[ Arthur Joseph Munby ] Autograph Poems and Postcards to his wife Hannah Cullwick, 1882-1900

Arthur Joseph Munby, diarist, poet and barrister, obsessed with women in service.
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SKU: 21919

The relationship between Arthur Joseph Munby (1828-1910) and his wife Hannah Cullwick (1833-1909) - well described as 'one of the strangest love stories of the nineteenth century' - continues to arouse great interest. The news that - unbeknown to his own family - a well-connected Cambridge-educated barrister should have been married for almost forty years to a maidservant, was greeted with astonishment on Munby's death, the interest only heightened by the fact that Mrs Munby had refused throughout her marriage to become 'a lady'. In 1950 Munby's college Trinity opened a box containing the diaries of both Munby and Cullwick, and this allowed Derek Hudson, in his 'Munby: Man of Two Worlds' (1972), to tell the full story of the couple's extraordinary matrimonial arrangements, with its strong fetishistic and sadomasochistic elements (Cullwick's name for Munby was 'Massa'). More recently the Marxist historian Liz Stanley has presented a somewhat distorted picture of the couples relationship (for example in her entries on them in the Oxford Dictionary of National Biography).The present collection comprises 72pp of autograph poetry by Munby, four Autograph Cards Signed from him to Cullwick, and two newspaper articles about the marriage, one from 1910 and the other from 1950. It is in good overall condition, with the usual signs of age and wear. The material dates from after what Hudson calls the 'Years of Crisis': the 1870s, at the end of which the couple separated due to Cullwick's refusal to behave as a 'lady', with Cullwick going to live in a cottage at Wombridge in Shropshire, where Munby was, as he states in his will, 'in the habit of spending as much of every year as is possible along with her' (see Item 15 below, the 1895 poem 'In our Cottage').The four postcards from Munby to Cullwick, two of them as long as letters, are the only communications known to have survived from him to her. (No letters from Munby to his wife have been located, either among his papers at his Cambridge college Trinity, or elsewhere.) It comes as some surprise to find that all four cards are written in French, a language which only Munby can have taught his wife. (The postcards are addressed to Cullwick at her niece's family by marriage, the Gibbses of Bearley and Wolverhampton, with whom Cullwick lived towards the end of her life, and it no doubt tickled Munby to write to her openly in a language they could not understand.) All four cards are signed 'M' (for 'Massa', rather than for Munby).Munby was praised by Browning for his 'signal exquisiteness of observation' and 'consummate male craftsmanship', and the eccentricity of his marital arrangements has obscured his considerable merits as a poet. His original entry in the Dictionary of National Biography describes his verse as 'characterised by its absolute sincerity, its scholarship, its technical skill, its descriptive power, and its keen feeling for and close observation of nature and rural life. Outside this, his dominant note may be said to have been what has been called 'the glorification of the working woman,' with especial insistence on the dignity of manual labour.' The present collection contains twenty complete poems and two fragments, all written by and about Munby's wife and marriage, with several of them presented to Cullwick, and three written by Munby in Cullwick's Staffordshire dialect (elsewhere described by Munby as 'thine own rustic speech; | To me far dearer than the tenderest chords | That Music's blest enchantments ever read'). Sixteen out of the twenty-two pieces are dated, two to Cullwick's birthday, 26 May, and many were clearly the original copies presented to her (a pencil note to one, titled 'For Hannah', explains to her in dialect that the poem refers to her as 'Hannah Lee', 'cause Cullwick winna rime'). One of the poems at least was certainly published (Item 12 below, 'De Haut en Bas', dated 1888, which appeared three years later in 'Vulgar Verses'), but the greater number clearly cannot have been, such as the two titled 'To my Hannah', and one 'To my wife'. Most are fair copies, but several contain emendations, with one carrying an alternative stanza, and another having three stanzas in pencil while the rest is in ink. Only one of the poems is signed, again as 'M' for 'Massa'.In addition to the love displayed throughout the letters and poems, the collection clearly identifies Munby - within his general eroticism of Cullwick's 'drudges work' - as a quirofiliac or hand fetishist. In a postcard of 1886 Munby addresses Cullwick as 'ma marmitonne, avec tes large mains noires et dures de ton travail de servante', exclaiming 'Oh, quelle difference, entre la dame et la servante!' Poem after poem boasts of the 'artless beauty' of Cullwick's 'rugged hands': 'rough hands, so hard and horny', 'her pride an' her glory […] proofs of a hardworking story', 'Strong shapely hands, laborious yet, and bare'. (Leonore Davidoff, in her 1992 study of Munby's diaries, points out the 'monotonous repetition' with which he dwells on this motif.) In one dialect poem ('Weerin o Glooves.') the narrator - evidently Hannah herself - is made to exclaim: 'What, me weer glooves, an' on such hands as mine? | Naw naw Sir, not for you nor nawbody!'; and another poem concludes: 'And when her hands grew big & hard, | And rough with toil, & rudely marr'd | By work, she counted it reward, […] | To show them boldly everywhere: | Man might despise, & ladies stare | And smile to see such hands left bare, […] Hannah well knew they were a sign; | And every corn and labour-line | Upon them, proved that she was mine'.Munby's wider fetishism is apparent throughout, with the poetry almost exclusively devoted to praising the virtues of his 'Servant-wife' and 'working wench' over those of 'lily-handed' ladies, and revelling in the 'disgrace of loving such as her'. In a poem of around 1888 he writes that his wife 'only is a servant, | A poor and common servant, | Whose place is in the kitchen | To work and to obey', and that she 'wears an iron necklace, | An iron chain for necklace; | A leathern strap for bracelet | About her strong red wrist'. (For much of her life Cullwick wore both these items, with Munby having the key to the locking chain.) In 1890 he takes Cullwick to task for complaining that she has nothing to write to him about: 'tu as ton jour toi même et ton ouvrage, ce sont les sujets que j'aime le mieux - et tu n'as pas me dit rapport à ton nettoyage de la maison, si ton visage et tes bras etaient noirs, et si tu portais le bonnet et si tu a lavé les gradines avant la porte, aux genoux'. The narrator of the dialect poem 'Ann Lee' exclaims: ' Ah's black, an' Ah's sweatin; | Mah faace is all smoother'd i' grime'. However grotesque such lines may appear, and however easy it may be to reduce the relationship between Munby and Cullwick to a caricature, it is hard not to be moved by the tenderness of such lines as this: 'When you kneel before the grate | When you clean the floor, love, | When hard work that will not wait | Frets you to the core, love || Think of some one silently | Coming from afar, love | Bending down upon his knee | To kiss you as you are love'.The following description is divided into three sections:A. Autograph poems, 1882-1900B. Autograph postcards, 1896-1890C. Newspaper articles, 1910 and 1950--A. Autograph poemsTwenty complete poems and two fragments, on a total of seventy-two pages.ONE: [19 August 1882.] Untitled. 1p, 4to. Thirteen-line poem. Begins: 'Sweet wife and servant, who dost love me so, | And whom I love with all my strength of will | Through life and death, for death can never kill | Such love as ours: […]'. Concludes: 'Thou art a working woman, whose best charms | Are homely dress, and strong laborious arms, | And that true heart, which now for many a year | Warms thy soft lips and eyes, and makes thee doubly dear.'TWO: [Christmas 1884.] Title: 'To my Hannah. | Christmas 1884.' Signed at end 'M.' 4pp, 4to. Poem of 72 lines, in eighteen numbered four-line stanzas, preceded by unnumbered four-line stanza. The prefatory stanza reads: 'Hannah | I have thy letter rough and dear, | And I have made these lines for thee alone. | Read them, and mark, and Oh, Beloved, hear | Thy Master, and thy Husband, and thine Own!' The poem itself begins: 'Hardworking Hannah, treasure of my soul, | If thou but knewest all my love for thee, | No bursts of temper, nothing base or foul, | Would ever soil thy heart, and sadden me.' In stanza 5 he describes Hannah as 'a peasant, born | Of honest breed, in wholesome English air; Inured to labours that the rich would scorn'. 'Stanzas 11 to 13 read: 'Thy ruddy arms, oh Love, seem round me still | By day in thought, and in my dreams at night: | Strong lusty arms, whose humble helpful skill | In rudest labour ever doth delight: | In rudest labour, done for love of me! | For thou hast been a servant all thy days, | And with thy love thy labour doth agree; | Since both are far from fashion's evil ways. || Thou showest love by working, not by words: | Words thou hast none, save thine own rustic speech; | To me far dearer than the tenderest chords | That Music's blest enchantments ever read.' In the final line Munby describes Hannah as 'My only Servant, and my only wife.'THREE: [February 1886.] Title: 'A Servant-wife'. 3pp, 8vo. Poem of 48 lines, in twelve four-line stanzas. The first stanza read: 'Full oft, a rugged path and thorny | Gives access to some lovely place: | And her rough hands, so hard and horny, | Lead upward to her loving face.' In the seventh stanza he writes of her: 'Proud of her hands, and of the labour | That makes them what you see they are, | She hides them not from any neighbour, | And always always keeps them bare.' The last two stanzas read: 'I would not have her lily-handed: | Dearer to me her fingers rude; | Ruddy with toil, and darkly branded | With lasting marks of servitude. || These are the chapters of her story, | The records of her lowly life; | Her maiden dower, her maiden glory; | And she shall keep them, as a wife!'FOUR: [30 August 1886.] Title: 'My Hannah.' 4pp, 12mo. Poem of 88 lines, in twenty-two four-line stanzas. Begins: 'She lives in a labourer's cottage; | She looks like a labourer's wife: | Yes, she is that poor mess of pottage | For which I have barter'd my life! || For I am the man as has wed her, | In spite of her lowly degree; | I have loved her and own'd her and bred her, | Till she's all as I care for, to me.' Stanza 8: 'Why, tonight, as we stood both together, | She show'd what her could do for me, | By lifting me up like a feather, | For her wondering gossips to see.' The poem contains references to Hannah's hands, 'her pride an' her glory […] proofs of a hardworking story', which make it impossible for her to 'mate wi' the ladies, | Or copy their graces an' airs'. Final stanza: 'So, though she may live in a cottage, | I count it no loss o' my life, | To ha' shared such a sweet mess o' pottage, | To ha' won such a drudge for my wife.'FIVE: [18 October 1886.] Untitled thirty-four line poem. 2pp, 8vo. Begins: 'To please her love, to save his character | From that disgrace of loving such as her, | She changed her manners and her dress, and tried | To be a lady. But the pomp and pride | Of such a place, it formal courtesies, | Its prim sleek ways, so different to her own, | Oppress'd her spirit: she would never rise | Up to his level by such means, unknown | And all unsuited to her lowly life. | She was his servant, ere she was his wife; | […]'. It was '[i]n her own poor trade, | In its rude labour, in its homely zeal,' that the subject of the poem 'found an apt expression, ready made, | For all she felt and all she wish'd to feel'. For his part the writer 'understands | The artless beauty of her rugged hands, | And would not have them better nor they are.' The subject is made to say: 'My hands was always rough and always bare, | […] and so they shall be while I live. | I am your wife - but you must please forgive | What can't he mended, in a wench like me. | I winna be a lady, never more! | I will be only what I was afore; | For that is best; that is what I would be, | An' not an equal. No: for you know well, | By signs more deep nor any words could tell, | By all my work an' natur, an' my breed, | As I am not your equal, but indeed | Am something better far. Oh, far more true | Nor any love of equals, an' more dear, | Is that strong love as I ha' felt for you, | An' you for me, this two an' thirty year!'SIX: [December 1886.] Title: 'To my Wife.' 2pp, 8vo. Poem of 48 lines in twelve numbered four-line stanzas. First three stanzas: 'Oh I love thee, dear, I love thee, kitchen servant as thou art, | Thou art more nor any lady, to thy Master's loving heart! | There be none to think thee charming, none to call thee sweet or fair; | Yet, for that, thou art the sweeter; far more sweet nor if there were! || In the cottage where thou dwellest, where us two should dwell alone, | If there be none else to love thee, thou art all the more mine own: | Do we want the love o' strangers? Do we seek their company? | Nay - for I am all to thee, love; thou art all in all to me! || If my equals should despise thee, if thine own folk think it strange | As thou wilt not be a lady, as thou hast no wish to change; | I at least, can understand thee and thy fine unselfish love; | I, who love thy kitchen better nor the dainty rooms above.' Stanza 7 and 8 read: 'Ah, love different to a lady's are thine arms, love, and thy hands! | But they have a charm for me, love, that no lady understands: | And their roughness and their redness cannot mar and cannot soil | That pure Love what [sic] springs within thee, freshening all thy basest toil. || So, I love thy [?] fingers; and thy broad hardworking palm, | Black with labourlines engraven, is to me as sweet as balm: | I have kiss'd those rude red fingers, I have kiss'd thy sooty face; | Seeing there a hidden heart, where the world but sees disgrace.' Last stanza: 'Does thou think it, Oh my sweet heart? Yes, thou knowest very well | That he has confess'd thee, darling, and is not ashamed to tell | To her, the maid and not the Missis, why the drudge and not the dame, | Is the woman he has chosen, for his love and for his name.'SEVEN: [18 February 1887.] Title: 'Weerin o Glooves.' 2pp, 8vo. Dialect poem of 32 lines, divided into eight four-line stanzas. Pencil note by Munby at end: 'Made to-day'. First two stanzas: 'What, me weer glooves, an' on such hands as mine? | Naw naw Sir, not for you nor nawbody! | I reckon, things like them's a deal too fine | An far too bafflin, for a wench like me. || Sir, I ha never wore a gloove for years; | Not since that time when I were kitchenmaid | Wi Lawyer Hopkins; an a many tears | I've shead, a-thinkin what my Missis said.' At stanzas 5 and 6 the narrator states: 'but if I could afford, | I wouldna look no better nor I are. || I always dresses like you see me now - | I mean, o Sundays; for of coarse, indoors | I weers my Cap an cotton frock, you know, | An a coarse apron when I scrub the floors.'EIGHT: [Undated, circa January 1888.] Untitled poem of 40 lines, divided into ten four-line stanzas. 3pp, 12mo. Early version of Item Eight, very different. The first four stanzas read: 'My love she is no lady, | No lovely lofty lady, | With graces from the ballroom | And beauties from the bower: || She is no tradesman's daughter, | No wealthy farmer's daughter, | With money to her portion | And cattle to her dower: | She is no petted handmaid, | No pert and mincing handmaid, | Brought up to be with ladies | And look as smart as they: || She only is a servant, | A poor and common servant, | Whose place is in the kitchen | To work and to obey.' Stanza 7: 'She wears an iron necklace, | An iron chain for necklace; | A leathern strap for bracelet | About her strong red wrist:'. The final stanza reads: 'And when she comes before you, | And curtsies low before you, | You cannot love nor like her, | You do despise her so.' Above the final line is written an alternative: 'Because she is so low.'NINE: [9 January 1888.] Untitled poem of 52 lines, in thirteen four-line stanzas. Later version of Item Seven. 2pp, 8vo, and 12mo slip. Begins: 'My love is not a lady born, Sir: | Her ways already show you this; | But you will think of me with scorn, Sir, | When I have told you what she is. || She is not even a farmer's daughter; | She scarce is even a tradesman's child; | She knows but what Dame Nature taught her | When she in Nature's ways ran wild. || She only is a common servant, | With all a drudge's work to do: | And yet, her love is pure and fervent | As any lady's is for you!' He states that she loves him, 'though at five and thirty | She sees no prospect of reward'. Final stanza: 'She loves her work, she loves her station, | And well she loves a servant's life; | For that [last word underlined] has been her education - | That [last word underlined] made her what she is - my wife.'TEN: [29 January 1888.] Title: 'Bonne à tout faire.' Poem of 240 lines, in sixty numbered four-line stanzas, the last two stanzas forming 'L'Envoy.' Revised draft, with two versions of stanza 22. 13pp, 8vo, with final page on a half-leaf. First stanza: 'She clean'd his dainty boots once more; | Then in the dawning dim | She left them at his chamber door, | And knock'd, and spoke to him.' In the third stanza he states: 'She was not paid to speak or feel, | But only to endure.' Final stanza: 'While Mary, reft of half her wits, | Could tell in fear and shame | How hard a drunken husband hits, | When woman is his game.'ELEVEN: [16 February 1888.] Title: 'Ann Lee.' Dialect poem of 56 lines in fourteen numbered four-line stanzas. (In margin: '14 stanzas in all. | 16 Feb 1888.') 2pp, 4to. First four stanzas: 'Eh, Tommy! Wat, wad tha be Koossin | A wench 'at's as moocky as me? | If Ah thowt abaht cooddlin an' boossin, | Mah certie, it wadna be thee!' || Why, thoo [amended from 'thah'] sees mah - Ah's black, an' Ah's sweatin; | Mah faace is all smoother'd i' grime: | Nobbut tooch ma, Ah'll gie tha a pettin | 'Ull last tha for t'rest o thah time! || Aye, Ah means wat Ah says, an' Ah'll do it; | Soon iver thah cooms ower near, | Ah'll let tha, me lad, bud tha'll rue it - | For Ah'll mak tha as black as thy dear. || Here's a pair o' black airms, 'at'll clip tha - | Aye, stoot uns, an'fit for sich sport! | For Ah'll hoog tha, an' tew tha, an' grip tha, | Whal t breath I' thy body roons short.'TWELVE: [27 February 1888.] Title (in pencil): 'De haut en bas.' Poem of 204 lines in 51 numbered four-line stanzas, including a two-stanza 'L'Envoy'. Numerous emendations. 11pp, 4to. First stanza: 'She sat upon the poor folks' bench | Beside the western door; | With many another working wench | As modest, and as poor.' The key stanza is number 29: '"She is a servant, then, 'tis clear; | How can she mate with him? | And yet, his [amended from 'their'] love is deep and dear; | It is no passing whim?' The 'Envoy' (stanzas 50 and 51) reads: 'And did he marry her? Oh yes! | And did it answer Well - | These only, who have heart to bless | A working wench, can tell. || For she is still a working wench, | And sits, with hands still bare, | O' Sundays, on the poor folks' bench: | But he is with her there.'THIRTEEN: [4 March 1888.] Incomplete dialect poem: the conclusion only, consisting of three four-line stanzas, numbered 9 to 11. On one side of 4to half-leaf, numbered 3. Exclamation 'Bah Goom' in the tenth stanza, and with the final stanza reading: 'Eh! There'll be oother lads, naw doot, | A speerin efter Liz; | An' if tha' dawn't, Ah'll stick te t'shoot, | An' joost be wat Ah is.'FOURTEEN: [26 May 1889.] Title: 'Her Birthday.' Poem of 32 lines, in eight four-line stanzas. 2pp, 4to. The first three stanzas read: 'This is my darling's birthday; | Thank God, I am still alive | To tell her how much I love her | At the age of fifty five. || For indeed I still do love her | As much, and a good bit more, | As I did when I kiss'd her long ago | At her master's kitchendoor. || She was only a common servant, | A lowly labourer; | But I knew at once, she was meant for me, | And I was meant for her.' Stanza 5: 'Now, the hair is grey on her forehead, | And she is no longer young; | But her honest blue eyes are loving still, | And so is her country tongue;'.FIFTEEN: [16 December 1895.] Title: 'In our Cottage.' Sonnet. 1p, 12mo. The octave reads: 'She sits before me in her old armchair, | Drest as a servant; on her graceful head | The brown smooth-parted hair, now silvered | By coming age, is glossy still and fair | Under that plain white cap, which she did wear | In service; and upon her apron spread | Lie the brown hands wherewith she [?] her head; | Strong shapely hands, laborious yet, and bare.'SIXTEEN: [26 May 1898.] Title: 'To my Hannah | for her 65th. Birthday.' Poem of 32 lines in eight numbered four-line stanzas. 2pp, 4to. First stanza: 'Oh my love, how I have loved thee, through these forty years and more! | All our youth is far behind us, and but little left before, | Save the valley of the shadow, save that evening of the day, | When we both go down to darkness; and 'tis I, who lead the way.' Third stanza: 'Oh what labour, oh what sorrow, have we seen and known since then! | Sorrow is the lot of women, labour is the life of men: | But 'twas thou who hadst the labour; thou wert bond, and I was free; | Yet the work thou didst for wages, still was done for love of me.' In the sixth stanza he gives a moving assessment of her character: 'For thou wert no vulgar damsel, longing for a higher place, | Proud of notice from above her, conscious of a pretty face; | Thou wert one of Nature's fair ones, a robust heroic maid, | Whom no foulness could disfigure, nor no labour long degrade.'SEVENTEEN: ['Xmas 1900.'] Title: 'For Hannah | New Year 1901.' Poem of 16 lines in four four-line stanzas. 1p, 4to. First stanza: 'Like as Eve was brought to Adam, | So my love was brought to me: | She was neither Miss nor Madam - | She was only Hannah Lee.' The word 'Lee' is underlined in pencil, with the marginal note: 'That's cause Cullwick winna rime -'. Final stanza: 'Then she know'd as well as he did, | That he loved her, life an' limb, | And his love was all she needed, | And her was but made for him.'EIGHTEEN: [Undated.] Title: 'Hannah the Servant'. Poem of 58 lines. 4pp, 4to. Begins: 'When she was young, and daily work'd afield, | Ripening with sun and wind, and nurtured up | In wholesome labour, always out of doors, | The love of Nature grew within her soul | By slow degrees unconscious; and she learnt | From that kind mistress all the rustic lore | Of woodland fruits, of simples, and of flowers | That fills the meads or thrives among the corn.' After going into service Hannah is said to have 'lived happy and at ease; | Unharm'd by the coarseness of her work, | Unharm'd by any banter of those maids | Who had not lived, like her, in fellowship | With powers not made by Man.' At the poem's conclusion Munby states that 'He, Who brings together as He will, | Peasant or prince, the souls that should be one, | Brought her to me, and bade me think on her. | It was enough; and though in dress and mien | She still is but a servant, she herself | Has now the place and honour of a wife.'NINETEEN: [Undated.] Untitled poem of 160 lines, in 40 four-line stanzas, each of which ends with the refrain 'My Hannah'. 7pp, 12mo. Written in ink, except for stanzas ten to eighteen, whose 36 lines are in pencil. The first three stanzas read: 'Who was it, that in crowded street | Walking, with rosy face and sweet, | Modest and fearless, I did meet, | My Hannah! || Wearing a country shawl of blue, | A cotton frock, as servants do, | And cottage bonnet? It was you, | My Hannah! || Who, neither bold nor yet afraid, | Did answer me, and meekly said | She only was a kitchenmaid, | My Hannah!' Stanzas 11 to 13, the second, third and fourth of the eight in pencil, read: 'Therefore she did refuse to have | An equal's place; and freely gave | Herself, unask'd, to be a slave - | My Hannah! || A slave, a servant, to her love! | Whom worldly taunts could [n]ever move | From what her heart did once approve - | My Hannah!' || Thenceforth, her strength [amended to 'skill'] did never tire: | She wrought for love as well as hire; | And through the house and at the fire | My Hannah.' Stanzas 19 to 24 provide information about her work routine: 'So, often did her betters stare | To see her, with her big arms bare, | With blacken'd face and dusty hair, | My Hannah, || Scrubbing the doorsteps or the yard: | They wonder'd why she work'd so hard, | With only wages for reward - | My Hannah! || Her wage was fifteen pounds a year; | And if she did look rough, 'twas clear | At such a price she was not dear, | My Hannah: | For, though she was a housewife, too, | And could arrange a grand menu | As well as upper servants do, | My Hannah, || Yet, she would climb & she would crawl, | Run errands, carry weights, & all | That suits a wench so strong & tall | As Hannah. | And, though she seem'd so loathly, in | Her rough wet clothes & grimy skin, | She was all purity within - | My Hannah!' He notes how Hannah - 'strong and wise' has served to 'act out all his theories […] And be, within doors & without, | A working woman, brave & stout, | Just like what he had wrote about', and that 'she loved her kitchendress, | And wore it always, to express | Her own abiding lowliness' and 'scorn'd the pert control | Of gloves, and veil, and parasol, | The trappings of a vulgar soul […] And when her hands grew big & hard, | And rough with toil, & rudely marr'd | By work, she counted it reward, […] | To show them boldly everywhere: | Man might despise, & ladies stare | And smile to see such hands left bare, […] Hannah well knew they were a sign; | And every corn and labour-line | Upon them, proved that she was mine'.TWENTY: [Undated.] Single four-line stanza, numbered 6, an addendum to another poem, with note reading: 'You can write it at the end, & mark wheer it comes in.' On slip of paper. Reads: 'Oh the joy o' them fair Sundays, in the years of long ago! | When I proved thy scanty schooling, when I learnt to love thee so | That the scorn which thou hadst suffer'd and the work that thou hadst done - | All the difference, all the contrast - only help'd to make us one. [last word underlined]'TWENTY-ONE: [Undated.] Untitled poem of 56 lines, in fourteen numbered stanzas, with the three stanzas 7, 8 and 9 removed from the sequence and placed at the end, with the comment 'Left out'. 3pp, 4to. First stanza: 'Not upon the loftiest hills | Grow the fairest flowers | Not the sweetest odour fills | Garden walks and bowers'. Stanzas 11 and 12: 'When you kneel before the grate | When you clean the floor, love, | When hard work that will not wait | Frets you to the core, love || Think of some one silently | Coming from afar, love | Bending down upon his knee | To kiss you as you are love'.TWENTY-TWO: [Undated.] Untitled sonnet. 1p, 12mo. First line: 'Others may scorn thy rough laborious life,'. Sestet: 'Yes, and I love thee that thou wert a drudge: | For all thy labour is of love alone, | And all thy love is mine: then surely I, | Who own thy love & thee, am fit to judge | How noble is the work that thou hast done. | And thy black face, how fair with purity.'B. Autograph postcards, 1886-1890Four Autograph Cards in French, all signed 'M', and all addressed to to 'Chérie'.ONE: [10 December 1886.] From 'ton M.' Address: 'Hannah Munby at Charles Gibbs's | Bearley | Stratford on Avon | Warwickshire'. Dated 'Vendredi 10me. 10bre'. Postmark: London W.C.; 10 December 1886. Twenty-six lines of closely written text. After thanking her for her letter he expresses pleasure that she liked his letter and the shawl. He discusses options regarding obtaining a 'cottage bonnet' for her: 'La dame française a écrit comme tu as dit - c'etait seulement le fog qui avait fait ses mains "sales". He describes her as 'ma marmitonne, avec tes large mains noires et dures de ton travail de servante. Oh, quelle difference, entre la dame et la servante! Mais mois, c'est toujours ma servante que j'aime, et qui est ma femme aussi'. He ends by asking her to tell him the story of 'cette fille de Butterman et toi'.TWO: [14 November 1887.] From 'M.' Address: 'Mr. G. Gibbs | East View | Cherry Street | Wolverhampton'. Date: 'Lundi 14me. 9bre.' Postmark: London; 14 November 1887. Thirteen lines of text. It is 'dommage que tu tousses. J'espere que tu auras du feu et une chambre comme j'ai dis. Tout va bien ici. Ecris-mois quand tu peux ma bonne, et je suis ton amant | M.'THREE: [19 February 1890.] From 'Ton amant M.' Address: 'Hannah Munby | Hadley | Wellington | Salop'. Hadley and Charing Cross postmarks. Date: 'Mercredi des Cendres 1890.' Twenty-eight lines of text. Lightly waterstained but with text entirely legible. He asks why she has not done as he told her 'à W.' He tells her to go quickly to 'M. Hall', and ask for 'le quinine et les pilules'. It is for her own good, 'et sans cela j'aurai peur de la grippe. J'ai peur aussi de mauvais faits - Prends garde de tout cela. Etait-il à la marché de O., ou de W., qu'on a attaqué cet homme et femme?' He takes her to task for complaining that she has nothing to write about: 'tu as ton jour toi même et ton ouvrage, ce sont les sujets que j'aime le mieux - et tu n'as pas me dit rapport à ton nettoyage de la maison, si ton visage et tes bras etaient noirs, et si tu portais le bonnet et si tu a lavé les gradines avant la porte, aux genoux'. As she requests, he will not write to her in the coming week, but will do so the week after, but would like to hear from her before then. 'C'est bon [Doris? Davy?] sera avec toi.'FOUR: [13 November 1890.] From 'ton amant à jamais | M.' Address: 'Hannah Munby | Hadley | Wellington | Salop'. Date: 'Jeudi 13me. 9bre. 1890'. Hadley and Bedford postmarks. Eighteen lines of text. He is anxious to learn of 'la chute de la cheminée': 'si le roof est cassé, comment peux tu être sec dans la chambre à coucher, et comment être chaude dans la cuisine?' He asks her to write him a card or short letter, to say that she is dry and warm, as he is concerned that she may catch a cold and become ill. 'J'ecrirai une letter demain, et Dieu te garde, ma mie!'C. Newspaper articles, 1910 and 1950ONE: Newspaper cutting from the 'News of the World', [1910]. Long article titled 'Poet's romance. | Wife who would not be a lady. | Rich man's visits to humble cottage.' Undated, but the article states that it was written only 'some months' after Munby's death on 29 January 1910. Among other matter, the article reports an interview with Hannah's brother: 'Down in Hadley the brother of Hannah Cullwick, a wheelwright, a fine, stalwart figure of an old man, still lives. "Where is your sister Hannah?" he was asked by a gentleman who guided to his door a "Morning Leader" representative. "In the churchyard at Shifnall," replied the old man, solemnly. […] Inside the little old cottage the wheelwright and his wife filled in the story.' Hannah's brother, 'the Wombridge wheelwright, remembers the wedding in 1873 well, and recalled that his sister made the wedding cake herself. For a time, after leaving the Temple, she lived at his cottage, receiving there the husband's visits, which invariably concluded with a gift of half-a-crown to the wheelwright's wife.'TWO: Copy of Cambridge Daily News newspaper, 14 January 1950. Article on p.7, titled 'Trinity's 40-year-old mystery box | It contained Poems, Diaries & Photographs'. According to the article 'The opening ceremony, which was private, was conducted in the College Library by Mr. H. M. Adams, Librarian, who afterwards said: "The contents were not very exciting after all. The boxes contained diaries and poems - Mr. Munby was a poet of some ability and had published many of his poems - and letters to him by his wife. One box was filled with photographs and studies of working women of the later Victorian century in whose conditions of life Mr. Munby took a sociological interest."'