This study examines the impact of Queen Victoria's political and diplomatic power on the marriages of her five daughters. Queen Victoria's influence on her daughters' marriages highlights her enduring behind the scenes power despite some claims to the contrary. Unlike the sons’ marriages, where considerable outside political influences brought to bear, the daughters’ marriages were almost solely influenced by Victoria. Examining the Queen's five daughters offers an alternate view of her motherhood while simultaneously exploring the diverse gender dynamics between her and her daughters.

In 1839 Queen Victoria twice became the focus of a media maelstrom: In April, the publication of what came to be known as the Hastings Correspondence blamed the Queen for having taken part in the perceived persecution of Lady Flora Hastings. In May, Victoria's refusal to allow Sir Robert Peel to replace certain ladies of her bedchamber engineered Lord Melbourne's return as Prime Minister. Both of these events resulted in an outcry, both in opposition to the Queen and in support of her. Many historical works that deal with these events tend to recount them as either trivial anecdotes or as means to criticize Victoria's early years on the throne. However, some recent works have begun to rethink the condemnation of her actions. This paper reassesses Queen Victoria's role in the Hastings Scandal and the Bedchamber Crisis by examining how she was represented in certain London newspapers during these events. Instead of focusing on whether Victoria was right or wrong in pursuing the courses that she did, the emphasis is placed on how both the Tory newspapers, that opposed her actions, and the Whig newspapers, which supported her actions, sought to reduce the appearance of agency on Victoria's part. Papers of both political affiliations made constant reference to Victoria's youth, gender, and inexperience—all factors which also played into developing ideals regarding the roles of both the monarchy and women in the political process. The Hastings Scandal and the Bedchamber Crisis are placed squarely within the midst of these issues. The possibility of a young, unmarried, and female monarch making decisions independent of male political guidance caused unease among newspaper writers grappling with the early nineteenth century's colliding concepts of political reform and cultural ideals. / Graduate / 0578 / 0335 / lfidler@uvic.ca

The thesis focuses on four sets of official portraits of Queen Victoria and Prince Albert, which were painted by the German-born elite portrait specialist Franz Xaver Winterhalter (1805-1873) between 1842 and 1859. These portraits are examined in detail and are placed within the contexts of the existing scholarship on Franz Xaver Winterhalter, British portrait painting of the 1830s and 1840s, and the patronage of portraiture in Britain during the reigns of William IV and Queen Victoria. The thesis compares and contrasts these works with official representations of Queen Victoria and her husband by British artists; and examines the concept of “gender reversal” within the accepted notion of marital pendants by highlighting Winterhalter’s innovations in the genre of official portraiture.The thesis challenges the perception that Winterhalter’s employment at the court of Queen Victoria was due to the Queen’s alleged penchant for “all things German” by placing Winterhalter’s portraits within the context of the British Royal Collection. It examines the reasons for the artist’s success at the British court, accentuating among others Winterhalter’s ability to conceptualise in his portraits of Prince Albert the hierarchically-complex position of the Prince Consort. The overarching arguments of the thesis focus on two propositions - that by employing a foreign artist as her official image maker, Queen Victoria acquired ultimate control over the production, distribution and popularisation of her own imagery; and that this patronage is illustrative of the emergence of a royal and aristocratic international iconography that overrode the competing concept of ‘national’ schools of art.

Mourning rituals and memorial aesthetics played an integral role in Victorian England. Queen Victoria's poet laureate, Alfred Lord Tennyson, confronted death on a literary level. His national elegiac poetry — addressed to Victoria — is illuminated when read as a funeral sermon. By drawing out the funeral sermon techniques Tennyson incorporates, we see that he assumes a role as religious mediator to counsel and comfort Victoria in her grief. Tennyson's funeral sermon message alters quite distinctively from Albert's death in 1861, to the death of the Duke of Clarence in 1892, where he makes a final effort to restore the Queen to an acceptance of her state and lead her to an active, healthy type of mourning. The corresponding poems, "Dedication" and "The Death of the Duke of Clarence and Avondale: to the Mourners," highlight Tennyson's unique role as spiritual guide for Queen Victoria, and can be read as a series of funeral sermons. Indeed, Tennyson incorporates various funeral sermon elements over decades in order to encourage the Queen to heal and cope with the trauma of death in the royal family.

This thesis examines the political and social worldview of British and Indian royalty during the nineteenth century. Rather than viewing them as mere 'ornamental' figureheads, it seeks to highlight and scrutinise the ideas held by monarchs (sovereign or deposed) about empire and the role of royalty, as well as considering how their attempts at implementing such ideas can complicate existing narratives about the relative influence and authority of this group. Above all, this thesis breaks new ground by adopting a transnational approach in its study of such royal ideas and endeavours. Ruling dynasties, monarchs and courts have long been part of an interconnected, if rarefied, world encompassing Europe and Asia, though this is not adequately reflected in the historiography on the nineteenth century. This is despite the ironic fact that in that century, many royal houses were brought closer together than ever before, through the impact of growing global empires, and advancing communications and transportation networks. The first direct meetings between British and Indian royalty took place during this period, in the early 1850s, and are closely examined here. Based on a core case-study of the longstanding relationship between the Punjabi and British dynasties of Maharajah Ranjit Singh and Queen Victoria, and using a wide variety of textual and material sources, this thesis captures royal perspectives of their status and role in an evolving world, alongside considering how British and Indian royalty directly or indirectly influenced one another. This study effectively de-centres the British imperial official as the primary agent in Anglo-Indian elite encounters, and goes further to demonstrate that whether in the case of the connections between royal personages, or in the ties between ‘monarchy, nation and empire’, the capability for royal agency to shape the nature of such relationships evolved over time and was a consistently contested matter.

viii, 214 p. / In this study, I examine the various techniques used by poets to provide consolation. With Tennyson's In Memoriam, I explore the relationship between formal and thematic consolation, i.e., the ways in which the use of formal elements of the poem, particularly rhyme scheme, is an attempt by the poet to attain and offer consolation. Early in his laureateship after the Duke of Wellington's funeral, Tennyson wrote "Ode on the Death of the Duke of Wellington," but this poem failed to meet his reading audience`s needs, as did the first major work published after Tennyson was named Poet Laureate: Maud. I argue that form and theme are as inextricably linked in Maud as they are in In Memoriam, and in many ways, Maud revises the type of mourning exhibited in In Memoriam. Later, I examine in greater detail the hallmarks of Victorian mourning. Although most Victorians did not mourn for as long or as excessively as Queen Victoria, the form her mourning took certainly is worth discussion. I argue that we can read Tennyson's "Dedication" to Idylls of the King and his "To the Mourners" as Victorian funeral sermons, each of which offers explicit (and at times, contradictory) advice to the Queen on how to mourn. Finally, I discuss the reactions to Tennyson's death in the popular press. Analyzing biographical accounts, letters, and memorial poems, I argue that Tennyson and his family were invested in the idea of "the good death"; Tennyson needed to die as he had lived--as the great Laureate. / Committee in charge: Richard Stein, Chair; Tres Pyle, Member; Deborah Shapple, Member; Raymond Birn, Outside Member

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Cette thèse a pour objectif d’établir certains principes d’une potentielle théorisation de l’écriture biographiques. En liant des exemples prosaïques du XIXe siècle à certaines bases théoriques du XXIe siècle, il est question d’explorer les récurrences qui ont contribué à faire de certaines biographies des succès ou des échecs. En tant que biographe, essayiste et critique, Giles Lytton Strachey (1880-1932) est un sujet d’étude idéal qui permet d’analyser la relation entre le biographe, le biographié et le lecteur. Puis, selon le schéma structurel de la métahistoire proposé par Hayden White, il est possible d’émettre l’hypothèse que la biographie peut être un genre à part entière autant du point de vue de la forme que du fond. / The objective of this thesis attempts to illustrate a series of principles which could potentially lead to a theorisation of biographical writing. By exposing prosaic literary examples of the XIX century and certain theoretical bases of the XXI century, it is possible to depict recurrences that have contributed to the success or failure of various biographical works. Giles Lytton Strachey (1880-1932) as a biographer, essayist and critic appears to be the ideal subject that enables one to analyse the relationship between biographers, biographees and readers. Furthermore, the structural scheme of metahistory, as suggested by Hayden White, brings us one step closer to the assumption that biography can stand as a full-fledged genre both in terms of form and substance.

Die Queen Victoria Gedenkhospitaal van Stellenbosch, wat sedert 1904 die Stellenbosse gemeenskap bedien het, het as gevolg van 'n groeien~e inwonergetal geleidelik 'n gebrek aan ruimte ondervind. Daarom is daar gedurende die 1930's pogings aangewend vir die oprigting van 'n groter hospitaal. Hierdie pogings is uiteindelik met sukses bekroon en in 1944 het die Stellenbosch Hospitaal sy deure geopen. Spoedig na die opening van die hospitaal is verskeie probleme, soos byvoorbeeld 'n tekort aan beddens en 'n behoefte aan meer moderne mediese toerusting, ondervind. Die Hospitaalraad het deur voortdurende verto~ tot die Kaapse Provinsiale Administrasie en met die finansi~le steun van die Stellenbosse gemeenskap daarin geslaag om belangrike moderne algemene en mediese toerusting aan te koop. Die Stellenbosch Hospitaal, in samewerking met die Cloetesville Gemeenskaps Gesondheidsentrum, wat onder die beheer van die hospitaal staan, se belangrikste doelwit was, en is, om die beste moontlike diens aan die gemeenskap te lewer. Daarom het die Hospitaalraad met verloop van tyd 'n omvattende gemeenskaps gesondheidsprogram ontwikkel. Sedert die dae van die Queen Victoria Gedenkhospitaal het die Stellenbosse gemeenskap 'n aktiewe rol in die lewering van noodsaaklike hospitaaldienste gespee!. As gevolg van die betrokkenheid en die finansi~le bydraes van die gemeenskap kon die Hospitaalraad noodsaaklike uitbreidings, soos 'n kraamsaal en 'n verpleegsterstehuis finansier. Omdat die gemeenskap besef het dat dit nie net die staat se verantwoordelikheid was om gesondheidsdienste te lewer nie, is die Aksie Stellenbosch Hospitaal, die gemeenskapsarm van die hospitaal, in 1988 gestig. Hierdie Aksie Stellenbosch Hospitaal speel dus in 'n tydperk waar staatsfondse beperk is, 'n belangrike rol om die Stellenbosch Hospitaal doeltreffend te laat funksioneer en om steeds hoe standaarde met betrekking tot gesondheidsorg te handhaaf.