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In the spring and summer especially were they glad. Flanders is not a lovely land, and around the burgh of Rubens it is perhaps least lovely of all. But it is green and very fertile, and it has wide horizons that have a certain charm of their own even in their dullness and monotony; and King. Anyway, there is greenery and breadth of space enough to be as good as beauty to a child and a dog; and these two asked no bet- ter, when their work was done, than to lie buried in the lush grasses on the side of the canal, and watch the cumbrous vessels drifting by and bring the crisp salt smell of the sea among the blossoming scents of the country summer.

Ouida a, p. Yet descriptions such as these suggest not only the gift of Kantian dis- interested pleasure.

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Such emphasis on the sonic sensuousness and patterning of the communicative transaction between text and reader means that purchas- ers can rest assured they are giving a gift whose value is authenticated by signs of hard work. The words of the story offer, then, a triple and very impure gift of tears, labour and aesthesis, a package which, in the gift books, is beribboned by the paratextual illustrations and covers.

Perhaps those who read the story as an animal rights protest were right. And yet there is something even more specific that the text is denouncing than the general treatment of dogs. This helps establish its parameters of meaning for initial readers. To have a history is a luxury for the rich. What use can one be to the poor?

If they tell it, who listens? And I have been very poor, always. Yet I was happy until that lilac blossomed one fair spring day. I am a comedian. My mother was one before me. My father — oh, ta-ta-ta! That is another luxury for the wealthy. Ouida , p. Ouida refused.

It is not surprising then that Ouida might use all the weapons at her disposal, including destroyed aesthetic pleasure, to stimulate sympathy for the defeated. Instead it becomes an angry political protest against Belgian self-interested inaction. For just as his neighbours, led by the bully Baas Cogez, refuse to help Nello, so Belgium had refused to intervene on behalf of its neighbour France in the face of what Ouida perceived to be the bullying Prussia.

The evident ethics of sympathy for the poor, the fetishisation of the artist and his perceptions, the valorisation of interspecies over human love, the specific denuncia- tion of the maltreatment of Flemish dogs and even the gifts of tears and sensory pleasure are, in this reading, all put to work to denounce Belgian selfishness at a particular historical moment.

That Ouida wanted us to read the story in this way is confirmed if one reads it alongside another of her texts from around the same time.

She went on to detail how Belgian society had failed Wiertz so that he died in poverty and obscurity. At the end she made an interesting con- nection between the artist himself and Christ: They say that when he lay there, lifeless, the peace refused to him throughout his arduous years came on him at the last; and that when the summer sunrise streamed through the ivy shadows of his casement in the glory of the morning, his face was as the face of his Christ — his Christ, who brake asunder the bonds of the grave and rose triumphant in the power of God.

Ouida, b, p. Nello is a version of Wiertz, and, like him, to be understood as a type of Christ whose suffering not so much redeems us as in Chris- King. Such a political use of the sentimental was not new, but it becomes increasingly typical of Ouida from the s onwards when she began to employ the sentimental to effect change in the arena of international politics, not just single-issue politics internal to a country such as we are more familiar with in Dickens, Gaskell and Beecher Stowe.

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This was the basis of my question above on whether Cardinal Manning and Ruskin would have delighted in a story with covers such as those in Figures 5 and 6. As long ago as the noted American novelist, critic and photographer Carl Van Vechten observed that some of the inhibitions of the world and its critics in regard to Ouida are due to the printings and bindings of her novels. In America, their most elaborate dress is the red or green volumes stamped with gold, issued by Lippincott in Philadelphia.

The reprints of Chatto and Windus in London are even worse, bound in tomato red, and printed from carious plates in small letters. Indubitably, a new edition of Ouida, on good pa- per, handsomely printed and bound, with prefaces by some of her more illustrious admirers, would do much to dispel the current illusion that in reading Ouida one is descending to the depths of English literature. That is entirely to miss the point. Following Shklovsky and Derrida after him Crawford , I maintain rather that it is one of the duties of the hu- manities academic to render the text strange, to seek to alter perceptions so as to avoid the casual violence of routinized and automatic reaction to King.

Automatic reactions create blind spots, and I follow those politically-engaged critics in trying to help us open our eyes to them. At the same time, there is no pure first text that we can access, however we might seek to wash our idea of a text clean from its afterlives.

We need to recognise, as van Vechten did, that a text is, to our reading bodies, the ever increasing sum of the history of its sensuous presentation and perception. Neither is it and its myriad colleagues tidily and abstractly arrayed in the hermetically sealed terraria of our screens. However much Big Data and Digital Humanities promise a grander reality based on the systematisation of vast quantities of information, that reality remains a simulacrum only present in machine code.

Unless that simulacrum is translated into policy and action which it increasingly is , it is not the reality of our bodies. We must not pretend that thrusting ourselves into a screen is more real than our corporeal sensations, just as we must remain sceptical of the latest critic who thrusts texts into fashionable categories, or the book historian who unreflectingly reduces a text to the costs of its production and distri- bution. In all cases, theirs could be an automatic research that requires interrogation and thereby animation.

Bibliography Anon. Pall Mall Gazette, 22 Octo- ber, p. Examiner, 17 August, p. Publishers and Stationers Weekly Trade Circular [advertise- ment]. New York, 25 January [cover]. Evening News, 29 September, p. Saturday Review, 27 June, pp. Supplement for , p. Flanders Today, 30, January 30, p. Benelux Guide.

Crawford, Lawrence Comparative Literature, 36, pp. Dutton, Denis trans. Immanuel Kant: Critique of Aesthetic Judg- ment [online].

Paratexts: Thresholds of Interpretation. Cambridge: Cambridge University Press. Horner, Frances Time Remembered. London: William Heinemann. Hyde, Lewis The Gift. How the Creative Spirit Transforms the World. New York: Random House. Jordan, Jane Milan: Polimetrica, pp. Katz, Philip Mark King, Andrew In: Hadjiafxendi, Kyriaki; Zakreski, Patricia eds.

Aldershot: Ashgate, pp. In: Jordan, Jane; King, Andrew eds.

Aldershot, Ashgate, pp. Oxford: Black- well. DOI Knightley, Philip Lee, Elizabeth Ouida: a Memoir. London: Fisher Unwin. Littau, Karin Theories of Reading: Books, Bodies and Bibliomania.

Cambridge: Polity Press. In: Nigel Rothfels ed. Mangum, Teresa Manzoli, Giacomo Anglistica Pisana, 6 , pp. Minoto Studios. A Dog of Flanders [computer game]. Nippon Animation. Ouida Ouida a. Ouida b. London Society, 22, July, pp. In: Novelle di Ouida. In: Nantas. Milan: Fratelli Treves, , pp.

Torino: Paravia. Directed by Didier Volckaert and An van Dienderen. Pollock, Mary Sanders London: Palgrave Macmillan, pp. Prettejohn, Elizabeth Beauty and Art. Oxford: Oxford University Press. Ruskin, John [] Elements of Drawing.