ‘a bouquet of flowers’ – in other words, that is made up of many colourful – and contradictory – parts.

Jesus is replaced by Thiers holding the baby Republic aloft, while monarchs of Europe, including Süleyman the Magnificent and Mary I of England from Verones’s painting are exchanged for representatives of various contemporary French political currents. These include the deposed Emperor Napoleon III, several of the aforementioned National Government of Defence, and even a pétroleuse – that mythical figure in anti-Communard discourse who had apparently delighted in setting Paris alight in the final days of May 1871.

 Noces de Cana, (Paris, 1871) Volume 5 14001.g.41.

Single sheet images designed for public consumption and debate were not below making biting allusions to religious iconography to mock political figures during 1870-1. The most popular trope, inevitably, was drawing any of the members of the National Government of Defence as Judas.

Other prints were more erudite. An obvious example from the BL’s second volume at 14001.g.41 is A. Baudet-Bauderval’s Une fuite en Egypte en passant par la Prusse (‘A flight to Egypt via Prussia’), the seventh print of Grognet’s 87-strong Actualités (‘Current Events’). The set was printed unevenly from the outbreak of the war to the final days of the Commune – sometimes publishing as many as ten images in a single day – and comprised several artists, meaning the sets had little ideological or topical coherency.   

A. Baudet-Bauderval, Une Fuite en Egypte en passant par la Prusse (A Flight to Egypt via Prussia), (Paris, 1870) Volume 2 14001.g.41.

Following his surrender at the Battle of Sedan in early September 1870, Napoleon III was taken prisoner at Wilhelmshöhe Castle in Kassel. Shortly after news of his capitulation reached Paris, the Empress Eugénie and their son Louis fled the city. In Baudet-Bauderval’s sketch, the imperial family replicate the flight of Christianity’s holy family to Egypt – another popular artistic motif, perhaps most famously rendered by Giotto at the Cappella degli Scrovegni in Padua.

Despite its hasty construction – and its design to invite public consumption over private collection – Une fuite en Egypte includes a subtle yet ingenious attack. The Emperor and his son wear two large yellow hats which resemble sombreros, the wide-brimmed hat typically associated with Mexico. This addition not only lampoons the halos which crown the imperial family in Giotto’s Flight to Egypt, but also imbricates a mockery of the Emperor’s disastrous campaign to install a French-friendly monarchy in Mexico, a failure itself famously memorialised by Édouard Manet’s Execution of Maximilian.

In the aftermath of the War and the Commune, partisans of the Church claimed that the disasters of 1870-71 were the inevitable result of the anti-clericalism which coursed through some strands of French radicalism and the materialistic opulence of the Second Empire. Yet religious metaphors, iconography and scenes, particularly those preserved in art, could just as easily be employed by satirical artists to mock the powerful throughout 1870-71.

Anthony Chapman-Joy, CDP Student at the British Library and Royal Holloway

Further reading:

Hollis Clayson, Paris in Despair: Art and Everyday Life Under Siege (London, 2002), YC.2002.a.15995

Morna Daniels, ‘Caricatures from the Franco-Prussian War of 1870 and the Paris Commune’, Electronic British Library Journal, (2005), pp. 1-19

John Milner, Art, War and Revolution in France, 1870-1871 (London, 2000), LB.31.b.19108

Bertrand Tillier, La Commune de Paris: Révolution sans images? (Paris, 2004), YF.2004.a.14526

Unlikely as it sounds, until the middle of the 20th century, amateur writers, painters, musicians, sculptors and architects battled for the coveted Olympic gold. The art competitions, consisting of five cultural disciplines and nicknamed the ‘Pentathlon of the Muses’, were the pet project of the French aristocrat and founder of the modern Olympics, Pierre de Coubertin. Baron de Coubertin saw the athletic pursuit in classical terms and sought to restore the Olympics to their former glory by reuniting “a long-divorced couple - muscle and mind”. His idea, drawing on ancient Games, came to fruition at the 1912 Olympics in Stockholm, where none other than de Coubertin took top honours in the literature event for his poem ‘Ode au Sport’ (‘Ode to Sport’). In the ensuing years, the popularity and prestige of the competitions gradually declined and by the 1952 Olympics, the practice of awarding medals for sport-inspired art was finally abandoned. Today, the winning Olympic artworks have been largely forgotten, and the artists relegated to the shadows. In this blog, I would like to revisit the creative output of Polish laureates of the Olympic art competitions, particularly writers, who have etched their names in the annals of the bygone tournaments.

The rebirth of independent Poland in 1918 triggered a surge of interest in physical activity among the Poles, evidenced by over 200 sports periodicals published until the beginning of the Second World War. At long last, Poland made its first appearance at the Olympic Games in 1924. The expectations were high as Olympic success was widely seen as a measure of national prowess and progress. Between 1924 and 1948, Polish artists bagged three gold, two silver and three bronze medals, finishing seventh (out of 23 entries) in the medal table. Zbigniew Turski was awarded gold in the music category for his Symfonia Olimpijska (‘Olympic Symphony’, 1948). In painting competitions, Janina Konarska won a silver medal for her woodcut Narciarze (‘Skiers’, 1932), while Stanisław Ostoja-Chrostowski and Władysław Skoczylas earned bronze for Dyplom Yacht Klubu (‘Yachting Club Certificate’, 1936) and Łucznik (‘Archer’, part of the winning series Plakaty (‘Posters’, 1928), respectively. In sculpture, Józef Klukowski received the highest prize for Wieńczenie Zawodnika (‘Sport Sculpture’, 1932) and four years later a silver medal for the relief Piłkarze (‘Football’, 1936). Finally, in the field of literature, Kazimierz Wierzyński was decorated with gold for his slim volume of poetry Laur Olimpijski (‘The Olympic Laurel’, 1928), and Jan Parandowski clinched the bronze for the novel Dysk Olimpijski (‘The Olympic Discus’, 1936).

Janina Konarska and her woodcut work ‘Skiers’ (Image from V&A. Photograph of the artist from Wikipedia)

Władysław Skoczylas and his woodcut ‘Archer’, from Tadeusz Cieślewski, Władysław Skoczylas. Inicjator i twórca współczesnego drzeworytu w Polsce (Warszawa, 1934) 7863.ppp.46. (Photograph of the artist from Wikimedia Commons)

Józef Klukowski and his work ‘Sport Sculpture’ (Images from Culture.pl)

Since his sterling performance at the 1928 Olympics, the athletic and well-versed in sports matters author of Laur Olimpijski has been dubbed ‘the best poet among sportsmen and the best sportsman amongst poets’.

Kazimierz Wierzyński and his volume of poetry Laur Olimpijski (Warsaw, [1930]) X950/3682. (English translation: Selected Poems, (New York, 1959) 11437.l.22. (Photograph of the author from Wikimedia Commons)

Born in 1894 in Drohobych, Wierzyński studied in Cracow, Vienna and Lviv before settling down in Warsaw and taking up the prestigious post of editor-in-chief of Przegląd Sportowy (Warsaw, 1946-1958) MFM.MF1210P). His Olympic cycle, published in 1927 and translated into seven languages by 1930, is among the few noteworthy literary pieces ever presented at the Olympic art competitions. It comprises 15 individual poems, each portraying athletes in action and applauding sport for its aspirations to transcend human frailties. In paying homage to hurdles and runners, Wierzyński honours the Greek ideal of the athlete, as in the beautiful poem Nurmi:

My pace, a dancer’s thread -
my steps beat like a heart;
clock-tower of breath, I hover
in air, tall and apart.

Poems ‘Defilada Poetów’ (‘Parade of the Athletes’) and ‘Skok o Tyczce’ (‘The Pole Vault’) from: Laur Olimpijski (Warszawa, [1930]) X950/3682.

The poet glorifies the virtues of ancient Greece but at the same time creates a new mythology aided by the pantheon of heroes belonging to the era of the modern Olympics, among them the glorious goalkeeper Ricardo Zamora, the winged pole-vaulter Charles Hoff, and the omnipotent sprinters Charlie Paddock and Arthur Porritt. A keynote theme of the collection is man’s potential for heroism and his ability to transfigure life and achieve divinity through athletic excellence.

Wierzyński’s peer, Jan Parandowski, was born in 1895 in Lviv. He was educated at a classical gymnasium and received a solid foundation in Greek and Latin cultures. The First World War interrupted his studies in the philosophy department at Lviv University, and he received his degree in classical philology and archaeology only in 1923. Already in 1924, over a decade before the launch of the 1936 Berlin Olympics, Parandowski’s interest in antiquity resulted in the publication of ‘Mythology’ (Mitologia. Wierzenia i podania Greków i Rzymian (Warsaw, 1962) 04422.f.19.), a canonical read for all subsequent generations of Poles, at least up to the turn of the twenty-first century.

Dysk Olimpijski (‘The Olympic Discus’, 1933), the writer’s only novel translated into English, is another brilliant example of Parandowski’s lifelong passion for classical antiquity. The author saw sport as an activity of utmost importance for the ancient Greeks, reaffirmed by the fact that many poets and philosophers, including Plato and Euripides, were keen athletes. The novel takes us back in time to Hellas and the 76th Olympiad when the Greeks engaged in joyous celebrations of their victory over the Persians.

Jan Parandowski and his Dysk Olimpijski (Jerozolima, 1944) YF.2013.a.12040. (English translation: The Olympic Discus: a Story of Ancient Greece, (New York, 1964) 76/18461 (Photograph of the author from Wikimedia Commons)

The reader of Dysk Olimpijski becomes a spectator, the past and traditions of the Olympic Games unfolding before his eyes. Parandowski indulges in detailed descriptions and provides thorough depictions of the stadium, the sports equipment, and athletic contests. He picks one instance in Greek history, but by putting it in a historical context, he places it against a broader canvas of Greek life. His narrative is taut, but with the greatest economy of means, he manages to conjure up images reminiscent of intricate paintings on ancient Grecian vases.

By the early 1950s the art competitions had run their course, and de Coubertin’s union of flesh and spirit did not stand the test of time. The ‘Pentathlon of the Muses’ saw thousands of dubious entries, saccharine poems, ugly statues and failed paintings, the vast majority of which have slipped into oblivion. Nevertheless, the tournaments also attracted the talent of the likes of Wierzyński, Parandowski and Skoczylas, whose works remain, and for good reason, well-established in the Polish national consciousness.

Hanna Dettlaff-Kuznicka, Interim Curator of Slavonic and East European Collections

References/further reading:

Ireneusz Bittner, Adam Bryk, O sporcie i kulturze fizycznej, poezji i medycynie czyli o etosie ciała ludzkiego (Lodz, 2003) YF.2007.a.4610

Introduction by George Harjan. In: Parandowski Jan, The Olympic Discus: a Story of Ancient Greece (New York, 1964) 76/18461

Tadeusz Cieślewski, Władysław Skoczylas, inicjator i twórca w spółczesnego drzeworytu w Polsce (Warsaw, 1934) 7863.ppp.46

Barry Keane, Skamander: the Poets and their Poetry 1918-1929 (Warsaw, 2004) YD.2005.a.3982

Bernhard Kramer, Richard Stanton, ‘The Olympic Laurel of Kazimierz Wierzyński’, in Journal of Olympic History, vol. 23, no 2 (2015), pp. 50-56. 

Richard Stanton, The Forgotten Olympic Art Competitions: The Story of the Olympic Art Competitions of the 20th Century (Victoria, 2000) m02/36119

Nicolaos Yalouris (ed.), The eternal Olympics: Art and History of Sport (US, 1979) f81/0940

Architects’ games. What do you want, a medal?, Architectural Review, 11 July 2024

Why did the Olympics ditch their amateur-athlete requirement?, The Economist, 20 July 2021