655 Matching Annotations
  1. Apr 2019
    1. “It’s bows and arrows against the lightning, anyhow,”

      STOVER: "It is the inequality of combat, magnified, between French and German forces in the Franco-Prussian War."

      GANGNES: In addition to STOVER's note, consider the larger scope of nineteenth-century European imperialism; the 1890s were a time when the British empire was nearing its decline, and The War of the Worlds was one of many well-known novels written at the end of the century that addressed imperialism. Joseph Conrad's Heart of Darkness (serialized in Blackwood's Edinburgh Magazine in 1899 before being collected) tells of a real-life imperial experience, but Bram Stoker's Dracula, which was, like The War of the Worlds, published in 1897, is a very different kind of novel that nonetheless explores the idea of Britain being invaded by a superior entity in the way the British invaded colonial lands.

      Numerous Wells scholars have written on the "reverse colonization" and "Empire comes home" nature of The War of the Worlds. As Robert Silverberg writes, "[Humans] simply don’t matter at all [to the Martians], any more than the natives of the Congo or Mexico or the Spice Islands mattered to the European invaders who descended upon them to take their lands and their treasures from them during the great age of colonialism.” Likewise, Robert Crossley observes, "The Martians do to England what the Victorians had done to Africa, Asia, and the South Pacific--and Wells intended that his fellow English imperialists taste a dose of their own medicine.”

      Sources:

      More information:

    2. grenadiers

      From MCCONNELL 178: "Originally, grenadiers were especially tall soldiers in a regiment employed to throw grenades. This practice was discontinued by the end of the eighteenth century, though the tallest and finest soldiers of their regiments continued to be called 'grenadiers.' After 1858, the only regiment officially referred to by the name was the Grenadier Guards, the First Regiment of the Household Cavalry."

      From DANAHAY 88: "originally 'grenade throwers,' but by this time an elite army regiment"

    3. The decapitated colossus

      GANGNES: The scene beginning at this point and running through the end of the chapter was significantly revised with dozens of small rewordings. In addition to deemphasizing some of the narrator's personal emotions, as Wells does in other parts of the novel, these changes show Wells grappling with exactly how to describe the appearance and movement of the Martian fighting machines and the nigh-cinematic scene of destruction that makes this novel highly suited to visual adaptation. See text comparison page.

    4. When I realised that the Martians had passed I struggled to my feet, giddy and smarting from the scalding I received, and for a space I stood sick and helpless between the drifting steam and the suffocating, burning, and smouldering behind. Presently, through a gap in the thinning steam,

      GANGNES: Cut from the 1898 version. This is another instance of removing the narrator's commentary on his own feelings and reactions, especially those that seem weak or cowardly. See text comparison page.

    5. I do not clearly remember the arrival of the curate

      GANGNES: From this point through the end of the installment is one of the most heavily reworked scenes in the novel. There are significant cuts, additions, rearrangings, and rephrasings. The revisions alter the curate's mood and the narrator's emotional and intellectual responses to the curate's outburst. Through these edits, Wells seems to be grappling with how to most effectively present a critique of religion. See text comparison page.

    6. The smoke of her burning goeth up for ever and ever

      GANGNES: With his mind still on the story of Sodom and Gomorrah, MCCONNELL identifies this quote as referencing Genesis as well. STOVER and DANAHAY both identify the reference as coming from Revelation, but disagree on which passage. An examination of each passage would suggest that Stover is correct, though DANAHAY's passage also describes destruction.

      From MCCONNELL 188: "A slightly inaccurate quotation from Genesis 18:28."

      From STOVER 130: reference to Revelation 19:3: "Hallelujah! The smoke from her goes up for ever and ever." ("her" = the harlot of Babylon, Rome)

      From DANAHAY 96: "Revelations[sic] 6:16-17 describes the end of the world in these terms."

    1. The majority of the annotations on this page draw from the following critical editions of The War of the Worlds, which will be cited and tagged according to the last name(s) of the editor(s) of that edition:

      DANAHAY: Martin A. Danahay. The War of the Worlds. Broadview Press, 2003.

      HUGHES AND GEDULD: David Y. Hughes and Harry M. Geduld, eds. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Indiana UP, 1993.

      MCCONNELL: Frank McConnell, ed. The Time Machine and The War of the Worlds: A Critical Edition. Oxford UP, 1977.

      STOVER: Leon Stover. The War of the Worlds: A Critical Text of the 1898 London First Edition, with an Introduction, Illustrations and Appendices. McFarland and Company, Inc, 2001.

      Madeline Gangnes has added additional annotations and resources, especially those that address materials related to Pearson's Magazine and adaptations of the text. They are cited with their source(s) (where applicable) and tagged as GANGNES.

    2. This page incorporates several elements. Its main body is a transcription of the text of the third installment of H. G. Wells's novel The War of the Worlds as it was published in Pearson's Magazine in June of 1897. This text was created by Madeline Gangnes by comparing the Project Gutenberg text with the digital facsimiles of Pearson's Magazine generously hosted by HathiTrust. Facsimile pages of the installment are interspersed throughout this page. Each image includes a detailed caption in order to facilitate text-to-speech accessibility. Textual markers that indicate the beginning and end of each page's text are incorporated for text-to-speech and to make clear which text corresponds to which page of the magazine.

    3. that a dispute had arisen at the Horse Guards

      GANGNES: STOVER corrects HUGHES AND GEDULD's annotation, though does not mention them specifically in the note, despite referencing them in other notes.

      From HUGHES AND GEDULD 206: "Their notion is that there was an operational or tactical dispute--about how to deal with the situation--among the officers of the elite Horse Guards at the Horse Guard barracks (a building in central London opposite Whitehall). The Horse Guards are the cavalry brigade of the English Household troops (the third regiment of Horse Guards is known as the Royal Horse Guards)."

      From STOVER 94: Horse Guards here "is a shorthand reference to the British War Office, located on Horse Guards Parade near Downing Street in London. As Americans refer to the Department of Defense as 'The Pentagon' after its office building, so the British called its War Office 'the Horse Guards.' Not to be confused with the Household Calvary regiment The Royal Horse Guards, even then a tourist attraction when on parade."

    4. But that strange sight of the swift confusion and destruction of war, the first real glimpse of warfare that had ever come into my life, was photographed in an instant upon my memory.

      GANGNES: Cut from the 1898 volume. Another removal of the narrator's emotional responses to the invasion. The "loss" here is part of the novel's discussion of photography and photographic war journalism specifically. The chapter ends (after "that quivering tumult") with an additional sentence: "I overtook and passed the doctor between Woking and Send." See text comparison page.

    5. And this Thing! How can I describe it?

      GANGNES: This passage through the next page is the most striking and detailed description of the Martian fighting machines in the novel. Despite the degree of detail offered by the narrator, the machines' physical appearance has been depicted quite differently across various illustrations. Wells made his dislike of Goble's illustrations clear in a passage he added to what would become Book II, Chapter II of the 1898 volume. See Installment 8. He also cut and changed some phrasing to deemphasize comparisons to human technologies. See text comparison page.

    6. A flash, and it came out vividly, heeling over one way with two feet in the air, to vanish and reappear almost instantly as it seemed, with the next flash, a hundred yards nearer.

      From MCCONNELL 164: "This is a remarkable anticipation of the 'strobe effect' of rapid flashes of light, which we have come to associate (through films as much as through real experience of warfare) with modern battle scenes."

    7. imagine it a great thing of metal, like the body of a colossal steam engine on a tripod stand

      GANGNES: The 1898 volume changes this to simply "imagine it a great body of machinery on a tripod stand." This seems likely to be part of Wells's negative response to Warwick Goble's depictions of the Martian fighting machines, which resembled known human technology more than Wells would have liked. See text comparison page, note on "The Terrible Trades of Sheffield" below, and the additional passage in what would eventually become Book II, Chapter 2 in the 1898 volume.

    8. Street Chobham

      GANGNES: This should be Cobham, which was confused with Chobham--a village to the northwest of Woking mentioned several times in the novel. Cobham is five miles to the east and slightly north of Woking on the way from Woking (via Byfleet) to Leatherhead. It seems that either Wells or the editors of Pearson's mistakenly wrote "Street Chobham" instead of "Street Cobham"; the error is corrected in the 1898 version.

    1. Inkerman barracks

      From MCCONNELL 154: "The Inkerman Barracks were named for the Battle of Inkerman, where in 1854, English and French troops defeated an attacking Prussian Army. Throughout the late nineteenth century, the armies of Europe were in the process of massive and ominous expansion and reorganization. But the British had a long-standing aversion to the idea of a standing army. Their reorganization, beginning in 1870, emphasized the localization of garrisons and short enlistment terms for civilian volunteers. In 1881 the infantry of the line was remodeled into two-battalion regiments with territorial names."

      From HUGHES AND GEDULD 206: located ~2.5 miles southwest of the Horsell sand pits; ~2 miles west of Woking Station

    2. The majority of the annotations on this page draw from the following critical editions of The War of the Worlds, which will be cited and tagged according to the last name(s) of the editor(s) of that edition:

      DANAHAY: Martin A. Danahay. The War of the Worlds. Broadview Press, 2003.

      HUGHES AND GEDULD: David Y. Hughes and Harry M. Geduld, eds. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Indiana UP, 1993.

      MCCONNELL: Frank McConnell, ed. The Time Machine and The War of the Worlds: A Critical Edition. Oxford UP, 1977.

      STOVER: Leon Stover. The War of the Worlds: A Critical Text of the 1898 London First Edition, with an Introduction, Illustrations and Appendices. McFarland and Company, Inc, 2001.

      Madeline Gangnes has added additional annotations and resources, especially those that address materials related to Pearson's Magazine and adaptations of the text. They are cited with their source(s) (where applicable) and tagged as GANGNES.

    3. This page incorporates several elements. Its main body is a transcription of the text of the second installment of H. G. Wells's novel The War of the Worlds as it was published in Pearson's Magazine in May of 1897. This text was created by Madeline Gangnes by comparing the Project Gutenberg text with the digital facsimiles of Pearson's Magazine generously hosted by HathiTrust. Facsimile pages of the installment are interspersed throughout this page. Each image includes a detailed caption in order to facilitate text-to-speech accessibility. Textual markers that indicate the beginning and end of each page's text are incorporated for text-to-speech and to make clear which text corresponds to which page of the magazine.

    4. the ghost of a beam of light

      GANGNES: The differences between Cosmo Rowe's illustrations and Warwick Goble's exemplify the difficulties presented for illustrators by invisibility or near-invisibility. Different illustrators have chosen to depict the heat ray in different ways that make clear the cause-and-effect relationship of the ray being pointed and its targets being lit on fire. Usually this requires a visual representation, even though the ray is described as invisible.

    5. It was the occurrence of a second, this swift, unanticipated, inexplicable death.

      GANGNES: This sentence was cut from the 1898 volume. It begins a section of the text--from here through the end of Chapter V, that was heavily revised in the transition from serialized version to volume. Again, most of these revisions deemphasize the emotional (and sometimes physical) responses of the narrator to the Martians. This takes the focus of Wells's depictions of the Martians off of the narrator and perhaps allows the reader to form their own emotional response with minimal mediation from the narrator. See text comparison page.

    6. To think of it brings back very vividly the whooping of my panting breath as I ran. All about me gathered the invisible terrors of the Martians, that pitiless sword of heat seemed whirling to and fro, flourishing overhead before it descended and smote me out of life.

      GANGNES: Cut from the 1898 volume. This is another instance of deemphasizing the narrator's emotional and physical responses to the Martians; the replacement sentence from the volume reads: "All about me gathered the invisible terrors of the Martians; that pitiless sword of heat seemed whirling to and fro, flourishing overhead before it descended and smote me out of life." See text comparison page.

    7. Perhaps I am a man of exceptional moods. I do not know how far my experience is common. At times I suffer from the strangest sense of utter detachment from myself and the world about me; I seem to watch it all from the outside, from somewhere inconceivably remote, out of time, out of space, out of the stress and tragedy of it all. This feeling was very strong upon me that night. Here was another side to my dream.

      GANGNES: This is one of a handful of sections that was not cut from the 1898 volume where the narrator explicitly evaluates his own mental and emotional state. The rumination here evokes associations with depression and the feelings of isolation it can cause. It is not clear whether Wells is speaking from experience in this instance. From a narrative perspective, asides like this may call the narrator's reliability into question; he cannot function as an objective journalist figure (indeed, no journalist is "objective") if he is emotionally compromised.

    8. It seemed impossible to make these people grasp a terror upon which my mind even could not retain its grip of realisation.

      GANGNES: Cut from the 1898 volume. This is yet another instance where a comment about the narrator's feelings has been removed. There are a few smaller edits in the next few paragraphs that have a similar effect. Some refer to the narrator's wife's emotional responses as well. See text comparison page.

    9. Times

      From HUGHES AND GEDULD 205: Britain's most prestigious daily newspaper, est. 1788. By the time Wells was writing this novel its politics were mostly Liberal Unionist.

      GANGNES: The Dictionary of Nineteenth-Century Journalism lists the Times' date of establishment as 1785 rather than 1788; this discrepancy is due to the fact that it was originally titled the Daily Universal Register before its name change in 1788. In its early days it contained parliamentary reports, foreign news, and advertisements, but soon expanded its contents. Under the editorship of Thomas Barnes in the early 1800s it became a "radical force in the context of the liberalizing reforms of the early part of the [nineteenth] century. It continued to exert a radical influence under subsequent editors (including John Thaddeus Delane). The paper included reports from influential foreign correspondents who covered major European conflicts that were of interest to Britain. When Thomas Cherney became its editor in 1878 and was succeeded in 1884, the paper began to become more conservative and pro-Empire. It has changed ownership but is still published today.

      Source:

    10. argon

      From HUGHES AND GEDULD 205: "a chemically inactive, odorless, colorless, gaseous element, no. 18 on the Periodic Table of the Elements. It had just been discovered and was in the news. Wells had written it up in 'The Newly Discovered Element' and 'The Protean Gas,' Saturday Review 79 (February 9 and May 4, 1895): 183-184, 576-577."

      GANGNES: The above articles from the Saturday Review are available in scanned facsimile here ("The Newly Discovered Element") and here ("The Protean Gas").

    11. dodo in the Mauritius

      From MCCONNELL 125 and 151: The dodo was a large, flightless bird from Mauritius that was hunted into extinction by the seventeenth century. This is the second of two comparisons between the extinction of the dodo and the potential extinction of humans by the Martians; the first is in Chapter I.

      From HUGHES AND GEDULD 205: "Later, the very idea of such a bird [as the dodo] was ridiculed ... until skeletal remains came to light in 1863 and 1889."

    12. receiving no reply—the man was killed—decided not to print a special edition

      GANGNES: Because the newspapers didn't hear from Henderson after he sent a telegram with the news about the capsule's landing, the newspaper decided that it must have been a hoax, so it did not report a story on it. People have been murdered by the Martian heat-ray by this point, and hardly anyone who wasn't at the pit knows about the incident.

    13. A boy from the town, trenching on Smith’s monopoly, was selling papers with the afternoon’s news.

      GANGNES: MCCONNELL is somewhat at odds with HUGHES AND GEDULD and STOVER here; H&G's identification of "Smith" as referring to the newsagent W. H. Smith is important to the print culture of Victorian Britain. I include MCCONNELL to show that critical/annotated editions are not infallible.

      From HUGHES AND GEDULD 205: "Cutting into or 'poaching on' W. H. Smith's monopoly of selling newspapers inside the station. The chain of W. H. Smith to this day has the exclusive rights to selling newspapers, magazines, and books in m any British railroad stations."

      From MCCONNELL 153: "'Trenching' means encroaching. The newsboy is selling his papers at a station where Mr. Smith has a permanent newsstand."

      From STOVER 91: "Reference to W.H. Smith, whose chain of stationery stores to this day has the exclusive rights to sell newspapers, books, and magazines in British railway stations."

    14. a squadron of Hussars, two Maxims, and about four hundred men of the Cardigan regiment

      From MCCONNELL 154: "Hussars are light cavalry. The Maxim is the Maxim-Vickers, the first truly automatic machine gun, manufactured in the 1880s." The Cardigan regiment is from Cardiganshire: a county in West Wales.

      From HUGHES AND GEDULD 206: "The Maxim gun, patented in 1884 by Sir Hiram Stevens Maxim, was an early form of machine gun. After some modification it was adopted by the British Army in 1889. In the field, Maxims were usually mounted on wheeled carriages. ... The Cardigan regiment was named for Cardiganshire, a western county of Wales located between Fishguard and Aberystwyth."

    15. north-west

      GANGNES: As HUGHES AND GEDULD point out (see below), this is a mistake that was not corrected in any of the novel's revisions. The error is somewhat jarring considering that Wells painstakingly situates the Martian invasion at extremely specific real locations. For more information on where this project situates the landing site, see the map page on The (De)collected War of the Worlds.

      HUGHES AND GEDULD 206: "This is a slip. The second cylinder falls to the northeast ... in or near the 'Byfleet' or 'Addlestone' Golf Links (really the New Zealand Golf Course, then the only course thereabouts and the one Wells must mean)."

    16. Soon after these pine woods and others about the Byfleet Golf Links were seen to be on fire.

      GANGNES: In the 1898 volume, this sentence is replaced with simply, "This was the second cylinder." The change of a chapter's end in this way produces quite a different effect. The serialized sentence heightens the drama and serves as a very effective cliffhanger by evoking an image of destruction. The shorter, more straightforward chapter end sentence from the 1898 volume is freed from the pressure of contributing to a cliffhanger. It has a more objective, informative, journalistic tone while still promising action in the next chapter. See text comparison page.

    1. The Anatomy of Melancholy

      From STOVER 49: "Johannes Kepler (d. 1630) laid the foundation of modern astronomy with his calculation of planetary motions, as immortalized in Kepler's laws." Epigraph quote is from a letter to Galileo quoted by Robert Burton in The Anatomy of Melancholy (1621). Wells slightly abridged the quote.

      More information:

    2. Daily News

      GANGNES: Daily News here is changed to Daily Chronicle in the 1898 volume and subsequent editions. The discrepancy between Daily News in the serialized version and Daily Chronicle in the volume could be due to an error on Wells's part that was corrected for the 1898 edition.

      The Daily News (1846-1912) was first advertised as a "Morning Newspaper of Liberal Politics and thorough Independence," set up as a rival to the Morning Chronicle. It was edited by Charles Dickens at its launch. The paper "advocated reform in social, political, and economic legislation, fought for a Free Press in supporting the repeal of the Stamp Act, campaigned for impartial dealings with the natives of India and supported Irish Home Rule." It was known for its detailed war reporting, which boosted its circulation.

      The Daily Chronicle was a later name (beginning in 1877) of the Clerkenwell News (1855-1930). The paper was "liberal and radical," with a daily column entitled "The Labour Movement" featured in the 1890s. Interestingly, the paper eventually merged with the Daily News (becoming the News Chronicle), but not until 1930--after even the 1925 edition of The War of the Worlds, let alone the 1898 edition.

      Source:

    3. The majority of the annotations on this page draw from the following critical editions of The War of the Worlds, which will be cited and tagged according to the last name(s) of the editor(s) of that edition:

      DANAHAY: Martin A. Danahay. The War of the Worlds. Broadview Press, 2003.

      HUGHES AND GEDULD: David Y. Hughes and Harry M. Geduld, eds. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Indiana UP, 1993.

      MCCONNELL: Frank McConnell, ed. The Time Machine and The War of the Worlds: A Critical Edition. Oxford UP, 1977.

      STOVER: Leon Stover. The War of the Worlds: A Critical Text of the 1898 London First Edition, with an Introduction, Illustrations and Appendices. McFarland and Company, Inc, 2001.

      Madeline Gangnes has added additional annotations and resources, especially those that address materials related to Pearson's Magazine and adaptations of the text. They are cited with their source(s) (where applicable) and tagged as GANGNES.

    4. This page incorporates several elements. Its main body is a transcription of the text of the first installment of H. G. Wells's novel The War of the Worlds as it was published in Pearson's Magazine in April of 1897. This text was created by Madeline Gangnes by comparing the Project Gutenberg text with the digital facsimiles of Pearson's Magazine generously hosted by HathiTrust. Facsimile pages of the installment are interspersed throughout this page. Each image includes a detailed caption in order to facilitate text-to-speech accessibility. Textual markers that indicate the beginning and end of each page's text are incorporated for text-to-speech and to make clear which text corresponds to which page of the magazine.

    5. Cosmo Rowe (1877-1952)

      From HUGHES AND GEDULD 217: In 1896 H. G. Wells and his agent attempted to get illustrations for The War of the Worlds from Cosmo Rowe, but only succeeded in securing two, both of which appeared in Pearson's and one in Cosmopolitan.

      GANGNES: Cosmo Rowe (William John Monkhouse Rowe, 1877-1952) was a British illustrator active during the late Victorian period and thereafter. He was a friend of Wells's and of designer William Morris (1834-1896).

      Rowe's illustrations for The War of the Worlds appear in the April 1897 (installment 1, first page) and May 1897 (frontispiece) issues of Pearson's Magazine; they are the only illustrations for the Pearson's War of the Worlds that were not done by Warwick Goble.

      Biographical source:

      More information:

    6. Daily Telegraph

      From HUGHES AND GEDULD 200: The Daily Telegraph was established in 1855 and to this day is still one of Britain's foremost national newspapers.

      From MCCONNELL 127: The Daily Telegraph (founded 1855) catered to the middle class; it featured "flamboyant, often sensational journalism."

      GANGNES: Contrary to MCCONNELL, the Dictionary of Nineteenth-Century Journalism writes that the Daily Telegraph (1855-present; founded as the Daily Telegraph and Courier) originally catered to a "wealthy, educated readership" rather than the middle class. Though it became associated with Toryism in the twentieth century, its politics in the nineteenth century were first aligned with the Whigs, especially in its liberal attitude toward foreign policy. This changed somewhat in the 1870s when it supported Benjamin Disraeli, and the paper became more Orientalist under the editorship of Edwin Arnold. The Telegraph also promoted the arts.

      Source: