Survey Of Progress Of New Principal: Fill & Download for Free

I’ll post images of people, places, buildings, events, etc and mention the sources of the images, with some lines of description. And, I’ll include paintings, sketches and whatnot from the period under consideration as well. Oh, and BTW, pre-1900 would mean no World Wars but there will be the 1857 Revolt. Also, we don’t have that many photographs of the unsavoury bits of 19th century colonialism since photography was very much rare in India at the time, although the odd thing is that there are plenty of photographs of people and places which were taken as part of the ethnographical and archaeological studies undertaken post-1857. The photographers weren’t always European. Readers must keep in mind that attitudes toward India and Indians were starkly different in the 1900s than they were in the 1800s and 1700s, especially after the British Crown officially took over the administration of the subcontinent.I’ll keep updating this answer as and when time permits.Images are used under the “fair use” doctrine for non-commercial and educational purposes.WARNING: Some images are graphic.(Source) Invocation to Ganesha by Fanny Parkes in 'Wanderings of a pilgrim, in search of the picturesque, during four-and-twenty years in the East with revelations of life in the Zenana' - 1850Work-perfecting Guneshu ! Salamut.Ganesh ! Ganesh !Two-mothered ! One-toothed !Portly-paunched ! Elephant-faced Guneshu !Salam ! !Moon-crowned ! Triple-eyed !Thou who in all affairs claimest precedence in adoration !Calamity-averting Ganesh !Salam ! !Thou who art invoked on the commencement of a journey,the writing of a book,Salam ! !Oh ! Ganesh, " put not thine ears to sleep ' ! "" Encourage me, and then behold my bravery ;Call me your own fox, then will you see me performthe exploits of a lion ! "" What fear need he have of the waves of the sea,who has Noah for a pilot ? "First-born of Mahadeo and Parvuti !God of Prudence and Policy !Patron of Literature !Salam ! !May it be said," Ah ! she writes like Ganesh ! "—- Fanny Parkes(Source) A portrait believed to be that of the young Rani of Jhansi, from probably at the time of her wedding(Source) Jokan Bagh in Jhansi, the site where the Mutineers of 1857 slaughtered British military personnel(Source) Photographs of the Bhandeer Gate, the Rani’s dagger, facsimile of her seal, her palace and her cannons.(Source) Jhansi Fort(Source) Gwalior Fort(Source) The Mahalakshmi Temple at Jhansi(Source) A Victorian print of the Battle of BetwaDEFEAT OF THE PEISHWA'S ARMY BEFORE JHANSI BY GENERAL ROSE APRIL Ist 1858The enemy tried to stop our pursuit by setting the jungle on fire, but nothing could check the ardour of the Artillery and Cavalry, who galloped in pursuit across the country in flames(Source) Tatia Tope photographed as a prisoner(Source) The 78th Highlanders at the taking of Sucunderabagh, Siege of Lucknow, by Orlando Norie. 1857. Watercolor.Credit: The Anne S. K. Brown Military Collection, Brown University LibraryWilloughby Wallace Hooper, pictured dated 1876-78 - Wellcome Library Image Catalogue, WW Hooper Group of Emaciated Young Men, India Famine 1876-78Famine in India: a group of emaciated young men wearing loin cloths and a woman wearing a sari. Photograph, 1876/1878.Photograph in Public Domain(Source) Distribution of famine relief in the Madras Presidency. From the Illustrated London News (May 26, 1877)Photo in Public Domain(Source) Engraving from personal copy of The Graphic, 6 October 1877, entitled "The last of the herd," about the plight of animals as well as humans in the Bellary district of the Madras Presidency, British India during the Great Famine of 1876–78.Photo in public domain(Source) Procession réligieuse dans les galeries du couvent de Ramisseram près de Ceylan - June 1841Lithograph of a religious procession inside the Ramalingeshwara Temple at Rameshwaram in Tamil Nadu near Sri Lanka by L.H. de Rudder (1807-1881) after the original drawing of June 1841 by Prince Aleksandr Mikhailovich Saltuikov and published in Paris in 1848. This view shows a priest offering garlands to Prince Saltuikov.Text and image credit:© British Library Board(Source) General view from outside of the west gopura of the Ramalingeshvara Temple, Rameswaram - 1895Photograph of the Ramalingeshvara temple at Rameswaram, in Tamil Nadu, taken by Alexander Rea in c.1890, from the Archaeological Survey of India Collections. This temple complex is situated on the sacred Hindu island of Rameswaram, connected to the mainland by a causeway. The site is believed to be related to the story of Rama of the Ramayana epic. It was founded during the Chola period but belongs mostly to the Nayaka period of the 17th and 18th centuries. The complex is contained within high walls entered through tall towered gopuras, or gateways, on three sides. These gateways lead to an exceptionally long colonnade that surrounds the intermediate enclosure. The west gopura, seen in this photograph, is the only one completed in the late 19th century.Text and image credit:Copyright © The British Library Board(Source) View of the interior of the south gopura of the Ramalingeshwara Temple, Rameswaram - 1882Photograph of the south gopura of the Ramalingeshvara Temple at Rameswaram in Tamil Nadu, taken by Nicholas and Company in c.1882, from the Archaeological Survey of India Collections.Text and image credit:Copyright © The British Library Board(Source) Rameswaram Pagoda, Island of Paumben. Entrance passage as seen from west gateway - 1868Photograph of the Ramalingeshvara Temple complex in Rameswaram from the 'Photographs to Illustrate the Ancient Architecture of Southern India' collection, taken by Edmund David Lyon in c. 1868. […] This is a view looking along the richly-carved and painted Chokkattam Corridor of the Temple; Lyon wrote: 'To see this Pagoda to its best advantage, it should always be entered at its west side, and proceeding thither and passing under the tower...through the door, the view represented in the photograph is seen; and the reason at once becomes apparent why this temple is so celebrated... the figures carved on the pillars being those of the Rajahs of Ramnad on the right, and their private secretaries facing them on the left.'Text and image credit:Copyright © The British Library Board(Source) Nandi in the Temple grounds, Tanjore - 1895Photograph from the Elgin Collection: 'Autumn Tour 1895. Vol II' of the pavilion with the monolithic bull Nandi in the Brihadishvara Temple complex at Thanjavur, taken by Nicholas and Company in the 1890s. The Brihadishvara Temple built by the Chola king Rajaraja around 1010, is a monumental temple standing in the middle of a large courtyard surrounded by smaller shrines. To the east of the temple there is a 16th century pavilion with a huge monolithic sculpture of Nandi, the white bull sacred to Shiva to whom the temple is dedicated. The shafts of the columns of the pavilion are carved with figures of devotees.Text and image credit:Copyright © The British Library Board(Source) Photograph of Puliyar Rath, Mahabalipuram Cave Temples, Madras, India, about 1850.This image represents Puliyar Rath, one of the free standing cave sancturies at the southern end of the site of Mahabalipuram, founded by the ruling Pallava Kings between the 7th-8th century. The caves are well known for their variety of 'rathas': temples in the form of chariots, large open air sculptures and in particular the Shore temple, built to honour Lord Shiva. Overall the site is recognised as one of the greatest sculptural achievements in India.Text and image credit:Copyright: © Victoria and Albert Museum, London(Source) Street scene of Lahore, 1890s | British Library, online gallery, Item number: 7521519(Source) A 'Choultry', or Travellers' Rest House, in South India by Francis Swain Ward. Date painted: 1770–1771. Collection: British Library(Source) Gopuram of the Virupaksha Temple, Vijayanagara - 1857Photograph showing the large gopuram (tower) of the Virupaksha Temple, at Vijayanagara in Karnataka, taken by William Henry Pigou in 1857, from 'Architecture in Dharwar and Mysore'.Image and text credit:Copyright © The British Library Board(Source) “On the Coromandel Coast”, South India by William Havell. Date painted: 1821. Oil on canvas, 69 x 86 cm. Collection: Reading Museum(Source) The Kumbhalgarh Fort - 1829Engraving of the citadel on the hill in Kumbhalgarh, by Edward Francis Finden (1791-1857) and Patrick Young Waugh (1788-1829). Plate 14 from James Tod's: 'Annals and antiquities of Rajast'han or the Central and western Rajpoot States of India' published in London in 1829.Copyright © The British Library Board(Source)Photograph of Kumbhalgarh fort from the 'Reading Collection: Views of Udaipur taken by an unknown photographer c.1910. The photograph is part of an album containing architectural and topographical views of sites in Rajasthan, mainly of Udaipur, originally in the collection of Rufus Daniel Isaacs, Lord Reading, who served as Viceroy of India (1921-1926).Copyright © The British Library Board(Source) The fortress of Kumbhalgarh in the Aravalli Hills, Mewar - 1819Pen and ink drawing from the Hastings Albums the great fortress of Kumbhalgarh in the Aravalli Hills (Mewar), by Patrick Young Waugh (1788-1829), c. 1819. Signed on the wash border:' P.Y. Waugh.' Inscribed below: 'Fort of Kommulmair.'Copyright © The British Library Board(Source) Jain Temple in Kumbhalgarh - 1829Engraving of a Jain Temple in Kumbhalgarh, by Edward Francis Finden (1791-1857) and Patrick Young Waugh (1788-1829). Plate 15 from James Tod's: 'Annals and antiquities of Rajast'han or the Central and western Rajpoot States of India' published in London in 1829.Image and text credit:Copyright © The British Library Board(Source) Watercolour, Mosque of Aurangzeb, Ganges, Benares, William Simpson, 1864.This painting shows The Mosque Ghat in Varanasi (Benares), whose reputation as a sacred city for Hindus is demonstrated by its busy waterfront, where pilgrims undergo ritual purification in the River Ganges. The ghat (a stepped bank for bathing purposes) is one of more than seventy along the sacred river.Text and image:Copyright: © Victoria and Albert Museum, London(Source) Painting of Benares on the banks of the Ganges, by William Carpenter, watercolour on paper, India, 1856.This is a view of the ‘ghats’ or bathing places below Aurangzeb's mosque at the city of Benares (now Varanasi) as seen from the River Ganges, with pilgrims bathing and praying.Text and image:Copyright: © Victoria and Albert Museum, London(Source) The larger Sas-Bahu temple, Gwalior, Madhya Pradesh, India, ca. tenth century (photographed ca. 1880 by Deen Dayal).Image credit: British Library(Source) Drawing of the battle of Panipat, 14 January 1761, by an anonymous artist in the Faizabad style, dated c.1770. Inscribed with the names of the principal combatants in Persian characters. The drawing is done with some colour; on paper backed with cloth, through which can be seen a drawing of a horseman and attendant.Ahmad Shah Durrani and his forces are defeating ShadaSiva Bhao and the Maratha armies; Ahmad Shah Durrani rides a brown stallion surrounded by his close supporters. On his left are Najib Khan and Shuja' al-Daula with their forces, on his right are Ahmad Khan Bangash and Hafiz Rahmat, before them a cavalry attack is made by Shah Wali Khan. Within the buildings of the Panipat camp troops are committing atrocities while outside the wounded Bhao is helped from his horse; the centre of the picture is dominated by the arc of the two lines of guns with smoke and devastation between them. In 1760 the Marathas occupied Delhi, having already conquered the Punjab, offering a serious threat to the Muslim domination of the north of India. Their leader Viswas Rao was being advised by Sadasiva Bhao who organised the Maratha army under his generalship. To oppose them an army was formed by a Muslim alliance between Shuja' al-Daula of Oudh, Ahmad Shah Durrani and the Rohilla Afghans. Under the threat the Bhao fixed his camp and headquarters at Panipat in October 1760, which proved to be a tactical error. By January the Maratha army and its supporters were suffering famine under siege conditions, and they were obliged to start the offensive. Ahmad Shah's victory was decisive and the slaughter enormous.Image and text credit:Copyright © The British Library Board(Source) Shankaracharya Hill, Srinagar, Kashmir - 1850. An albumen print mounted on brown card by Francis Frith & Co.The Shankaracharya Temple (Kashmiri: शंकराचार्य मंदिर (Devanagari), شنکراچاریہ مندر (Nastaleeq)) is also known as the Jyesteshwara temple or Pas-Pahar by Buddhists. It is on top of the Shankaracharya Hill (also called Hill of Solomon)[1] on the Zabarwan Mountain in Srinagar, Kashmir, India. It is dedicated to Lord Shiva (Shri Shiv Ji). The temple is at a height of 1,000 feet (300 m) above the plain and overlooks the city of Srinagar.The temple dates to 200 BC, although the present structure probably dates to the 9th century AD. It was visited by Adi Shankara and has ever since been associated with him; this is how the temple got the name Shankaracharya. It is also regarded as sacred by Buddhists.Image and text credit:Copyright: © Victoria and Albert Museum, London(Source)Photograph of the Shankaracharya Temple on the summit of Takht-i-Suleiman (Throne of Solomon), near Srinagar in Jammu and Kashmir, taken by John Burke in 1868. This close view of the temple, looking directly towards the entrance, was reproduced in Henry Hardy Cole's Archaeological Survey of India report, 'Illustrations of Ancient Buildings in Kashmir,' (1869).Image and text credit:Copyright © The British Library Board(Source)Photograph of the Sankaragaurishwara temple at Patan in Jammu and Kashmir taken by John Burke in 1868. This photograph is reproduced in Henry Hardy Cole's Archaeological Survey of India Report 'Illustrations of Ancient Buildings in Kashmir.' (1869) and the building therein described: 'The Temple of Sankara Gaureswara is elaborately carved, and some of the details are as sharp and clear as when first cut. The degree of elaboration in the porch-like projections and interior carvings...The repetition of the pediments one above the other, together with the highly decorated pillars in the porches, all prove that the style of building practised in Kashmir since the erection of the Jyeshteswara Temple, had in the progress of time followed the natural tendency for greater elaboration.'Image and text credit:Copyright © The British Library Board(Source) Mukteshwara Temple at Chaudanpur (or Chaudadampur), Karnataka - 1857Photograph of the Mukteshwara Temple at Chaudanpur (or Chaudadampur) in Karnataka, with a row of inscription slabs standing at left, taken by William Henry Pigou around 1857, from 'Architecture in Dharwar and Mysore'.Image and text credit:Copyright © The British Library Board(Source)Native officers of the Imperial Service Troops who participated in Queen Victoria's Diamond Jubilee in London, July 1897. Jemadar Abdul Majid Khan, Commandant of the Imperial Service Lancers, Bahawalpur State Forces, is in the last row, 2nd from right(Source) A mountain artillery crew from the British Indian Army demonstrating assembly of the RML 2.5 inch Mountain Gun, ca 1895 | Wikimedia Commons(Source)Queen Victoria's Diamond JubileeTroops of a British Indian regiment in Queen Victoria's Diamond Jubilee procession, at the junction of King William Street and Cannon Street, London, on their return to Buckingham Palace after a service outside St Paul's Cathedral, 22nd June 1897. (Photo by London Stereoscopic Company/Hulton Archive/Getty Images)(Source) Portrait of a Brahmin of the Carnatic, Bombay - 1867.Portrait of a Brahmin of the Carnatic seated beside low table laid out with various religious objects, by Hurrichund Chintamon the 1860s. This photograph, from the Archaeological Survey of India Collections, was part of the Paris Exhibition of 1867.(Source) The Punt Pratinidhi of Satara (a Brahmin) - 1867.A portrait of the Punt Pratinidhi of Satara, seated with his servants, taken by Hurrichund Chintamon c. 1867, from the Archaeological Survey of India Collections. This photograph was exhibited in the Paris Exhibition of 1867.(Source) Book writers - 1895Photograph of three Hindu priests writing religious texts in the modern-day state of Jammu and Kashmir, taken by an unknown photographer in the 1890s. This thre members of this group of Brahmins, members the priestly caste, are engaged in copying out sacred texts from which they read as part of their duties at ceremonies and festivals.Text and image credit:Copyright © The British Library Board(Source) By J. Forbes Watson and John William Kaye. Published by W.H.allen & Co., London - 1868.(Source) Shroffs, Money Changers - 1863.Studio portrait of shroffs or money changers at Delhi in India, taken by Shepherd and Robertson in c.1863. This image of two men, seated with account books and piles of coins, is reproduced as illustration number 185 in Volume IV of John Forbes Watson's 'The People of India' (1869). The accompanying text states, "Shroffs are not always Bunneas (small traders), although the person illustrated may have been one. They are not unfrequently Brahmins, who have adopted a secular calling, and deal in money - Khutris, and other castes, Vaisya and Sudra. Their trade is the exchange of money, the giving change for rupees in pyce or copper coin, and for pyce in cowries. In the higher branches of his calling, the Shroff discounts hoodees, or bills of exchange, bonds, and promissory notes. He deals also in bullion, in small or large quantities, buys and sells ornaments, old and new pearls, and precious stones of all kinds. Finally, he lends money, generally on pledges of gold and silver ornaments, in small proportion to their value, but at moderate interest."Source : British Library(Source) Studio portrait of a group of Muslim men, Bombay - 1867Portrait of five men and a boy from Mumbai, taken by Hurrichund Chintamon and shown in the 1867 Paris Exhibition. This photograph is from the Archaeological Survey of India Collections; one of a series of ethnographical photographs commissioned by the Government of India in the late 19th century. The Indian photographer Hurrichund Chintamon began one of the oldest photographic firms in Bombay (1858-81). He made a notable contribution to the book, 'The People of India'. Indian Museum, London, 1868-75.Source : British Library(Source) Muharram festival procession in Baroda - 1880Photograph of a Muharram procession in Baroda (Vadodara) from the 'Album of portraits and views in Baroda' taken by an unknown photographer in c. 1880. The festival commemorates the popular saint Imam Husain, the Prophet Muhammad’s grandson and the spiritual leader of the Shias. He was martyred in 61 AH/680 AD in Karbala. It is celebrated with lavishly decorated tazivas (bamboo and paper replicas of the martyr’s tomb) which are carried through the streets of the city. Mourners beat their breasts accompanied by musicians, dancers and wrestlers who enact scenes depicting the battle at Karbala, when Imam Husain was martyred.Source : British Library(Source) Studio portrait of a group of Coorg priests - 1860Portrait of eight priests from the Kodagu District, Karnataka in south-west India, taken by Nicholas and Curths in c.1860s. This was one of a series of ethnographical photographs from the Archaeological Survey of India Collections. These were commissioned in the late 19th century by the Government of India in an attempt to gather information about the different racial groups in the sub-continent. Nicolas and Curths took a number of ethnographical photographs in South India.Copyright © The British Library Board(Source) Chandal or Namasudra (Ghasi sub-caste), Eastern Bengal - 1860Half-length portrait against a plain background of a young man by an unknown photographer in the early 1860s. The Chandals or Namasudras were a Hindu caste of Eastern Bengal. They are recorded as living apart from the remainder of the population in cities and as being employed performing menial tasks for members of the brahmin or priestly class. The specific sub-caste known as 'Ghasi', of whom this man was a member, were grass-cutters by occupation.Source : British Library(Source) Darwesh (Chishtia), Eastern Bengal - 1860.Portrait of a religious mendicant from Bangladesh by an unknown photographer, early 1860s. It shows a dervish of the Sufi Chishti order. Sufis are devotees of the mystical branch of Islam. In this case the man is a follower of the Indian saint Muin-u'd-din Chishti, whose shrine in Ajmer remains a popular pilgrimage centre today. This print is one of a series of portrait studies of individuals and groups from Eastern Bengal (modern Bangladesh and Assam). It is possible that they were taken in response to the Government of India's call for photographs representing various ethnic types from across the sub-continent.Source : British Library(Source) Photograph of Indian architecture and temples on the bank of river Ganga by Samuel Bourne, in Varanasi, 1863-1866.Copyright: © Victoria and Albert Museum, London

The short answer is: Humans are naturally tribal, ethnocentric and xenophobic, so we find it easy to 'hate' people and use hate words to describe those who look or think differently than we do, perhaps especially those who support a different political party or football team.This basic fact about human nature is the basis and primary meme in every propagandist's tool bag.Political discourse tends to coalesce & unify in times of existential threats and polarize in times of relative peace & prosperity. Now 14 years distant from a brief period of unity in the aftermath of 9/11, we're testing the outer limits of political polarization during the twilight years of the Obama administration.Liberal/Socialists, who represent one side of the political spectrum are thus vilified by many on the 'right'. Likewise for 'conservatives' by their 'progressive' political opponents on the left, as a brief survey of Quora content would show.IMO, the principal critique of 'progressive' politics should be its reliance on human altruism, which is hardly a universally held trait. This utopian design flaw is magnified by an ever expanding government bureaucracy, led by ivy league educated policy mandarins (who later cash out in the private sector) and staffed by union workers with lifetime tenure, all of whom are miraculously expected to execute laws & policies in an efficient, evenhanded and disinterested manner.Lofty ideals may sound compelling in theory, and might even work for a time within the microcosm of small, culturally homogenous societies, but its fatal flaw is inevitably revealed by the human tendency towards venality and self-interestIn contrast, the genius of the America's founders was in explicitly limiting the power of government (and popular majorities) by creating a system of rules based competition for power between 3 co-equal branches of government that both leveraged and checked the natural human tendency towards self-interest, for the greater good of all.Along with the independent press, the American form of Constitutional government has declined under a president who, perhaps not ironically, was himself a Constitutional scholar.While progressives might find good cause to cheer a 'progressive' Chief Executive who has both created new laws and transparently declined to execute laws duly enacted by Congress, they will not be so sanguine when the tables turn, as they always do.

Harriet Martineau c1834, by Richard Evans. (Harriet Martineau - Wikipedia)In 1855, Harriet Martineau, aged 52, prepared to die of a heart condition diagnosed by her London physician. She hastily finished her autobiography and wrote her own obituary for The Daily News, the newspaper she had served since 1852, leaving a space for someone to enter the date of death when it finally occurred.[1] That date turned out to be 21 years later, in 1876. Over time, her fame declined. ‘I had no idea she was still alive even, much less contributing to The Daily News,’ admitted her near-contemporary, the actress Fanny Kemble, in 1874.[2] Martineau herself added not another word to her Autobiography (1877).[3]Best remembered today as a journalist, educationalist and early feminist sociologist, Martineau was also the author of an amazingly outspoken Autobiography. So far as journalism is concerned, she started young, published in all the leading periodicals, and could write about anything and everything, from China (past and present) to the fire hazards of crinolines. In 1852, The Quarterly Review joked:When she speaks of Continental politics, her proper post seems the Foreign Office; but when she touches on religious matters, and disposes of Presbyterian schism and Tractarian mummery, we are at a loss to say whether she should have been Moderator of the General Assembly or Archbishop of Canterbury.[4]In her heyday, however, when she first shot to fame in 1832, it seemed that everyone knew who Martineau was, and talked about her as an unlikely new celebrity: ‘the little deaf woman at Norwich’, as Lord Chancellor Henry Brougham nicknamed her.[5] How then, do we explain her extraordinary success, followed by decades of oblivion, and now, strangely enough, a new kind of popularity, especially with feminist critics and historians?Born in 1802 into an earnest, middle-class family in Norwich, Harriet was the sixth child of a bombazine manufacturer, Thomas Martineau, and his Newcastle wife, Elizabeth Rankin.[6] The Martineau family was of French Huguenot ancestry and professed Unitarian views.[7] Her adored younger brother, James Martineau (1805-1900), became a prominent Unitarian minister and philosopher the tradition of the English Dissenters,[8] and her older sister Rachel (1800-78) headmistress of a Liverpool girls’ school attended by Elizabeth Gaskell’s second daughter, Meta.[9] Her uncles included the surgeon Philip Meadows Martineau (1752–1829), whom she had enjoyed visiting at his nearby estate, Bracondale Lodge[10] , and businessman and benefactor Peter Finch Martineau.[11]Harriet Martineau's childhood home (Harriet Martineau - Wikipedia)Her ideas on domesticity and the "natural faculty for housewifery", as described in her book Household Education (1848)[12] , stemmed from her lack of nurture growing up. Although their relationship was better in adulthood, Harriet saw her mother as the antithesis of the warm and nurturing qualities which she knew to be necessary for girls at an early age, claiming her mother abandoned her to a wet nurse.[13]Her mother urged all her children to be well read, but at the same time opposed female pedantics "with a sharp eye for feminine propriety and good manners. Her daughters could never be seen in public with a pen in their hand." Her mother strictly enforced proper feminine behaviour, pushing her daughter to "hold a sewing needle" as well as the (hidden) pen.[14]By the time she was sixteen, she was forced to face and deal with increasing deafness, which she described as ‘very noticeable, very inconvenient, and excessively painful.’[15] Over time, Martineau would go on to lose her senses of taste and smell. She taught herself how to manage her handicap with the assistance of an ear trumpet, so that she could take in what she needed in unobtrusive ways.[16] She would be plagued by poor health for the remainder of her life, including two extended periods of ill-health, from 1839 to 1844, and from 1855 until her death.biography and bibliographyHer brother James introduced her to his college friend, John Hugh Worthington, to whom she became engaged, but the relationship was beset by doubts and difficulties and later came to an end when Worthington became seriously ill and eventually died.[17] Harriet writes in the Autobiography that despite her grief at his death, she was relieved when circumstances intervened to prevent their marrying.After her father’s death in 1826, followed by the collapse of the family textile business in 1829[18], Martineau, then 27 years old, stepped out of the traditional roles of feminine propriety to earn a living for her family. Too deaf to work as a governess, yet passionate about educating the public, she pitched herself into serious-minded journalism. Along with her needlework, she began selling her articles to the Monthly Repository, earning accolades, including three essay prizes from the Unitarian Association.[19] Her regular work with the Repository helped establish her as a reliable and popular freelance writer.Martineau began quietly enough, by submitting articles on religious themes to the Unitarian Monthly Repository from 1822.[20] But soon she developed the confidence to tackle the distinctly ‘masculine’ field of political economy. Aware that the textbooks on the subject were intimidating for nonspecialists, she wanted to explain to the public how and why economic laws worked as they did via a series of short tales, each set in a different kind of community.[21] Derived principally from Adam Smith’s TheWealth of Nations (1776)[22] , James Mill’s Elements of Political Economy (1821)[23] , and the theories of Thomas Malthus and David Ricardo, Martineau’s 25-volume series Illustrations of Political Economy (1832-4) was also inspired by Jane Marcet’s Conversations on Political Economy(1816), which showed her how to connect economic theory with the realities of people’s lives.[24] As she read Marcet’s book, Martineau recalls in her Autobiography, ‘groups of personages rose up from the pages, and a procession of action glided through its arguments, as afterwards from the pages of Adam Smith, and all the other Economists’.[25]Martineau’s social and geographical range in these tales was enormous, her characters including the aristocracy, an actress, trades unionists, Irish ‘Whiteboys’, workhouse inmates, clergymen, children, even a mob storming the Bastille in a tale called French Wines and Politics (1833).[26] Each Illustration ended with a ‘Summary of Principles’ – in the case of A Manchester Strike, on wages, population and ‘Combinations of labourers against capitalists’ – to ensure that readers who had lost themselves in the story remembered the takeaway message.[27]It remains difficult for modern readers to understand why her Illustrations were such a roaring success with the public. Even the teenage Princess Victoria loved them, though Martineau worried that she might be skipping the summaries of principles at the end of each tale.[28] Conditions at the time were febrile. Not only was there a dearth of significant imaginative literature in the early 1830s, but the country was also in a state of high anxiety, blamed on social unrest, the 1832 Reform Bill[29] , industrialisation, extreme poverty in expanding cities such as Manchester, and finally a cholera epidemic[30] .When Martineau was tramping around London, personally lobbying publishers to consider her work, she was repeatedly fobbed off, as she records in her Autobiography, with cries of ‘the Reform Bill and the Cholera’, as well as ‘the disturbed state of the public mind, which afforded no encouragement to put out new books’.[31]As it happened, her Illustrations addressed many of the same social concerns, including industrial strikes, wages, poverty and the Poor Laws, that supposedly made the country too preoccupied for fiction. When the publisher Charles Fox grudgingly accepted her proposal[32] , he suddenly found himself with a bestseller on his hands. Each volume in the series is thought to have sold about 10,000 copies.[33]While she was an instinctive sociologist, in that she retained a lifelong interest in people and social structures, Martineau first laid down her methodology in How to Observe: Morals and Manners (1838), a guide for travellers such as herself to other countries and cultures.[34] It was not for her just a matter of wandering randomly, open to impression: the traveller, she insisted, ‘must have made up his mind as to what it is that he wants to know’. [35] The traveller must also be disciplined and principled, and must judge what he finds according to its potential to provide happiness.This was by no means the end of it: Martineau was famous for one thing after another. If in 1832 it was for popularising the fundamental theories of political economy[36] , by 1838 it was for outing herself as an abolitionist in the American antislavery campaign[37] , and publicly adopting a protofeminist stance against the inequalities of the United States constitution. By 1845, however, it was for promoting the cause of mesmerism[38] , and in 1851, in collaboration with the freethinker and phrenologist Henry George Atkinson, for dismissing Christian theology in favour of an agnosticism based on a more scientific understanding of the human mind and body.[39]Page:Once a Week June to Dec 1863.pdf/557Martineau was travelling in Europe in 1839 when she fell ill and was brought to Newcastle to be treated nearby, by her medical brother-in-law, Thomas Michael Greenhow. Moving to lodgings in Tynemouth, she spent five years as an invalid, suffering from a prolapsed uterus and ovarian cyst. Fully expecting to die, she claimed to have been cured by mesmerism, on the basis of which she eagerly resumed work.[40]In the early 1850s, Martineau provided Dickens with a survey of manufacturing industries for Household Words[41] , followed in the 1860s by a whole series for Once a Week on what we would now call ‘health and safety’ in numerous professions, from maid-of-all-work to the steel grinder. Men’s health interested her no less than women’s, down to the details of a metropolitan police officer’s meat-heavy diet, or the advisability of ‘strenuous and varied bodily exercise’ (including the gym) for students, and those of other sedentary professions.[42]As an early feminist, writing about women at a time before the term was first used in its modern sense in the 1890s, Martineau was both outspoken and cautious. In this respect, she is similar to many of her contemporaries: anxious to dissociate herself (as she does openly in her Autobiography) from the notorious example of Mary Wollstonecraft, who was driven by personal circumstances to demand new freedoms for women. [43] Martineau instead emphasised the need for dispassionate, objective grounds for claiming women’s rights. Given her own immaculate personal life, she was more interested in employment opportunities than in sexual freedoms, though she did support divorce reform.[44]In How to Observe, Martineau noted that, while in the US women could earn money only by the traditional routes of teaching, sewing, factory work or other semidomestic occupations, France was the world leader in enabling women to be anything from shopkeepers to ‘professional accountants’, even editors of newspapers.[45] Much as she admired some US attitudes to women, she thought their treatment was comparable with that of slaves.[46] One section of Society in America (1837) is even headed ‘Political Non-Existence of Women’, in that women (like slaves) have to obey laws to which they have never consented, let alone helped to formulate.[47] She also blamed the ‘chivalry’ of US middle-class husbands who were determined to protect their wives from having to work.Her most important statement on employment for women, however, came in ‘Female Industry’ (1859), an extensive overview for The Edinburgh Review. In her characteristically incisive voice, Martineau opened her article by reminding readers that, although ‘we go on talking as if it were true that every woman is, or ought to be, supported by father, brother, or husband’, ‘a very large proportion of the women of England earn their own bread’.[48]Nonetheless, too few of the professions were open to them, and even where women did work (for example, as domestic servants) they rarely earned enough money to save for a comfortable retirement. While safeguarding her identity with a male persona[49] , despite the anonymity of the article (‘every man of us … Our wives’), Martineau’s solution was forthright and practical. The answer was to end male monopolies, and open up all trades and professions, from watch-making to medicine, to suitably qualified women.[50]Harriet MartineauThe final years of her active life were spent touring the Middle East, Ireland and Birmingham’s industrial centres, and writing regularly, not just for The Daily News, but also for many of the mainstream heavyweight Victorian periodicals, including The Edinburgh Review and The Westminster Review, as well as Charles Dickens’s Household Words.[51] Somehow she also found time to write The History of England During the 30 Years’ Peace: 1816-1846(1849-50)[52] , and make regular contributions to another periodical, Once a Week.[53]In her 60s, Martineau campaigned with Florence Nightingale for nursing reform[54]. In 1863, she used her platform at The Daily News to support the campaign against the Contagious Diseases Acts, which authorised the enforced medical examination in garrison towns of any woman suspected of carrying a sexually transmitted infection.[55]On the burgeoning campaigns for the vote, she was more reticent, but signed John Stuart Mill’s petition of 1866.[56]‘Nobody can be further than I am from being satisfied with the condition of my own sex, under the law and custom of my own country,’ she conceded in her Autobiography, but she believed the way forward was for women to ‘obtain whatever they show themselves fit for’. In due course, she argued, when the time was right, women would find their way into political life, much as they had done in other fields.[57]By then, she was confined to her home living a sound ecological life in Ambleside in the Lake District, organising a local building society, and educating her working-class neighbours on what she politely called ‘sanitary matter’.[58] Martineau ceased writing only at the very end of her life.Harriet Martineau, 1861 (Harriet Martineau | Wikiwand)Harriet Martineau died of bronchitis at "The Knoll" on 27 June 1876.[59] She was buried alongside her mother in Key Hill Cemetery, Hockley, Birmingham. The following April, at Bracondale, her cousin's estate, much of Martineau's extensive art collection was sold at auction.[60]By the time she died in 1876, there were few fields, other than the purely scientific, that she had not mastered and made her own. In 1877 her autobiography was published. It was rare for a woman to publish such a work, let alone one secular in nature. Her book was regarded as dispassionate, "philosophic to the core" in its perceived masculinity[61] , and a work of necessitarianism (a metaphysical principle that denies all mere possibility; there is exactly one way for the world to be)[62] .The question of Martineau’s originality remains key to any analysis of her lasting reputation and relevance to today’s debates on the causes she espoused across the middle years of the 19th century. There is a case for saying that, while she started out as a populariser, her two years in the US (1834-6) forced her to formulate her own opinions, not just on the slavery issue, but on women’s equality[63] ; a similar process occurred when she visited the Middle East (1846-7) and was appalled by the harems.[64]Visiting harems in Cairo and Damascus, she was dismayed, not just by the evidence of polygamy, but also by the women’s enforced idleness and brainwashed complicity in a custom she believed could never be eradicated from their country.[65] She called them ‘the most injured human beings I have ever seen’.[66]If anything, Martineau was quickly condemned by her first reviewers for being too outspoken on ‘unfeminine’ subjects, such as the ‘preventive check’ (an early form of contraception)[67] , and independently testing the morality and validity of institutions by measuring their practice against their professed principles.On the other hand, while interdisciplinarity is encouraged in today’s academic landscape, Martineau’s ability to flit from political economy to the history of India and to Auguste Comte’s Positive Philosophy, interrupted by brief forays into realist fiction – Deerbrook (1839) – and children’s literature – The Playfellow (1841) – could condemn her as a self-appointed amateur expert on just about everything.[68]After all, despite her above-average schooling for a middle-class provincial girl born at the start of the 19th century, Martineau was never formally trained in any discipline, and, as a woman, was barred from attending university. At the same time, academic disciplines were less rigorously demarcated than they are today, and it was not unusual even for men to pass seamlessly from one to another.[69] One only has to think of polymaths such as Charles Kingsley[70] , Sir Francis Galton[71] or William Morris, or to see the range of subjects covered by contributors to the serious periodicals, to acknowledge that the disciplines, in Martineau’s time, were less compartmentalised than they became.Harriet Martineau, 1882, (Davis Museum, Wellesley College)The one thing that links all her multifarious interests is her fascination with how societies work, and how they construct their communities, starting with the smallest unit, the family.[72] The first sections of her Autobiography show how angry she was about the way she was brought up, especially the lack of open, demonstrative affection between the parents and children.Many of these episodes still rankled years later when she used her own experiences in Household Education (1849), arguing that all members of a family should go through a shared learning process together, supported by mutual love and respect.[73] Making allowances for its more obvious datedness in terms of details (there is still mention of womanly ‘duty’ and naturally domestic tastes, alongside a real fervour for women’s education), much of what Martineau says accords with modern attitudes to bringing out the best in children and identifying their individual emotional needs.Here perhaps lies the clue to Martineau’s success. Although the lampoonists and satirists of the 1830s portrayed her as an angular bluestocking, devoid of feeling, what she actually did was humanise economic theory by creating characters and scenarios her readers could relate to.[74] One such character is William Allen of A Manchester Strike (1832), a thoughtful factory worker with a lame eight-year-old daughter and a tearful wife, whom we first see being bullied by the neighbourhood ‘scold’.[75] Within a few pages, Martineau has established a set of personal circumstances, much as Gaskell would do more than a decade later in Mary Barton (1848)[76] , followed by a narrative of interlocking cause and effect leading to Allen’s finishing up as a street sweeper.Although Martineau became an overnight celebrity with her Illustrations, she left no permanent mark on economic theory, nor did she make any kind of lasting difference to its application.[77] Perhaps this is inevitable for someone who never pretended to be an original economic theorist. As the Victorian literature scholar Deborah Logan argues in a Broadview Press edition of four selected Illustrations(2004), Martineau instead made an impact as a ‘cultural force whose influence extended far beyond the Reform Bill era’.[78]Harriet Martineau's name on the lower section of the Reformers memorial, Kensal Green Cemetery (Harriet Martineau - Wikipedia)Martineau broke the mould by making complex ideas accessible to a wider readership via entertaining stories that connected grand theories with personal circumstances.[79] While her delight in creating characters and human narratives gradually waned in favour of more direct campaigning for her favourite causes, she never lost her preference for example over theory, or (until her health gave out in 1855) for visiting places in person, so that she could see things for herself.In her early years as a writer, she advocated for free market economic principles in keeping with the philosophy of Adam Smith.[80] Later in her career, however, she advocated for government action to stem inequality and injustice, and is remembered by some as a social reformer due to her belief in the progressive evolution of society.What makes her career so remarkable was the number of times she made a fresh start on a new topic by mastering it for herself, from whatever information she could find to hand, and constantly updating her expertise so that her interventions might offer some practical support. Inevitably, some of these fields dated faster than others, but after a century of critical neglect, Martineau is now being widely reclaimed as a forthright thinker with a distinctive voice.Footnotes[1] Harriet Martineau[2] Frances Anne Kemble Facts[3] Online Library of Liberty[4] Harriet Martineau: gender, national identity, and the contemporary historian[5] "The Little Deaf Woman from Norwich"[6] Harriet Martineau[7] http://Martineau family - Wikipedia [8] James Martineau (1805 - 1900)[9] "Harriet Martineau and the transmission of social knowledge"[10] http://martineau%2C%20harriet%20%282007%29.%20peterson%2C%20linda%20h.%20%28ed.%29.%20autobiography.%20broadview%20press.%20p.%2049/[11] "Peter Finch Martineau" on Revolvy.com[12] Household Education by Harriet Martineau[13] http://Postlethwaite, Diana (Spring 1989). "Mothering and Mesmerism in the Life of Harriet Martineau". Signs. University of Chicago Press. 14 (3): 583–609.[14] http://Postlethwaite, Diana (Spring 1989). "Mothering and Mesmerism in the Life of Harriet Martineau". Signs. University of Chicago Press. 14 (3): 583–609.[15] biography and bibliography[16] biography and bibliography[17] Harriet Martineau (1802-76)[18] Harriet Martineau at The Armitt Museum and Library Cumbria[19] Harriet_Martineau,_Utilitarianism,_Social_Political_Philosophy[20] https://www.google.com/url?sa=t&source=web&rct=j&url=https://archive.org/details/monthlyreposito11unkngoog&ved=2ahUKEwitrIfCtv7jAhXSWc0KHS9aCuMQFjACegQIAhAB&usg=AOvVaw25voKcPjwPfwk_vJnS4EFt[21] Lana L. Dalley, “On Martineau’s Illustrations of Political Economy, 1832-34″[22] The Wealth of Nations — Adam Smith Institute[23] Online Library of Liberty[24] Online Library of Liberty[25] Online Library of Liberty[26] Family Fictions and Family Facts[27] Life and Labour in the Nineteenth Century[28] The benefits of a feminist in the family [29] Page on bl.uk[30] Why Half of New York City's Population Fled in 1832[31] Online Library of Liberty[32] A Tale of the Tyne[33] https://www.jstor.org/stable/41810454?seq=1#page_scan_tab_contents[34] https://www.google.com/url?sa=t&source=web&rct=j&url=http://www.d.umn.edu/cla/faculty/jhamlin/4111/Martineau/Martineau.pdf&ved=2ahUKEwiZ_eWSxP7jAhXNKM0KHd9VBgcQFjAKegQIBhAB&usg=AOvVaw1BPdEA2o2d-5JoaouBFBxP[35] A New Way of Thinking. The Sociological Imagination of Harriet Martineau (1802-1876)[36] Harriet Martineau[37] Harriet Martineau[38] https://www.jstor.org/stable/3174403[39] Letters on the laws of man's nature and development. By Henry George Atkinson ... and Harriet Martineau .. : Atkinson, Henry George, 1812-1890? : Free Download, Borrow, and Streaming : Internet Archive[40] Harriet Martineau (1802-76)[41] Household Words[42] Harriet martineau, health, and journalism[43] The Next Generation: Harriet Martineau’s Literary Reviews for the Monthly Repository[44] Harriet Martineau and the Birth of Disciplines[45] Harriet Martineau: A Brief Biography and Intellectual History[46] Was the suffragettes’ description of women as slaves justifiable? – Ana Stevenson | Aeon Essays[47] https://www.google.com/url?sa=t&source=web&rct=j&url=http://minerva.union.edu/kleind/eco024/documents/suffrage/martineau.doc&ved=2ahUKEwjc6ejl4f7jAhWDZ80KHYiuDasQFjAHegQIARAB&usg=AOvVaw0pxhSk8KIj4EGHqhuF8sj_[48] Charles Petzold[49] Harriet Martineau and the Birth of Disciplines[50] Worlds are Colliding: Authorship, Gender, and Self-Formation in the lives of Harriet Martineau and Elizabeth Gaskell[51] Authorship, Gender and Power in Victorian Culture: Harriet Martineau and the Periodical Press[52] The history of England during the thirty years' peace : 1816-1846 : Martineau, Harriet, 1802-1876 : Free Download, Borrow, and Streaming : Internet Archive[53] https://www.google.com/url?sa=t&source=web&rct=j&url=https://collections.mfa.org/objects/466016&ved=2ahUKEwjI_svsuv7jAhXDLs0KHf9LAuIQFjAKegQIBBAC&usg=AOvVaw3jsHOUho4etzkWT-KOf9Q-&cshid=1565651655164[54] A statistical campaign: Florence Nightingale and Harriet Martineau’s 'England and her Soldiers'[55] The British Contagious Diseases Acts (1864, 1866, and 1869)[56] John Stuart Mill and the 1866 petition[57] Online Library of Liberty[58] Online Library of Liberty[59] http://Harriet Martineau". Spartacus Educational. Retrieved 7 August 2019.[60] Mocavo and Findmypast are coming together[61] Harriet Martineau (1802–1876), from Unitarianism to Agnosticism[62] Necessitarianism - Wikipedia[63] https://www.jstor.org/stable/20083989?seq=1#page_scan_tab_contents[64] https://www.google.com/url?sa=t&source=web&rct=j&url=http://digitalcommons.unl.edu/cgi/viewcontent.cgi%3Farticle%3D1018%26context%3Dsociologydiss&ved=2ahUKEwiUhbqKw_7jAhXNbc0KHVqvCt4QFjALegQIARAB&usg=AOvVaw1JX0aAArKimM96d6B4Sh0p[65] Harriet Martineau, Victorian Imperialism, and the Civilizing Mission[66] https://www.google.com/url?sa=t&source=web&rct=j&url=https://digitalscholarship.unlv.edu/cgi/viewcontent.cgi%3Farticle%3D2385%26context%3Dthesesdissertations&ved=2ahUKEwiAt-uyxv7jAhWXQc0KHSxeCVMQFjAPegQIBhAB&usg=AOvVaw0tUaT949UUUamF2tsLJVFx[67] Encounters With Harriet Martineau[68] Harriet Martineau and the Birth of Disciplines[69] The Basics of Sociology[70] Charles Kingsley[71] Francis Galton[72] Harriet Martineau[73] Household education. By Harriet Martineau : Martineau, Harriet, 1802-1876 : Free Download, Borrow, and Streaming : Internet Archive[74] https://www.jstor.org/stable/40347122[75] From 'Political' to 'Human' Economy: The Visions of Harriet Martineau and Frances Wright[76] Mary Barton: A Tale of Manchester Life (1848)[77] https://www.jstor.org/stable/3828901?seq=1#page_scan_tab_contents[78] https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.amazon.com/Illustrations-Political-Economy-Selected-Tales/dp/1551114410&ved=2ahUKEwjIno_C1v7jAhWMWM0KHTdGDPIQFjABegQIARAB&usg=AOvVaw3jAoTMGp8jYFpZr9Ov-UMm[79] Harriet Martineau[80] Harriet Martineau on the Theory and Practice of Democracy in America - Lisa Pace Vetter, 2008