Penny Dreadfuls, Juvenile Crime, and Late-Victorian Moral Panic
The 1840s ushered in an era of luridly illustrated gothic tales which were marketed to a working-class Victorian audience. These stories, told in installments and printed on inexpensive pulp paper, were originally only eight pages long and sold for just a penny – giving rise to the term “penny bloods” or “penny dreadfuls.” With titles such as Varney the Vampire and Sweeney Todd: the Demon Barber of Fleet Street, these types of publications were wildly popular, especially with young male readers, and it was not long before the Victorian public began to make a connection between various juvenile crimes and misdemeanors and the consumption of this (allegedly) depraved material.[…]Continue Reading
Miniature Portraits in the Works of Radcliffe, Austen, Brontë, and Dickens
(Royal Trust Collection.)
Miniature portraits first appeared in England during the 16th century. Small, portable, and easily displayed or concealed on one’s person, their popularity flourished – both in life and in literature. By the 19th century, their presence in romance novels and Gothics was practically de-rigueur.
Ann Radcliffe uses miniatures to great effect in several of her novels, including The Mysteries of Udolfo (1794) and The Italian (1797). In the following passage from The Italian, we get a glimpse of the enormous dramatic impact a miniature can have if produced at the right moment in the story.[…]Continue Reading
