Spiders,Horror, and Animal Others in Late Victorian Empire Fiction

By the 1850s, the representation of the spider in Victorian natural history was beginning to change. No longer associated solely with ingenuity and industry, the spider took on more disturbing connotations in the latter half of the nineteenth century. Unable to pin down the creature's precise rhetorical and metaphorical function, naturalists could not decide whether the spider ought to be loved or feared and at the same time the spider began to emerge as a ubiquitous, protean and unstable Gothic trope in popular fiction. While natural history books warned of the hazards of the foreign spider's bite, in adventure fiction the alien arachnid lurks in liminal spaces far from the safety of British shores. Much maligned as the unfamiliar Other, the spider caused – and mitigated – anxieties about the limits of the human. In the Gothic empire fiction of Bertram Mitford and H.G. Wells, the spider takes on the role of the harbinger of death on both sides of the colonial encounter.     

Imperial Rome and Britain's Language of Empire 1600–1837

Britain's pre-Victorian overseas expansion stimulated Roman comparisons. But imperial Rome was a warning as much as an inspiration to future empires, a harsh and uncomfortable model for Britain as a former Roman colony. Roman dignity was claimed for British monarchs and achievements by Dryden and others. But there were mixed feelings about identifying expanding Britain as a second Roman Empire. In the eighteenth century the British freedom-fighter Caractacus, defeated by the Romans, appealed far more to popular taste than Virgil's Aeneas or the Emperor Augustus. Sustained unease about imperial Rome, going right back to Tacitus, anticipated the liberal critique of imperialism of some Victorian and Edwardian commentators.