November 15, 2025 · 4:14 pm

Olive Custance, Lionel Johnson, Walter Pater — and the Circle of Spiritualised Aestheticism

Among the many strands of the 1890s, two quite different versions of “aestheticism” contended for the loyalty of young writers. On the one hand stood the Oxford inheritance of Walter Pater, with its quietism, discipline of attention, and reverent seriousness about beauty. On the other stood the flash and glitter of the London decadents, the brilliant but unstable constellation revolving around Oscar Wilde and Lord Alfred Douglas. These two worlds overlapped, but they were not identical — and for Olive Custance, the difference mattered profoundly.

In several articles on this site, I have already noted that Olive’s early diaries record her passionate admiration for Pater’s Marius the Epicurean, which she described as a revelation. She felt the book expressed “her own soul in prose,” confirming her instinct that art and moral seriousness not only could coexist but were meant to. When Pater died in 1894, she imagined him ascending “to a fairer life,” clothed in “glorious golden robes, tainted with martyr’s blood.” For Olive, Pater was no ordinary critic. He was a kind of priest.

This sacramental view of beauty brings Olive into close alignment with Lionel Johnson, the shy, intense poet who became — after Pater — one of the principal guardians of “spiritual aestheticism.” Johnson’s elegy for Pater, quoted elsewhere on this site, captures the tone perfectly:

“With mind serene, and spirit pure,
And ardent still for truth and right,
He walked his way, aloof, demure,
A scholar and a saint in light.

Hierarch of the spirit, pure and strong,
Worthy Uranian song,
He wrought his appointed will;
And now, at last, is still.”

“O quiet heart, O tender heart,
O deep and secret soul,
A finer part, a fairer part,
Has claimed thee for its goal.”

Here Johnson reaches for Platonic language — Uranian in its 19th-century sense of the “heavenly,” purified eros that draws the soul toward the Beautiful. This is far from the theatricality of the Wildean epigram. Johnson’s “Uranian song” is a devotion. In his vision, Pater becomes a celebrant of an interior liturgy — the high priest of cultural contemplation.

The Lane Circle: A Fellowship of Earnest Souls

It is within this Paterian lineage that we should also place John Gray and Ernest Dowson, both of whom Olive knew and admired — and whose temperaments resonate strongly with her own.

John Gray

John Gray, despite later caricature as Wilde’s “Dorian,” was at heart one of the most serious, ascetic, and spiritually driven writers of the decade. Long before his conversion to Catholicism, Gray’s poems had a delicacy, inwardness, and stillness that drew Olive’s attention. His presence in the aesthetic movement was never flamboyant. He was, even as a young man, a figure of inward discipline and refinement — the closest, in many ways, to a true Paterian disciple.

Gray’s later priesthood, his intense spiritual life, and the severe beauty of poems like “The Well of Narcissus” or “In the Evening of Time,” all speak to the same sensibility Olive cherished: beauty as something solemn, exacting, and morally resonant.

Ernest Dowson

Ernest Dowson, too, belongs in this company — not because his life was serene (it was tragic), but because his ideals were. Dowson’s famous “Cynara” and his quieter lyrics radiate a chastened melancholy and an almost religious sensitivity. His yearning for innocence, purity, and unattainable beauty aligns very closely with Olive’s own emotional palette.

Though plagued by alcohol and heartbreak, Dowson was never a decadent in the Wildean sense. His emotions were too sincere, too unguarded, too bruised. His work possesses none of the ironic sparkle of Oxford wits; it trembles instead with longing. In that sense, Dowson stood much nearer to Pater’s reflective seriousness than to the decorative theatrics of the Wilde–Douglas circle.

Two Aestheticisms: London and Oxford

This distinction is important, because it allows us to draw a defensible line between two cultural constellations:

1. The Wilde–Douglas circle (Oxford + Café Royal)

  • theatrical
  • erotic
  • epigrammatic
  • self-dramatising
  • aestheticism as pose and performance
  • prone to scandal and melodrama
  • full of brilliance, but morally unstable

Even Wilde, whose inner life was far deeper than the caricature, nurtured a younger set who embraced appearance more readily than depth.

2. The Lane/Yellow Book circle (London)

  • reflective
  • melancholy
  • spiritually ambitious
  • committed to beauty as moral seriousness
  • inward, contemplative
  • often tragically fragile, but fundamentally earnest

This circle — Johnson, Gray, Dowson, Harland, Symons, Beardsley — was not chaste, nor angelic, but its ideals inclined toward purity, discipline, and the moral weight of aesthetic experience. They were spiritual aesthetes rather than sensual ones.

Where Olive Custance Belongs

Placed between these two worlds, Olive Custance belongs unmistakably to the Pater–Johnson–Gray–Dowson side.

Her poetry, especially Opals and her later sequences, floats with dreamlike delicacy, but it also bears a chastened, almost devotional intensity. She seeks purity, self-command, visionary beauty. Even her fascination with Bosie can be understood through this lens. She saw in him — or wished to see — not the wayward protagonist of scandal, but the boy-poet of spiritual longing, the imagined vessel of the “Uranian dream.”

A Paterian Aestheticism of the Soul

If Johnson’s poem for Pater is the anthem of spiritualised aestheticism, then Olive’s diaries and poems form its feminine counterpart. Beauty, for her, was not mere diversion. It was an inner calling that demanded discipline, reverence, and surrender.

In an age often caricatured as decadent, Olive Custance stands as a witness to another possibility: a quiet, pure, exacting aestheticism, deeply moral, infused with longing for transcendence — a Paterian aestheticism of the soul.

It is into this lineage — Pater, Johnson, Gray, Dowson — that Olive consciously placed herself.

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October 25, 2025 · 9:03 pm

Through the Garden Gate: Thomas Kilroy and the Redemption of the Douglases

Ferdi McDermott

I. Introduction – After the Curtain Falls

Some lives seem to end twice: once in the archive, and once again in the imagination. For the poet Olive Custance, her husband Lord Alfred Douglas (“Bosie”), and their son Raymond, the first ending is familiar: death in Hove, confinement in Northampton, an afterglow of notoriety fading into the footnotes of the Wilde story. The second ending—by which I mean continuation—belongs to the stage and to radio. In three related works, Thomas Kilroy returns to the Wildean world with unusual gentleness, allowing the Douglases to reach a cadence more humane than history typically grants them.

My interest here is frankly selective. This essay is written as a companion to a biography of Olive Custance and considers Kilroy’s plays as part of her afterlife in literature. The concern is not to re-litigate scandal but to ask how art can give grace to wounded memory. Kilroy—never sentimental, never cruel—refuses caricature. His people learn to tell the truth about themselves, and that is the condition of their release.

II. The Arc of Redemption

Kilroy’s three works—The Secret Fall of Constance Wilde (Abbey Theatre, 1997), My Scandalous Life (Gallery Press, 2004), and the RTÉ radio drama In the Garden of the Asylum (2012)—form a moral triptych: prelude, confession, coda. The first play, focused on Oscar and Constance Wilde, introduces Bosie as the “golden boy” whose beauty carries ruin; the second finds him old, bankrupt, Catholic, and eloquent; the third transfers attention to Raymond, who meets Lucia Joyce in the asylum garden and speaks, at last, in his own voice.

The structure is Aristotelian in the best sense. Tension rises to crisis and resolves in recognition: in the middle play Bosie is driven to a hard line of truth—“This thing of darkness I acknowledge mine”1—a sentence borrowed from Shakespeare but weighted now with the fatigue of age. The catharsis is inward: each person arrives at knowledge that cannot be postponed any longer. Kilroy’s mercy does not erase responsibility; it makes responsibility bearable.

III. The Garden and the Gate

The most beautiful gesture in Kilroy’s theatre is a door. My Scandalous Life ends with a stage direction: Eileen helps Raymond to the exit; Douglas follows; the play ends.2 The image asks for no commentary. That open doorway—a threshold more than a destination—becomes the moral hinge of the trilogy. What follows, in the radio play, is simply the space beyond it.

In In the Garden of the Asylum, Raymond and Lucia Joyce meet not in a clinic but in a walled garden that sounds like Shakespeare’s Arden. She says, with calm mischief, “We are meeting in the forest of Arden”; he answers with travel fragments—Trieste, Paris, Galway—until the asylum becomes a geography of memory. The doctors offstage debate “talk therapy” and pills; onstage the patients discover how speech itself can be a form of care. Near the end, an imagined train rushes through France—“Paris… Marseille…”—and the sound resolves into the chorale that opened Bosie’s monologue, Bach’s “Jesu, Joy of Man’s Desiring.” Noise is not denied but re-scored. The door, then the garden; the garden, then music. The arc is not escape but transfiguration.

IV. Gentle Christian Humanism

Labels can simplify what deserves tact. If I call Kilroy’s temper “gentle Christian humanism,” I mean only this: he listens. His sinners are granted literate self-defence; his saints (there are none) are spared hagiography. In the radio play, Dr Hermione Edwards declares, “The beginning of recovery is recovery of the patient’s basic humanity.” The line belongs above the triptych. Bosie’s confession is not theatrically convenient but spiritually arduous; Raymond’s frenzy is not mocked but attended to; Olive—silent, upstairs—becomes the atmosphere of conscience in which the living must speak.

“Confession” here is not the pageantry of guilt, but an art of attention. The plays are saturated in Catholic sensibility—chorales, prayer-language, the beat of ritual—yet they are never doctrinal pieces. Kilroy’s stagecraft accepts human limitation without sneer and discovers, within that limitation, a grammar of mercy.

V. Olive, Bosie, and Raymond Reimagined

Olive Custance is the most striking absence in Kilroy, precisely because she is everywhere. In My Scandalous Life she never appears, but her stick on the floorboards, her dying summons, her refusal of melodrama, govern the room. Bosie declares bitterly that she “hated Raymond,” then proceeds to confess that his son’s madness is mirrored in himself. The silence from above is not indifference; it is the moral weather of the play.

Approached from Olive’s own poetry, this is arresting. Her last collection, The Inn of Dreams (1911), moves by titles and by temper toward inward rooms and angelic custody—The Kingdom of Heaven, The Prisoner of God, The Vision. Kilroy gives her something like the afterlife her poems imagined: not a reprieve from suffering, but a purification of it. In the radio play, Raymond’s voice—by turns playful, wounded, and grand—is allowed to become its own music. “Mother. Mother. Mother.” The cry that ends a scene does not insist on pathology; it announces a deep human need that the play refuses to mock.

By the last movement, the family is transposed from scandal to myth—not myth as falsehood but as distilled meaning. Bosie, who once loved beauty too violently, finds the more difficult beauty of truth. Olive, too easily dismissed as a muse or an alibi, becomes the still centre. Raymond, for so long so silent, receives the last word.

VI. Literature and the Resolution of Tension

All literature, I sometimes think, wants to resolve tension—tragically, comically, or by the quieter route of recognition. Aristotle called that catharsis. Christianity says truth will make you free. Kilroy lets those statements meet. In the prelude, Constance Wilde confronts the truth of a father; in the monologue, Bosie confronts the truth of himself; in the radio coda, Raymond confronts the truth of the world. The circle of compassion widens with each act. The instrument is speech; the setting is a garden.

What is redeemed? Not reputation; not consequence. What is redeemed is the possibility of pity. The radio play closes with an epilogue in which Lucia’s voice speaks gratitude—a letter to Galway—where once we heard only anger. That is not a miracle; it is an altered key.

VII. Conclusion – Through the Garden Gate

“Most of what I’ve been saying… a pack of lies!” Bosie says, and then he names the darkness as his own. The rest follows almost gently. Eileen bears Raymond to the door; Bosie steps after them. Years later, in the walled garden of Northampton, Raymond and Lucia imagine a train and hear a hymn. Between those two sounds—the shuffling on the stairs and the  Bach chorale—lies the modest miracle of Kilroy’s theatre: speech attended to, sorrow respected, and the permission to finish on a human note.

Kilroy achieves what biography alone cannot: he converts history into myth without falsifying it. His plays do not excuse the Douglases; they understand them. They show how beauty can outlast disgrace, how faith can survive irony—how a certain garden can be made for the weary. In that sense, the garden is Olive Custance’s afterlife, and the open doorway through which Bosie and Raymond pass is the threshold of literature itself—that mysterious gate through which human failure, in the end, gives way to forgiveness.

Acknowledgements & Notes

  1. RTÉ Drama on One: Quotations from and references to In the Garden of the Asylum derive from the RTÉ Radio 1 series RTÉ Drama on One (2012). See the programme page: https://www.rte.ie/radio/dramaonone/647021-genres-history-inthegardenoftheasylum. Used here for academic and critical discussion.
  2. Thomas Kilroy, My Scandalous Life (Oldcastle: The Gallery Press, 2004), esp. p. 27.
  3. Thomas Kilroy, The Secret Fall of Constance Wilde (Abbey Theatre premiere, 1997; text Oldcastle: The Gallery Press, 1997).
  4. On Olive Custance’s later temper and imagery, see The Inn of Dreams (contents and themes referenced here to resonate with Kilroy’s portrayal).
Copyright notice: This essay employs brief quotations for the purposes of criticism and review. No extended text from the plays or broadcast is reproduced here.Copyright 2025. Ferdi McDermott gives permission for reasonable quotation from this article and reproduction for academic purposes, provided full acknowledgement is made.

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October 24, 2025 · 11:43 pm

Olive Custance, John Gray, and the Meaning of “Wild Olive”

Ferdi McDermott

The brief encounter between Olive Custance and John Gray occupies a small but revealing place in the history of the 1890s. It shows not only the emotional openness of the young poetess but also the religious and aesthetic vocabulary she drew from her cultural milieu. Brocard Sewell’s In the Dorian Mode: A Life of John Gray, 1866–1934 (Padstow: Tabb House, 1983) remains the principal source for the episode, preserving the text of Olive’s diary and correspondence.

Sewell recounts that Olive, “a young society girl of aristocratic family,” met Gray “at a party” when she was about sixteen (c. 1890–91) and “fell in love with him at once.”1 “She must have been an extremely beautiful girl,” he adds, “and if only he had been attracted to her, her future life might have been happier.” Gray, ten years her senior, was courteous but unresponsive; nevertheless, he became for her “my ideal Poet.”

Her diary entries for 4 and 8 January 1896, quoted by Sewell, describe her joy in hearing from Gray and receiving Silverpoints:

“I had sent John Gray some of my poems, and the New Year brought a beautiful letter from him—and the photograph I so much desired and a book, Miracle Plays by K. Tynan Hinkson …”

“Then again next morning he came and brought me Silverpoints and was so kind and talked so beautifully—and looked so nice. He is my ideal Poet … and we were, I think, a happy little trio … But at last we all had to say goodbye—and he went home and sent me at once a lovely book and a charming little note.”

Two years earlier, at Christmas 1894, Olive had written from Weston, Norfolk, to a friend she calls “Lulu,” enclosing one of Gray’s privately printed Blue Calendars, little devotional booklets of verse. Her letter, quoted in full by Sewell, reveals both literary admiration and spiritual longing:

“Lulu, I send you a book and a song. For Christmas … A Poet—whom I once met as a child (I was about sixteen, and he was twenty-five)—wrote to me the other day and sent me his book—privately printed—of Carols on the life of the Christ Child. I think I may have spoken to you about him as he has been for a long while my Prince of Poets. There is not one who can sing like him—his poems are so precious and so pure … He has lived a strange full life and now he writes:

‘At a certain time one is apt to want to live for grace. Soon the better ideal comes—to live well and chance the grace. And is it not so with poetry? Have you come to the determination to write well at every risk—to put more fire into your work than anyone else could ever find out?’

Ever your loving WILD OLIVE.”

Sewell described this as “the earliest use of the name Wild Olive,” observing that it expressed “both her youthful piety and her continuing fascination with the man she still called ‘my Prince of Poets.’”4 Later evidence, however, shows that Olive had adopted the name six years earlier, in 1888, when she was only fourteen. Several brief verses and letters signed “Wild Olive” appeared that year in The Lady’s Pictorial (London), showing that she had already fashioned a poetic persona from the phrase before ever meeting Gray.5 The 1894 letter thus represents not the creation but the revival and re-baptism of the name in a devotional key.

The Ruskinian Origin of “Wild Olive”

The term “Wild Olive” itself is drawn from John Ruskin, who used it repeatedly as a moral emblem. In Unto This Last (1860) and again in Ariadne Florentina (1876) and The Queen of the Air (1869), Ruskin contrasts the “wild olive” — the untamed human will — with the cultivated olive of peace and divine order:

“The wild olive is the type of man’s own wild will and intellect; but the tree of peace, the true olive, is planted only by the waters of obedience.”

For readers of the 1880s his phrase had a clear allegorical resonance: nature awaiting cultivation by grace. By adopting Wild Olive as her pen name, Olive Custance combined a literary pun on her Christian name with a Ruskinian emblem of the soul’s conversion from natural vitality to spiritual fruitfulness. In her later reuse of the signature, after meeting Gray, it came to symbolise precisely what she admired in him: the reconciliation of beauty with sanctity, art with faith.

Poems from the Episode

Two poems survive from this period of devotion. The first, “Reminiscences,” printed in Rainbows (London: John Lane, 1902, p. 29), looks back upon the long-past meeting: “Just once we met, / It seems so long ago …”.6

The second, “To John Gray,” was never included in her collections but was printed by Sewell from a manuscript now lost. Written probably between Opals (1897) and Rainbows (1902), it distils the same emotion in a more formal sonnet:

To John Gray
We are not sundered for we never met.
We only passed each other in the throng;
You were indifferent … and I may forget
Your profound eyes, your heavy hair, your voice
So clear, yet deep and low with tenderness,
That lingered on my ears like a caress
And roused my heart to make a futile choice.
O Poet that clamoured unto God in song!
How should I lose you thus and lack regret?

When, in 1898, Gray resolved to enter the Scots College in Rome to prepare for the priesthood, “among those who understood and approved his decision were Olive Custance and Lady Currie.”7 Thus, even after his retreat from literary society, Olive continued to venerate him, seeing in his conversion the fulfilment of the ideal she had already expressed through her Ruskinian pseudonym — the wild olive grafted into the true tree of peace.

References

  1. Brocard Sewell, In the Dorian Mode: A Life of John Gray, 1866–1934 (Padstow: Tabb House, 1983), p. 56.
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  2. Ibid., p. 57.
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  3. Ibid., p. 61.
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  4. Ibid.
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  5. See The Lady’s Pictorial (London), issues of 1888, where several short poems and letters by Olive Custance appear under the signature “Wild Olive.”
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  6. Olive Custance, Rainbows (London: John Lane, 1902), p. 29.
    ↩︎
  7. Sewell, In the Dorian Mode, p. 90.
    ↩︎

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October 24, 2025 · 7:09 am

Richard Le Gallienne and the Golden Girl: Olive Custance’s Early Celebrity

Ferdi McDermott (24 October 2025)

In the mid-1890s Olive Custance was already a poet of wide circulation and deep fascination. Verses such as The Parting Hour and other lyrics printed in The Pall Mall Magazine and companion weeklies were quickly reprinted in dozens of newspapers across the United States and the Empire. Before she reached twenty, her poems had been read by tens of thousands of people—an extraordinary reach for a young writer who had never published a book. The Pall Mall reproductions gave her what the London aesthetes rarely achieved: a popular readership that preceded her literary consecration.

By the time her first collection, Opals (1897), appeared from John Lane’s Bodley Head, Custance had achieved the rare distinction of arriving in print already known. To the general public she was the “new poetess” whose delicate songs had floated through the press; to the coterie around The Yellow Book she was a discovery waiting to be claimed. The publication of a volume was therefore both confirmation and transformation—a shift from precocious popularity to accepted artistry.

A newly discovered letter now transforms that chronology. Written by Lord Alfred Douglas from 16 Draycott Place, London SW, on 27 November 1925, it records what Olive herself told him about the origins of Opals:

“My wife says that all the poems in Opals, or practically all, were written before she was 17 and were given by Le Gallienne to Lane, who wanted to publish them. But her parents would not allow this publication at the time and they were not published until 1897.”

This statement pushes Le Gallienne’s patronage back to about 1890 or 1891, when Olive was still in her mid-teens—six or seven years earlier than any previous record. He thus emerges as her earliest professional advocate, championing her work before Harland or Symons had even heard of her. It also explains the fervour of his 1897 review: he was praising a poet whose gift he had recognised since her girlhood. Le Gallienne was not simply the reviewer of Opals; he was its midwife.

His interest was never purely professional. Lonely at the time and open about his search for a feminine ideal, he admired Olive’s youth and “boyish” vivacity as much as her verse, and his language about her work glows with rapture as well as judgement. His review of Opals, printed in The Westminster Budget on 20 August 1897 under the title “A New Woman Poet,” reads almost like a prose lyric. He began with a mixture of irony and adoration:

“Our men are tired of pricking the same bloom, and we welcome humbly the appearance of this new flower. Miss Olive Custance’s little volume of Opals contains the finest poetry written by so young a singer for a long time. Two years ago, we were bemoaning the fact that women’s verse had lost its true feminine quality—its sense of spiritual and delicate emotion. Miss Custance brings it back again.”[2]

He praised her originality, “the charm of fragility,” and her instinct for what he called “the eternal feminine note that refines rather than asserts.” Le Gallienne singled out poems such as A Frame and A Song for their “melancholy delight in beauty that already fades as it is sung.” He compared her delicacy to Christina Rossetti’s but found in her an even lighter touch, “the grace of a child who dreams before she has been awakened by the world.”

“Miss Custance stands where poetry itself stands to-day—between innocence and art, between dawn and the afterglow. There is not a line that is not feminine in the best sense of the word, and few that are not beautiful.”

The Westminster Budget piece was more than criticism—it was a valentine in prose. Coming from a poet of Le Gallienne’s renown, it proclaimed her as the long-awaited “new woman poet” of the fin de siècle. In tone and reach it introduced Olive Custance not only to the London press but to an Anglo-American audience already familiar with her magazine verse.

A few years later, when Olive’s marriage to Lord Alfred Douglas was announced, American newspapers were still retailing fragments of the legend. A syndicated notice published in March 1902 repeated the gossip that she “has always affected Bohemia and at one time formed a wild attachment for Richard Le Gallienne.”[3] The rumour turned a literary friendship into romantic folklore. It suggests how powerfully the fin-de-siècle imagination had already fixed upon her—the elfin poet of Opals, half-real, half-mythic, who moved through that brief golden season of the 1890s like one of her own dream-figures.

Le Gallienne also immortalised her in fiction. In The Quest of the Golden Girl (1897), a semi-autobiographical novel, Olive appears transfigured as “Nicolette,” the ethereal young woman whose boyish grace and literary passion enchant the narrator. Nicolette’s father, the Major-General, is a clear echo of Colonel Custance, while the heroine’s combination of innocence, intelligence, and mischief evokes Olive with unmistakable tenderness. The passages describing her woodland library, her laughter, and her mixture of purity and curiosity amount to a contemporary portrait—lightly veiled but immediately recognisable to readers in her circle.

“My young lady’s private purse had added all that was most sugared and musical and generally delusive in the vellum-bound literature of our own luxurious day. Never was such a nest of singing birds. All day long, to the ear of the spirit, there was in this little library a sound of harping and singing and the telling of tales—songs and tales of a world that never was, yet shall ever be.”[4]

“Nicolette and I soon found that we had all these and many another writer in common, and before our lunch was ended we were nearer to each other than many old friends. We were such excellent chums. We got along together as if indeed we had been two brothers, equable in our tempers and one in our desires.”[5]

Even in its irony, the novel captures something of the magnetism Olive inspired among the aesthetes—that blend of spiritual idealism and sensuous charm which made her both elusive and unforgettable. Her beauty and vivacity, her talent for friendship and conversation, and her romantic imagination all contributed to the aura that surrounded her in the 1890s.

The same year, a light-hearted spoof titled The Quest of the Gilt-Edged Girl was issued by John Lane under the pseudonym “Richard de Lyrienne,” the invention of David Betham Hodge and George Matheson. The parody mocked Le Gallienne’s sentimentality and the Bodley Head circle, portraying a world of self-conscious artifice and gentle absurdity. Olive is mentioned only once, and rather kindly, in a passage teasing her enthusiasm for “pretty fireworks.” Yet the fact that her name appeared at all in a satire of the 1890s confirms how famous she had already become within that close world of London letters.

Together, the review, the rumour, and the twin romans à clef trace the making of a myth. Before she was twenty-five Olive Custance had become both muse and legend: admired by poets, fictionalised by one, parodied by another, and—through Le Gallienne’s championship—welcomed into print by the most fashionable publisher of the age. Her early celebrity was therefore doubly remarkable. She had begun as a newspaper poet read by thousands; she ended the decade as the “Golden Girl” of the English aesthetic movement, poised between innocence and art, dawn and afterglow.

This new evidence reconfigures the story told by earlier biographers and critics. Karl Beckson and Brocard Sewell recognised Le Gallienne’s enthusiasm for Opals but did not identify his decisive part in its publication. Caspar Wintermans and Sarah Parker, writing later, both repeat the assumption that Olive’s career was launched within Harland’s or Dowson’s patronage. The UBC letter and Le Gallienne’s extraordinarily fulsome review of Opals on publication make it clear that it was his intervention and influence that carried Opals to the Bodley Head and his widely reprinted review that established her public reputation. Taken together with the American rumours of 1902 and the twin romans à clef, these materials restore Olive Custance’s early celebrity to its proper scale: she was not a marginal disciple of the decadents but one of the few women writers of the 1890s,  perhaps the only one, to achieve popular and literary recognition simultaneously.

Notes

  1. Letter from Lord Alfred Douglas to Arthur Symons, 16 Draycott Place, London SW, 27 November 1925, Colbeck Collection, University of British Columbia.
  2. Richard Le Gallienne, “A New Woman Poet,” The Westminster Budget, 20 August 1897, p. 12.
  3. “Olive Custance’s Alliance,” syndicated press report, New York World (8 March 1902), reprinted widely in American newspapers.
  4. Richard Le Gallienne, The Quest of the Golden Girl (London: John Lane, 1897), p. 53.
  5. Ibid., p. 68.
  6. Richard de Lyrienne [David Betham Hodge and George Matheson], The Quest of the Gilt-Edged Girl (London: John Lane, 1897), p. 87.

© 2025 Ferdi McDermott. Permission is granted for reasonable quotation with acknowledgement.

Previously unpublished correspondence of Lord Alfred Douglas is reproduced by courtesy of the Executors of the Literary Estate of Lord Alfred Douglas © 2025, John Rubinstein and John Stratford.

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October 20, 2025 · 8:32 am

Petticoat Philosophy

We dance with proud and smiling lips,
With frank, appealing eyes, with shy hands clinging;
We sing, and few will question if there slips
A sob into our singing.

Each has a certain step to learn;
Our prisoned feet move steadily in set places,
And to and fro we pass, since life is stern,
Patiently with masked faces.



(Dublin Evening Telegraph, Saturday 30 June 1906, p. 6).

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December 26, 2024 · 8:41 pm

More early poems, 1888 onwards (aged 14)

BE CONTENT

The Lady’s Pictorial, c. 1890

I ask not for gold or for glory,
I seek not to be as they were,
The men of this world’s wondrous story—
Who fought and who conquer’d. Beware!
“Beware,” says my heart, “of aspiring, to heights which you cannot attain;
Beware! lest when fighting for greatness, you are clouded with sadness and shame.”

Beware! have you e’er seen the sparrow,
Try to mimic the nightingale’s song?
The place that you fill may be narrow,
And the longing you feel may be strong.
But remember, frail mortal, obedience, is the rule with the great; is it meant—
That He who has made us shall serve us? I tell you, not so, be content.

— OLIVE CUSTANCE

—

THE PASSING OF THE OLD YEAR

The Lady’s Pictorial, late 1880s – early 1890s
(Awarded a “Beautiful Fur Muff” from Messrs A. Perry & Co., Behring House, Argyll Street, W.)

Swish! the rain on the window-pane!
I have heard it over and over again;
A jarring note in the wind’s wild strain.

What has Life given in this last year
To mortal man, a smile – a tear?
Something to strive for, something to fear?
What did she leave in our soul’s way last?
Blossoming branches? or clouds that cast
Shadows lengthening out of the past?

What has she set in the garden ground
Of our roving thoughts? A mystic mound,
A grave that Memory circles round.

Like a shining stream, whose ceaseless fret
Over the stones that its course beset,
Vexes the heart that would fain forget!

No matter! the midnight and morn are wed,
The days Life enthroned and crown’d are dead!
The bells are dumb! and the Old Year fled!

I felt him pass, and knew as they met,
He laid his hand on the Young Year’s head.

— WILD OLIVE [Olive Custance]

—

’TIS AN AGE

(Letter-poem to the Editor)
The Lady’s Pictorial, c. 1888 – 89

Dear Mr. Editor,— ’Tis an age
Since I wrote to your charming “Children’s Page,”
And now, to make up, I’ll write in rhyme,
Though it’s rather hot work in the summer-time!

So I hope in return that you’ll print my letter,
Excusing all faults, for I can’t do better.
You see, praising flowers is more to my mind,
So what shall I put to make a rhyme find?

To-morrow we go to the country fair,
And I hope we’ll stay a long time there;
For I’ve two little dogs and a pony and chaise,
So I ought to be happy the livelong days.

And then I hope I shall write to you,
And sometimes send you some poetry too!
The last few days we’ve been packing – oh, dear!
I’m glad that the time is drawing near.

When smoky London we’ll leave and flee
Into the blooming country,
With its voices of birds and its many flowers,
With its fair green fields and its shady bowers.

Where the honeysuckle clings to the tree,
And noisily hums the bumble bee,
And a stream low-laughing creeps through the long grass
That eddies and wavers to let it pass.

For its limpid waters can scarce be seen,
So thick is the overhanging green.
But now, dear Editor, I must say,
For fancy is leading my thoughts astray;

So, hoping you’ll come to the country too,
I remain your friend, so loving and true,

— OLIVE CUSTANCE (aged 15)
12 John Street, Mayfair.

—

THE WAKING OF SPRING

The Gentlewoman, 1892 (“Children’s Salon”)
Reprinted later under the heading Poem by Lady Alfred Douglas

Spirit of Spring! Thy coverlet of snow
Hath fallen from thee with its fringe of frost,
And where the river late did overflow
Sway fragile white anemones, wind-tost,
And in the woods stand snowdrops half asleep
With drooping heads – sweet sisters so long lost.

Spirit, arise! for fair dawn flushes creep
Into the cold grey sky, where clouds assemble
To meet the sun, and earth hath ceased to weep.
Her tears tip every blade of grass and tremble,
Caught in the cup of every flower. O Spring!
I see thee spread thy pinions; they resemble

Large delicate leaves, all silver-vein’d, that fling
Frail floating shadows on the forest sward,
And all the birds about thee build and sing.
Blithe stranger from the gardens of our God,
We welcome thee, for One is at thy side
Whose voice is thrilling music, Love thy Lord,
Whose tender glances stir thy soul, whose wide
Wings wave above thee, thou awakened bride.

— OLIVE CUSTANCE (“Wild Olive”)

—

JOY

The Pall Mall Gazette, 11 May 1895

This wonderful wild winged thing
You cannot cage or keep!
No bodily eye has seen it.
You may have seen it in your sleep,
You must have heard it sing,
You must have felt its glory sweep
The shadow from some sorrow’s face,
In your soul’s secret place!

The light not sent from star or sun,
That shines in children’s eyes;
The laughter in your heart so sweet;
The sudden shimmering, soft surprise,
When Dawn’s gold web is spun:
All these from one rare rapture rise,
Whose fickle feet our hopes outrun,
Until Love’s crown is won!

For then this thing shall set our way
With splendid fire of flowers!
Stain blue our heaven,
String Earth’s slack’d harp with silver showers
Athwart Life’s summer day,
And smiling, put its hand in ours,
A-singing Joy that ne’er can stray,
As long as Love will stay!

— OLIVE CUSTANCE

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October 15, 2024 · 2:21 pm

Olive Custance’s Forgotten Childhood: the Making of a Poetess

Ferdi McDermott

When The Parting Hour appeared in May 1895, accompanied by a full-page illustration in The Pall Mall Magazine, it marked Olive Custance’s entry into public life. The poem was reprinted across Britain, the United States, and the colonies, appearing in newspapers from London to Sydney. Within weeks, her name was familiar to readers well beyond literary circles. Yet the sudden attention was the outcome of nearly ten years of steady work, reading, and correspondence.

Olive Eleanor Custance was born in London in 1874, the elder daughter of Colonel Frederick Custance of the 5th Lancers and Eleanor and Eleanor Custance (née Eleanor Constance Jolliffe). The family divided its life between the social world of St John’s Wood and the quiet of Weston, near Attleborough, Norfolk. Weston’s garden and fields gave her the imagery of her early poems: the recurring motifs of spring rain, lilac, and twilight that later appeared in Opals.

Her education was domestic. With her sister Cecil, she was taught by a Scottish governess, Tanie, who provided a balanced grounding in music, French, and moral discipline. Tanie’s calm authority and religious sensibility left a clear trace in Olive’s later poetry.

Encouraged by her mother, Olive began submitting poems to The Lady’s Pictorial in her early teens. Her first published work, Voices of Nature (1888), appeared with a brief editorial note praising her promise. This exchange began a routine of submission, comment, and revision. The editors’ advice was practical—“your writing has improved a little”—but their engagement provided her with a form of apprenticeship. The Lady’s Pictorial and The Gentlewoman offered a space where young women could learn the conventions of print culture, and Olive used it fully. Writing under her pseudonym “Wild Olive,” she gained confidence, learned editorial discipline, and began to see herself as a professional.

By the early 1890s she had travelled to France with family connections, improving her French and attending Mass regularly. Exposure to Catholic ritual and French literature deepened her sense of beauty as something sacred and disciplined rather than purely decorative. In her diary of 1895 she described Walter Pater’s Marius the Epicurean as a revelation, saying that it expressed her own soul in prose. It confirmed her belief that art and moral seriousness could coexist.

Returning to England, she moved in her mother’s social and artistic circles in Kensington and St John’s Wood. These contacts gave her access to editors and publishers, but she continued to rely on her own initiative and wrote furiously to newspapers seeking publication of her poems, and accepting any helpful advice she got back from Editors. Her father treated her literary interests with tolerant amusement, but her persistence was unmistakable.

Her chance came when The Pall Mall Magazine accepted The Parting Hour in 1895. The poem’s measured sentiment—“The sunset fades, and twilight grows apace, / The hour has come, my love, the parting hour”—and its accompanying illustration by J. Walter West perfectly suited the tastes of late-Victorian readers. Its success was immediate. The artwork featured on the Frontispiece. Remarkable for a girl of her age. Reprints appeared in newspapers across the English-speaking world, often with her name printed in bold. She was to become for a few years, one of the best-known young poets in Britain.

That success was not luck but the result of years of preparation. Through the discipline of the women’s press, she had developed technical skill, a sense of audience, and the confidence to present herself as a writer. Her upbringing, travel, and reading combined to form a distinctive voice: lyrical, restrained, and aware of beauty’s moral weight.

By the time her poem made her famous, Olive Custance was no longer an amateur. The years of practice behind her first success explain why she could step so easily into the literary world that awaited her. What looked like an effortless debut was the work of a decade spent learning her craft in private before her name reached print.

For the first time since he 1880s, we believe, here is Olive’s first ever published poem:

“Voices of Nature” – The Lady’s Pictorial, Saturday, 15 September 1888, p. 19
 By Olive Custance (aged 14)

Ye voices of Nature, how lovely ye are!
Sometimes so soft that when near ye seem far.

There’s the wind that just whispers among the tall trees,
There’s the song of the birds, and the hum of the bees,
And where is there music more lovely than these?

There’s the soft, gentle murmuring of the clear stream,
There’s the voice of the moorhen from ’mong the reeds green,
There’s the splash of the trout as he leaps at the fly,
And the note of the lark as he soars towards the sky.

There’s the low of the herds, and the roar of the sea;
Oh! Nature, your voices are lovely to me.

References

  • The Lady’s Pictorial (issues from 1888–1894), featuring early poems and correspondence, often under the pseudonym “Wild Olive.”
  • The Gentlewoman (early 1890s), containing additional short verses and editorial comments.
  • Custance, Olive. Diary entries, circa 1895 (Berg Collection, New York Public Library).
  • The Pall Mall Magazine, May 1895: publication of The Parting Hour, with illustration by J. Walter West.
  • King, Edwin, (ed.), The Inn of Dreams: Poems by Olive Custance, St. Austin Press, 2015.
  • Adams, Jad. “Olive Custance: A Poet Crossing Boundaries,” English Literature in Transition, 1880–1920, vol. 61, no. 4 (2018), pp. 43–60.
  • Wintermans, Caspar. Alfred Douglas: A Poet’s Life and His Finest Work, 2007.
  • Hawkey, Nancy. Olive Custance Douglas: An Annotated Bibliography of Writings About Her, 1972.
  • McDermott, Ferdi. “Olive Custance: The Poison Pen of a Fairy Prince,” The Fortnightly Review, 23 April 2020.

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September 22, 2020 · 8:00 pm

Escape

Autumn woods, my heart is tired with wandering about 

And all my courage fails, 

O lovely woods draw close your coloured veils,

And shut the cold world out!

The little tangled branches catch my curls, the bracken makes

Strong nets to hold me fast,

But safe in Heaven my truant spirit makes 

Her bright wings free at last!

From Country Life, Vol. 46, Iss. 1194,  (Nov 22, 1919), p 649.

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May 3, 2020 · 9:02 pm

Beautiful new recordings of Olive Custance poetry

Opals

Rainbows

Inn of Dreams

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April 23, 2020 · 10:28 pm

Bosie’s poison pen: new poems and research

Abstract

The relationship of Lord and Lady Alfred Douglas was stormy, but not private. An unpublished poem of Douglas’s described it as “Forever in the Press”, and their correspdonence and poetry continues to cast light on their unlikely, enduring union. This article includes significant, unpublished original work of Lord Alfred Douglas and Olive Custance, with the permission of the estate.

 The poison pen of the Fairy Prince. Available at:

https://fortnightlyreview.co.uk/2020/04/olive-custance/

 

 

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