Yellow Nineties 2.0Critical Introduction to The Evergreen: A Northern Seasonal, Volume 3: Summmer 1896Lorraine Janzen Kooistra Lorraine Janzen Kooistra2011EGV3_introductionYellow Nineties 2.0Ryerson University Centre for Digital HumanitiesEnglish Department350 Victoria Street,Toronto ON,M5B 2K3Canada
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Lorraine Janzen Kooistra Lorraine Janzen KooistraCritical Introduction to The Evergreen: A Northern Seasonal, Volume 3: Summmer 1896 Yellow Nineties 2.02019Janzen, Lorraine Kooistra. "Critical Introduction to The Evergreen: A Northern Seasonal, Volume 3: Summer 1896."
Evergreen Digital Edition, Yellow Nineties 2.0, 2016- 2018, edited by Lorraine Janzen
Kooistra, Ryerson University Centre for Digital Humanities, 2019.
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"Philosophy," "Anthropology," "Science"Critical Introduction to The Evergreen: A Northern Seasonal, Volume 3: Summmer 1896
Headpiece by John Duncan for “A Forerunner” EGv3, p11
Volume 3 of The Evergreen: A Northern Seasonal came out in the third week of June, nine months after the previous
issue. While the Autumn number had focused on the harmonious cooperation of people living in cities, nations, and
the world, the Summer number concentrated on the Celtic elements of song, sea, sex, and sainthood. The contents
are dominated by art and poetry, with twelve full-page pictures and fourteen poems—fifteen, if John Duncan’s verse
accompanying his “Surface Water” drawing is included—the largest number to date. The Summer number also featured
more women contributors than previous issues: a total of ten, with five writers (counting Fiona Macleod) and five
artists (although these were restricted to decoration, rather than full-page artwork). In an issue that included
an essay by the authors of The Evolution of Sex (1889) analyzing the roles of women workers in apian life and
human civilization, it might have seemed politic to include at least a handful of female contributors ([Geddes
and Thomson]). While many of the volume’s contributors had previously published in The Evergreen, the Summer
issue also introduced H. Bellyse Baildon, George Eyre-Todd, Philip Perceval Graves, Jane Hay, Nora Hopper,
Douglas Hyde, and W. J. Robertson in its literary contents, as well as artists Robert Brough and Andrew Kay Womrath.
This issue had only one French piece, by Abbé Félix Klein, whose essay was, once again, published in the Season
in the World section.
Summer Almanac, Helen Hay, EGV3, p.5.
In the absence of a prefatory note of any kind, Helen Hay’s Almanac for 21 June through 21 September introduces the
dominant themes of the Summer number (5). The bold black-and-white design visually expresses the issue’s central idea
that summer is the season of greatest intensity: “unconscious plant-life is crowned in the flowers,” as
J. Arthur Thomson writes in “The Biology of Summer,” and yet “the vigorous intensity of life is interrupted by sleep,
weariness, and death” (19). Thomson argues that this is why “the Biology of Summer” has for its central problem—the
influence of heat and light upon life” (20). Hay’s Almanac introduces this theme with water imagery, offering an
elemental solution to the season’s basic problematic. In compositional stages moving upwards from the riverbed,
through the roots of water lilies, to the surface of plants, to a sky where three descending butterflies mark
the variations of change, transition, and death, Hay demarcates summer’s intense, ephemeral, growth. This remarkable
design, with its striking disposition of positive and negative space and combination of curvilinear lines with
geometric pattern, shows Hay’s mastery of Celtic illumination for the modern age.
Hay’s response to the season’s problem “of heat and light upon life” with water imagery becomes a leitmotif that
continues throughout the volume’s artistic and literary contents. Among the full-page illustrations, Robert Burns’s
“Bathers,” John Duncan’s “Surface Water,” W. G. Burn Murdoch’s “Antarctic Summer,” and Andrew Kay Womrath’s
“La Lune d’Été” incorporate rivers, ponds, oceans, and seashores in their compositions. Notably, many of the
volume’s ornaments also integrate water themes in their Celtic-inspired designs, beginning with John Duncan’s
headpiece featuring a stylized mermaid framed by flying fish for Rosa Mulholland’s “Forerunner” (11). Duncan’s
motif recalls Edward Burne-Jones’s painting The Sea Nymph, reproduced in the first volume of The Pageant the
same year, highlighting a fin-de-siècle fascination with feminine monsters of the sea. Annie Mackie created
an intricate tailpiece of a fish swallowing another sea creature for Fiona Macleod’s “A Summer Air” (105),
while Marion A. Mason designed a crab tailpiece for John Macleay’s “Nannack” (134). Mason also designed
mirroring mermen seated in scallop shells as the headpiece for George Eyre-Todd’s “Night in Arran” (137),
which pairs well with Nellie Baxter’s tailpiece for Macleod's “Under the Rowans” on the facing page (136).
The Contents page of the Summer issue reverts to the practice of the first, Spring number, and gives credit
by name and page number for each ornament designed by Baxter, Duncan, Hay, Mackie, and Mason (5).
Headpiece by John Duncan for EGV3, p.90.
The Celtic-inspired ornaments—so important to both the architecture of The Evergreen and its publishers’ larger
plans for a Renascence in Old Town Edinburgh— are more accomplished and varied in the Summer volume than the
previous two issues. John Duncan and Helen Hay, in particular, design modern-looking adaptations of Celtic
illuminations. Hay’s headpiece for Baildon’s tribute sonnet “To Robert Burns—(1759-1796)” combines botanical,
anthropomorphic, and geometric designs in a way both Celtic-inspired and utterly original (120). Duncan’s
headpiece for Edith Wingate Rinder’s “Telen Rumengol,” or “The Harp of Rumengol,” is a Nabi-like design of a
winged creature built on the form of a Celtic cross (90). The cross and its quadrants formed a central, mystic,
symbol in the Theosophist-inspired decorative art of the French Nabi group, which included Evergreen
contributor Paul Sérusier and influenced the Ramsay Garden mural makers (Mauner 101; Willsdon 88).
Duncan’s anthropomorphic head- and tailpieces for “Summer-Night Sadness,” a poem by W. J. Robertson meditating
on death as a return to nature’s cycles, are deliberately elemental in their combination of line and geometric
pattern (101 and 103). Duncan’s ornaments introduce a spiritual or mystical element to the Evergreen’s pages,
starting with the title-page decoration, which features a stylized angel playing pipes printed in red-brown
ink (3). His headpiece depicting St. Patrick quelling the snakes provides an apt decoration for Fiona Macleod’s
Celtic legend, “The Kingdom of the Earth” (120). The sequence of head- and tailpieces decorating each literary
item interlace the pages of the magazine with an ornamental tracery that binds and integrates them.
Title page design by John Duncan, EGV3.
The coherence of design in the Summer issue shows the development of skill and understanding of ornamentation
by the Evergreen designers since the Spring issue of 1895. While the first number included a number of textual
decorations with little relationship to the traditional practices of Celtic illumination, and even had what
appear to be some of Constable’s stock printing devices, the third volume featured only purpose-made ornaments
by local designers, each developing their own modern style from Celtic tradition. All trained by Duncan,
these extraordinary women designers—Baxter, Hay, Mackie, and Mason—deserve to be better known. As Clara Young
observes, to viewers today, the strength of The Evergreen lies “in the sheer artistry and exquisite visual
presentation—due in great part to the artworks and the astonishingly decorative and varied head-pieces and
tail-pieces created by Duncan himself and his four young ladies. Designs that were described as ‘after the
manner of Celtic Ornament’ now appear to us to be totally suffused with the international style of the
moment—Art Nouveau” (74). Young’s positive assessment has only developed with the distance of history.
Contemporary reviewers did not, in general, appreciate the artwork in the Evergreen. As the
Saturday Reviewer put it: “It is all very well to be elemental—artists may be anything they like so long as they
succeed—but meaningless designs are meaningless the world over” (“Reviews and Magazines” 48).
The literary contents explore the general problem of the season as set out in Thomson’s “Biology of Summer”:
the intensity of heat and light, the fecundity and activity of the biological and zoological world, and the
ongoing awareness of weariness and death. Like the visual materials, the verbal texts often draw on water and
sun as fundamental elements of setting and symbol. Meaning emerges from the sea-locked locations of islands
in Jane Hay’s “The Dance of Life” and George Eyre-Todd’s “Night in Arran,” both prose pieces. Amongst the poetic
contents, William Sharp’s “Oceanus,” Robertson’s “Summer-Night Sadness,” and Macleod’s “Summer Air” all draw on
water symbolism. Seasonal intensity and ephemerality are captured in the theme of love, reproduction, and loss
in such poems as Douglas’s “Song,” Macleod’s “Under the Rowans,” and the pseudonymous Vita’s “The Unborn,” as well
as in John Macleay’s Kailyard-style, sentimental Scots story, “Nannack.”
If the Autumn issue emphasized the old Franco-Scottish bonds, the Summer number developed its Pan-Celtic
connections, particularly with Brittany and Ireland. As Megan Ferguson observes, “the cross-pollination of
ideas and issues” across Celtic nations was active at this time, and the Evergreen played an important role
in their dissemination (172). Among the Irish writers, Nora Hopper, Douglas Hyde, Rosa Mulholland, and
Philip Perceval Graves contributed poems inspired by Celtic story and legend. The first president of the Gaelic League,
Hyde drew on both oral tradition and manuscripts in his extensive publications (Connolly). His contribution
to the Evergreen, “From the Irish Gaelic of Tadhg Gaolach o Suilliobháin,” included three long stanzas translated
from their original Irish. Graves’s verses celebrated Cuculain [sic], the Celtic hero whose feats were also
“awakened” in John Duncan’s mural on the subject at Ramsay Garden (Ferguson 91). Both Mullholland’s two “Songs”
and Hopper’s “Swan-White” personify the season as elemental female figures. Edith Wingate Rinder’s “Telen Rumengol”
bring the Celtic revival and the seasonal theme together with an adaptation of Breton writer Anatole Le Braz’s
retelling of the traditional Celtic tale of the “Summer Pardon.” In "The Kingdom of the Earth", a legend about the meeting of the
the Gypsy King (“Deep Knowledge”) and the infant Jesus (“King of the Elements”), Rinder’s “The Kingdom of the Earth”
celebrates the mystical braiding of pagan and Christian traditions.
Rinder and Macleod both published their legendary material in Patrick Geddes and Colleagues’s Celtic Library
series, which Sharp edited. Macleod’s “Kingdom of the Earth” was taken from one of her books for this
imprint, The Washer of the Ford, published only a month before the Summer issue of the Evergreen came out.
Lyra Celtica: An Anthology of Representative Celtic Poetry, was also published by Geddes & Colleagues in 1896.
Edited by Elizabeth Sharp (William’s wife), Lyra Celtica included work by Evergreen poets Hopper, Hyde,
Macdonald, Macfie, Macleod, Mulholland, and Paton. Thus, in addition to disseminating Celtic art and story,
The Evergreen: A Northern Seasonal also functioned as a promotional vehicle for the books published by
Geddes & Colleagues, just as The Yellow Book prominently featured the artists and authors on John Lane’s
publishing list for The Bodley Head.
Despite the quality of the literary and artistic contributions, and the integrated design of the Summer number,
the issue did not fare well with critics. The Saturday Review contemptuously dismissed
The Evergreen’s third volume: “The all-embracing garment stitched together from shreds of Buddhism,
the workshop of Pan, with here a patch of Chivalry, there a frill of Ruskin, or a bit of the New Woman,
or anything else that lies handy, this is too large a thing for the wearing of Mr. Patrick Geddes and
his colleagues of the Lawnmarket” (“Reviews and Magazines,” 48). The critic’s description seems particularly
motivated by the essays of Thomson and Geddes, which were influenced by current Theosophist trends toward
blending eastern religion with western science (Johnson). In his “Biology of Summer,” Thomson argues that
“no one can have realized what the work of Summer actually means, without feeling the profound truth of the
Buddhist doctrine of reincarnation” (26), while Geddes’s “Flower in the Grass” considers the influence of the
east on the west in the traditions of the pastoral and the patriarch. The co-authored “Moral Evolution of Sex”
continues the essentialist ideas put forward in “Flower in the Grass” to suggest that medieval chivalry
described an ideal relationship between the sexes because “each sex not only expresses its own quality,
its own superiority over the other, but uses this to develop the other” ([Geddes and Thomson] 80).
Despite gestures toward equality, such ideas are closer to those of John Ruskin than to those of
fin-de-siècle New Women.
Although spread out over two sections—Summer in Nature and Summer in Life—these three essays,
combined, take up nearly half the page count of the volume and must have influenced reader reception
generally. The assumptions of compulsory heterosexuality and essentialism underlying Thomson and
Geddes’s writings might even have influenced Evergreen contributors. Rosa Mulholland’s
“The Meeting of Summer and Spring,” for example, personifies both seasons as beautiful women.
The closing image of her poem offers a scene of erotic intimacy reminiscent of Christina Rossetti’s
“Goblin Market,” where Lizzie and Laura sleep together “Golden head by golden head,/ Like two pigeons
in one nest” (lines 184-185). Famously pictured in the title-page vignette for the poem by the artist’s
brother, the image was part of fin-de-siècle visual discourse, and would have been well known to the
Evergreen’s readers.
"Golden head by golden head," title-page design by Dante Gabriel Rossetti for Christina Rossetti's "Goblin Market"
Mullholland’s final stanza reads:
Asleep upon the rosy breastOf Summer, Spring is thereKissed into her long swoon of restAnd couched in hiding whereWinter will find her in her nestOne day, and waken her. (“Song,” 15)
This promise of a sexual awakening may have whetted readers’ appetites for the upcoming Winter number,
the fourth and last volume of The Evergreen: A Northern Seasonal.
Works Cited
Baildon, H. Bellyse. “To Robert Burns—(1759-1786).”
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vol. 3, Summer 1896, p. 119. Yellow Nineties 2.0,
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https://beta.1890s.ca/egv3_baildon_burns/Baxter, Nellie. Tailpiece for “Under the Rowans.”
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The Pageant, vol 1, 1896, p 173.Burn-Murdoch, W. G. “Antarctic Summer.”
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Doctoral Dissertation, University of Dundee, 2011.
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https://beta.1890s.ca/egv3_almanac-3/---. Headpiece for “To Robert Burns—(1759-1786).”
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vol. 3, Summer 1896, p. 119. Yellow Nineties 2.0,
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