Untold lives blog

Today, 16 August 2019, marks the two hundredth anniversary of the Peterloo Massacre – a major event in British history in which dozens of peaceful protesters were killed and hundreds injured when Yeomanry cavalry charged into them as they rallied for parliamentary reform.

'Map of St. Peter's field, Manchester, as it appeared on the 16th of August, last' from Peterloo Massacre, containing a faithful narrative ... Edited by an Observer (Manchester, 1819) 601.aa.9.(1)   Images Online

On 16 August 1819 thousands of political protesters met at St Peter’s Fields in Manchester to campaign for parliamentary reform.  They sought a widening of access to the vote and a more democratically accountable Parliament.  It is estimated that somewhere between 60,000-100,000 people gathered at the meeting.  A large draw for the crowd was the speech of the noted radical and orator Henry Hunt (1773-1835).  Concerned that his words might incite a riot the Manchester magistrates ordered the local volunteer Yeomanry to arrest him.  Inexperienced in crowd control, the Yeomanry rode into the crowd with their swords drawn followed by the 15th Hussars who sought to disperse the crowd.  Hunt was arrested, but in the process at least eleven people were killed and many hundreds were wounded.

Portrait of Henry Hunt, and title page of Peterloo Massacre, containing a faithful narrative ... Edited by an Observer (Manchester, 1819) 601.aa.9.(1)  Images Online

Though the magistrates were officially praised by the government for their actions, there was an immediate national outcry as news spread of the attack.  Very quickly the event was derisively dubbed as ‘Peterloo’ scornfully comparing it with the Battle of Waterloo.  There was considerable public sympathy for the protesters and, for decades after, Peterloo was invoked by radicals as a powerful symbol of political corruption, working-class oppression and the need for parliamentary reform.

One author who was particularly appalled by the Peterloo massacre was the radical poet Percy Bysshe Shelley (1792-1822).  Shelley was living in Italy when the news reached him.  In response he drafted his, now famous, poem ‘The Masque of Anarchy’.  According to Shelley ‘the torrent of my indignation’ flowed into the work and throughout his anger is tangible. 

The poem gives an apocalyptic vision of a Regency England in political crisis.  Shelley describes several monstrous creatures riding upon horses wearing masks that look like leading politicians.  Taken together they personify murder, hypocrisy, and fraud and they parade a final beast: anarchy.  The poem then describes a ‘maniac maid’ called Hope, though ‘she looked more like Despair’.  Like the protestors at St Peter’s Fields,  Hope is about to be trampled under the horse’s hooves when ‘a Shape arrayed in mail’ rises to defeat the monstrous creatures.  ‘A great Assembly…Of the fearless and the free’ is then described, like the crowd at Peterloo, and a voice is heard advocating freedom and imploring the people to rise up for liberty.  Famously, the poem ends with the rallying cry:

‘Rise like Lions after slumber
In unvanquishable number—
Shake your chains to earth like dew
Which in sleep had fallen on you—
Ye are many—they are few.’

Percy Bysshe Shelley, 'The Masque of Anarchy' autograph draft, 1819. Ashley MS 4086

                 
The British Library holds the original manuscript of Shelley’s ‘The Masque of Anarchy’. It was never published in his lifetime. After writing the poem, Shelley sent a copy of it to his friend Leigh Hunt (1784-1859) who felt that it could not be published safely following government censorship in the aftermath of Peterloo. Others also refused to publish the poem and it did not come out in print until 1832.

Alexander Lock
Curator, Modern Archives and Manuscripts

Further reading:
Peterloo
'The Masque of Anarchy’

A radical political thinker known as the ‘father of Russian socialism’, Alexander Herzen (1812-1870) witnessed first-hand the democratic and liberal revolutions that swept through Europe in 1848. Leaving Russia for Paris in 1847, Herzen soon became disillusioned with the uprisings which sought to replace European monarchies with republican government, but which resulted in the deaths and exile of thousands of people. His collection of essays ‘From the Other Shore’ explores the failures of the revolution. Originally written in Russian and sent to his friends in Moscow, he described the work as ‘a record of a strife in which I have sacrificed many things, but not the boldness of knowledge’ (‘To my Son’, Add MS 89364/1).

‘The Two Shores’, title page, Add MS 89364/1

The British Library has recently acquired an English manuscript translation from the late 19th century entitled ‘The Two Shores’. Although unpublished and unsigned, the translation can been attributed to the English suffragist and writer Lady Jane Maria Strachey (1840-1928). A letter addressed to Strachey by her friend Mlle Souvestre refers to her translation of Herzen’s work (29 October 1874, 9/27/G/064, Strachey Letters, The Women’s Library, LSE) and this particular manuscript was sold from the papers of her son, Giles Lytton Strachey, in 2015.

Strachey was an active feminist with a keen interest in politics. She moved in literary and political circles that included George Eliot and the leader of the women’s suffrage movement, Millicent Fawcett. Bold and forward thinking, it is easy to see why Herzen’s essays appealed to Strachey. Her translation begins with Herzen’s address to his son Alexander, in which the revolutionary spirit of the work is clear:

‘I am not afraid of placing in your young hands the protest – at times bold to rashness – of an independent mind against a system which is obsolete servile & lying, against those absurd idols of former times which are now stripped of all meaning and are ending their days in our midst,
hindering some and terrifying others’.

‘To my Son’, Add MS 89364/2. Reproduced with permission from The Society of Authors as agents of The Strachey Trust.

Another passage articulates Herzen’s continued faith in socialist and individualist ideals – not dissimilar to Strachey’s own – despite his disappointment in the liberal revolutionaries:

‘… do not remain upon the shore of the old world – better perish, than seek safety in the hospital of re-action. Faith in a future social organisation is the only religion I bequeath you, it offers no paradise, & no rewards but those of our own Conscience’.

German and French editions: Add MSS 89364/3 and 89364/4

Acquired with the manuscript were the first printed edition of Herzen’s work, a German copy ‘Vom anderen Ufer’, published in Hamburg in 1850, and a French translation ‘De l’autre rive’ (Geneva, 1871). The French edition was the source for this translation, which appears in draft form and was seemingly never published. Indeed, the first English translation of ‘From the Other Shore’ was not published until 1956. In this case Strachey’s translation – if it is by her – is likely to be the earliest translation of Herzen’s essays into English.

As well as providing an insight into the translation process, then, this manuscript and its accompanying volumes also reveal the radical political reading of an important figure in the British feminist movement. It further hints at Herzen’s engagement with British intellectuals in London, where he lived during the 1850s and 60s, and the reception of his writing in British political thought.

Further reading:

All translations cited are from 'The Two Shores', an English manuscript translation of Alexander Herzen's ‘From The Other Shore’, Add MS 89364

Alexander Herzen, From the other Shore, translated from the Russian by Moura Budberg; and The Russian People and Socialism: an open letter to Jules Michelet, translated from the French by Richard Wollheim; with an introduction by Isaiah Berlin (London: Weidenfeld and Nicolson, 1956)

On Jane Maria Strachey, see: R. Vetch, ‘Strachey, Sir Richard (1817–1908), scientist and administrator in India’, Oxford Dictionary of National Biography (2004) [accessed 28 May 2019]

By Sara Hale
Heritage Made Digital and Modern Archives and Manuscripts

In August 1880, William Morris embarked with family and friends on an expedition along the Thames from his home in Hammersmith. The destination was the family’s country residence, Kelmscott Manor in Oxfordshire.

The trip inspired Morris, textile designer, poet and novelist, to write News from Nowhere. This utopic novel focuses on Morris’s socialist ideas, particularly emphasising common ownership of the means of production, and a libertarian, rather than state controlled, socialism.

An exhibition, currently running at Henley River and Rowing Museum explores William Morris’s connection to the Thames and the influence that the river had on his work. The exhibition includes Morris’s autograph manuscript describing his journey along the river, on loan from the British Library (Add MS 45407 A).

The manuscript on display (left-hand case) in the exhibition, An Earthly Paradise: William Morris and the Thames, at Henley River and Rowing Museum

The manuscript is full of anecdotes and details from their journey. After sharing a joke with a waiter in Sunbury, ‘some of the males of the party seemed to think that they were entitled to indulge in the most abominable puns for the whole of the rest of the journey’.

The party was ‘Towed into the middle of Maidenhead Regatta’ and after reaching Great Marlow that night the Aurora Borealis or Northern Lights, rarely glimpsed in Britain, were visible.

William Morris, Account of river journey from Hammersmith to Kelmscott, Add MS 45407 A, f. 4. © Society of Antiquaries. Reproduced with permission of the Society of Antiquaries.

Once the travelling party reached Henley they ‘stopped for dinner on right bank; W.M. cooked in cabin of Ark; result excellent’. However the dinner was soon interrupted by a group of swans who, luckily, soon ‘retired without breaking any man’s arm’.

The manuscript reveals the spirit of camaraderie between the travelling companions and the details of the people encountered, towns visited and the astounding natural beauty that they witnessed hints at the idyllic world of which Morris was inspired to write.

William Morris, Account of river journey from Hammersmith to Kelmscott, Add MS 45407 A, f. 5. © Society of Antiquaries. Reproduced with permission of the Society of Antiquaries.

An Earthly Paradise: William Morris & The Thames runs until 14 July at Henley River and Rowing Museum and includes hand-drawn textile designs, a signed copy of News from Nowhere, materials from the Morris & Co. workshop, along with his Thames series of textiles.

Stephen Noble
Modern Archives and Manuscripts

Follow us on Twitter @BL_ModernMSS

Stephen Noble explores manuscript sources recording homosexuality in 17th-century England, using recently catalogued material in the Harley collection. 

There are difficulties in looking at the history of homosexuality through modern eyes. The term ‘homosexuality’ was coined in the 19th century and we cannot know how people from the past would identify with the language we use today.

The Buggery Act of 1533 criminalised homosexual activity between men and as a result, records of people self-identifying are rare. The records that remain tend to focus on the criminalised acts and not the feelings of those performing them, usually containing accusations or gossip using terms like ‘sodomite’, ‘ganymede’, ‘catamite’, ‘bardash’ and ‘tribade’. This also means that, as female homosexual acts were not specifically criminalised, records of male homosexuality are more prevalent. Lower literacy rates amongst women also plays a role in the relative lack of female perspective.

Harley MS 646 contains the autobiography of politician and antiquarian Sir Simonds D’Ewes. When D’Ewes writes about the corruption charges levelled at Sir Francis Bacon in 1621, he goes on to accuse Bacon of the ‘sinne of Sodomie’, and keeping ‘a verie effeminate faced youth to bee his catamite and bedfellow’. He includes a verse ‘Within this sty a hogg doth ly/That must be hang’d for Sodomy’ (‘hogg’ being a play on Bacon’s surname).

Autobiography of Sir Simonds d’Ewes, Harley MS 646 f. 59v.

Interestingly, when the autobiography was published in 1845, the editor removed the accusation and changed the words of the verse from ‘sodomy’ to ‘villany’. A footnote states ‘D’Ewes here specifically charged Bacon with an abominable offence, in language too gross for publication’.

Satirical theatre and poetry played a large part in 17th-century literary culture. Sexuality was a common topic, including references to both male and female homosexuality.

Harley MS 7315 contains the poem ‘Venus Reply’, where Venus says that women ‘have got a new game/call’d Flatts…’ (‘game of flats’ being a euphemism for sex between women). The poet also writes of ‘Frogmore Frolics’, referring to rumours of what went on at Frogmore House, home at this time to Viscount Fitzhardinge, where the women are ‘for no Masculine lover’.

'Venus Reply’, Harley MS 7315, f. 285v

In Harley MS 6913 is a poem containing the line ‘…that patient bardash Shrewsbury’, referring to Charles Talbot, 12th Earl of Shrewsbury. What prompts this accusation is not said, but one possible interpretation may be that in 1679, when the poem was written, Shrewsbury converted from Catholicism to Anglicanism.

In the English imagination, homosexuality was often linked with foreigners, especially Catholics and Italians (‘in the Italian way’ was another euphemism for sodomy). Perhaps the poet is using homosexuality as a metaphor and, by referring to Shrewsbury as a ‘patient bardash’, is implying that he had not truly changed his religious views?

Another example of this link between homosexuality and Catholicism in English satire is the play Sodom, or the Quintessence of Debauchery, one of the few remaining manuscript copies of which survives in the Harley collection.

‘Sodom, or the Quintessence of Debauchery’, here attributed to John Wilmot, 2nd Earl of Rochester, Harley MS 7312, p. 118

Whilst the play deals exclusively with sexual matters, the purpose was not to satirise Charles II’s sexual activities, but rather his toleration of Catholicism and his use of the Royal Prerogative. In Sodom, King Bolloxinion transforms his kingdom by legalising same-sex intercourse and, by the end of the play, becomes increasingly tyrannical. The playwright warns that allowing Charles II to use of the Royal Prerogative to transform religious toleration in England, and leaving his power unchecked, could have similar consequences.

Stephen Noble
Modern Archives and Manuscripts

Follow us on Twitter @BL_ModernMSS

Further Reading

Alan Bray, Homosexuality in Renaissance England (New York: Columbia University Press, 1995)

Marie H. Loughlin (ed.), Same-sex desire in early modern England, 1550-1735: an anthology of literary texts and contexts (Manchester: Manchester University Press, 2014)

Cameron McFarlane, The sodomite in fiction and satire, 1660-1750 (New York: Columbia University Press, 1997)

Robinson Crusoe was published 300 years ago on 25 April 1719.  Daniel Defoe’s account of a shipwrecked English sailor cast away on an uninhabited tropical island for 28 years has universal appeal because it is so believable.  Defoe effectively put into print the archetypal shipwreck yarn spun by many an old mariner.  It capitalised on the popularity of travel books and many readers did not realise it was fiction. 

Part of the enduring success of Robinson Crusoe is the impact it makes on a reader’s imagination - the mind is stirred by adventure in exotic far-off places.  Illustrations have played an important role in the presentation and reception of Crusoe, whether cheap quickly executed woodcuts in chapbooks and penny novels, or coloured plates in fine bindings.  The primary topic has been the portraiture of Crusoe – John Pine’s frontispiece for the first edition sets a consistent tone.  Crusoe, the resourceful, stands with his guns looking determinedly at the prospect of surviving alone on the island, the lost ship in the background.  Supporting illustrations frequently emphasise pivotal points in the story such as the shipwreck, the discovery of the footprint and Friday’s rescue.

Portraits of Robinson Crusoe. John Pine’s first edition frontispiece (C.30.f.6) is top left.  Later woodcuts from a variety of chapbooks can be seen to retain the composition.

There have also been some quite ‘unique’ portraits like this fantastic effort by Jules Fesquet and Legenisel from 1877.

The proliferation of editions in the 19th century saw illustrations dominated by traditional images that are typical of colonialist assumptions and the flawed belief in white Europeans’ superiority over people and places of the wider world.  Traditional style editions routinely show Friday prostrate before his saviour, Crusoe.  In a show of submission and gratitude, Defoe tells us that Friday put Crusoe’s foot upon his head.
 

Ward & Lock’s publishers’ binding (circa 1879) consciously or unconsciously amplifies the depressing fact that the first word Crusoe taught Friday was, “Master”.

A perfect exemplar of the colonial-style depiction of Friday’s rescue can be seen in a Maori Language edition from 1852 (freely available via Explore the British Library) – the Preface by the ‘Native Secretary’s Office’ is very revealing.

Artistic capabilities are often stultified by prevalent tastes and looking at the same type of images in edition after edition of Crusoe can be tiring.  Change came with the work of artists like JB Yeats and further possibilities were pursued in the early 20th century with Expressionist art like the work of Walther Klemm.

J B Yeats’ depiction of Crusoe discovering the footprint (and looking all Kirk Douglas!)

Lithograph by Walther Klemm in Das Leben und die ganz ungemeinen Begebenheiten des weltberühmten Engelländers Robinson Crusoe Leipzig, Verleg tbei Friedrich Dehne, 1919. (recent acquisition – awaiting shelfmark).

Of course, it is all too easy for most readers to take for granted the added value and meaning to be gained from illustrations.  J R Biggs, whose wonderful wood-engravings decorate the Penguin Illustrated Classics edition of 1937, remarked that 'books without illustrations make the greatest force in the world: books with illustrations the greatest delight'.

But even though Crusoe is a particularly visual work, how might the visually impaired and blind experience such a novel?  Amongst the 600 or so printed editions of Crusoe held in the British Library, one of the most impressive items is a truly sensual edition: ‘visual’ and striking by both sight and by touch.

In the 1860s, the American Printing House for the Blind produced editions of books printed, or rather, embossed, with raised Roman Type letters.

Robinson Crusoe. Presented to the American Printing House for the Blind (1873) Revolutionary for the blind.  But also aesthetically pleasing for people fortunate to be able to see the embossed type.

The expansion of cheap print for mass readerships made great use of illustrations and it assisted rising levels of literacy.  The embossed type really adds a further dimension to the visual impression made by ‘printed’ words.  The invention of printing for the blind marked a new era in the history of literature.  It made the novel personally discoverable to readers unable to see traditional ink printed texts.  It is testament to the success and universal appeal of Crusoe that it was one of the very first texts selected to be printed by the APHB enabling the shipwrecked sailor’s adventure to become embossed on even more readers’ minds.

Christian Algar
Curator, Printed Heritage Collections

Further reading:
David Blewett, The illustration of Robinson Crusoe, 1719-1920 (1995)
Lists of books published by the American Printing House for the Blind and by other American firms [1896]
Edmund C, Johnson, Tangible Typography, or how the Blind read (1853)

Visit our free display about Robinson Crusoe in the British Library Treasures Gallery - available until June 2019.

To celebrate the launch of Discovering Literature: Restoration and 18th Century, Untold Lives takes a closer look at the letters of Jonathan Swift to Henrietta Howard.

Jonathan Swift was an Anglo-Irish satirist, essayist, poet and Dean of St Patrick’s Cathedral, Dublin, chiefly remembered today as the author of Gulliver’s Travels, published in 1726. Henrietta Howard, afterwards Countess of Suffolk, was a Lady of the Bedchamber to Queen Caroline and mistress to George II. She was noted for her wit and intelligence and she corresponded with many intellectuals of the day, including not only Swift, but Horace Walpole, Alexander Pope and John Gay. At the British Library we hold a series of autograph letters between Swift and Howard, written between 1726 and 1730 (Add MS 22625), which give fascinating insight into the relationship between these two figures.

Add MS 22625, f. 6r

Henrietta was a supporter of Swift and his works, and their letters have a playful tone. Writing as Gulliver, Swift begs leave ‘to lay the crown of Lilliput at your feet as a small acknowledgement of your favours to my book and person’, and in one letter he tells her how he is being ‘perpetually teased with the remembrance of you by the light of your Ring on my Finger’.

Add MS 22625, f. 12r

But Swift was not writing out of pure friendship and admiration. As the letters progress his ulterior motives become clear.

Queen Anne had disliked Swift and she would not consent to a church appointment for him anywhere in England. However, St. Patrick’s Cathedral, Dublin, was outside of the Queen’s gift, so she had no way of preventing his appointment as Dean in 1713. Swift was unhappy in Dublin and he wished to have a more high profile post in England. So when George II and Caroline came to the throne, he hoped to persuade Henrietta to use her influence at court to raise his position in the eyes of the royal couple, so he would get the job he wanted.

Add MS 22625, f. 13r

Henrietta’s position was a difficult one. Queen Caroline and Henrietta were friends, but Henrietta was also the King’s mistress. The Queen could not allow Henrietta to undermine her and she made sure Henrietta’s influence remained limited.

When Henrietta failed to secure Swift the lucrative position he so desired, the letters soon take on a sour tone. He tells her that whilst others considers her sincere, he believes she only has ‘as much of that Virtue as could be expected in a Lady, a Courtier and a Favourite’, and given that ‘Friendship, Truth, Sincerity’ are ‘lower morals, which are altogether useless at Courts’, then he does not think her to be a very sincere and honest friend at all.

Add MS 22625, f. 21r

Swift never did procure himself another position, and remained as Dean of St Patrick’s Cathedral until his death in 1745.

If you would like to learn more about this collection and the works of Jonathan Swift, you can visit the British Library's Discovering Literature: Restoration and 18th-Century Literature website. Here you can view these letters along with early printed editions of Swift’s work, as well as the works of many other Restoration and 18th-century writers including Aphra Behn, Daniel Defoe and John Milton.

Stephen Noble
Cataloguer, Modern Archives and Manuscripts

To announce our upcoming special event, The Library of Ideas: Creative Use of the British Library presented by Undercurrent Theatre and the British Library we present a blog post by the Artistic Director of Undercurrent Theatre, Laura Farnworth reflecting on her time here at the Library as Artist-in-Residence.

Photographs by the Contemporary Archives and Manuscripts team.

It is almost a year since our residency, funded by the Arts Council, began here at the British Library as their First Associate Theatre Company. During my time I have been able to rationalise what is important for me as an artist and I have learnt that I love research and it is integral to my artistic process. The better you understand material, the more distinct and original it will make your artistic work. So, spending time in and with personal archives gives you the rare opportunity to really go deep into a subject. It is about making unexpected and surprising connections between remote pieces of research. The result of these connections is where you start to create something new.

As an artist I am always looking to gather as much ‘fuel’ for my process as possible, stimulus, data, information, knowledge and details. The British Library is the optimum resource for this. Not only does it have ‘everything’(!), it also enables you to approach a topic through various ways, sound, image, digital, manuscript, maps… and all these approaches can inspire you in a different way. It really makes you think about the ‘how’ of your work, in other words, not just what your project will say and contain, but how it will be made, crafted, the form it will take.

Manuscript material from the J G Ballard archive (Add MS 88938)

A particular highlight of my time here has been researching the archive of the author J G Ballard. The archive is extensive and a fantastic overview and introduction can be found here. Whilst it does not contain as much personal material as some authors’ archives - it holds very little in the way of private correspondence - it does provide a brilliant insight into the creative process of a great artist. Ballard wrote a lot of his novels by hand and many of his typescripts are heavily annotated. As you start to work through the archive you begin to stitch together a sense of his process. You can learn so much from seeing his choices of what to edit or reword. It is unusual to have such private access to the earliest thoughts of a great artist and it’s quite special to unpick how he works through his ideas and begins his projects. 

The culmination of Undercurrent’s residency will be the The Library of Ideas: Creative Use of the British Library  The aim of this event is to encourage early-career artists into the British Library so that they can discover how they can use the Library to develop their own artistic projects. It’s a rare opportunity to meet curators and get up close to some of the collections - everything from sound to manuscripts to digital.

Laura Farnworth

Artistic Director,

Undercurrent Theatre

Associate Theatre Company of the British Library

Posted on behalf of the Contemporary Archives and Manuscripts team.

Love is seeking the anodyne of work, in vain.
   - Edward Aveling

Eleanor Marx, the youngest of Karl Marx’s daughters, was an immensely talented scholar and activist in her own right. Born in 1855 in the Marx family’s cramped and squalid Soho dwellings, ‘Tussy’ – as she was known from a young age – would go on to act as her father’s amanuensis and posthumous translator. At a time when leftist thought was dominated by educated men, her work demonstrated the relevance of socialism to working-class women. But just as Eleanor entered public life as a pioneer of socialist feminism, she became the private victim of a bully and master manipulator.

(Jenny Julia) Eleanor Marx (later Marx-Aveling) by Grace Black (later Grace Human), 1881. NPG 6771 © National Portrait Gallery, London

As a young woman, Eleanor spent long days in the Reading Room of the British Museum, aiding her father’s work and, later, drafting her own. After Marx’s death in 1883, Eleanor put out a call for his materials with the aim of transcribing, translating and publishing them. In the process she wrote literally hundreds of letters to Marx’s former correspondents; amongst them, the Chartist Collet Dobson Collet, who provided the material for her translation of the Diplomatic History of the 20th Century.

  Letter from Eleanor Marx to Collet Dobson Collet, 8 October 1896. Add MS 87372.

Eleanor’s work did much to advance Marx’s ideas in Britain. She delivered energetic polemics to crowds exceeding 100,000, campaigned alongside striking dockers and gas workers, and with her journalism gave voice to the labour struggles that specifically affected women. She described the economic struggles underlying patriarchy with compelling force, but never turned away from socialist praxis and the possibility of relieving present suffering.

  Eleanor Marx, ‘Sweating in type-write offices’, The People’s Press, 5 June 1890. LOU.LON 40.

Eleanor had a refined appreciation for literature, and was responsible for the first translation of Madame Bovary into English. She was also an Ibsen enthusiast, learning Norwegian with the express purpose of performing his plays alongside her fellow artistic luminaries. In a letter to George Bernard Shaw, she wonders over casting choices. ‘We mean to try and get May Morris, though I fear she may not have time. She was here yesterday looking as sweet and beautiful as the flower she is named after.’
 
Letter from Eleanor Marx to George Bernard Shaw, 2 June 1885. Add MS 50511, f. 88.

Despite her qualities as a beloved friend and dedicated socialist, Eleanor suffered many doubts and feared that she would never live up to her father’s legacy. In a touching obituary, sexologist Havelock Ellis describes a passage written by Eleanor in her loneliest hours: ‘I shall never be good and unselfish as he was. I am not good – never shall be, though I try, harder than ever you can think, to be so. There is too much of the devil in me.’

Henry Havelock Ellis, ‘Eleanor Marx’, in Modern Monthly (September 1885). Add MS 70557, f. 185.

Sadly, Eleanor’s low estimation of herself made her easy prey for the man who would bring her useful, active life to a dreadful close.

To be continued......

Izzy Gibbin
Doctoral student, University College London - Anthropology department

Discover the links between the British Library and Karl Marx and his daughter Eleanor, through original documents from their work in the British Museum Reading Room and their political activism in London. Free exhibition in The Sir John Ritblat: Treasures Gallery 1 May-5 August 2018.