Mathilde Blind (1872) by Lucy Madox Brown (1843-94), chalks on grey paper
Dear friends and readers,
Frances Wilson’s summary of Mathilde Blind’s life in her review of Angela Thirkell’s book which tells the story of the four women-as-partners in Ford Madox Brown’s life, the last of which was Mathilde Blind, is unbeatable for vivacity and concision:
Mathilde was raised in Germany by an overbearing revolutionary stepfather who knew Karl Marx; her brother shot himself after failing to assassinate Bismark. In her own first attempt at revolt, Mathilde was expelled from school for atheism. A feminist, journalist, critic, poet, translator, novelist and biographer, she was a fabulously beautiful wild card (and most likely a lesbian) who shared with Madox Brown an interest in radical politics. She lived as a friend with the artist and his wife on and off for 20 years, until Emma’s death in 1890. Because none of their letters survives we cannot know the true nature of the relationship between Mathilde and Madox Brown; Thirlwell concludes that it “was probably not physical in the full sense”, but contained “a special erotic charge”. But had Mathilde felt any physical passion for Madox Brown, she seems the type to have expressed it. Mathilde is not only the most interesting of Madox Brown’s loves, she was also probably the most interesting woman in London at that time.
I’ve chosen her also because I found her poems in a book which choses unusual poets, provides a strong biography, and gives a lengthier selection than usual, Virginia Blain’s Victorian Women Poets: An Annotated Anthology. Blind’s are strong, passionate, electrifyingly descriptive and intelligently feminist, socialist. To begin with,
Manchester by Night
O’ER this huge town, rife with intestine wars,
Whence as from monstrous sacrificial shrines
Pillars of smoke climb heavenward, Night inclines
Black brows majestical with glimmering stars.
Her dewy silence soothes life’s angry jars:
And like a mother’s wan white face, who pines
Above her children’s turbulent ways, so shines
The moon athwart the narrow cloudy bars.
Now toiling multitudes that hustling crush
Each other in the fateful strife for breath,
And, hounded on by diverse hungers, rush
Across the prostrate ones that groan beneath,
Are swathed within the universal hush,
As life exchanges semblances with death.
A Winter Landscape
ALL night, all day, in dizzy, downward flight,
Fell the wild-whirling, vague, chaotic snow,
Till every landmark of the earth below,
Trees, moorlands, roads, and each familiar sight
Were blotted out by the bewildering white.
And winds, now shrieking loud, now whimpering low,
Seemed lamentations for the world-old woe
That death must swallow life, and darkness light.
But all at once the rack was blown away,
The snowstorm hushing ended in a sigh;
Then like a flame the crescent moon on high
Leaped forth among the planets; pure as they,
Earth vied in whiteness with the Milky Way:
Herself a star beneath the starry sky.
She felt herself an internal exile; someone exiled from the rest of her society by virtue of her inner self. Towards the end of her life she wrote in her Commonplace book “I have been an exile in this world. Without a God, without a country, without a family.” Her series of love lyrics, published in The Ascent of Man (a Darwinian perspective made optimistic) is called Love in Exile. It begins:
THou walkest with me as the spirit-light
Of the hushed moon, high o’er a snowy hill,
Walks with the houseless traveller all the night,
When trees are tongueless and when mute the rill.
Moon of my soul, 0 phantasm of delight,
Thou walkest with me still.
The vestal flame of quenchless memory burns
In my soul’s sanctuary. Yea, still for thee
My bitter heart hath yearned, as moonward yearns
Each separate wave-pulse of the clamorous sea:
My Moon of love, to whom for ever turns
The life that aches through me.
She was deeply active on behalf of impoverished women and prostitutes, and her purview included non-western women. Blind’s poem “Mourning Women” describes, then addresses, the Muslim women of Egypt (from the volume Birds of Passage: Songs of the Orient
and Occident ,
ALL veiled in black, with faces hid from sight,
Crouching together in the jolting cart,
What forms are these that pass alone, apart,
In abject apathy to life’s delight?
The motley crowd, fantastically bright,
Shifts gorgeous through each dazzling street and mart;
Only these sisters of the suffering heart
Strike discords in this symphony of light.
Most wretched women! whom your prophet dooms
To take love’s penalties without its prize!
Yes; you shall bear the unborn in your wombs,
And water dusty death with streaming eyes,
And, wailing, beat your breasts among the tombs;
&But souls ye have none fit for Paradise.
Many many more poems at Matilde Blind (1841-96)
As to a more extended view of her life, I don’t mean to suggest she lived a solitary or at all reclusive existence. She’s much better known for her political and social activities. Her father had been a Jewish banker and she was born in Mannheim, Germany, but when he died and her mother remarried, the revolutionary leader, Karl Blind, the family moved to Paris, and from there to England where Matilde was educated at a London girls’ school. She tried to again admission to university lectures and her failure fired her first enthusiasm for women’s education. When she died, she bequeathed her estate to Newham College, Cambridge, to found a scholarship for women.
Her first poems were dedicated to Giuseppe Mazzini, and she supported the Italian revolutionaries; she was influenced by and admired Elizaabeth Barrett Browning and George Eliot, about whom she wrote yet another life (1883). Shelley, Byron inspired her. Two poems show her time in Scotland, one set in the Hebrides deals with religious questions from an atheist angle (The Prophecy of St Oran, 1881). The Heather on Fire (1886) is about the shameful Highland clearances, razed villages, people driven cruelly into further absymal poverty and emigration. There is no false romance here: we see the “agonizing plight of a crippled old woman whom no-one removed from her home before” it was set on fire; we see the people herded onto beaches to set sail for Canada. The scope, sincerity, intensity and authentic concern made her poems admired. She was no favorite with critics; her poems were not designed for male readers. Her fallen woman poem of a prostitute dying in a hospital was seen as distasteful. The pains of childbirth were not their concern. But Arthur Symons did published a full Poetical Works in 1900.
As to her prose writing, she admired Mary Wollstonecraft, wrote an article on her (1878) and herself spent her life as an independent woman. She traveled widely in Europe and Egypt and through Scotland, published translations from Goethe, and wrote a life of the French revolutionary, Madame Roland (1886), and (her most famous work today) translated the extraordinary Journal of Marie Bashkirseff (1890), herself a fine artist. Her one experimental novel, Tarantella: A Romance is online (18805). To sum up her social existence as seen by others, confident, generous, she had circles of friends in the arts (especially the Pre-Raphaelites), knew the radical novelists, Mona Caird, was friends with Eleanor Marx. Blain says that Blind loved to give “‘literary dinners’ in rooms in well-chosen hotels.”
See wikipedia and recent articles:
S. Brown, “‘A Still and Mute-Born Vision': Locating Mathilde Blind’s
Reproductive Poetics,” Essays and Studies 56( 2003): 123-144.
James Diedrick, “‘My Love is a Force That Will Force you to Care':
Subversive Sexuality in Mathilde Blind’s Dramatic Monologues.”
Victorian Poetry 40.4 (2002) 359-386.
James Diedrick, “A Pioneering Female Aesthete: Mathilde Blind in the
Dark Blue.” The Victorian Periodicals Review 36.6 (2003): 210-241.
Christine Sutphin, “Human Tigresses, Fractious Angels, and Nursery Saints:
Augusta Webster’s A Castaway and Victorian Discourses on Prostitution and
Women’s Sexuality.” Victorian Poetry 38.4 (2000) 511-532
I thank my good friend, Fran, for helping me find some of the above material and filling me in on her knowledge of Blind from Fran’s childhood in Lancaster and now life in southern Germany.
I had begun to place my foremother poet blogs over on Austen Reveries where they have mounted up to 18, as under the sign of a central women writer (who also wrote verse); but this one I felt really was not a life which can be placed with Austen as a gravatar, example. For the other (25) foremother poets on this blog, see the archive here.