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Wicked Women and The Yellow Book

Eos Evite

Ryerson University

Merlin and Vivien
"Merlin and Vivien"
by Henry R. Rheam
The Faerie Seduction

Henry R. Rheam was a British painter who practised in watercolour and the Pre-Raphaelite style. He was associated with the Newlyn School of Cornwall, a group of artists popular in England during the late-Victorian period (“The Yellow Book: Introduction to Volume 7 (October 1895)”). In October 1895, The Yellow Book featured Rheam’s “Merlin and Vivien” along with other art by other Newlyn School artists.

Although Rheam painted in watercolour, his art in The Yellow Book was reproduced in black and white, just like most of the images from the magazine. The image offers a good amount of detail despite its lack of colour. Rheam’s image is of a woman drawn sitting on a rock and looking directly at the audience. The woman is Vivien, a mage from Arthurian legend. A hand is drawn reaching out from under the same rock Vivien is sitting on, and from the grey hair of this secondary character, this is Merlin, the legendary wizard from the same legend.

Recalling Lord Tennyson’s poem “Merlin and Vivien” from the Idylls of the King helps to examine the image further. Tennyson wrote the poem sometime in 1859, and described Vivien as successfully seducing Merlin into an eternal trap. She voices her love and devotion for the powerful wizard:

"In Love, if Love be Love, if Love be ours,/
Faith and unfaith can ne'er be equal powers:/
Unfaith in aught is want of faith in all/…
O Master, do ye love my tender rhyme?" (Tennyson)

and lures him in her trap. Vivien feigns love for Merlin, and praises him by referring to him as “Master”. It presents the gender dynamic of the period, and man’s superiority over woman.
Vivien directly gazing at the viewer portrays her boldness and the look on her face implies triumph. The image does not show how Vivien succeeded, but Tennyson’s poem details how she followed the wizard into the forest, challenged his intellect with riddles, and seduced him with her love (Tennyson). Her prize was a spell that only Merlin knew—a spell that can bind him for eternity—and Rheam's illustration portrays Merlin's defeat (Tennyson). Merlin is representative of the old English patriarchal tradition—he was the wizard who helped Arthur become the legendary king he was destined to be. Vivien’s triumph depicts man’s fear of defeat by a woman, through her seduction, flattery and exploitation of man’s weakness. But Vivien is not just "a woman", she is an established character in Arthurian legend. The reference to cultural context is buried in the illustration

Victorians are not strangers to fairy lore, and Silver argues that Victorians were fascinated by fairies (4). Using fairy lore to portray this fear eases the viewer into its cultural relevance. Rheam explores fairy lore at the same time that he present the relevance of the femme fatale in Vivien.

Vivien is remembered as a villain because of this. Possessing cunning and ambition is not for a woman. Convicting Vivien as a villain is the patriarchal society's disapproval of assertiveness in a woman because her characteristics are antagonistic. In Rheam’s illustration of Vivien’s triumph, she seems to be delighted—probably almost in a frenzy, as she revels in the moment. Her victory relied on the defeat of an existing power. Rheam shows the Victorian patriarchal society's fear of being overthrown by the growing female power.