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 EDITED BY
GEOFFREY G. HILLER, PETER L. GROVES, ALAN F. DILNOT

An Anthology
of London in
Literature
‘Flower of Cities All’
An Anthology of London in Literature, 1558–1914
 Geoffrey G. Hiller · Peter L. Groves
Alan F. Dilnot
Editors

An Anthology of
London in Literature,
1558–1914
‘Flower of Cities All’
Editors
Geoffrey G. Hiller (1942–2017) Peter L. Groves
Glen Iris, VIC, Australia Monash University
Melbourne, VIC, Australia
Alan F. Dilnot
Monash University
Melbourne, VIC, Australia

ISBN 978-3-030-05608-7 ISBN 978-3-030-05609-4 (eBook)

https://doi.org/10.1007/978-3-030-05609-4

Library of Congress Control Number: 2018964113

© The Editor(s) (if applicable) and The Author(s) 2019

This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher,
whether the whole or part of the material is concerned, specifically the rights of translation,
reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any
other physical way, and transmission or information storage and retrieval, electronic adaptation,
computer software, or by similar or dissimilar methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in
this book are believed to be true and accurate at the date of publication. Neither the publisher
nor the authors or the editors give a warranty, express or implied, with respect to the material
contained herein or for any errors or omissions that may have been made. The publisher remains
neutral with regard to jurisdictional claims in published maps and institutional affiliations.

Cover illustration: “Westminster Bridge, with the Lord Mayor’s Procession on the Thames. Yale
Center for British Art, Paul Mellon Collection”

This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
 This book is dedicated to the memory of
Geoffrey G. Hiller (1942–2017),
a scholar and a gentleman:
Of studie took he moost cure and moost hede,
And gladly wold he lerne, and gladly teche.
 Preface

This anthology brings together extracts from some of the finest writing in
English on the subject of that ancient and fascinating city, chosen from the
period in which the London we now know was mainly created: the three-and-
a-half centuries that separate the accession of Elizabeth I from the onset of
the First World War, which transformed it from a large town still intimately
connected to the neighbouring countryside to the sprawling metropolis
of an empire that covered a quarter of the globe. London has always been
more than a place to live and work: always the cultural heart of England, for
example, and always larger by at least an order of magnitude than any other
city in Britain—indeed, for much of this period the largest city in the world.
But beyond this, London is a city of the mind, an imaginary space haunted
by the great mythopoeic cities of Western culture: Rome, Athens, Babylon,
Jerusalem. This is why it has kindled the imagination of some of the greatest
writers of English, and why it forms the subject of this anthology.
The 142 extracts, which are in all but one case in modernised spelling and
punctuation (though including traditional punctuational aids to scansion),
are annotated (simple one-word glosses are incorporated into the text in
square brackets) and grouped into four sections by historical period, being
numbered within those sections: cross-references will take the form “[2.14]”
or “(see [4.27])”. Each extract has a brief head-note, and references to the
head-note of an extract are indicated by “HN”. References to footnotes will
take the form “(see [2.20], n.107)”.
Each of the four sections is introduced by an Introduction, an account
of the various contexts from which the passages are drawn: historical,
social, cultural, even geographic (London grew by 25 times and developed
beyond recognition throughout the period covered by the anthology).

vii
viii Preface

The General Introduction provides a broader context for the extracts as

literature, exploring the mythological sources and literary forms and
influences that lie behind them.

Glen Iris, Australia Geoffrey G. Hiller

Melbourne, Australia Peter L. Groves
Melbourne, Australia Alan F. Dilnot
 Contents

1 Period 1: London—Birth of a New Order (1558–1659) 1

INTRODUCTION 1
1.1 John Lyly: London the Ideal City 6
1.2 Donald Lupton: London Bridge 7
1.3 Robert Herrick Laments Leaving His Native London 8
1.4 Herrick’s Joyful Return to London 9
1.5 John Webster: The Decrepitude of Some London Buildings 10
1.6 John Donne: The Lively Streets of London 11
1.7 William Habington: In Praise of London in the Long Vacation 15
DRAMA AND THE THEATRE 16
1.8 Philip Stubbes: Puritan Objections to Stage Plays 16
1.9 Shakespeare: “On Your Imaginary Forces Work” 17
1.10 Shakespeare: The Best Actors Are but Shadows 18
THE PLAGUE 20
1.11 Thomas Nashe: “Adieu, Farewell, Earth’s Bliss” 20
1.12 Thomas Dekker: The Plague and Its Victims in 1603 21
THE COURT AND COURTIERS 22
1.13 Sir John Davies: “Our Glorious English Court’s Divine Image” 22
1.14 Edmund Spenser: Another View of Love at Court 24
1.15 Anon.: A Courtier 25
1.16 Thomas Dekker: “How a Young Gallant Should Behave
Himself in an Ordinary” 26
WHO SHOULD ’SCAPE WHIPPING? 27
1.17 John Earle: A Shopkeeper 27
1.18 Thomas Middleton: A Goldsmith Gulled 28
1.19 Barnabe Rich: Vanity Fair 29
1.20 Thomas Harman: An Abraham Man 30
1.21 Robert Greene: Beware of Pickpockets 30
1.22 Middleton: Roaring Girls 32

ix
x Contents

1.23 Ben Jonson: Pickpockets at Bartholomew Fair 33

1.24 John Earle: A Prison 34
1.25 Donald Lupton: Bedlam 35
1.26 Dekker and Middleton: Entertainment Provided by the
Inmates of Bedlam 37
THE COMING OF THE COMMONWEALTH 37
1.27 Andrew Marvell: The Execution of Charles I 37
1.28 John Evelyn: “The Funeral Sermon of Preaching” 38
1.29 Evelyn: Persecution of Royalist Churchgoers 39
References 40

2 Period 2: London in the Enlightenment (1660–1780) 41

INTRODUCTION 41
2.1 Celia Fiennes: Some Topographical Features of London 48
2.2 Daniel Defoe: London Surging in Size 50
THE RESTORATION 52
2.3 John Evelyn: Charles II’s Triumphal Entry into London 52
2.4 Evelyn: Bodies of Cromwell and Others Exhumed 53
2.5 Evelyn: Gambling and Debauchery at the Court of Charles II 53
2.6 Evelyn: James II’s Ill-Timed Feast for the Venetian
Ambassadors 54
THE GREAT PLAGUE 55
2.7 Samuel Pepys Describes the Plague 55
2.8 Daniel Defoe’s Imaginative Reconstruction of the
Great Plague 56
THE GREAT FIRE 58
2.9 John Dryden: London on Fire 58
2.10 Pepys’ Buried Treasures 62
2.11 Defoe: London Before and After the Fire 62
INSTITUTIONS 64
2.12 John Evelyn: Some Unusual Proceedings of the Royal Society 64
2.13 Ned Ward: The Rebuilding of St Paul’s Cathedral 65
2.14 Joseph Addison: The Royal Exchange 66
2.15 Ned Ward: Crowds at the Entrance to the Royal Exchange 67
2.16 Defoe: Westminster Abbey 68
ALL THAT LIFE CAN AFFORD 70
2.17 Samuel Johnson in Praise of London 70
2.18 John Gay: The Labyrinthine Streets of London 70
2.19 Gay on Pall Mall 71
2.20 Jonathan Swift: “A Description of a City Shower” 72
2.21 Tobias Smollett: Ranelagh and Vauxhall Gardens 74
2.22 Hannah More: The Bluestocking Circle 76
2.23 Ned Ward: Pork Sellers at Bartholomew Fair 77
2.24 Benjamin Franklin: “Work, the Curse of the Drinking Classes” 78
 Contents xi

A WALK ON THE WILD SIDE 80

2.25 John Gay: Perils of London by Night 80
2.26 James Smith: Sex-Workers in the Strand 81
2.27 Daniel Defoe on Shoplifting 82
2.28 Defoe: Newgate Prison 83
2.29 Samuel Richardson: An Execution at Tyburn 84
2.30 Samuel Johnson: The Crime of Poverty 86
2.31 Thomas Holcoft: The Gordon Riots 87
References 90

3 Period 3: London—New Riches, New Squalor (1781–1870) 91

INTRODUCTION 91
AN OPENING MISCELLANY 98
3.1 Charlotte Bronte: London as Life and Freedom 98
3.2 Mary Robinson: “London’s Summer Morning” 99
3.3 Charles Dickens: A London ‘Pea-Souper’ 101
3.4 William Cobbett: The Great Wen 103
3.5 William Wordsworth: Alienation and Anonymity 104
3.6 Alfred, Lord Tennyson: The Noise of Life Begins Again 105
3.7 William Blake: “Marks of Woe” 106
3.8 Charles Dickens: A Sunday in London 107
3.9 William Makepeace Thackeray: “Going to See a Man
Hanged.” 108
DELIGHTS AND BEAUTIES 110
3.10 Thomas Hood: Let’s All Go Down the Strand 110
3.11 John Ruskin Recalls a Childhood Paradise at Herne Hill 111
3.12 William Wordsworth: “Composed Upon Westminster Bridge,
September 3, 1802” 113
3.13 Matthew Arnold, “Lines Written in Kensington Gardens” 113
3.14 George Borrow on Cheapside 115
3.15 Frederick Locker-Lampson, “St. James’s Street,” 1867 118
3.16 Charles Dickens: Going Up the River 120
3.17 Nathaniel Hawthorne: A London Suburb 121
INSTITUTIONS 123
3.18 William Blake: St Paul’s Cathedral on Holy Thursday 123
3.19 Thomas De Quincey: Tourists Must Pay to See the Sights
of St Paul’s Cathedral 124
3.20 Charles Dickens: The Building of a Railway 125
3.21 Henry Mayhew and George Cruikshank: The Great
Exhibition and the Crystal Palace 126
3.22 John Ruskin: The Crystal Palace 128
3.23 Thomas de Quincey: The Theatre Royal, Drury Lane,
Destroyed 129
3.24 Benjamin Disraeli: A View of Politicians 130
xii Contents

MIDDLE CLASS LIFE 131

3.25 Anthony Trollope: Publicans and Sinners 131
3.26 Alfred, Lord Tennyson: “Ode Sung at the Opening of the
International Exhibition” (1862) 133
3.27 Charles Dickens: A London Hackney-Coach 134
3.28 Charles Lamb: “The Old Benchers of the Inner Temple” 138
3.29 Wilkie Collins: A Child’s Sunday in London 141
3.30 Elizabeth Gaskell: Haste to the Wedding 145
3.31 Charles Dickens: Dinner in Harley Street 149
3.32 Charles Dickens: Bran-New People 151
3.33 William Thackeray: Wars and Rumours of Wars 151
3.34 Robert Smith Surtees, Sponge in the City 152
3.35 Herman Melville: The Temple 154
3.36 William Makepeace Thackeray: “Great City Snobs” 155
3.37 Elizabeth Barrett Browning: A Writing Woman 157
WORKING-CLASS LIFE 159
3.38 Leigh Hunt: A London Waiter 159
3.39 Henry Mayhew: Covent Garden Market 162
3.40 Charles Dickens: Bleeding Heart Yard 163
3.41 Charles Kingsley: The Making of a Chartist 164
3.42 William Morris: “Prologue: The Wanderers” 166
3.43 Henry Mayhew: “The Narrative of a Gay Woman” 167
3.44 Thomas De Quincey: “Preliminary Confessions” 172
3.45 Dante Gabriel Rossetti: “Jenny” 173
3.46 Christina Rossetti, ‘In an Artist’s Studio’ 174
3.47 Thomas Hardy: “The Ruined Maid” 175
References 176

4 Period 4: London—Capital of Empire, 1871–1914 177

INTRODUCTION 177
AN OPENING MISCELLANY 184
4.1 Thomas Hardy, “Snow in the Suburbs” 184
4.2 Henry James, a Saturday Evening Stroll 184
4.3 Lionel Johnson: “By the Statue of King Charles
at Charing Cross” 185
4.4 George Moore: A Train Journey 187
DELIGHTS AND BEAUTIES 188
4.5 Emily Constance Cook: The Respectable Grime of Ages 188
4.6 Henry James: The Appeal of the Great City 189
4.7 Oscar Wilde, “Impression du Matin” 190
4.8 H. G. Wells: An Evening in Hyde Park 191
4.9 Robert Bridges, “London Snow” 192
THE AESTHETIC MOVEMENT 193
4.10 Oscar Wilde: “London Models” 193
4.11 Vernon Lee: The Mazes of Aesthetic London 196
 Contents xiii

4.12 George Moore: Bohemian Life in Mayfair 198

4.13 George Gissing: A Struggling Writer 199
INSTITUTIONS 202
4.14 William S. Gilbert: The House of Peers 202
4.15 Anthony Trollope: The House of Commons 203
4.16 George Gissing: The Crystal Palace Park 205
4.17 Arnold Bennett: A London Bank 206
4.18 C. W. Murphy: “I Live in Trafalgar Square” 207
THE THAMES 208
4.19 Henry James: A Steamer Down the Thames 208
4.20 Joseph Conrad: Sunset on the Thames 209
MIDDLE CLASS LIFE 211
4.21 George Eliot: A House by the Thames 211
4.22 Margaret Oliphant: The Painter and the Philistine 212
4.23 George Gissing: The Women’s Movement 215
4.24 Mary Augusta Ward: A Politician and His Wife 216
4.25 Lady St Helier: Politics and the Music-Hall 218
4.26 George and Weedon Grossmith: Nobody Is Invited
to a Ball 219
WORKING-CLASS LIFE 221
4.27 George Gissing: Supreme Ugliness
in the Caledonian Road 221
4.28 Joseph Conrad: Bombs and Pornography 222
4.29 Israel Zangwill: A Child of the Ghetto 224
4.30 D. H. Lawrence: Outcasts of Waterloo Bridge 225
4.31 Amy Levy: “Ballade of an Omnibus” 226
4.32 Arthur Morrison: A Slum 228
4.33 Baroness Emmuska Orczy: Death on the Tube 229
4.34 Virginia Woolf: Leaving London 234
AFTER LONDON 237
4.35 Richard Jefferies: Drowned London 237
EPILOGUE: TOWN VERSUS COUNTRY 239
4.36 Beatrix Potter: Town Mouse and Country Mouse 239
References 242

Further Reading 243

Part 1: Historical Contexts 243
Part 2: Literary Contexts 245

Index 249
 About the Editors

Peter L. Groves, Alan F. Dilnot and the late Geoffrey G. Hiller earned
their doctorates at Cambridge and Oxford, and became Senior Lecturers in
English Literature at Monash University, Melbourne, where Groves is still
employed (in the School of Languages, Literatures, Cultures and Linguistics)
and Dilnot holds an adjunct position. Hiller and Groves have between them
published nine books, including four as co-authors.

xv
 General Introduction

The General Introduction addresses the unique role of London in English

national consciousness and in English literature, given their tendency to rep-
resent London as somehow larger than life, as escaping the merely naturalistic
and entering the realm of the symbolic or fantastic, with parallels in the great
mythopoeic cities of Western culture—Rome, Jerusalem, Athens, Babylon,
Troy. It looks at the idea of the City in Classical and Christian culture, as well
as London’s development, in the nineteenth-century, into that unprecedented
phenomenon, a megalopolis (the Great Wen) that had begun not just to aston-
ish visitors with its size and complexity but to seem alien to its own inhabitants.
“What a mortal big place this same London is!” cries the country squire
Sapscull in Henry Carey’s farce The Honest Yorkshire-Man: “ye mun ne’er
see end on’t; for sure; – housen upon housen, folk upon folk – one would
admire where they did grow all of ’em” (Carey 1735, 9). Sapscull was not
the first, or the last, to be drawn to what he praises in song as a “great and
gallant city”, where “all the streets are pav’d with gold, / And all the folks
are witty” (1736, 10). But his first impression is of sheer bewildering size:
London throughout our period (1558–1914) was vastly larger than any other
town in Britain,1 and for the last eight decades of it the greatest city in the
world. For most of its history, it has been a magnet to draw in outsiders,
people on the go, on the make (like William Shakespeare from Warwickshire
and Charles Dickens from Kent), and visitors like Sapscull were struck by the

1In 1600, for example, there were seventeen times as many people in London as in the next

biggest city, Norwich, and the disproportion has only grown since. It should be remembered,
however, that prior to the first census in 1801, population figures for London can be no more
than estimates and are complicated by the fact that the perimeter of London as an entity was for
the most part not clearly fixed (even now the name can refer to a number of differently defined
geographic and political areas).

xvii
xviii General Introduction

noise, the bustle, the energy of the place. Some of the earliest literature to
capture this stir and hustle, this frenetic (and not always entirely legitimate)
pursuit of money, sex and status is found in Elizabethan satire (see, for exam-
ple, [1.6]) and contemporary accounts of “coney-catching”2 and other scams
(see [1.21–1.23]). Jacobean city comedy continued this representation (see
[1.22–1.23] for extracts) in plays like Thomas Middleton’s A Mad World, My
Masters (1605) and John Marston’s The Dutch Courtesan (c. 1604), which
also record some of the moral anxiety that contemporaries felt about the
transformative power of all the money flowing into the city from the huge
expanse in overseas trade in the sixteenth century: the questions raised in The
Merchant of Venice (1596) about the legitimacy of lending money at interest
(the lifeblood of capitalism) had more than a historical interest. As Jonson
remarked in the prologue to The Alchemist (1610), a city comedy in which
everyone is implicated in one mad (or cynical) get-rich-quick scheme or
another:

Our Scene is London, ’cause we would make known,

No country’s mirth is better than our own.
No clime breeds better matter, for your whore,
Bawd, squire, imposter, many persons more.

The undifferentiated listing of whore,/Bawd, squire, imposter seems to suggest

a dissolution of traditional moral and social distinctions in the universal acid
of obsessive urban greed.
The tradition of representing London as a kind of Vanity Fair, preoccu-
pied with “getting and spending”, continues in Restoration comedy and
in Augustan satire (such as Pope’s Imitations of Horace, 1737–1739 [Pope
1966, 327–424], and Johnson’s London, 1738 [2.30]); it was also repre-
sented ironically in the form of pastoral and georgic, traditionally rustic or
“bucolic” genres, by writers like Swift and Gay [2.18–2.20]. That new
genre the novel, with its typically urban focus, took up the theme, from
Defoe’s Moll Flanders (1722 [2.27]) to Victorian classics like Dicken’s Great
Expectations (1861) and Our Mutual Friend (1865 [3.32]), and Anthony
Trollope’s The Way We Live Now (1875 [4.15]).
The outsiders who flocked to London during this period came from fur-
ther afield than the British Isles. London has always been a cosmopolitan
city: from the early sixteenth century, for example, the fact that the English
were (relatively) reluctant to persecute people on purely religious grounds
brought many immigrants from Europe, and Wordsworth in the 1790s could
observe

2A coney-catcher was a confidence trickster (coney means “rabbit”). See Salgādo (1977).
 General Introduction xix

Among the crowd […] all specimens of Man,

Through all the colours which the sun bestows,
And every character of form and face:
The Swede, the Russian; from the genial south,
The Frenchman and the Spaniard; from remote
America, the Hunter-Indian; Moors,
Malays, Lascars, the Tartar and Chinese,
And Negro Ladies in white muslin gowns. (The Prelude 1805, 7.235–43)3

For some newly arrived visitors to nineteenth-century London, like Charlotte

Brontë’s cloistered heroine Lucy Snowe in Villette (1853), what Wordsworth
called “the shock / Of the huge town’s first presence, and […] / Her endless
streets’ (Prelude 1850, 7.66–8; Wordsworth, 225) was a kind of awakening:

Above my head, above the house tops, co-elevate almost with the clouds, I saw
a solemn, orbed mass, dark blue and dim – THE DOME.4 While I looked, my
inner self moved; my spirit shook its always-fettered wings half loose; I had a
sudden feeling as if I, who had never yet truly lived, were at last about to taste
life. […] I went wandering whither chance might lead, in a still ecstasy of free-
dom and enjoyment; and I got – I know not how – I got into the heart of city
life. I saw and felt London at last: I got into the Strand; I went up Cornhill; I
mixed with the life passing along; I dared the perils of crossings. To do this, and
to do it utterly alone, gave me, perhaps an irrational, but a real pleasure. [3.1]

To other new arrivals, like Pip in Great Expectations (1861), the experience
was more oppressive:

while I was scared by the immensity of London, I think I might have had some
faint doubts whether it was not rather ugly, crooked, narrow, and dirty. […] I
came into Smithfield5; and the shameful place, being all asmear with filth and fat
and blood and foam, seemed to stick to me. So, I rubbed it off with all possible
speed by turning into a street where I saw the great black6 dome of Saint Paul’s
bulging at me from behind a grim stone building which a bystander said was
Newgate Prison. (Dickens 1999, ch. 22)

3Wordsworth (1959, 232); for information on The Prelude, see [3.5 HN].
4THE DOME of St Paul’s Cathedral [2.13 HN], the second biggest in the world, topped
by its imposing stone lantern and inspired by Michelangelo’s cupola for St Peter’s in Rome, was
(at 112 feet wide and 278 feet tall) a prominent and impressive landmark: prior to the 1960s St
Paul’s was the largest church in Britain and the tallest building in London.
5Smithfield, a large open area just outside the City walls to the north-west, was (and still is) the

site of the main meat-market for London (from C12th), notorious for its filth and disorder; cattle
were slaughtered there, as were traitors and heretics in protracted gruesome executions (C14th
to C17th). From 1783 to 1868 the public hanging of common criminals took place just to the
south, outside Newgate Prison (see [2.28 HN]).
6black: in reality bluish-grey (leaden), but black then due to the sooty pollution caused by

numberless coal-fires, a problem that persisted in London till the Clean Air Act of 1956.
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