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Voicing, De-voicing and Self-Silencing: Charles Kingsley's Stuttering Christian Manliness
- Author
- Anderson
- Bourdieu
- Buck-Morss
- Catherine Gallagher makes this observation in her magisterial and paradigmatic reading of the novel in The Industrial Reformation of English Fiction 1832–1876 (Chicago and London: Chicago University Press 1985) 89–110. She attributes Kingsley’s divided narratorial voice to two contrary philosophical states: his Coleridgean romanticism and the empirical determinism of his social reform agenda
- Cited in Hall 7. (See note to 3)
- Cited in Stammering and Stuttering: Their Nature and Treatment 242
- Cited in Steven Connor Dumbstruck A Cultural History of Ventriloquism (Oxford: Oxford University Press, 2000), 333
- Cited in Susan Chitty’s The Beast And The Monk A Life of Charles Kingsley (New York Mason/Charter, 1976), 196
- Diary accounts suggest a sustained profound and vigorous engagement with his parish, particularly at times of sickness. John Martineau, who spent a year with Kingsley as a 13-year-old, remembers how the sight of suffering affected him: ‘The cholera of 1849 had just swept through England and though it had not reached Eversley, a severe kind of low fever did. [It was] a season of much sickness and many deaths. His senses were acute to an almost painful degree. The sight of suffering, the foul scent of a sick room – well-used as he was to both – would haunt him for hours’, Letters, vol.1, 241
- Dr James Hunt’s 1854 treatise on stammering was re-published as Stammering and Stuttering
- Dumbstruck A Cultural History of Ventriloquism 189
- For a discussion of the later prefaces to Alton Locke and their place in self-consciously re-shaping history see David Amigoni, Victorian Biography Intellectuals and the Ordering of Discourse (New York: St Martin’s Press, 1993), 75–78. Thanks to Adelene Buckland, co-organiser of the Print Culture and the Novel conference in Jan. 2007 for a very stimulating post-conference email discussion on Kingsley’s endless editing. Kingsley’s unhappiness about committing words to a page for public consumption is revealed in a letter to J. Conington in December, 1848: ‘I am so dissatisfied with Yeast. It was finished or rather cut short to please Fraser.’ Letters, vol.1, 191
- For discussions of Kingsley and Ludlow’s short-lived journal Politics For The People in the aftermath of the Kennington Common rally see Ian Haywood, The Revolution in Popular Literature (Cambridge: CUP, 2004), 218–242 and Donald. E. Hall ‘On the making And unmaking of Monsters: Christian Socialism, muscular Christianity, and the metaphorization of class conflict’ in Donald. E. Hall ed. Muscular Christianity Embodying The Victorian Age (Cambridge: CUP, 1994). On physical force Chartism see David Jones, Chartism And The Chartists (London: Allen Lane, 1975), chapter 5
- Fraser’s Magazine July 1859
- Gallagher notes that Alton Locke is also excessively conscious of its own ‘bookness’ (109)
- He was writing Yeast ‘at night when the day’s work was over and the house was still.’ Cited in The Apostle of the Flesh, 167
- In a letter to John Bullar January 23, 1857, Kingsley wrote :‘At twenty, I found out tobacco. The spectres vanished
- Interestingly Mary Barton does the opposite for Jem in Gaskell’s novel and testifies on his behalf in court. See chapter 32
- Kingsley
- Kingsley
- Kingsley
- Kingsley
- Kingsley
- Letter to J M Ludlow December 30, 1855, in vol.1 of Charles Kingsley His Letters & Memories of His Life Edited By His Wife (London: King, 1877), 459. For an account of the reception and publication of Westward Ho!, see John Sutherland, Victorian Novelists & Publishers (London: Athlone Press, 1976)
- LML i. 173
- Louise Lee
- Martin
- See Thomas Hughes ‘A Prefatory Memoir’ in Charles Kingsley, Alton Locke, Tailor And Poet An Autobiography (London: Macmillan, 1876), 8, and J. M. I. Klaver, The Apostle of the Flesh A Critical Life of Charles Kingsley (Leiden: Brill 2006), chapter six
- See ‘On the making and unmaking of monsters’ 45–65 (See note to 3)
- The Beast And The Monk 160. See also The Apostle of the Flesh, 133 and 442
- The Beast And The Monk 196
- The Beast And The Monk 196. (See note to 22)
- The Dust of Combat (See note to 33) 213
- The Industrial Reformation of English Fiction 109
- The Irrationale of Speech’ 11 & 6. See also The Apostle of The Flesh, 441–442 for a detailed discussion of Kingsley’s stammering life
- The novel was first published in Fraser’s Magazine between July and December 1848 and in volume form in 1851
- The reciprocity of ideas between Hunt and Kingsley is particularly noticeable in the early 1860s. In Hunt’s introduction to Stammering he cites Locke’s Essay Concerning Human Understanding (1689), arguing the necessity of the correct use of language and the ‘mistakes and confusion that are spread in the world by an ill-use of words’ (11). This is a central motif in Alton Locke, with its marked questioning of the efficacy of words as bearers of meaning. But there are scientific as well as literary cross-overs between the two men: while Hunt is more restrained in tone on the subject of how to cure a stutter, he patently shares a number of Kingsley’s views on exercise, self-determination and keeping up bodily health
- This is an image used in Yeast A Problem (1851): ‘Let it be enough that my puppets have retreated in good order’
- Yeast begins with Lancelot breaking his leg by falling off a horse head-first into a ditch
- Yeast 188
- ‘On the making and unmaking of monsters’ 46. Hall’s phrase employs the neologism ‘figur(e-)ative’
- ‘Prefatory Memoir’ 44
- ‘Prefatory Memoir’ 44. This thorn-in-the-side image is used again in Alton Locke when Alton is moved to tears at Dulwich Picture Gallery at seeing Guido’s depiction of St Sebastien, the wounded saint with a quivering spear in his side. While some critics have argued that Alton’s tears are the epiphany of a working class man’s first encounter with middle class culture, I want to suggest another reading. What Alton sees is a pictorial representation of his own wounded self: ‘The helplessness of the bound arms, the arrow quivering in the shrinking side, … and parted lips which seemed to ask … ‘O, Lord, how long?’ (53). In terms of the novel, this is not just a physical wound, but a vocal one
- Publication venue
- 'Edinburgh University Press'
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