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, unmannered, unadorned, or, indeed, so-called ‘manly’? 100 Thus when Lionel Johnson insisted of Pater that ‘his Euphuism, if that be not too suspect a word, was no dreamy toying with rich and strange expressions’, he acknowledged that for many of his readers euphuism was indeed thought to be something rich
-Victorianism: The Victorians in the Twenty-First Century, 1999–2009, Basingstoke: Palgrave Macmillan. Humble, Nicola (2001) The Feminine Middlebrow Novel, 1920s to 1950s: Class, Domesticity, and Bohemianism, Oxford: Oxford University Press. Johnson, Lionel Pigot (1915) ‘Brontë’, Poetical Works of Lionel Johnson, London: Elkin Mathews. Kontou, Tatiana (2009) Spiritualism and Women’s Writing: From the Fin de Siècle to the Neo-Victorian, Basingstoke: Palgrave Macmillan. Linton, M.B. (c.1926) The Tragic Race: A Play about the Brontës, Aberdeen: W. and W. Lindsay. Matthews, Samantha (2004
, resulting in the same blur, which only the vigour of the colours fixes’ (Eliot 1920a , 24). That suggestive blurring is an example of what Pound might have identified as ‘crepuscular’ or, in his essay ‘Lionel Johnson’, as late Victorian ‘muzziness’: ‘The “nineties” have chiefly gone out because of their muzziness, because of a softness derived, I think, not from books but
League of Great Britain and Ireland with a clearer defined political aim of the Stuart restoration.84 Gregory’s mixed phrase, including both ‘League’ and ‘White Rose’, could be a reference to either one of these organisations. Yet it clearly indicates her awareness of more politically inclined Jacobite ideologies prevalent at the time. Some of the key literary figures of the 1890s had Jacobite sympathies, including McGregor Mathers and Lionel Johnson. It is in regard to the latter two, and the circle of the Rhymers Club, that Yeats was also acquainted with such
