Queen Victoria’s "Leaves from the Journal of Our Life in the Highlands": Illustrated Print Culture and the Politics of Representation

Morna O'neill
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Abstract

QueenVictoria published her first Highland memoir in 1867, a sentimental narrativeof royal life dedicated to Prince Albert entitled Leaves from the Journal ofOur Life in the Highlands.  Inresponse to the popularity of this edition, the publisher Smith, Elder and Co.released a lavishly illustrated edition in late 1868 to capitalize on theChristmas gift book market.  It featuredseventy-nine illustrations after works by various artists andphotographers.  When scholars have turnedtheir attention to the Queen’s journal, they have produced rich andsophisticated discussions of gender, monarchy, and celebrity, especially asthey relate to royal domesticity in the Scottish Highlands.  Yet these readings have rarely extended tothe illustrated version of the text. This article will consider the conjunctionof monarchy, the Scottish Highlands, and illustrated print culture in theillustrated Leaves through two different types of images:  steel plate engravings after watercolors bythe artist Carl Haag and wood engravings after watercolor sketches of Highlandgames by the Swedish artist Egron Lundgren. Each positions the male Highlander as a central figure in constructingthe dynamic of royal family life, sovereignty and empire.  Catherine Hall and Sonya Rose have recentlyexplored what it meant for the British to be “at home with the Empire,” asking“Was it possible to be ‘at home’ with an empire and with the effects ofimperial power or was there something dangerous and damaging about such anentanglement?” In the course of this article I will argue that theseillustrations constructed the male Highlander as a site of familiarity withinthe bounds of the nation, while simultaneously signaling his otherness andproximity to the more far-flung reaches of empire.   As a result, Leavesis as much about empire as it is aboutdomesticity, even as it eschews direct references to current events of theperiod that directly threatened both.   
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维多利亚女王的“高地生活日记中的树叶”:插图印刷文化和代表政治
维多利亚女王于1867年出版了她的第一本高地回忆录,这是一本献给阿尔伯特亲王的关于王室生活的伤感叙述,题为《我们高地生活日记中的叶子》。为了应对这一版本的受欢迎程度,出版商史密斯,埃尔德公司在1868年底发行了一个大量插图的版本,以利用圣诞礼物图书市场。它以79幅插图为特色,这些插图来自不同艺术家和摄影师的作品。当学者们把注意力转向女王的日记时,他们对性别、君主制和名人进行了丰富而复杂的讨论,尤其是与苏格兰高地的王室家庭生活有关的讨论。然而,这些阅读很少延伸到文本的插图版本。本文将通过两种不同类型的图像来考虑君主制,苏格兰高地和插图印刷文化在插图叶子中的结合:艺术家卡尔·哈格(Carl Haag)的水彩画后的钢板雕刻和瑞典艺术家Egron Lundgren的Highlandgames水彩画草图后的木版雕刻。每本书都把男性高地人定位为构建王室生活、主权和帝国的核心人物。凯瑟琳·霍尔(Catherine Hall)和索尼娅·罗斯(Sonya Rose)最近探讨了“与帝国如家”对英国人来说意味着什么,他们问道:“与帝国如家,并受到帝国权力的影响,这有可能吗?还是这种纠缠有危险和破坏性?”在这篇文章的过程中,我将论证这些插图将男性高地人构建为国家范围内熟悉的场所,同时也表明了他的差异性和与帝国更遥远地区的接近。因此,《离开》既是关于帝国的,也是关于国内生活的,尽管它避免直接提及当时直接威胁到两者的时事。
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