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American Art Association, Anderson Galleries (Firm)

Published: 1923

Total Pages: 1246


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In her compelling book, Ann C. Colley examines the shift away from the cult of the sublime that characterized the early part of the nineteenth century to the less reverential perspective from which the Victorians regarded mountain landscapes. And what a multifaceted perspective it was, as unprecedented numbers of the Victorian middle and professional classes took themselves off on mountaineering holidays so commonplace that the editors of Punch sarcastically reported that the route to the summit of Mont Blanc was to be carpeted. In Part One, Colley mines diaries and letters to interrogate how everyday tourists and climbers both responded to and undercut ideas about the sublime, showing how technological advances like the telescope transformed mountains into theatrical spaces where tourists thrilled to the sight of struggling climbers; almost inevitably, these distant performances were eventually reenacted at exhibitions and on the London stage. Colley's examination of the Alpine Club archives, periodicals, and other primary resources offers a more complicated and inclusive picture of female mountaineering as she documents the strong presence of women on successful expeditions in the latter half of the century. In Part Two, Colley turns to John Ruskin, Gerard Manley Hopkins, and Robert Louis Stevenson, whose writings about the Alps reflect their feelings about their Romantic heritage and shed light on their ideas about perception, metaphor, and literary style. Colley concludes by offering insights into the ways in which expeditions to the Himalayas affected people's sense of the sublime, arguing that these individuals were motivated as much by the glory of Empire as by aesthetic sensibility. Her ambitious book is an astute exploration of nationalism, as well as theories of gender, spectacle, and the technicalities of glacial movement that were intruding on what before had seemed inviolable.
This lively, accessible book is the first to explore Victorian literature through scent and perfume, presenting an extensive range of well-known and unfamiliar texts in intriguing and imaginative new ways that make us re-think literature's relation with the senses. Concentrating on aesthetic and decadent authors, Scents and Sensibility introduces a rich selection of poems, essays, and fiction, exploring these texts with reference to both the little-known cultural history of perfume use and the appreciation of natural fragrance in Victorian Britain. It shows how scent and perfume are used to convey not merely moods and atmospheres but the nuances of the aesthete or decadent's carefully cultivated identity, personality, or sensibility. A key theme is the emergence of the olfactif, the cultivated individual with a refined sense of smell, influentially represented by the poet and critic Algernon Charles Swinburne, who is emulated by a host of canonical and less well-known aesthetic and decadent successors such as Walter Pater, Edmund Gosse, John Addington Symonds, Lafcadio Hearn, Michael Field, Oscar Wilde, Arthur Symons, Mark André Raffalovich, Theodore Wratislaw, and A. Mary F. Robinson. This book explores how scent and perfume pervade the work of these authors in many different ways, signifying such diverse things as style, atmosphere, influence, sexuality, sensibility, spirituality, refinement, individuality, the expression of love and poetic creativity, and the aura of personality, dandyism, modernity, and memory. A coda explores the contrasting twentieth-century responses of Virginia Woolf and Compton Mackenzie to the scent of Victorian literature.