Author
Sir Henry Taylor is documented in Fuller’s letters, books, published essays, journals, and manuscripts (1836–1847). 3 distinct works are named, most often in Summer on the Lakes, in 1843, and the most intensive engagement recorded is “excerpted”.
Reprints, Memoirs passages, and repeat notes within a single manuscript are shown but never counted twice. Evidence for this author is selective, not exhaustive. Methodology →
Passages where the evidence goes beyond allusion to indicate that Fuller had Sir Henry Taylor’s work in hand — an explicit statement of reading, sustained excerpting or translation, or a specific reading episode recorded by those who knew her.
“At Chicago I read again Philip Van Artevelde, and certain passages in it will always be in my mind associated with the deep sound of the lake”
Summer on the Lakes · At Chicago I read again
Explicit first-person 'At Chicago I read again Philip Van Artevelde' statement.
“First and highest in this list comes Philip Van Artevelde, of which we can say that it bears new fruit on the twentieth reading. [...] He that lacks time to mourn lacks time to mend / Eternity mourns that, 'T is an ill cure / For life's worst ills, to have no time to feel them. [...] How little flattering is a woman's love [extensive dialogue excerpts with ARTEVELDE, ELENA, VAN RYK, CECILE, FATHER JOHN, BURGUNDY follow across pp. 115–124]”
This page brings together documented engagements currently identified within the Fuller Reading Worlds catalog.
Selected passages from Fuller’s own writings, in chronological order.
“she in return gave me one accompanied by Philip van Artevelde.”
Fuller, Margaret. The Letters of Margaret Fuller. Edited by Robert N. Hudspeth. Vol. I. Ithaca: Cornell University Press, 1983.
Hudspeth identified Fuller had enthusiastically reviewed this work in the Western Messenger in 1835.
“I could not read through Roderick, – I do not know the disciple – I have not read Van Areteevelde.”
Fuller, Margaret. "Journal December 1836." Houghton Library, Harvard University; MS Am 1086; Box 3.
Inferred I was satisfied from the extracts that I could not like it (which he read in a periodical by the way.)' Philip van Artevelde by Henry Taylor (London: Edward Moxon, 1834) is the only prominent work of this name published before 1836.
“Those eyes have wept / Till grief had done with tears and calm and cold / Tired with its own excess, in stupor slept, / Or gazed in frozen wonder to behold / The black and hideous page of destiny unrolled.”
Fuller, Margaret. "Journal April 1839." Houghton Library, Harvard University; bMS Am 1086 (Box A); Box 5 (99).
Fuller copies several passages from Henry Taylor's Philip van Artevelde (1834), a verse drama set in 14th-century Flanders, with the attribution 'van Artevelde' at the end of the excerpted section.
“I will bring in Taylor's and Coleridge's too, and make an olla, where Stirling will figure to more advantage than he would alone.”
Fuller, Margaret. The Letters of Margaret Fuller. Edited by Robert N. Hudspeth. Vol. III. Ithaca: Cornell University Press, 1986.
Inferred Hudspeth identified Fuller reviewed Henry Taylor's Philip Van Artevelde in the Dial alongside other new plays. Fuller writes only "Taylor's" without a title, but the specific work is identified through Hudspeth's annotation of her dramatic review.
“through all its stages she / "felt / The agonizing sense / Of seeing lore from passion melt / Into indifference; / The fearful shame that, day by day, / Burns onward, still to burn, / To have thrown her precious heart away, / And met this black return,”
Fuller attributes her verse quotation to Philip Van Artevelde by Henry Taylor (1834), which she explicitly names two pages later (line ~951): 'At Chicago I read again Philip Van Artevelde.' The quoted stanza is embedded in the Mariana narrative, attributed to the experience of the character.
“Van Artevelde's Elena, though in her individual nature unlike my Mariana, is like her in a mind whose large impulses are disproportioned to the persons and occasions she meets...”
Also reprinted in Life Without and Life Within; or, Reviews, Narratives, Essays, and Poems. Counted once, at its first appearance.
Fuller, Margaret. Summer on the Lakes, in 1843. Boston: Little, Brown & Co., 1844.
“England has only two poets now that can be named near him: these two are Tennyson and the author of "Philip Van Artevelde.”
Also reprinted in Life Without and Life Within; or, Reviews, Narratives, Essays, and Poems. Counted once, at its first appearance.
Fuller, Margaret. "Festus: A Poem . . ." New-York Daily Tribune, 8 September 1845. · 8 September 1845
“Philip van Artevelde, A Dramatic Romance, by Henry Taylor. [footnote] [...] 'as ever unripe author's quick conceit,' to use Mr.”
Fuller, Margaret. Life Without and Life Within; or, Reviews, Narratives, Essays, and Poems. Edited by Arthur B. Fuller. Boston: Brown, Taggard and Chase, 1860. · p127
Fuller explicitly names the work in a footnote at line 5090.
“First and highest in this list comes Philip Van Artevelde, of which we can say that it bears new fruit on the twentieth reading.”
“Mr. Taylor has since published another dramatic poem, 'Edwin the Fair,' whose excellencies, though considerable, are not of the same commanding character with those of its predecessor.”
Fuller, Margaret. Papers on Literature and Art. New York: Wiley and Putnam, 1846.
“Justice has not been done by the critics to the admirable conduct of the Second Part, because our imaginations were at first so 3truck by the full length picture of the hero in the conquering 11* days of the First Part, and it was painful to see its majesty veil ed with crape, its towering strength sink to ruins in the second.”
Also printed in Art, Literature, and the Drama (1869), p125; page given is to the 1869 reprint.
“In this last particular Sterling is as far inferior to Taylor, as Taylor to Shakspeare.”
Also printed in Art, Literature, and the Drama (1869), p145; page given is to the 1869 reprint.
Fuller, Margaret. Papers on Literature and Art. New York: Wiley and Putnam, 1846.
“Imagine if I do not enjoy being here, in "Bellagio's woods". From my window I see that which Taylor must have chosen as Elena's, it belongs to the Villa Serbellini.”
Fuller, Margaret. The Letters of Margaret Fuller. Edited by Robert N. Hudspeth. Vol. IV. Ithaca: Cornell University Press, 1987.
Hudspeth identified in this poem Elena describes her home in "Bellagio's Woods," on the banks of Lake Como, and Fuller identifies the view from her window as the one "Taylor must have chosen as Elena's." This demonstrates she has read the poem closely enough to recognize the landscape it describes and identify her own location with its literary geography.
“The “ Titan ” of Richter, the “ Wanderjahre ” of Goёthe, the Elena of Taylor, the pictures of Turner, had not prepared me for the visions of beauty”
“The "Titan" of Richter, the "Wanderjahre" of Goethe, the Elena of Taylor, the pictures of Turner, had not prepared me for the visions of beauty [...] Como cannot be better described in generals than in the words of Taylor: — "Softly sublime, profusely fair.”
Fuller, Margaret. "Things and Thoughts in Europe . . . XVI." New-York Daily Tribune, 25 December 1847.
Undated
Pieces with no legible date. They are part of the record but cannot be placed on the lifeline.
“He is such a man as Taylor tried to paint in Philip Van Artevelde. He would declare his love as Philip did "The world doth call us lovers, you have heard”
Fuller, Margaret. "On Passion." Boston Public Library Archives & Special Collections; MS Am. 1450; Box: 2, Folder: 92.
She quotes a line she attributes to Philip: 'The world doth call us lovers, you have heard.' This line is quoted from memory as the kind of declaration the man she is writing about would make.