Staging the Interior: The Public and Private Intimacies of Thomas and Jane Welsh Carlyle's Domestic Lives

Home' is one of the most evocative and comforting words in the English language. It produces, at least in its idealized form, notions of safety, comfort, privacy, individuality and communion with family and friends. The supposed autonomy or permanence of home, however, is undermined frequently throughout one's life course revealing instead spaces of interactionism, public disturbance, discomfort, conflict, labour, stress and even violence. Reading Thomas and Jane Welsh Carlyle's voluminous letters one reads the emotional and psychological importance of home' and the vital necessity of the ideal world apart. The middle-class home was meant to stage a domesticated and comfortable private haven, withdrawn from public view and distant from the imperatives of the economy and politics, however, the house was also the physical representation, the outward sign', of the Carlyles' public identity. How the House looked and functioned - externally and internally - represented the Carlyles to the outside world. Home was, as Walter Benjamin alluded, like a sheltered theater box from which the occupants looked at the stage of the outside world and also the stage upon which the outside world cast its own critical eye on the action within. The necessities of life and the public fascination with the interior signify that private and public are largely mutable concepts. Any clear distinction between inside and outside, private and public are complicated as we look at the intimacies of the Carlyles' lives.