WorkSir Henry Taylor
Philip van Artevelde: A Dramatic Romance, in Two Parts (London: Edward Moxon, 1834)
Sir Henry Taylor (1800–1886) · London: Edward Moxon, 1834
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Documented 1836–1847
Additional passages preserved in the Memoirs (1852)
Letters • Books • Essays • Journals • Manuscripts
Selected engagements, in chronological order.
Reprints, Memoirs passages, and repeat notes within a single manuscript are shown but never counted twice. Evidence for this work is selective, not exhaustive. Methodology →
Passages where the evidence goes beyond allusion to indicate that Fuller had this 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.
“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.”
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.”
Fuller, Margaret. Papers on Literature and Art. New York: Wiley and Putnam, 1846. · p125
Also printed in Art, Literature, and the Drama (1869), p125; page given is to the 1869 reprint.
“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.
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.
“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.”
Emerson, Ralph Waldo, William Henry Channing, and James Freeman Clarke, eds. Memoirs of Margaret Fuller Ossoli. 2 vols. Boston: Phillips, Sampson and Company, 1852.
Inferred Margaret Fuller engages with Henry Taylor's Philip van Artevelde (1834), referencing its character Elena and quoting the descriptive phrase, "Softly sublime, profusely fair," which she attributes to Taylor and applies to Lake Como. The archive identifies this quotation as deriving from Taylor's dramatic romance.