In a hammock with Brahms

‘I bought a strong hammock yesterday, and Brahms and I went into the lovely beech-wood and hung it up between two trees, on a spot from which through the foliage we could see the sea far below us. We both managed to climb into it simultaneously, an amusing, though by no means easy task to accomplish.’ This is from the diary of George Henschel, a naturalised British musician born 170 years ago today. Accomplished and famous during his lifetime, he is probably remembered mostly for his lifetime friendship with Johannes Brahms, and for the diary entries about him.

Henschel was born on 18 February 1850 in Breslau, Prussia (now part of Poland) and educated as a pianist, making his first public appearance in Berlin aged but 12. He subsequently took up singing, developing a fine baritone voice. In 1868, he sang the part of Hans Sachs in a concert performance of Die Meistersinger von Nürnberg at Munich. And in 1874, while taking part in the Lower Rhenish Music Festival in Cologne, he met and became friends with the composer Brahms. Starting in 1877, he began a successful singing career in England. In 1881, he married the American soprano, Lilian Bailey; and the same year he became the first conductor of the Boston Symphony Orchestra. While in Boston, the couple had a daughter, Helen, who would later become an accomplished recitalist and pianist, and who would also write a biography of her father.

In 1886, Henschel launched the London Symphony Concerts. In 1890, he took on British citizenship, and in 1893 he was the founder of the Scottish Orchestra (now the Royal Scottish National Orchestra). Henschel’s compositions are listed as including instrumental works, a fine Stabat Mater (Birmingham Festival, 1894), an opera, Nubia (Dresden, 1899), and Requiem (Boston, 1903). Lillian died in 1901, and in 1907 Henschel, married Amy Louis, one of his students at the Institute of Musical Art (now the Juilliard School) in New York. They too had one daughter, born in 1910. Henschel was knighted in 1914. He died at Aviemore, Scotland, in 1934, and is buried in the local churchyard. Further information is available online at Wikipedia, Boston Symphony Orchestra, or Encyclopaedia Britannica.

During his lifetime, Henschel published two autobiographical works (both freely available online at Internet Archive): Personal Recollections of Johannes Brahms: some of his letters to, and pages from a journal kept by George Henschel (Richard G. Badger, 1907); Musings and Memories of a Musician (Macmillan, 1918). The following are extracts from Henschel’s diaries taken from the former.

3 February 1876, Münster, Westphalia
‘Brahms arrived yesterday. I am glad my hoarseness is gradually disappearing, for the thought of singing, at the concert day after tomorrow, those high notes in his “Triumphal Hymn” for Double Chorus and Baritone Solo, rather troubled me. I asked him if eventually he would object to my altering some of the highest notes into more convenient ones on account of my cold, and he said: “Not in the least. As far as I am concerned, a thinking, sensible singer may, without hesitation, change a note which for some reason or other is for the time being out of his compass, into one which he can reach with comfort, provided always the declamation remains correct and the accentuation does not suffer.’
 
6 February 1876
‘Yesterday was the concert. Brahms played his Pianoforte Concerto in D Minor superbly. I especially noted his emphasizing each of those tremendous shakes in the first movement by placing a short rest between the last note of one and the first small note before the next. During those short stops he would lift his hands up high and let them come down on the keys with a force like that of a lion’s paw. It was grand.

Dear old Isegrim conducted and fairly chuckled with joy at every beautiful phrase. The glorious but horribly difficult “Triumphal Hymn” conducted by Brahms, went splendidly. It was a veritable triumph for the composer. The joy and gratification expressed in Brahms’ face at the end, when acknowledging the enthusiastic acclamations of audience, chorus, and orchestra, was evidently caused as much by the consciousness of having written a truly great work, as by its reception and appreciation; a most welcome change from the affected excess of modesty often exhibited on concert platforms.

My throat not being quite well yet, I changed, with Brahms’ approval, the dreaded phrase [line of music ] and sang it like this [line of music] by which Brahms’ intention of emphasizing the word “heavens” was still carried out, the note “c” remaining the highest of the phrase.’

8 July 1876, Sassnitz on Rügen island
‘Arrived here last night. The diligence was delayed by one of the heaviest thunderstorms I can remember, and I did not pull up at the little hostelry, which also contains the post office, until half-past eleven; but in spite of the inclemency of the weather and the late hour, Brahms was there to welcome me and we had an hour’s chat in the little coffee-room. Then he returned to his lodgings down in the village, whilst I came up here to the hotel on the Fahrnberg, where, however, to my great delight, Brahms is going to have his mid-day and evening meals regularly.’

10 July 1876
‘Yesterday afternoon I spent nearly three hours in Brahms’ rooms. He showed me new songs of his, asking me if I could suggest a short way of indicating that a certain phrase in one of them was not his own.

“I have,” he said, “taken a charming motive of Scarlatti’s [line of music] as the theme of a song I composed to one of Goethe’s poems, and should like to acknowledge my indebtedness.” I proposed, as the best and simplest way, that he should merely place Scarlatti’s name at the end of the phrase in question.

He also showed me the manuscript of an unpublished song and the first movement of a Requiem Mass, both by Schubert, enthusiastically commenting on their beauty. The first two issues of the Bach Society’s publication of cantatas were lying on his table, and he pointed out to me how badly the accompaniments were often arranged for the piano; how, in fact, the endeavor to bring out as nearly as possible every individual part of the orchestra had rendered the arrangement well nigh unplayable for any but a virtuoso.

“The chief aim,” he said, “of a pianoforte arrangement of orchestral accompaniments must always be to be easily playable. Whether the different parts move correctly, i. e., in strict accordance with the rules of counterpoint, does not matter in the least.”

Then we went together through the full score of Mozart’s “Requiem,” which he had undertaken to prepare for a new edition of that master’s works. I admired the great trouble he had taken in the revision of the score. Every note of Süssmayer’s was most carefully distinguished from Mozart’s own.

It was a wonderful experience to have this man’s company quite to myself for so long a time. During all these days Brahms has never spoken of anything which does not really interest him, never said anything superfluous or commonplace, except at the table d’hote, where he purposely talks of hackneyed things, such as the weather, food, the temperature of the water, excursions, etc., etc.’

11 July 1876
I bought a strong hammock yesterday, and Brahms and I went into the lovely beech-wood and hung it up between two trees, on a spot from which through the foliage we could see the sea far below us. We both managed to climb into it simultaneously, an amusing, though by no means easy task to accomplish. After having comfortably established ourselves in it, we enjoyed a very cozy, agreeable hour or two of dolce far niente. Brahms was in an angelic mood, and went from one charming, interesting story to another, in which the gentler sex played a not unimportant part.

In the afternoon we resolved to go on an expedition to find his bullfrog pond, of which he had spoken to me for some days. His sense of locality not being very great, we walked on and on across long stretches of waste moorland. Often we heard the weird call of bullfrogs in the distance, but he would say: “No, that’s not my pond yet,” and on we walked. At last we found it, a tiny little pool in the midst of a wide plain grown with heather. We had not met a human being the whole way, and this solitary spot seemed out of the world altogether.’

The mud of Dakar Bay

Alex Comfort, a scientist and the famed author of the sex manual The Joy of Sex, was born a century ago today. In fact, he wrote many books, scientific and political, as well as fiction and poetry; but his very first published work was a diary kept during a six week voyage, with his father, to Senegal and Argentina.

Alexander Comfort was an only child born in London 10 February 1920. He was home educated to begin with and then at Highgate School. Aged around 15, he lost four fingers of his left hand while trying to manufacture fireworks in his garden. He studied medicine at Trinity College, Cambridge, qualifying in 1944. By then, he had married Ruth Harris (with whom he would have one son), and he had already written several works of fiction and poetry. He went to work for London Hospital and later became a lecturer in physiology at the hospital’s medical college. He earned further qualifications at University College (a PhD in 1950 and a DSc in 1963).

Comfort was a conscientious objector during World War II, and he became an active member of the Peace Pledge Union (PPU) and the Campaign for Nuclear Disarmament. He wrote many a political pamphlet for Peace News and PPU, and exchanged public letters with George Orwell defending pacifism. In 1961, he was imprisoned for a month, with Bertrand Russell and other leading members of the Committee of 100, for refusing to be bound over not to continue organising protests.

During the 1950 and 1960s, Comfort focused his science work on studying the biology of ageing, and popularised the subject by publishing several books. In the early 1970s, he was highly successful in popularising another subject: The Joy of Sex (1972) brought him international fame, as well as wealth. He divorced his wife soon after it came out, and took up with Jane Henderson, his long-term mistress. The much-admired illustrations in The Joy of Sex were based on photographs taken by the two of them. That same year, they relocated to California, US, where they then married.

Comfort joined the Center for the Study of Democratic Institutions, an unconventional think tank, but he also took up academic appointments at Stanford University (1974-1983), the University of California at Irvine (1976-1978), and at the Neuropsychiatric Institute in Los Angeles (1980-1991). He also worked at Brentwood Veterans’ Hospital in Los Angeles (1978-1981) as a geriatric psychiatrist, and as a consultant at Ventura County Hospital, California (1981-1891). In California, Alex and Jane became involved with a swingers community, the Sandstone Retreat. 

By the mid-1980s, Comfort and his second wife had returned to live mostly in England, though Comfort maintained his professional connections with the US. Jane died in the early 1990s, while Alex suffered several strokes, leaving him wheelchair bound. He died in 2000. Further details are available from Wikipedia, Libcom, The Guardian, The New York Times, The Washington Post, or from a chapter on Comfort in Anarchist Seeds Beneath the Snow by David Goodway (see Googlebooks).

There is no evidence that Comfort was a diarist by nature, but the very first book he published, aged 18, was a journal of a six week voyage he took with his father by ship through the South Atlantic, stopping in Senegal and Argentina.  The Silver River - Being the Diary of a Schoolboy in the South Atlantic, 1936, was published by Chapman & Hall in 1938. Although there are dated entries in the narrative, much of the time they read more like a memoir than a bona fide diary. However, the diary does demonstrate Comfort’s precocious literary ability - he was only 16 at the time of writing it. Here are several extracts.

30 September 1936
‘To-day, the 30th of September, I sacrificed any reputation for sanity which I may have had among my Greek hosts by collecting at some pains all the mud brought up by the anchor and passing it through a fine wire sieve into a tin can. The mud of Dakar Bay is crammed with shells: descriptions of those to be found there were published by the indefatigable naturalist, Adanson, in 1757, and later by a specializing conchologist, Dautzenberg. It is not my place to bore the reader with a catalogue of empty whelk shells, but for such as are interested I have placed at the end of the book a short list of my collection, which adds a few names to Dautzenberg’s careful catalogue. It is perhaps worth a page to put this list on record.

The skipper had filled the larder. He purchased the entire supply of fish existing in Dakar, to the extent of one hundred and forty kilos, and during the coaling all hands sat among the black dust gutting the fish and littering the deck with their intestines, while the cook fried the remains in batter and preserved them in herbs, vinegar and salt. On the first day they were excellent. On the second day they were hard. On the third day they could usefully have been used for building. On subsequent days - and we had fish every day till we passed Ushant - they were unspeakable. I have no idea where the cook can have stowed his fish. They seemed endless, and we who had to eat them were glad of the other additions to our larder which had come on board. There were hibiscus pods - one of the most tasty vegetables I know: there were also the more truly Greek melisdanas or egg-plant (Solanum melongena) which are wholly unlike the French aubergine variety. They are oval, purple fruit, which the Greeks boil, fry in slices, and otherwise maltreat until they produce a mass of orange pulp, brown hides and pertinaceous pips, tasting of unripe tomato and smelling strongly of nightshade, datura, and the other noxious members of the same family. I will stick to the edible hibiscus pod. It surpasses all known greens save spinach. But I have only to hear the name melisdana to smell pickles and hear the water outside and Niko grumbling in the alley-way.’

3 October 1936
‘At six o’clock on the morning of October the 3rd we passed between Tenerife and Gran Canaria We had entered the South Atlantic by the back door and we came out by the front. The skipper had been nervous of the passage: the civil war in Spain had been in progress for some months, and a battle had been fought at the Canary Islands the previous week. But we had no cause to be apprehensive. To our right lay the irregular shape of Gran Canaria, grey and mist-capped, but beginning to assume a gradual oriole of gold as the sun rose behind it. To port was Tenerife, its peak shrouded in a curtain of cloud, and its scoriaceous slopes sinking into a nebulous transparency of scented foliage. Between the two was the strait, blue and rippling, with islands and towers of mist which passed and repassed on its surface. Nobody ever fought a battle here; we were the discoverers of an archipelago. I sat in pyjamas on the fore-hatch, wondering what group of islands our shiploads of tourists had mistaken for the Hesperides. A long finger of sunlight passed suddenly over the peaks of Gran Canaria, above our masts, and fell upon the curtain of mist. The vapour eddied, divided, and lifted as if it had been rung up. Under it lay the perfect cone of Tenerife, its summit of rose-tinted sugar, its sides falling in ridges and hummocks to grey and olive. The first ray of light a lifted the heavens off Atlas’s shoulders, and there he stood, crested and supreme, while the fiery red orange of the [s]un rose and silhouetted in its disc the cairn surmounting a jagged peak on the farther island. Then the glow faded, and the curtain fell once more. A long column of smoke rose from the far corner of Tenerife, where Santa Cruz lies in its bay.’

9 October 1936
‘In the afternoon of October the 9th we passed Ushant. The weather abated, and the waters began to depart from the face of the earth. With their going a silence settled upon the ship - broken only by the dismal “thump . . . swish . . . drip” as a wave came over - and remained undispelled even by the sight of the cook shaving bull’s trotters for the night’s soup with a safety razor. The last carcase swung idly on the bridge, which was now clear of most of its vegetables. There had been a day in the voyage, before we passed Finisterre, when the midday peace of the ship was shattered by a most terrible racket on the lower bridge. A hoarse shouting and a persistent swishing noise were blended with a wild yelling, and the observer, peering cautiously round the end of the captain’s quarters, could see the little man, a malacca cane fully a metre long in his hand, dashing about in pursuit of one of the little dogs, walloping wildly at everything within reach, and hitting chairs, table, sides of beef, and himself, but never under any circumstances his victim. Madame and the daughter stood wringing their hands and trying to arrest their lord and master’s progress as he thundered about, demolishing lifebelts and cucumbers, while the dog, more frightened than hurt, yelled as if the whole crew was cutting its throat.’

My wedding day!

‘My wedding day! How simple it is to say and how hard to realize that I am married, no longer a young lady with nothing to think of but myself and nothing to do.’ This is a diary entry by Kate Chopin, an American short story writer of the late 19th century who was born 170 years ago today. Though some of her literary themes were controversial in their day, she is now considered a forerunner of 20th-century feminist authors. Only two of her diaries survive - one from her youth through to the end of her honeymoon, and one from the year 1894.

Catherine (Kate) O’Flaherty was born on 8 February 1850 in St. Louis, Missouri. Her father, Thomas, had immigrated from Ireland, and her mother, Eliza Faris (Thomas’s second wife) was of French heritage. Kate was schooled at the Academy of the Sacred Hearts, graduating in 1868. In 1870, she married Oscar Chopin, settling with him in his home town of New Orleans, and having six children. Oscar Chopin’s business failed in 1879, and the family went to live in Cloutierville, some 200 miles northwest of New Orleans, where he managed several small plantations and a general store. He died three years later, leaving Kate with huge debts. She tried to sustain the business, and eventually sold it before returning with her children to St Louis. Two years later, her mother died, and she was left struggling with depression.

A family doctor and friend suggested writing as a therapy for Kate, and by the early 1890s, she was contributing a variety of articles and stories for local periodicals. Many of these were about the Creole and Cajun people she observed around her. In 1899, she published a novel, The Awakening, which achieved a few favourable reviews but which was also vilified for its treatment of female sexuality and interracial marriage. Chopin, discouraged by this response, returned to short story writing, for example Désirée’s Baby and Madame Celestin’s Divorce. She died in 1904. Although The Awakening remained out of print for many years, it was rediscovered in the 1970s, and is now considered an ‘important early work of the South’ (see Wikipedia). She, herself, has become widely recognised as a forerunner of American feminist literature. Further information is also available from the Kate Chopin International Society, American Literature, Missouri Encyclopedia, and Encyclopaedia Britannica.

Some of her Chopin’s diary material was first published in Per Seyersted’s A Kate Chopin Miscellany (Northwestern State University, 1979), but a much more comprehensive collection of her previously unpublished writings were put together in 1998 by both Seyersted and Emily Toth as Kate Chopin’s Private Papers (Indiana University Press). Some pages of the latter are available to view on Googlebooks. According to this, only one diary - for 1894 - has survived from her adult years (discovered by her grandson, Robert Hattersley, in the 1960s), but there is also her Commonplace Book which is said to have much in common with the 1894 diary. The Commonplace Book was started when she was just 16, and used for copying out passages of literature that she admired, and for her own early attempts at literature. However, increasingly, it became a depository for her thoughts, serving as a diary through her honeymoon in Europe. Here are several extracts from the Commonplace Book, and one longer one from the 1894 diary.

9 June 1870
‘My wedding day! How simple it is to say and how hard to realize that I am married, no longer a young lady with nothing to think of but myself and nothing to do. We went to holy Communion this morning, my mother with us, and it gave me a double happiness to see so many of my friends at mass for I knew they prayed for me on this happiest day of my life. The whole day seems now like a dream to me; how I awoke early in the morning before the household was stirring and looked out of the window to see whether the sun would shine or not; how I went to mass and could not read the prayers in my book; afterwards how I dressed for my marriage - went to church and found myself married before I could think what I was doing. What kissing of old and young! I never expect to receive as many embraces during the remainder of my life. Oscar has since confessed that he did not know it was customary to kiss and that he conferred that favor on only a very few - I will have to make a most sacred apology for him when I get home. It was very painful to leave my mother and all at home; and it was only at starting that I discovered how much I would miss them and how much I would be missed. We meet several acquaintances on the cars who congratulated us very extensively, and who could not be brought to realize that they must call me Mrs Chopin and not Miss Katy. They joined us however in consuming a few champagne bottles that had escaped the dire destruction of their companions to meet with a more honorable consummation by the bride and groom.’

27 July 1870
‘Left Stuttgart this morning - arriving at Ulm in two hours time; having barely time to dine & visit the handsome Cathedral and fine fortifications, and left for Friedrickshafen which we reached late at night. Took lodgings for a nights rest, and started early in the morning for Constanz. We are anxious to get into Switzerland.’

28 July 1870
‘Took the boat at 10 this morning - day cloudy - but I was glad we had no sun. The “blue lake of Constanz” looked bluer than ever through the mist. Just as we were starting out, a child playing near the boat, fell in the water: we had not time to wait & see if he was rescued, but I fear not as he must have been caught in some of the numerous net work of wooden piles. The scenery was exquisite along the shore, and the hour glided away only too fast.

At Constanz
We set out immediately to “see the town;” taking in the beautiful church of St. Stephens, which belongs to the severe gothic order; saw some beautiful paintings not the less lovely for being new, and then went to the Cathedral - ascending some 5000000 steps (more or less) to reach the tower, but were repaid for our fatigue by the view. I should fancy such scenery - such a beautiful side of nature, would influence these people only for good deeds. Left Constaz at 4 1/2, reaching Schaufhausen at a 7.

Schaufhausen.
The Blue bien Hotel; where we have taken quarters seems to be entirely at our disposal: the war having frightened off all visitors. I trust the landlord will not attempt to make his accounts balance at our expense. We command a charming view of the Rhein falls (the largest in Europe) and will remain here some time, if only our impatient spirits permit.’

29 July 1870
‘Rain! All the day rain. So we could not venture out, and have amused ourselves all day, making mental photographes of the falls.’

22 May 1894
‘I have finished a story of 4800 words and called it “Lilacs." I cannot recall what suggested it. If the story had been written after my visit of last Sunday to the convent, I would not have to seek the impulse far. Those nuns seem to retain or gain a certain beauty with their advancing years which we women in the world are strangers to. The unchanging form of their garments through years and years seems to impart a distinct character to their bodily movements. Liza’s face held a peculiar fascination for me as I sat looking into it enframed in its white rushing. It is more than twenty years since I last saw her; but in less than twenty minutes those twenty years had vanished and she was the Liza of our school days. The same narrow, happy grey eyes with their swollen upper lids; the same delicious upward curves to the corners of her pretty mouth. No little vexatious wrinkles anywhere. Only a few good strong lines giving a touch of character that the younger Liza lacked perhaps. The conditions under which these women live are such as keep them young and fresh in heart and in visage. One day - usually one hey-day of youth they kneel before the altar of a God whom they have learned to worship, and they give themselves wholly - body and spirit into his keeping. They have only to remain faithful through the years, these modern Psyches, to the lover who lavishes all his precious gifts upon them in the darkness - the most precious of which is perpetual youth. I wonder what Liza thought as she looked into my face. I know she was remembering my pink cheeks of more than twenty years ago and my brown hair and innocent young face. I do not know whether she could see that I had loved - lovers who were not divine - and hated and suffered and been glad. She could see, no doubt the stamp which a thousand things had left upon my face, but she could not read it. She, with her lover in the dark. He has not anointed her eyes for perfect vision. She does not need it - in the dark. When we came away, my friend who had gone with me said: “Would you not give anything to have her vocation and happy life!” There was a long beaten path spreading before us; the grass grew along its edges and the branches of trees in their thick rich May garb hung over the path like an arbor, making a long vista that ended in a green blur. An old man - a plain old man leaning on a cane was walking down the path holding a small child by the hand and a little dog was trotting beside them. “I would rather be that dog” I answered her. I know she was disgusted and took it for irreverence and I did not take the trouble to explain that this was a little picture of life and that what we had left was a phantasmagoria.

This is Jean’s birthday - twenty-three years old today! How curiously the past effaces itself for me! I sometimes regret that it is so; for there must be a certain pleasure in retrospection. I cannot live through yesterday or tomorrow. It is why the dead in their character of dead and association with the grave have no hold on me. I cannot connect my mother or husband or any of those I have lots with those mounds of earth out at Calvary Cemetery. I cannot visit graves and stand contemplating them as some people do, and seem to love to do. If it were possible for my husband and my mother to come back to earth, I feel that I would unhesitatingly give up every thing that has come into my life since they left it and join my existence again with theirs. To do that, I would have to forget the past ten years of my growth - my real growth. But I would take back a little wisdom with me; it would the spirit of a perfect acquiescence. This is a long way from Jean, 23 years ago. I can remember yet that hot southern day on Magazine street in New Orleans. The noises of the street coming through the open windows; that heaviness with which I dragged myself about; my husband’s and mother’s solicitude; old Alexandrine the quadroon nurse with her high bandana lignin, her hoop-earrings and placid smile; old Doctor Faget; the smell of chloroform, and then waking at 6 in the evening from out of a stupor to see in my mothers arms a little piece of humanity all dressed in white which told me was my little son!. The sensation with which I touched my lips and finger tips to his soft flesh only comes once to a mother. It must be the pure animal sensation; nothing spiritual could be so real - so poignant.’

Happy with Signor

‘We have been two months a half married & never been away from each other for half an hour. I used to think I could not be happy unless I was much alone every day. Here I am never happy unless with Signor.’ This is Mary Watts, newly married to the English painter George Frederic Watts, who she called Signor, writing in a diary that he suggested she keep. There was a wide age range between them - Watts was fast approaching 70 - but their marriage was happy, and Mary herself went on to become an artist of some renown. Her diaries, not published until recently, provide much information into life with Watt’s but also invaluable insights into her own achievements.

Mary Seton Fraser Tytler was born in Bombay, India, on 25 November 1849, the daughter of East India Company employees. Her mother died soon after, and so she was sent to Scotland and raised by grandparents. Early in 1870, she began to study art in Dresden but later the same year enrolled at the South Kensington School of Art. It was also the year she first met the painter G. F. Watts, who became her unofficial tutor. During 1872 and 1873, she studied sculpture at the Slade School of Art, though she became known as a portrait painter, associated with Julia Margaret Cameron and the Freshwater community. She worked some of the time for the Home Arts and Industries Association, an organisation which aimed to revive traditional rural crafts, and she ran classes in clay modelling.

In 1886, Mary and Watts married despite a 33 year difference in their ages (he was 69). The couple adopted an orphan, Lilian, who would eventually inherit their estate. Mary continued to play a leading role in the Home Arts and Industries Association and from the 1890s taught pottery to large numbers of local people in the village of Compton where the couple had built a country residence called Limnerslease. She went on to establish the commercially successful Potters’ Arts Guild and designed an award-winning range of garden pottery. She designed, built, and maintained the Watts Mortuary Chapel in Compton; and had built and maintained the Watts Gallery for the preservation of her husband’s work. She was a pioneer of the Celtic revival, in carpets, book-bindings, metalwork, and textiles for Liberty & Co. being based on her earlier designs at the Watts Chapel. Later in life, she wrote The Word in the Pattern and completed a three-volume biography of her husband, Annals of an Artist’s Life. She died in 1938. Further information is available from the Watts Gallery, Wikipedia, National Portrait Gallery, Mapping Sculpture, Artistic Miscellany, and David Hill’s paper on Mary Watts and the Chapel.

On marrying Watts, Mary became an avid diarist and filled many volumes - each known affectionately as ‘Fatima’ - with musings on art and society as well as with the details of her day-to-day life with a celebrated artist. However, it took until 2016 for these diaries to be made public, partly because her handwriting was so difficult to read. Edited by Desna Greenhow and published by Lund Humphries in association with the Watts Gallery, The Diary of Mary Watts 1887-1904: Victorian progressive and artistic visionary also includes detailed annotations, an introductory essay and short intros for each year of diary entries. According to the publisher, the ‘book chronicles life in the artistic, literary and political circles of the time, while also providing invaluable insights into Mary’s own achievements - most notably her management of the building and decorating of her unique Watts Cemetery Chapel.’

In her introduction, Greenhow notes: ‘Watts suggested, in the first few weeks of their marriage, that [Mary] should write a diary, chronicling their daily life together. It turned out to be a cementing element in their relationship, and a fascinating document in its own right. Most importantly, Mary wrote it for herself, not anticipating sharing it with the world or with anyone else. This is clear by the tiny, difficult handwriting, and its voluminous nature. It has not been completely transcribed until now, more than a hundred years after it was written.‘Signor’, as Watts was nicknamed, never tried to read it, and so it remained a narrative by Mary with herself, about their relationship and on the joint lives they led.’ A review of the book can be read in Life Writing. Here are several extracts.

26 January 1887
‘When I looked for my dear one’s hands this morning, I found them both crossed upon his breast. I said ‘Don’t do that, Signor’ & he, ‘I often lie so’. ‘Oh, don’t’ I said ‘it is too much like “Well done, thou good & faithful servant.” ’ When I next touched his cheek it was wet with quiet tears.

My dear one has painted & sketched some figures, such nice, great lines he sees in all these people. I feel as if I was blind in comparison to him. I am trying to read in the new book he has opened to me.’

4 February 1887
‘We have been two months a half married & never been away from each other for half an hour. I used to think I could not be happy unless I was much alone every day. Here I am never happy unless with Signor.

‘Are you really not longing to be alone?’ he asked me, ‘not finding drawbacks? Ah, just as you expected, & yet you expected a very great deal. You make your own happiness out of what I have to give you, which is nothing.’ ’

7 February 1887
‘Drew some hasty lines of drapery. Signor begs me to do it as often as possible.

‘The eye gets as it were in tune with the law of form & line, & by constant study, even hasty notes, the mind acquires that knowledge of the natural law, which is necessary for the ideal.’ ’

26 April 1887
‘He began, because his hand was wearied by idleness, a sketch in oil, of me. Painted straight off, in four colours, on single prime canvas with white, light red, burnt & raw umber, a lovely flesh colour. It was all drawn in burnt umber, which is a very good useful colour but must be used carefully, transparently, over light ground or else it darkens & becomes very heavy. Talking of painting with varnish, Signor says that it must be used with the white ground & again with the colour.’

26 October 1887
‘We went to pay a visit to Burne Jones, he & she, & we sat together in their little drawing room & did not go to the studio. They have Michelangelo’s Night & Morning, which Signor does not care for. Mr Burne Jones stood up for them. Signor thinks M.A. the greatest of all artists, but his sculpture by no means on a level with the painting. He thinks he was prevented by the obstinacy of his material from dashing in his thoughts (his wax sketches as fine as can be). From there we went to Holman Hunt & saw his very impressive picture of the Flight into Egypt, with all its strange ugliness of surface, flesh made of a hard stable material reflecting every sort of colour, wh. makes a most unlovely impression. The dignity & moral influence of his work always surprises me.’

26 April 1891
‘Sir Frederic, our first & faithful visitor. He & Signor had much to say about mediums. Macbeth & Fildes have been using Petroleum, Fildes the common kitchen stuff & Macbeth the rectified, prepared by a man in Great Queen Street, where their colours are ground with it. Signor has long used Rock oil, prepared by Bell in Oxford Street, & a small quantity of Linseed oil, to prevent its too rapid evaporation. Millais they think uses Spike oil, & Sir F., rectified spirits of turpentine. Sir Fred, is sorry & angry with Mr Richmond for having abstained two years from going near the Academy, at this time of friendly meeting. It is a pity that men who think that they regard art from a more serious point of view than seventy members, should not feel bound to go & mix their light with the lamp, & try to support Sir Frederic, who said today, wearily, that it was no sinecure.’

20 November 1891
‘Our 6th wedding day, & we began to keep it at one a.m. when Signor spoke to me, & I told him it was the morning of the 20th. Half waking, we blessed each other, but later, after I had been up some time at my writing table, he came out with my cup of hot drinking water, & stood smiling at me with a sort of supreme & sudden consciousness of my happiness with him, & said ‘Well, are you pretty happy?’ I had to tell him that he was too stuck up & full of pride, & that I was on the contrary a very miserable woman! On the breakfast table were two books & a dear letter from Choons with hers & Edward’s blessing.

He & Mrs Guild worked silently side by side from luncheon time till half past four, forgetting each other, till she, poor thing, over-tired, was overcome by an access of fear, & mistrust of Agnew’s promises, & Signor was disturbed, & not able to comfort her.’

2 November 1891
‘Ethel & I left the workers in the studio alone all morning, & when luncheon time came we found they had been on each others’ nerves. Mrs Guild could not come to luncheon, being in tears, Signor not being able to refrain from urging her not to lose her clear edges, & she in her highly nervous state having wept at his saying it makes the difference between refinement or vulgarity in work’.

The talented Mrs Mahler

Alma Mahler-Werfel, the Austrian musician and wife/lover of several celebrated artistic figures, was born 140 years ago today. She was a significant musician in her own right, but on marrying Gustav Mahler, her talent was suppressed. Marriages to the architect Walter Gropius and the writer Franz Werfel followed, and, after emigrating to the US, she became a culture figure herself in New York. More than 30 years after her death, her diaries - kept as a young woman - were published in English.

Alma was born in Vienna on 31 August 1879 into a privileged and cultured family, her father being a landscape painter. She was tutored at home, and raised as a Roman Catholic. Her father died when she was a young teenager, and thereafter she focused her studies on the piano. She contracted measles which left her with a hearing defective. When her mother married again, to Carl Moll, the painter Gustav Klimt and the composer Alexander Zemlinsky became regular visitors. Zemlinsky, in fact, taught Alma, and became her first lover. In 1902, though, she married Gustav Mahler, then the director of the Royal Opera, and nearly 20 years older. It seems, he showed no interest in her music, and even wished for her to stop composing. They had two daughters, one of whom died young. In the wake of her daughter’s death, Alma became depressed and began an affair with the young architect Walter Gropius.

Shortly thereafter, in 1911, Mahler died. Alma distanced herself from Gropius, but had an affair with the young painter Oskar Kokoschka. Both Gropius and Kokoschka enlisted in the army at the start of the war in 1914, but it was Gropius who Alma married, during one of his military leaves, in mid-1915. They had one daughter who died of polio aged 18. She then began a relationship with the Jewish poet Franz Werfel, and gave birth to another child, who died aged only 18 months. Alma and Gropius divorced, but it was not until 1929 that she married Werfel, taking the name Mahler-Werfel. In the 1930s, the couple fled Germany, first to France, and then to the US, where they lived in Hollywood. After Werfel’s death, Alma moved to New York where she became a cultural figure, and lived until 1964. Further information is available from Wikipedia, the Alma play website, or All Music.

In 1998, extracts from Alma’s diaries were published, covering the years from 1898 until her marriage to Mahler. The original manuscripts consist of 22 exercise books, and are full of her text in diversely coloured inks, pencil and crayon, with ornately written headlines, as well as many black ink line drawings. The extracts were translated into English and edited by Antony Beaumont and Susanne Rode-Breymann for publication in the UK by Faber and Faber as Alma Mahler-Werfel, Diaries 1898-1902. A few extracts can be read online at The New York Times book pages or at Amazon.

27 January 1898
‘This morning: practised. This evening: Dr Pollack and Narziss Prasch. Yesterday I played ‘Die Walküre’ until late at night. I like the first act best, particularly the close, ‘Blühe, Wälsungen Blut’. And the passage where Siegfried draws Sieglinde passionately towards him is wonderful - such fire, genuine erotic ardour. Is there anything to equal it?

My throat is very sore today.’

4 February 1898
‘This morning: a wealthy collector by the name of Schreiber. I sat at the piano, shivering. ‘I hope to God he buys something,’ I thought to myself. But no - the silly ass didn’t. He promised to come again. But that was it. If someone doesn’t take the plunge straight away, they’ll think twice before doing so later.’

13 February 1898
‘Spent the morning with the Lichtenheld girls. Mizzi gave me a delightful picture of herself.

This afternoon Gretl Hellmann called and, since today marks the Death of Richard Wagner, I played ‘Tristan’, ‘Walküre’ and ‘Götterdammerung’ to her all afternoon. The latter was supposed to be performed at the Opera but was cancelled due to the indisposition of Winkelmann. They gave ‘Norma’ instead. How mean not to play W. on the anniversary of his death.’

10 March 1898
‘This evening: tarot party with the Zierers, Frau Duschnitz, Spitzer, Lehmann, Hellmer, Epstein & Klimt. After dinner we took black coffee in the studio, danced and sang. Lehmann sang Rubinstein’s duet ‘Über allen Gipfeln ist Ruh’ with Mama. Klimt is such a dear man. I’m writing this because they went back to playing cards and roped Klimt in too. At 2:00 the Zierers and Frau Duschnitz went home. Then the fun really began. Mama and Marie Lehmann danced a pas de deux, then we all sang glees and had a whale of a time. After we’d danced our fill, the party ended at 3:30. Mama said: The Zierers are bound to make remarks, because Klimt sat with you (Alma) all evening and spoke to you so much.

But he was delightful, talked about his painting etc., then we talked about ‘Faust’, a work which he loves as much as I do. No, he’s a really delightful fellow. So natural, so modest - a true artist!’

23 March 1898
‘Frau Radnitzky came to give Gretl her lesson. I avoided her, like a dog that’s committed some misdemeanour. She vented her fury on the innocent Gretl. Well, on Saturday I’ll probably hear all about it. I’m looking forward to it already. Mama and I went to Taubenrauch to order our spring oufit - frightfully expensive - 90 fl! Mama said: You know, Alma, I still have 100 fl in a savings account that nobody knows about, I shall use it to foot the bill.

My eyes filled with tears, and I resolved to withdraw the 20 fl in Gretl’s and my post office book and give them to Mama. Gretl agreed.

This evening: Mama was at Dr Herz’s. We went to the Zierers’. Something funny happened: Flora wasn’t quite certain whether we’d be coming, and had invited Amelie Engel. All of a sudden she came along, kicked up a hell of a fuss and said: Do you think I came here to hobnob with the Schindlers?

But she stayed all the same, and we - Lilli, Gretl and I - treated her with utter contempt. Lilli was even rude to her, just for our sake. After dinner I was asked to play. I didn’t. Then Amelie came to me and said: Fräulein, you must have heard what I said. I’m really sorry, you must surely have misunderstood me.

And she made her apologies as prettily as you could imagine - far better than I ever could. So then I played, and so did she. She played waltzes beautifully, and I played quite well for the first time in days.’

The Diary Junction

Our Time of Day

The British actor and political activist Corin Redgrave was born 80 years ago today. He kept diaries some of the time, and his second wife Kika Markham has used these, along with her own diaries, to write a memoir - Our Time of Day: My Life with Corin Redgrave. ‘With great empathy and wit,’ the publisher says, ‘Kika records their lives on and off stage - two great actors from two theatrical families.’ As it happens, I have a vague personal connection with Corin and Kika in that they first met while working on a famous 1930s film produced by my grandfather.

Redgrave was born in northwest London on 16 July 1939, to the famous actor Michael Redgrave and his actress wife Rachel Kempson. He had two sisters, Vanessa who was older, and Lynn who was younger. Michael was educated at Westminster School, and King’s College, Cambridge, where he graduated with a first in English. (Ian McKellen, Derek Jacobi and Trevor Nunn were among his friends there.) He joined the Royal Court Theatre as an assistant director in 1962. That same year he married Deirdre Deline Hamilton-Hill, and they were to have two children.

Redgrave soon turned to acting, and through the 1960s appeared on stage and in films, not least in Fred Zinnemann’s Oscar-winning A Man for All Seasons. In the 1970s, acting began to take second place to his involvement in radical politics: encouraged by Vanessa, he joined the Workers’ Revolutionary Party founded by Gerry Healy. He became increasingly involved with the group as a full-time organiser; and when it split, he remained loyal to Healy and his new Marxist Party. Redgrave’s marriage had been dissolved some while earlier, and, in 1985, he married his second wife, Kika Markham, also an actress, and they had two children.

Only with the ending of the Cold War did Redgrave return wholeheartedly to acting, enjoying significant roles such as in In the Name of the Father (1993), about the wrongful imprisonment of the Guildford Four, and in the romantic comedy, Four Weddings and a Funeral (1994). He also had success in the West End and on Broadway, especially with Tennessee Williams’s Not About Nightingales (receiving a Tony Award nomination for Best Actor in a Play in 1999). In the mid-1990s, he wrote an acclaimed memoir of his father (whom he had helped with his autobiography a decade earlier) Michael Redgrave, My Father, which incorporated extracts from Michael’s diaries. Corin Redgrave was diagnosed with prostate cancer in 2000, and in 2005 suffered a heart attack, but, nevertheless, made a triumphant return to the stage in 2007, with the one-man play Tynan, and as the lead in Trumbo in 2009. He died in 2010. Further information is available from Wikipedia, the Oxford Dictionary of National Biography (log-in required), or IMDB.

Like his father, Corin kept a diary, at least sometimes. I have not been able to establish how regularly he did so, or what diary material he might have left behind. However, Kika Markham in her memoir - Our Time of Day: My Life with Corin Redgrave (Oberon Books, 2014) - includes many extracts from his diary as well as from her own. Some pages can be previewed at Amazon or Googlebooks. and a review can be read at The Guardian. The publisher’s blurb states: ‘Our Time of Day was inspired by Corin’s revelation that after suffering brain damage he could remember little of his marriage - despite the fact that for over thirty happy, passionate and turbulent years he and Kika had shared their love of acting, family and left-wing politics with ceaseless energy and commitment. With great empathy and wit, Kika records their lives on and off stage - two great actors from two theatrical families. She draws upon intimate records of the thoughts and feelings that they had both expressed in personal diaries, writing with often brutal honesty. Finally she charts the poignant trajectory of Corin’s illness, from the moment he suffered a near-fatal heart attack during a speech on behalf of the Dale Farm gypsies, to severe memory loss, cancer and his eventual death from an aneurysm in the brain. Throughout these troubled years both continued acting in plays and films, as well as strenuously pursuing the human rights causes they held so dear.’

I, myself, have a distant connection with Corin and Kika. In the second paragraph of chapter one in Markham’s memoir, she explains how she knew Corin: ‘Michael Redgrave, Corin’s father, and David Markham, my father, had worked together in a film about the struggle of the miners in the 1930s: The Stars Look Down, based on the novel of the same name by A. J. Cronin.’ My grandfather, Igee Goldsmith, was the producer of that film - see my 2011 Diary Review piece on Cronin.

Here are several extracts from Corin Redgrave’s diaries as reproduced in Markham’s memoir.

9 February 1999
‘It’s an age since I wrote this diary. All my good intentions to write it at least every other day have been sabotaged by the unusually heavy workload of writing for the magazine [The Marxist].

It’s the second very long day of technical rehearsal. I have a nice spacious dressing room, with a shower and loo. When I get the chance I’ll get a divan brought in, and a fridge, and put some of our beautiful photos on the wall. They made me cry with joy, and a little bit with pain, because they make you seem so close and yet you’re so far. At night I play your “I’m beginning to miss you”, and I could swear you must be thinking of me, except I know - or I hope - you’re asleep.

My dresser, Dino, has been dressing Uta Hagen. She’s on in a play off-B’way, which will run for another three weeks. Another good reason you should hurry on over if humanly possible, to catch her while she’s still here. Dino says she’s a ‘miracle’ and I’m sure he’s right.’

28 March 2009
‘We took part in a rally in Trafalgar Square.

I read Robert Fisk.

We stood together on the platform - Kika read the diary of Zena el Khalil.

It was an honour to take part in such a dire, dreadful situation. It was important to feel that we could contribute, even in a small way.

We met Harvey and Jodie which was delightful. And Arden was there, dear Arden.’

16 June 2009
‘Lying in bed is not necessarily tiredness, but finding a way to start the day. Arden told us some wonderful news. He got a 2:2 for his degree!! BRAVO ARDEN!!!! It hasn’t been easy for him, with me being ill, and with him changing course in mid-stream. Tony Kushner came to supper. We talked a lot about writing.’

On Magpies, on!

‘Well - that worst part is over. Tomorrow, to pack, & then onto the Road & away. Details, like lorries & portable pianos & car insurance, remain to be settled - but nought shall stay our triumphant flight. On Magpies, on!’ This is from a journal kept by the writer Iris Murdoch, born 100 years ago today, when still a young woman and touring with a group of actors called The Magpie Players. The diary, published posthumously, is said by its editor, Peter Conradi, to show ‘a person vividly alive and fascinated by her world, trying to make sense of it by writing it down, seeking to be in charge of her own destiny.’

Murdoch was born in Dublin on 15 July 1919. However, within weeks, her father took up a job in London, working at the ministry of health. She was educated at the Froebel Demonstration School, at Badminton School as a boarder from 1932 to 1938, and at Somerville College, Oxford, where she studied classics and philosophy. After leaving Oxford, in 1942, she worked for HM Treasury, until mid-1944 when she joined the United Nations Relief and Rehabilitation Administration. Initially stationed in London, she was transferred in 1945 to Brussels, then to Innsbruck, and finally to Graz, Austria, where she worked in a refugee camp. Subsequently, she took up philosophy as a postgraduate at Newnham College, Cambridge, before, in 1948, becoming a fellow of St Anne’s College, Oxford, where she taught philosophy until 1963.

Murdoch published her first novel - Under the Net - in 1954. In 1956, she married John Bayley, an English academic and literary critic. Though the relationship lasted the rest of her life, Murdoch is known to have had many affairs. She produced a new novel every one or two years - including The Bell (1958), A Severed Head (1961) and The Black Prince (1973) - some of which won literary prizes. Her greatest success came with The  Sea, The Sea which won the 1978 Booker Prize. In 1987, she was made a Dame Commander of the Order of the British Empire. In 1994, she was diagnosed with Alzheimer’s disease. In 1997, she was awarded the Golden PEN Award by English PEN for ‘a Lifetime's Distinguished Service to Literature’. She died in 1999, and later the same year Bayley released Iris: A Memoir (later turned into a film). Further biographical information is available online at Wikipedia, The Guardian (and here), The Irish Times, Encyclopaedia Britannica, The New York Times.

Murdoch kept diaries for much of her life. In Iris Murdoch: A Life (HarperCollins, 2001), the biographer Conradi explains that she left behind edited journals (1939-1996) ‘which constituted an invaluable resource, carrying her unique ‘voice’.’ Indeed, it seems, he was the first to have access to her journals, referring to, and quoting from them, generously throughout his biography. Many pages can be freely read at Amazon and at Googlebooks. In 2010, Conradi also published Iris Murdoch - A Writer at War: Letters & Diaries 1938-46 (Short Books, subsequently Oxford University Press, 2011). The diary extracts take up one third of the book, and cover the period in 1939 when she was on tour with a theatre group, The Magpie Players. A few pages can be previewed at Amazon, and reviews can be read The Telegraph, The Guardian, The Independent.

One of Conradi’s aims in producing this latter work, he says, is ‘to reclaim the living writer as she begins her adult life’. He explains: ‘Dame Iris in life so august, remote and intensely private, was in death unwittingly reduce to two opposed stereotypes: in vulgar language bonking (younger Iris) or bonkers (elderly Iris). If you’re American: screwing or screwy. Both sensationalisms reduced her to gross physicality, by-passing and demeaning the one thing about her that was truly remarkable - the freedom of her mind.’ He goes on to say: ‘The journal and these letters show her, by contrast, as a person vividly alive and fascinated by her world, trying to make sense of it by writing it down, seeking to be in charge of her own destiny. That she was disturbed by a troubled love-life does not prevent her being a role-model for young women today. Such experiences, which mark the growing-up of most of us, were to feed her strenuous moral philosophy and her fiction alike. And in these writings she walks and talks and lives once more.’

In 2017, Kingston University, London, announced that Audi Bayley, the widow of John Bailey, had gifted Murdoch’s private journals, covering the period from 1939 to 1996, and that consequently it now had ‘the most significant collection of Murdoch-related material in the world’. ‘These journals,’ a university press release said, ‘provide unparalleled insights in to [sic] the remarkable and complex life of a woman whose private and public personas were often at odds with each other. [. . .] A first glance at the journals revealed that some entries had been edited by the late author with phrases having been physically cut out of pages by Murdoch herself, [. . .] The second journal is missing and assumed destroyed as it spans the period during the Second World War when Murdoch was caught up in a controversial love triangle [. . .] The account of the first days of her marriage has also been removed. Among the collection is a journal from the 1980s which is packed with descriptions of domestic incidents and accounts of dreams. Most significantly, there are hundreds of cryptic comments on philosophy, theology, literature and the writing process itself.’

Here’s a selection of Murdoch’s diary entries as chosen/edited by Conradi: the first two long ones (August 1939) are taken from Iris Murdoch - A Writer at War: Letters & Diaries 1938-46, and the remaining short ones are all from page 274 in Iris Murdoch: A Life.

23 August 1939
‘Well, we did put on a show - but only just. We didn’t know our lines (some of us), our costumes weren’t finished, & held together with pins, parts of the scenery were unpainted, & we had to cut out chunks of the programme because it was under-rehearsed. But we put on a show & what’s more they liked it! 'The whole day was a glorious nightmare of sewing on clips & fasteners & buttons & bells, & drawing innumerable magpies on innumerable sheets of paper for innumerable purposes. Hugh & I took half an hour off after lunch & walked up to the meadow where the horses were & talked about the Party. I was amazed when he told me he had been in only a few months & there was I imagining him an Old Bolshevik. Hugh is full of surprises.

He makes a very good dead Cuchulain in the ‘Lay of the Heads’, and even shewed great enthusiasm for the part!

We were supposed to have a ‘Dress & Lighting Rehearsal’ at 3.30, but of course it did not materialise. At 3.30 I was just beginning Joan’s ‘Queen o’ fairies’ dress, & the bulbs for the spotlights hadn’t come! About 5 Joan and Hugh & I went and lay on the grass exhausted & Joan did the Times crossword & moaned about the political situation. The papers seemed scared & I suppose a grave crisis is on but I can’t seem to feel any emotion about it whatsoever. This is such a strange, new, different, existence I'm leading, & so entirely cut off from the world.’

About 6 o/c we rehearsed Tam Lin & it was appalling. Denys, of course, nervous creature, went off the deep end, & said O I wish we weren’t doing this! But I tried to reassure him, privately thinking he was quite right.

Tom almost lost his temper several times during the afternoon - quite unheard of. But Joan was magnificent & sorted all the costumes out, & was sweet to us when we rushed about & said Joan, where is that cloak? Joan, where are my shoes. . .

And at 8 o’clock there we were, Joan & Moira & I singing the theme song & trembling all over. ‘Julius Caesar’ was on first, & Moira told me afterwards it was terrible. Victor had to be prompted every other line, & she sang her song wrong. Alas. Then we did Tam Lim and it went wonderfully, never better. And they liked it!

Denys was exultant. (Joyce said afterwards my arm movements were perfect & reminded her of Peggy Ashcroft! I like that girl Joyce, she says the right things.) ‘Broomfield Hill’ didn’t get across so well, tho’ Joan’s dress was splendid, like a young parachute.

‘Clydewa’er’ was the hit of the evening tho’, with Hugh compering, & doubled the House up in laughter. Joan gave a fine little introductory speech to the ‘Lay of the Heads’ & it went down amazingly well. No one laughed! ‘The Keys’ also went far better than I’d expected. Hugh filled all the sceneshifting intervals with a brilliant & endless stream of songs & patter which the audience loved. First he was American & sang cowboy songs, then he sang in Welsh, then Irish & Scottish songs. The production went moderately smoothly, with only one major blunder, when Joan was left sitting alone in the middle of the stage for 3 minutes in ‘Donna Lombarda’, while Joyce & I desperately jabbed Denys’s costume as full of safety pins as a porcupine is of quills. The ‘Play of the Weather’ went well, tho’ Cecil said it was ‘a shaggy performance, just hanging together, with everyone inventing their lines for themselves.’ I think some of the audience were shocked at the bawdier parts, tho’ the curate in the back row whom we’d fixed on as a test case, laughed heartily thro’out.

Well - that worst part is over. Tomorrow, to pack, & then onto the Road & away. Details, like lorries & portable pianos & car insurance, remain to be settled - but nought shall stay our triumphant flight. On Magpies, on!’

27 August 1939
‘[Water Eaton Manor] A peaceful day. We left Northleach with mingled relief & imprecations, after the men had been well rooked by a charming but villainous robber of a Youth Hostel warden. And, as a grand finale, Joyce had her purse stolen. O Northleach, Northleach we shall pass this way but once! We went to Water Eaton via Shipton-under-Wychwood, & left our big props & the trailers behind there. Water Eaton is a fine Elizabethan manor belonging to Prof. Carr Saunders, the London university population expert. We weren’t exactly welcomed with open arms by the professor & his lady. Not exactly. But we found Frances was there with her two harps - so that compensated for a slight aloofness on the part of the family & a noticeable scarcity of basic nourishment. We wandered the gardens, lay on the grass, & Tom talked vaguely of rehearsing this & that. My opinion of everyone in the company is going up by leaps & bounds with 2 exceptions. Tom & Jack. Tom really is maddening. He refuses to make up his mind, and when he does make it up, he won’t tell anyone. He was well served this afternoon, for as a result of his not divulging what ballads we were going to rehearse, half the company went off in a punt & left him fuming. Actually it was mean of them too to wander off without a word, & I ticked Joyce & Moira off about it when they came back. Frances played her harp in the family chapel & I came & sang softly to it, & happily we passed the day. At 6 we gave a show to the Carr Saunders & aristocratic & arty friends. It was beautiful to do Tam Lin out of doors in such a superb setting, & it went well. Tom wrecked Donna Lombarda by too early an entrance, but on the whole all was delightful.

After the show Hugh & I wandered down to the Cherwell which flows thro’ meadows below the house, & sat & watched the moon rise. A group of white swans sailed silently past. It was a most magical evening. Hugh lay down beside me with his head touching my side, & I sat and looked across the river. Then gradually we gave expression to what had been tacit between us for several days. There is something incredibly tender & gentle about Hugh, for his all terrific strength & bluffness.

I went back late to the house to find Moira & Joan had been waiting for me. They then took Joyce & me in the car to the people we were to stay with in Yarnton. Both Joyce & myself, by some unlucky change had lost our cases, & were in great distress. However, we survived the night. We were staying with a hearty old couple, good working class stock, but unintelligent. The star of people who are nice to you when you come canvassing, bu who will not buy a copy of the ‘Daily Worker’ as they ‘already get the Herald, thank you very much.’

13 December 1948.
‘I need a strongbox to keep this damn diary in. Probably I ought to destroy all the entries of the last 3 weeks. Why am I unwilling to? . . . Must root out the weak desire for an audience (the lurking feeling eg that I write this diary for someone - E[lizabeth], P[hilippa], D[onald], or X, l’inconnu, I still believe in l’inconnu -? ). Way to sincerity, a long way.’

30 January 1949.
BS [unidentified] lectured me on politics & the old nostalgia stirred, part conscience, part guilt, part sheer romanticism and part sheer bloody hatred of the present set-up. To no end, but it stirred. It occurs to me that I entertain the idea: ‘One day I shall return to the party’, and the idea ‘One day I shall join the Roman church’ like two escape valves. It is not that I am utterly unserious about them - but they not held close, but part of some far project ... Thought later: what marks one out as a confined person, with no dimension of greatness? Some lack of sweep, some surreptitious idolatry. In my case, I feel there must be some will to please which is on my face like a birthmark. Who lacks this smallness? D[onald], and Pippa [Philippa], unconfined people, and E[lizabeth] too.’

18 May 1952.
‘Looking back in this diary. What an unstable person I seem to be ... I shall be to blame if I don’t build now where I know it is strong, in the centre, through loneliness. (Aloneness) ... I wrote today on the top of my lecture paper: marriage, an idea of reason!’

14 June 1952.
‘There is a lot which I don’t put into this diary, because it would be too discreditable - & maybe even more painful. (At least - no major item omitted but certain angles altered - and painful incidents omitted.)’

27 October 1958.
‘The instinct to keep a diary: to preserve certain moments for ever.’

Understand it, and love me

Havelock Ellis, an early British sexologist who wrote the first medical tract on homosexuality, died 80 years ago today. Given his own lack of experience in sexual matters, it remains a quirk of sociological history that he should have become such a pioneer in opening up discussion of sexuality and sexual problems. Intriguingly, he left behind some personal diaries but they have never been edited or published. In his own autobiography, for example, he says of one diary, ‘perhaps someone some day would read it, and understand it, and love me’.

Ellis was born in Croydon (now part of Greater London) in 1859. His father was a sea captain; and, aged seven, he was taken on one his father’s voyages. He attended the French and German College near Wimbledon, and afterward attended a school in Mitcham. In 1875, Ellis sailed with his father to Australia where, soon after his arrival in Sydney, he obtained a position as a master at a private school. But he was soon fired (for he had no qualifications) and became a tutor for a family for a year before obtaining a position as a master at a grammar school. Subsequently, he undertook training and was given charge of two government schools.

In 1879, however, Ellis returned to England where, having decided to study the subject of sex, he enrolled at St Thomas’s Hospital Medical School to become a physician. He funded his studies by editing literary works, and with a small legacy. He joined The Fellowship of the New Life in 1883, through which he met a range of social reformers. And the following year he was part of the group that set up the Fabian Society. It was also in 1884 that he met Olive Schreiner with whom he had a long friendship.

Ellis published his first books - The Criminal and The New Spirit - in 1890. Soon after, he met Edith Lees who had been much impressed by The New Spirit. They married in 1891, though from the first the marriage was unconventional: they lived in separate homes, and Lees was openly lesbian. In 1897, the English translation of Ellis’s book Sexual Inversion, co-authored with John Addington Symonds and originally published in German in 1896, became the first English medical textbook on homosexuality. Many further books about sex followed, although, as many commentators have noted, this was somewhat ironic since he himself was almost totally inexperienced.

Between 1897 and 1928, Ellis published seven volumes of his Psychology of Sex - considered a comprehensive and groundbreaking encyclopaedia of human sexual biology, behaviour, and attitudes. However, publication and dissemination of the first volume, Sexual Inversion, incited opposition in the UK, not least through a court case against a bookseller. As a result of the controversy, the remaining six volumes were published in the US. But, even across the Atlantic, sales were restricted to members of the medical profession (not till a change in the obscenity laws in 1935 were they allowed on general sale). Ellis’s work helped to foster open discussion of sexual problems, and he became known as a champion of women’s rights and of sex education. He was also a supporter of eugenics, and served as vice-president to the Eugenics Education Society. His other notable books include Man and Woman (1894), The Task of Social Hygiene (1912), and The Erotic Rights of Women (1918). He died on 8 July 1939. Further information can be gleaned from Wikipedia, Spartacus Educational, the Embryo Project Encyclopedia, or the Australian Dictionary of Biography.

Ellis’s autobiography - My Life - was published soon after his death (Houghton Mifflin, 1939, and William Heinemann, 1940). It can be read freely online at Internet Archive. In Chapter Three, Ellis discusses a diary he kept for a while: ‘The Surrey left London on April 19th, 1875. From this date, and during the four years I spent in Australia, I kept a diary in a solid manuscript book purchased to this end, so that for the approaching formation period, when nearly all the seeds of my life’s activities were sown, I could if I please - though I have not done so - check my recollection by the entries in this intimate contemporary record. Except Olive Schreiner, none has ever read this diary, not even my wife, though it contains nothing I had any wish to hide from her; but to Olive, with her large tolerance and her active intellectual receptivity, it seemed in 1884 easy and natural to me to bare my inner self. I sometimes think that with increasing years and ill health she has become less tolerant, less receptive, but we have long been separated by all the waves of the Atlantic.’

And then, 100 pages further on Ellis says this: ‘Though in the published volume of Olive’s Letters so many extracts from those to me are given, I may perhaps now give a few further fragments from letters, early and late, having a more intimately personal reference to myself. Even before the end of 1884 we were living in an atmosphere of familiar nearness, and in November of that year, when ill in bed, she wrote: “I am not sure as to where you begin and I end.” A little later, when she had been reading my Australian diary in which I had put down that perhaps someone some day would read it, and understand it, and love me (Olive is still, more than half a century after it was written, the only person who has read it), she writes: “And then I was living just like you on a lonely farm, and at night when my work was over going out to walk under the willow trees or on the dam walls and I used to think ‘One day I must find him.’ ” ’

But this is not the only diary Ellis kept. Houston Peterson refers to diaries kept by Ellis in his 1928 biography Havelock Ellis: Philosopher of Love. In reviewing this, Margaret Sanger stated: ‘The excerpts from the early notebooks and diaries, which Havelock Ellis began at the age of ten, are especially interesting.’ The State Library of New South Wales holds some of Ellis’s diary material. It refers to ‘Diary 1875-1890’ with the following notes: ‘A few pencil notes by Henry Havelock Ellis in early part of diary appear to have been made some years later, only 1 is dated (page 99). Many entries in later part of diary refer to Olive Schreiner’; and, ‘The diary records mental and spiritual experiences, not day to day occurrences. A condensed account of these experiences, with comments, appears in his My Life, 1940 espec. pages 91-103.’ The Library also makes reference to six volumes of ‘commonplace books’. However - and unfortunately - none of Ellis’s diaries have ever been edited or published.

Prayed & wept & hope

’But I heard that Robert was missing for several days before the surrender & might be killed or wounded &c. I felt so shocked - as I dwelt upon the idea of my only & faithful love meeting such a fate & never returning to me - whilst others will come back to their loved ones. I couldn’t endure the thought. Prayed & wept & hope all may yet be well with us, for I can’t believe all this.’ This is Emmala Reed, born 180 years ago today, confiding, to her diary, hopes concerning her childhood sweetheart. The diary, published only recently, is considered of historic importance because of the insight it gives into the early postwar life of a Southern woman.

Emmala was born in Anderson, South Carolina, on 11 Jun 1839. Her father, Jacob Pinckney Reed, had been elected to the South Carolina state legislature, and he was soon to launch a local newspaper. However, he was an ambitious man, and studied to become a lawyer, later serving as a judge. One of his most significant contributions was to found the Johnson Female Seminary, and it was from here that Emmala graduated aged 16. Hers was a comfortable, social life - fancy carriages, music, parties. When the Civil War came, the town of Anderson strongly supported the Confederate cause; despite the tragedy of those years, the Reeds came through them relatively unscathed.

Having been disappointed by her childhood sweetheart, Robert, on his return from the war, Emmala married George William Miller, a teacher, in 1867 and they had seven children. The couple moved to a farm in Rock Mills Township, a few miles from Anderson. The Millers and the entire Reed clan prospered as they grew more cotton than ever before, or founded and financed railroads, cotton mills, banks, mercantiles, and drug stores. Emmala died in 1893. There is very little further information about her readily available online. She is remembered today mostly because of a diary she kept for two years. This was edited by Robert T. Oliver and published in 2004 by the University of South Carolina Press as A Faithful Heart - The Journals of Emma Read, 1865 and 1866. Some parts of this can be previewed freely online at Amazon and Googlebooks. The book comes with a long preface, many detailed footnotes and a host of appendices.

In his preface, Oliver provides further information about his source manuscripts:

‘Emmala Reed’s three journals chronicle her life in Anderson from the age of twenty-five through twenty-seven. The journal written in 1865 covered March 27 through June 26, 1865 and portrayed life in Anderson, South Carolina, as the Civil War ended. With paper and money both in short supply, Emmala was forced to write across an old school workbook in a crosshatch style. As she said, “having filled up every blank book that I could with my silly journalizing I will have to resort to crossing some of the old ones - for I feel that I can scarcely live without giving some such expression to my feelings.” Emmala’s penmanship, best characterized as a minuscule scrawl made worse by the necessity of crosshatching, added considerable difficulty to the transcription process.
Many Southern women abruptly stopped writing in their journals and diaries when the war ended, but Emmala wrote on, a part of her nightly routine and she rarely wavered. Determined to maintain a constant record of her life, Emmala wrote for personal pleasure and inadvertently left behind an excellent portrayal of postwar life in Anderson. [. . .]

The journals of Emmala Reed are significant because she presents a much more detailed account of the crisis of change in the early years of Reconstruction than those of many of her fellow chroniclers who stopped writing at the wars end. And though Anderson was a small town in the northwestern hills of upstate South Carolina, a steady procession of historically noteworthy people and events are described in her journals and add importance to the contents. Emmala relied on the largesse of a resourceful and loving father to provide for her and her siblings and to give her the leisure to keep these most interesting journals.

Indeed, these journals possess a faint scent of magnolia: the indignation of rejection by a suitor, the triumph of love, and a wide assortment of potential romantic fictionalizations. Yet their true significance lies in the scope of information gained through her descriptions of people, events, food, and literature as Emmala gave life and depth to her words. Such works as this have always been valuable resources for the social historian, and the journals of Emmala Thompson Reed are no exception. They provide the reader with a wealth of information about everyday life in a small town and an opportunity to gain insight into the early postwar life of a Southern woman whose whole world had been circumscribed by a series of historical changes beyond her control.’

Here are several extracts from Emmala’s diary, as found in Oliver’s book, complete with spelling inconsistencies (although I have omitted the many footnotes and word underlinings).

29 March 1865
‘A dreamy day - misty - peach trees & gardens glowing with beautiful bloom - sunny &c, but Wm. Walters came in & disturbed my equanimity. Wanted me to go in the country with him to Mrs. Skelton’s. I felt it would be funny to go alone with him. Too dull &c not decided yet. Aunt Anna here - had letters & gone home. My many excuses rather provoked Mr. Walters I guess for he didn’t return to me. I couldn’t decide whether to go or not. I was much worried but releived when he had gone. Not vexed I hope, yet he was kind in calling for me & I may have no other opportunity of going there. But my want of decision is a great trial to me and a serious fault leads me into many unforeseen difficulties & I can’t have more, it seems, or discretion. Busy all evg.’
 
31 March 1865
‘Delightful day. Made a soldiers shirt in the morning, at noon was suprized by the coming of Fannie Smith to pay me a long promised visit. Dressed in deep elegant mourning, her tall, beautiful form, so queenlike. Such fine dark eyes & brownish golden hair & very fair and graceful ways and gentle voice. So smart, no wonder she has been so beloved by noble Harry, who is gone forever. She has lamented & loved him truly I think.

Says she can never love so again, but she is beginning to get over it, with her gay nature rather subdued but often excited to mirth and sarcasm often too, but she is much changed for the better from the wicked, scornful girl she has been. She will yet be blest and happy I hope. Is much petted by all the Millers. Comes now to see her friends, she is a warm friend of mine too. Hope it may remain so.

We sat charring &c all evg. Mrs. Carter and Miss Gibbes called on us. Nice ladies; the last told us her peculiar fancy for pet snakes, little green grass snakes which she twines in her hair, so strange! Fannie & I walked round to Hattie Brissey’s - nice girl, but cool to me. I think they had a children’s party there - a houseful.

At night Theodore came to see his lovely niece & I. They seemed quite congenial & fond of each other, but Eleanor carried on too much nonsense with him. [H]e talked to me very pleasantly, enjoyed my songs as usual.’
 
23 April 1865
‘A cold, clear day - but too windy for frost we hope. I didn’t feel well, half frozen all day as we could get no fires. Went late to S.S. Heard children & sung, but was thinking sadly of our momentous conditions now & of Robere - his fate. Mr. Murray gave us a very good sermon on “Search the Scriptures.”

Reading &c all evg - Lula Broyles came up here from Belton where she has been sick - a tall, fair, amiable, smart, lovely girl - I am much attracted to her. We were all so excited about the news - reported that Abe Lincoln was killed & Seward wounded by assassins in Washington & Andy Johnson to be inaugurated Pres, of U.S. and a general cessation of hostilities & terms of peace &c. How much is true & how it will all end, who can tell! But these are momentous - stirring times & we have reached a crisis. God deliver & help us!
 
But I heard that Robert was missing for several days before the surrender & might be killed or wounded &c. I felt so shocked - as I dwelt upon the idea of my only & faithful love meeting such a fate & never returning to me - whilst others will come back to their loved ones. I couldn’t endure the thought. Prayed & wept & hope all may yet be well with us, for I can’t believe all this. Read over his last dear letters - both unsatisfied, yet so much to explain - surely this is not all - ‘though it may be best! I have ever feared that some such fate would be his - yet still hope for the best!

Hear that Dr. Jimmie Brown & Bob __ were captured at Richmond. What will become of the last? Many other rumours. Negro choir singing here tonight. I had no heart to sing. Long for R. Eleanor seemed to be made happy by a letter & gift from Ben & hopes soon to see him - ‘though flirting now with Dick Tupper - a nice little red headed youth. Andrew Moreland back here - sent out my letters, but will they ever be rec’d. George & Milton Brown have come back - didn’t get on to the army nor letters to P & R I guess, but may I hear from them soon.’

29 April 1865
‘A variable pleasant day of smiles & tears - busy at home. Becky Webb & Eleanor ready with baskets of lunch to go to a picnic, but all parties backed out - boys & girls couldn’t agree. We ate lunch at home.

Mrs. Pinkind here - we sang duetts, then to our surpize a soldier friend entered - Cousin Tom Carter. One of the captured army of Va., yet wouldn’t surrender - escaped & hopeful still & brave. Had a hard time wandering about there. He looked right handsome - delicate form - wavy black hair, bright eyes & rosy face. Good & moral & so lively & blunt. Had a cold & could scarcely talk, but he & I sat chatting all day of the times &c. He said Tom & Jim Hamilton & one Charlie Jones of Abb. were all anxious to learn if I was single - wanted to visit me &c. In evg he walked down to Grandpa’s - where they will be glad to see him. He reminded me of Alfred today - his voice & ways. Fear he may go the same way - with consumption - hope not.
 
Guests comes from Pendleton on the cars too. Helen Smith & Fannie Adams - dined here & sat some time talking Fan is fine looking - smart & stiff - talks much. I sang for them some. She went to see the Wilkinsons - spoke of their brother Joe coming home soon - having my likeness. She would send him to see me &c.

Helen stayed with Eleanor - ‘though nobody was much pleased, only cares to collect beaux around her. Gus Van Wyck came along. Keys McCulley with them in aft. Called this morn & at night again. A good looking merry chap! Frazier Wilson & Nick Whaley - two Charleston gents, called on them too, so they are highly entertained tonight whilst I was deploring my false or constrained lover - so near - so far! He & C went to their brother Ed’s today - have so many kin to see. I can’t see much of him, wonder if he is not thinking of me &c and what will be the result! All here wondering why he comes not - they will tell him tales of me I guess.

In the soft - hazy - dewy moonlight - the fragrant flowers & myriad roses - dripping with pearly drops - I sat in the piazza - knitting & dreaming so sadly. For every step I thought was his and my heart would bound, but sink back more depressed - as I found he would not come! And always before when he came from trips he called on me the second day or night &c and now when most interested - he comes not & I get no message even and what does he think &c feel? Direct us for the best oh God! He is weary & worn - no clothes - has to stay home with all the collected family. He would cause too much excitement were he to seek me already. He fears all of us down here & some of my letters - or tales he hears may offend. Still he will surely came ere long - or I can’t stand it [. . .].’