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Romanticism and Cultures of Popular Magic in the 1790S

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Romanticism and Cultures of Popular Magic in the 1790S Romanticism and Cultures of Popular Magic in the 1790s Stephanie Churms ABERYSTWYTH UNIVERSITY SEPTEMBER 2016 Word Count of thesis: 99,965 words DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed (candidate) Date 22 September 2016 STATEMENT 1 This thesis is the result of my own investigations, except where otherwise stated. Where *correction services have been used, the extent and nature of the correction is clearly marked in a footnote(s). Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed (candidate) Date 22 September 2016 [*this refers to the extent to which the text has been corrected by others] STATEMENT 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed (candidate) Date 22 September 2016 Page 1 of 425 Contents Introduction ...................................................................................................................... 1 Engaging the Romantic Occult .............................................................................. 3 Critical Limits......................................................................................................... 9 Adjacent Cultures: The Parameters of this Study ............................................... 15 Adjacent Cultures: The Proximity of Popular Prophecy ..................................... 27 Adjacent Cultures: Astrology .............................................................................. 34 The 1790s Occult: Historical and Literary Contours ........................................... 40 Chapter 1: A Profile of Romantic-period Popular Magic: Taxonomies of Evidence ...... 45 First-Hand Experiences of Popular Magic – The Paucity of Evidence ................ 54 Case Study 1: Writing Cunning men ................................................................... 66 Case Study 2: Didacticism – Educating Readers out of Superstition .................. 82 Case Study 3: Starry Sedition and The Conjuror’s Magazine............................ 102 Chapter 2: Political Jugglery ......................................................................................... 130 Discourses of the Revolution Controversy ....................................................... 130 John Thelwall’s Autobiographical Occult .......................................................... 152 Geographies of Difference ................................................................................ 155 Occult Oration ................................................................................................... 170 Enchanted Spaces ............................................................................................. 176 Chapter 3: Lyrical Ballads and Occult Identities ........................................................... 182 Lyrical Ballads 1798: A Grimoire ....................................................................... 183 Forsaken Indian/British Women ....................................................................... 200 ‘The Complaint of a Forsaken Indian Women’: A Spell Poem Manqué ........... 203 ‘The Mad Mother’: Transatlantic Negotiations of Popular Magic ................... 215 Chapter 4: Coleridge and Curse .................................................................................... 226 Bristol’s Radical Circles: Prophets, Astrologers and Revolutionaries ............... 228 ‘The Three Graves’ and Wordsworthian Inheritances ..................................... 243 ‘The Three Graves’ and ‘Christabel’ – Coleridge’s Enslaving Superstition ....... 252 The Rime of the Ancient Mariner – Wordsworthian Genetics ......................... 270 A Platform for Debate ....................................................................................... 277 The Quarto: Recantation .................................................................................. 292 Chapter 5: Robert Southey’s Conservative Occult ....................................................... 304 Problematising ‘The Witch’ .............................................................................. 316 Imposed Occult Identities: ‘The Cross-Roads’ and ‘The Mad Woman’ ............ 322 ‘The Ballad of a Ballad-Maker’: Southey’s Remedial Rewritings of ‘The Ancient Mariner’ ............................................................................................................ 331 Southey’s Orientalism: Thalaba the Destroyer ................................................. 337 Conclusion .................................................................................................................... 368 Appendix - Illustrations ................................................................................................ 382 Bibliography .................................................................................................................. 391 Page 1 of 425 Aknowledgements The completion of this thesis woud not have been possible without the help of several people. I am indebted to Professor Damian Walford Davies. His unwavering support and encouragement have been invaluable, and I feel very privileged to have had such an attentive supervisor. I also owe thanks to my second supervisor, Professor Richard Marggraf Turley, who has been a constant source of advice and guidance. I also wish to acknowledge the members of the Department of English and Creative Writing, both academic and administrative, who have all provided endless support, not only over the course of my PhD, but throughout the years I have spent at Aberystwyth. I have been lucky to have benefited from dialogues with academics in my field at conferences and seminars, and I am grateful for all the comments and suggestions I have received. I am especially grateful to Paul Cheshire for his assistance in tracking down the evasive second volume of The Conjuror’s Magazine. I have received the help of several institutions over the course of my research, and I wish to thank the staff at Hugh Owen Library, The National Library of Wales, The British Library and Glasgow University’s Special Collections Library, for their kind assistance. I also wish to acknowledge the financial support I have received from the Department of English and Creative Writing in the form of a departmental scholarship. My greatest debt is to those who have provided love and support throughout the completion of my research. I am grateful to my friends and fellow PhD students for providing me with a strong network of assistance and advice, as well as to my colleagues at Santoro who have been a constant source of support. I especially want to thank Tom Huxley, for his love, encouragement and patience. Finally, I wish to acknowledge my gratitude to my family. I have been blessed with incredibly supportive, loving parents, wonderful grandparents and a caring brother. Their guidance will always be appreciated & this thesis is dedicated to them. A version of my discussion in Chapter 2 of John Thelwall and Poems, Chiefly Written in Retirement was published as: Stephanie Churms, ‘“There was One Man at Llyswen that could Conjure”: John Thelwall – Cunning Man’, Romanticism, Vol. 19, No. 2 (2013), pp. 197-206. Summary This thesis offers a historicist engagement with both canonical and non-canonical authors of the 1790s with the aim of revealing the investment of the period’s imaginative writing in contemporary cultures of popular magic. It is a subject Romantic Studies has too long neglected. The Introduction profiles this neglect and reveals the richness of the field for historicist literary study. The first chapter proceeds to offer a profile of the dynamic contours and intersections of various modalities of popular occult practice, from cunning men and women to astrologers and conjurors, and taxonomises the available evidence. The emphasis is on both the material economies of such practices and the forms in which they gained complex literary representation. In Chapter 2, an analysis of the cultural resonance of popular magic in the formative public debates of the 1790s is followed by a case study of John Thelwall’s adoption of the persona of ‘conjuror’ as a response to political exile and personal disillusionment. This leads, in chapters 3 and 4, to an excavation of Wordsworth’s and Coleridge’s 1798 Lyrical Ballads that brings into view its complex and conflicted attitudes to popular magic. A radical disjunction between the two poets is identified in their differing responses to, and deployments of, material occult culture in fascinatingly transatlantic contexts. While Wordsworth came to look on the adoption of occult identities as potentially empowering for disenfranchised subjects, Coleridge anxiously regarded the superstition on which such identities relied as mentally incarcerating – a view complicated by his own guilty apostasy. Chapter 5 moves to consider Robert Southey’s negotiations with Lyrical Ballads and his engagement with a non-domestic occult through which he articulated his own contested public identity at the close of the 1790s. One of the main aims of the thesis is to defamiliarise orthodox readings of Romantic literature by offering a new lens through which to read the period’s imaginative productions against the background of sub-cultures neglected by literary critics and only recently recovered by social
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