|
POEMS:
reviewed by Gerald Massey for
the Athenæum, July 25, 1863.
JEAN
INGELOW’S POEMS:
The North American Review, Volume 98, Issue 203,
April 1864.
ADELAIDE
A. PROCTER AND JEAN INGELOW:
The Continental Monthly, Vol. V. June, 1864.
A STORY OF
DOOM, AND OTHER POEMS.
By JEAN INGELOW, Boston:
Roberts Brothers. The Atlantic Monthly,
Vol. XX., issue 119. 1867.
TEA
WITH JEAN INGELOW:
and Gerald Massey fails to impress! The Living Age, Vol. XCIV.,
1867.
THE WELFARE
OF WOMEN: a letter to
the editor of the Woman's Journal. The Deseret News (Utah,
U.S.A.), 19 February, 1873.
"OFF
THE SKELLIGS": a reasonable
synopsis, if an unenthusiastic review. The Atlantic Monthly,
Vol. XXXI., 1873.
"FATED
TO BE FREE":
a review of Jean Ingelow's second
successful novel. The Times,
Sep 30, 1875.
|
 |
|
"What most people call Woman's Rights I
call
Woman's Duties, — rights and duties in
this case
being convertible terms." |
SONG: In the night she told a story.
Set for voice and piano by Mrs. C. F. Chickering to words by Jean
Ingelow. Published Boston, Carl Prufer, undated.
Sheet music―Zip file, 4.3MB
(courtesy of
Dukes University).
SONG: When sparrows build the leaves
break forth:―
-
Set for voice and piano by Virginia
Gabriel (1825-77) to words by Jean Ingelow. Published New York, Schirmer,
undated. Sheet music―Zip file 6.6MB
(courtesy of
Dukes University).
[Note: (Mary Ann) Virginia
Gabriel was born at Banstead, Surrey, in 1825.
She studied under, among others, the
piano virtuoso Sigismond Thalberg. Her popular setting of
When Sparrows Build had reached a
30th edition by 1870. Besides such salon music, her
output included a handful of operettas and cantatas. Virginia died in
London, following an accident, in 1877].
-
Set for voice and piano by
Maria Lindsay to words by Jean Ingelow.
Published London, Robert Cocks & Co., undated (ca. 1868). Sheet music ―.pdf
file, 2.8MB. [Note: a contemporary
of Jean Ingelow's, Maria (or Mary) Lindsay ― who also published under her
married name, Mrs J. Worthington Bliss ― was born at Wimbledon near
London in 1827. During the 1860s she
became the first woman to achieve commercial success as a songwriter,
entering into an exclusive contract with the London publisher Robert
Cocks & Co. Maria's songs were aimed at the requirements of amateur
music-making in the home. She died at
Betteshanger, Kent, in
1898].
SONG: O fair
dove! Oh fond dove! Set for bass/baritone and piano
by Alfred S. Gatty to words by Jean Ingelow. Published Century Music,
New York. Sheet music―.pdf
file, 1.6MB.
SONG:
One
morning, oh! so early. Set for for voice and piano by
J. Michael Diack to words by Jean Ingelow. Published Leonard & Co.,
London, 1905. Sheet music―.pdf
file, 2.2MB.
SONG: Forget?
Set for voice and piano by Henry Pontet to words by Jean Ingelow.
Published John Blockley, London [courtesy of
The
National Library of Australia.]. Sheet music―.pdf
file, 1.3MB.
[Note: Henry Pontet (born Dublin ca. 1840, died London 1902 ―
full name, Theodore Auguste Marie Joseph Piccolomini) was a prolific
Victorian writer of songs, both secular and non-secular: among the
former "Carissima," "Snowflakes," "Poor Wounded Heart," "Tit for Tat,"
and "Big Ben" became popular.]
SONG:
Happiness. Set for voice and piano by R. Hageman
(1882-1966) to words by Jean Ingelow. Published Schirmer, New
York, 1920. Sheet music―.pdf
file, 1.3MB. [Note: better known among Richard
Hageman's output are the film scores for a number of John
Ford’s films for Paramount Sudios, including Stagecoach
(1939) and Fort Apache (1948).]
SONG:
Take joy home.
Set for voice and piano by Karolyn Wells Bassett to words by Jean
Ingelow. Published Schirmer, New York, 1921. Sheet music―.pdf
file, 1.1MB.
"SARAH DE BERENGER": two
reviews of Jean Ingelow's third novel;
Harper's Vol. XL., 1880
and The Atlantic Monthly,
Vol. XLV., 1880.
MISS INGELOW
AND MRS. WALFORD:
an extensive essay by Harriet Waters Preston on the writing of Jean
Ingelow and of Lucy Bethia Walford (1845–1915). From Atlantic
Monthly, Vol. LVI., 1885.
DON JOHN.
A fair, if brief summary of the story.
JOHN
JEROME.
HIS THOUGHTS AND WAYS.
A Book without a Beginning.
By JEAN INGELOW, Boston: ROBERTS
BROTHERS. A good
review ― looks as if the reviewer actually read the book ― in the New
York Times, 7 Nov., 1886.
THE POETRY
OF JEAN INGELOW:
by K. E. COLEMAN. The Girl's Own Paper,
Jubilee Edition, summer, 1887.
A POPULAR
ENGLISH POET: from the
Ogden Standard Examiner (Utah, U.S.A.), 31 July, 1892.
A MOTTO CHANGED:
three contrasting, sketchy reviews from the American press of Miss Ingelow's late novel.
Atlantic
Monthly, Harper's Magazine,
and the New York Times.
JEAN INGELOW.
Photo by Barrauds.
|
"Woman is not merely the female man. She is from him a strangely
different creature. Nothing that
breathes is such a contrast as the
man is to his mate." |
HANDWRITING:
a not entirely legible sample of Jean Ingelow's 'scrawl' (undated).
JEAN INGELOW:
an appreciation, written following her death. The Living Age
(ex-The Academy),
Vol. CCXIV.,
1897.
A POETIC TRIO:
correspondence (1863) between Christina Rossetti and Dora Greenwell, and
between Jean
Ingelow and Dora Greenwell. The Living Age (ex-Athenæum)
Vol. CCXIV., 1897.
OF JEAN
INGELOW: anecdotes about her and facts about
her books. New York Times, August 7, 1897.
JEAN INGELOW:
a retrospective appraisal by Jennette Atwater Street. The Citizen,
Vol. 3, No. 10, December, 1897.
|
 |
|
A carte de visite by Elliott & Fry |
JEAN INGELOW:
an extensive essay by Mabel C. Birchenough on the poetry and prose of Jean
Ingelow. From the Fortnightly Review, Vol. 71, No. 287, March 1, 1899.
JEAN INGELOW:
a chapter from "Lives of Girls Who Became Famous," by Sarah K. Bolton
(pub. 1914). Well worth reading for its interesting and revealing
anecdotes of Miss Ingelow.
A NOTE ON
JEAN INGELOW:
for the reasons
Lafcadio Hearn explains in his
excellent analysis (pub. 1916),
The High Tide on the Coast of Lincolnshire (1571)
is Jean Ingelow's greatest and most original poem (but Divided, I
suggest, follows closely).
JEAN INGELOW:
from "Notable Women Authors of the Day", by Helen C. Black.
London: Maclaren and Co., 1906. Standard
biographic stuff for the first few paragraphs, but becomes more
interesting beyond as much is derived from interview (which appears to
date from 1889) and observation rather than report and hearsay.
IMPRESSIONS OF
JEAN INGELOW:
from "Recollections of Fifty
Years," by Isabella Fyvie Mayo.
BIOGRAPHIC SKETCH:
appears as the Introduction to 'Mopsa the Fairy'
in the Everyman's Library series (ca 1912).
THE
QUEEN OF VICTORIAN VERSE:
Ray Carradine salutes the work
of a great Lincolnshire poet. This article first appeared in Lincolnshire Life,
September 1995, and is reproduced by kind permission of the Editor. |
