Last night, I stayed up (too) late reading about family scandals, hatred, illegitimacy and death in the supposedly idyllic domestic life of one of my thesis’s subjects. The actress in question is Madge Kendal (1848-1935), an incredibly successful, powerful Victorian actress – and just about one of the biggest hypocrites I’ve ever (literarily) met.
The past few days have involved a lot of reading about Victorian marriages – the bride, the wedding night, divorce laws and annulments, and rituals surrounding mourning and death. My love of genealogy and my love of scandal are both growing exponentially with my doctoral research! Last night I found exactly what the Kendals’ youngest daughter did, to warrant being disowned, and it shocked me horribly.
Today I’m having to be good and get back to hermeneutics. But then I saw this image, and it was so gloriously, gaudily, bitterly self-indulgent with all its splashy Victorian mourning glitz that I had to include it. It reminded me so much of all the accounts of mourning I’ve been reading – in public, theatrical, self-indulgent form. It’s Gisele Ganne‘s mourning-inspired jewellery collection, and the model is Emmanuel Ray. I love it, Madge Kendal would hate it, and since her sustained vileness to her offspring deprived me of my sleep, that seems an excellent reason to reblog!
Dr Sophie Duncan is Fellow in English at Christ Church, University of Oxford. She works regularly as a historical advisor and as a dramaturg for theatre, TV, radio and film. She likes theatre, detective fiction and cocktails.