Yellow Nineties 2.0 The Savoy, Volume 7 (November 1896) <editor>Lorraine Janzen Kooistra</editor> </titleStmt> <editionStmt> <p> <date>2019</date> </p> </editionStmt> <publicationStmt> <idno>SAVOYV7_icon5</idno> <publisher>Yellow Nineties 2.0</publisher> <pubPlace>Ryerson University</pubPlace> <address> <addrLine>English Department</addrLine> <addrLine>350 Victoria Street,</addrLine> <addrLine>Toronto ON,</addrLine> <addrLine>M5B 2K3</addrLine> <addrLine>Canada</addrLine> </address> <availability> <p>Usable according to the Creative Commons License <ref target="http://creativecommons.org/licenses/by-nc-sa/3.0/">Attribution Non-commercial Share-alike</ref>.</p> </availability> </publicationStmt> <sourceDesc> <biblStruct> <monogr> <editor>Arthur Symons </editor> <author>W.T. Horton</author> <title>“Now more than ever seems it rich to die, / To cease upon the midnight with no pain.” After and Pen-and-Ink Sketch Leonard Smithers London W November 1896 Horton, W.T. "“Now more than ever seems it rich to die, / To cease upon the midnight with no pain.” After and Pen-and-Ink Sketch " The Savoy, vol. 7, November 1896, p.39 . The Savoy Digital Edition, edited by Lorraine Janzen Kooistra 2018-2019. Yellow Nineties 2.0, General Editor Lorraine Janzen Kooistra, Ryerson University Centre for Digital Humanities, 2019, https://1890s.ca/savoyv7_horton_sketch

Our editorial method is informed by social-text editing principles. By “text” we mean verbal and visual printed material, including non-referential physical elements such as bindings, page layouts, and ornaments. We view any text as the outcome of collaborative processes that have specific manifestations at precise historical moments. The Yellow Nineties Online publishes facsimile editions of a select collection of fin-de- siècle aesthetic periodicals, together with paratexts of production and reception such as cover designs, advertising materials, and reviews. This historical material is enhanced by two kinds of peer-reviewed scholarly commentary: biographies of the periodicals’ contributors and associates; and critical introductions to each title and volume by experts in the field. All scholarly material on the site is vetted by the editor(s) and peer- reviewed by them and/or an international board of advisors. The site as a whole is peer- reviewed by NINES (Networked Infrastructure for Nineteenth-Century Electronic Scholarship). Contributors to the site retain personal copyright in their material. The site is licensed with a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 license. Both primary and secondary materials, including all visual images, are marked up in TEI- (Textual-Encoding Initiative) compliant XML (Extensible Markup Language). To ensure maximum flexibility for users, magazines are available on the site as virtual objects (facsimiles) in FlipBook form; in HTML for online reading; in PDF for downloading and collecting; and in XML for those who wish to review and/or adapt our tag sets. In order to make ornamental devices, such as initial letters, head- and tail- pieces, searchable, we have developed a Database of Ornament in OMEKA, and linked it to the relevant pages of each magazine edition. As a dynamic structure, a scholarly website is always in process; Phase One of The Yellow Nineties Online (2010-2015) is completed and Phase Two (2016-2021) is underway.

 1896 English English literature -- 19th century -- Periodicals Great Britain -- Periodicals Visual Art Possible Genres (multiple): "Fiction," "Nonfiction," "Poetry," "Paratext" (TOC, prospecti, advertisements, frontmatter, Portrait of Arthur Symons), "Review" (older reviews), "Criticism" (including critical introductions), "Visual Art" (images, bio images), Historiography (bios),"Bibliography" (intros, crit, bios, anything with a bibliography attached), "Drama," "Ephemera," "Translation," "Religion," "Travel Writing," "Music, Other,") Still Image Possible Types (singular): "Periodical" (texts/most stuff), "Interactive Resource" (current writing, biographies, not old reviews), "Still Image" (images, visual art), "Physical Object" (posters, prospecti) Book History Art History Possible Disciplines (multiple): "Book History (include for all periodical items)," "Literature," "Art History (use for art, also use for reviews)," "History (don't use in a general sense)," "Theatre Studies," "Musicology," "Philosophy," "Anthropology," "Science"
“Now more than ever seems it rich to die, / To cease upon the midnight with no pain.” After and Pen-and-Ink Sketch SAVOYV7_icon5 SAVOYV7_icon5 “Now more than ever seems it rich to die, / To cease upon the midnight with no pain.” After and Pen-and-Ink Sketch W.T. Horton Paul Naumann V November 1896 V7, p.39 14.8 x 10.3 cm Illustration Pen and Ink Outside Night male figure, poet, John Keats Stars, hill, grasses “William T. Horton” “Now more than ever seems it rich to die, / To cease upon the midnight with no pain.” After and Pen-and-Ink Sketch The line-block reproduction of Horton’s pen-and-ink drawing is a rectangle in portrait orientation, the majority of which is inked black. In the top half of the image there are sporadically spaced stars created from uninked white space on the page. A figure is created in the same way on the centre bottom half of the page. He is reclining on a hillock or tuft of grass and is facing the left side of the page so that only the left half of his face is fully visible; both eyes are closed. His left hand is resting on his left shoulder. The hand itself is not visible, though, as it rests behind an inked in hill. The ridge of the hill and individual blades of grass are distinguishable from the rest of the background since they stand in contrast to the white of the figure. In the bottom right corner of the page is a strip of white within which is inked the artists signature: “William T. Horton”. The quotation attached to the illustration, “Now more than ever seems it rich to die,/To cease upon the midnight with no pain,” is taken from John Keats, “Ode to a NIghtingale.” The figure in the illustration likely represents the nineteenth-century poet, John Keats.