A collection of ordinary diary entries from a cross section of classes and lifestyles showing the essentials of the Victorians' daily reality: their family concerns, medical conditions and education. Included in the book are entries from an actor, a schoolboy, a Countess and an engraver.

Delightful Victorian Diary of 23 year-old Adelaide Pountney, who recorded daily life in a series of magical little cameos.

When the married Isabella Robinson was introduced to the dashing Edward Lane at a party in 1850, she was utterly enchanted. He was 'fascinating', she told her diary, before chastising herself for being so susceptible to a man's charms. But a wish had taken hold of her, and she was to find it hard to shake...In one of the most notorious divorce cases of the nineteenth century, Isabella Robinson's scandalous secrets were exposed to the world. Kate Summerscale brings vividly to life a frustrated Victorian wife's longing for passion and learning, companionship and love, in a society clinging to rigid ideas about marriage and female sexuality.

In her examination of neglected diaristic texts, Anne-Marie Millim expands the field of Victorian diary criticism by complicating the conventional notion of diaries as mainly private sources of biographical information. She argues that for Elizabeth Rigby Eastlake, Henry Crabb Robinson, George Eliot, George Gissing, John Ruskin, Edith Simcox and Gerard Manley Hopkins, the exposure or publication of their diaries was a real possibility that they either coveted or feared. Millim locates the diary at the intersection of the public and private spheres to show that well-known writers and public figures of both sexes exploited the diary's self-reflexive, diurnal structure in order to enhance their creativity and establish themselves as authors. Their object was to manage, rather than to indulge or repress, their emotions for the purposes of perfecting their observational and critical skills. Reading these diaries as literary works in their own right, Millim analyses their crucial role in the construction of authorship. By relating these Victorian writers' diaries to their publications and to contemporary works of cultural criticism, Millim shows the multifarious ways in which diaristic practices, emotional management and professional output corresponded to experiences of the literary marketplace and to nineteenth-century codes of propriety.

Andrew Sheffield's letters help us better understand the full range of behavior among women in the Victorian South & the limits of Southern womanhood near the end of the nineteenth century.

A rich selection from diaries, letters, advice books, magazines, and paintings creates a rooms-by-room portrait of Victorian life--from childbirth in the master bedroom to separate gender domains in the drawing room and parlor.

The diary of Edith Lorrimer, England 1871 I was shown the laundry - a vast noisy sunless room full of steam and the sharp smell of soapsuds. I counted seven women slaving over the large tubs where the clothes are washed, their reddened faces shiny with sweat even in this weather...Condensation ran down the windows and pooled on the floor. Heavy wooden racks are pulled up and down from the high ceiling and the sheets and clothes are draped over them and hoisted up to the ceiling from where they drip on the unfortunates toiling beneath. No doubt Rosie takes her turn in here. Just to think of it filled my eyes with tears. What a terrible existence. Edith Lorrimer is the sheltered daughter of a wealthy widow who is on the Board of Governors at a workhouse for the destitute. Whilst visiting the workhouse, Edith meets with Rosie Chubb, a troubled orphan who is a liar, quick-tempered and always in trouble...

This engrossing book explores family experiences of dying, death, grieving, and mourning in the years between 1830 and 1920. So many Victorian letters, diaries, and death memorials reveal a deep preoccupation with death which is both fascinating and enlightening. Pat Jalland has examined the correspondence, diaries, and death memorials of fifty-five families to show us deathbed scenes of the time, good and bad deaths, the roles of medicine and religion, children's deaths, funerals and cremations, widowhood, and mourning rituals.

This volume contains a collection watercolors, sketches, and selected entries from a nineteenth century British woman's diary (Maud Berkley). Maud shares her humorous observations on family life, amateur dramatics, and social life. The images portray a Victorian woman living in semi-fine surroundings and what she finds to do with herself. The book includes stories about her and her family's life, including clippings and photos.

Voskuil argues that Victorian Britons saw themselves as "authentically performative," a paradoxical belief that focused their sense of vocation as individuals, as a public, and as a nation.