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The Forms and Functions of Visuality in the Novels of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney

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The Forms and Functions of Visuality in the Novels of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Andrews Research Repository VISION, FICTION AND DEPICTION: THE FORMS AND FUNCTIONS OF VISUALITY IN THE NOVELS OF JANE AUSTEN, ANN RADCLIFFE, MARIA EDGEWORTH AND FANNY BURNEY Jessica A. Volz A Thesis Submitted for the Degree of PhD at the University of St Andrews 2014 Full metadata for this thesis is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this thesis: http://hdl.handle.net/10023/4438 This item is protected by original copyright This item is licensed under a Creative Commons Licence https://creativecommons.org/licenses/by-nc-nd/4.0/ i Vision, Fiction and Depiction: The Forms and Functions of Visuality in the Novels of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney Jessica A. Volz PhD, 2014 University of St Andrews School of English ii ABSTRACT There are many factors that contributed to the proliferation of visual codes, metaphors and references to the gendered gaze in women’s fiction of the late-eighteenth and early-nineteenth centuries. This thesis argues that the visual details in women’s novels published between 1778 and 1815 are more significant than scholars have previously acknowledged. My analysis of the oeuvres of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney shows that visuality — the nexus between the verbal and visual communication — provided them with a language within language capable of circumventing the cultural strictures on female expression in a way that allowed for concealed resistance. It conveyed the actual ways in which women ‘should’ see and appear in a society in which the reputation was image-based. My analysis journeys through physiognomic, psychological, theatrical and codified forms of visuality to highlight the multiplicity of its functions. I engage with scholarly critiques drawn from literature, art, optics, psychology, philosophy and anthropology to assert visuality’s multidisciplinary influences and diplomatic potential. I show that in fiction and in actuality, women had to negotiate four scopic forces that determined their ‘looks’ and manners of looking: the impartial spectator, the male gaze, the public eye and the disenfranchised female gaze. In a society dominated by ‘frustrated utterance,’ penetrating gazes and the perpetual threat of misinterpretation, women novelists used references to the visible and the invisible to comment on emotions, socio-economic conditions and patriarchal abuses. This thesis thus offers new insights into verbal economy by reassessing expression and perception from an unconventional point-of-view. DECLARATIONS 1. Candidate’s declarations: I, Jessica A. Volz, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in [September 2010] and as a candidate for the degree of Ph.D. in [September 2011]; the higher study for which this is a record was carried out in the University of St Andrews between [2011] and [2013]. Date 5/8/2013 signature of candidate 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Ph.D. in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date 5/8/13 signature of supervisor 3. Permission for electronic publication: In submitting this thesis to the University of St Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. I have obtained any third-party copyright permissions that may be required in order to allow such access and migration, or have requested the appropriate embargo below. The following is an agreed request by candidate and supervisor regarding the electronic publication of this thesis: (iii) Embargo on both [all] printed copy and electronic copy for the same fixed period of 5 years on the following ground(s): publication would be commercially damaging to the researcher. Date 5/8/13 signature of candidate signature of supervisor iv ACKNOWLEDGEMENTS I would like to thank the University of St Andrews for providing me with the opportunity to fulfil my personal research goals during a historic period for Britain that included the University’s 600th Anniversary, the Royal Wedding, the Dickens Bicentenary, the Diamond Jubilee, the Olympics and the bicentenary of the publication of Austen’s best- loved novel, Pride and Prejudice. I have appreciated Dr Sara Lodge’s insight into the multidisciplinary field of visuality. Above all, I have valued her enthusiasm for my desire to apply the knowledge that I have gained in undertaking a PhD to an international organisation setting. I would also like to thank Professor Jane Stabler for reading and commenting on many drafts of my work. Without the assistance and encouragement of Sandra McDevitt, Professor Andrew Murphy, Dr Matthew Augustine, Professor Christopher MacLachlan, Phillip Mallett, Professor Louise Richardson and Professor Malcolm MacLeod, this project would have been unfeasible. Above all, I am grateful to my parents and brother for their loving support at every stage of my work’s progression and for their unwavering confidence in the direction of my dreams. My thesis is also indebted to Kyra Brenzinger, Olivier Jacquet and Didier Brodbeck for enabling me to visit a number of inspirational exhibitions in Paris, and to Idil Hanoğlu, Sahar Sahebdivan, Professor Jerry DeGroot and Shannon Roe whose friendship I will always treasure. v For Mom, Dad and Adrian vi CONTENTS Introduction: page 7 Vision, Fiction and Depiction: The Forms and Functions of Visuality in the Novels of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney I Jane Austen’s Aesthetic Vocabulary of Character 41 II Ann Radcliffe’s Gothic Reconstructions of Female Identity and 119 Experience III The Gendered Gaze and ‘Made-up’ Women in Maria Edgeworth’s 185 Castle Rackrent, Ennui and Belinda IV Optical Allusions in Fanny Burney’s Evelina and The Wanderer 229 Conclusion 273 Bibliography 281 Introduction 7 INTRODUCTION VISION, FICTION AND DEPICTION: THE FORMS AND FUNCTIONS OF VISUALITY IN THE NOVELS OF JANE AUSTEN, ANN RADCLIFFE, MARIA EDGEWORTH AND FANNY BURNEY At the opening of Jane Austen’s ‘The Mystery’, Corydon halts a conversation before one has begun, exclaiming, “But Hush! I am interrupted”.1 The three-page ‘UNFINISHED COMEDY’ highlights the role of unfinished sentences that shift from verbal to visual modes of expression. Austen spells out ‘the mystery’ only once, not through dialogue but rather through the inaudible act of speech.2 Whereas the reader of the playlet sees the script, the spectator reads it from the actors’ countenances. Drawing upon the interplay between well-chosen words and visual communication, the novelist dramatises the enduring influence of what Joseph Addison spelled out in the Spectator nearly a century before: Words, when well chosen, have so great a Force in them, that a Description often gives us more lively Ideas than the Sight of Things themselves. The Reader finds a Scene drawn in stronger Colours, and painted more to the Life in his Imagination, by the help of Words, than by an actual Survey of the Scene which they describe. In this case the Poet seems to get the better of Nature.3 According to Addison’s theory and Austen’s burlesque, a well-crafted — even if undetailed — verbal sketch has the potential to ‘theatricise’ in the mind’s eye what complete visual impressions would limit, enhancing the view beyond the reality. Novels, more than drama, 1 Jane Austen, Minor Works, ed. by R. W. Chapman (Oxford: OUP, 1954; repr. 1963), p. 55. 2 On Jane Austen and brevity, see Bharat Tandon’s Jane Austen and the Morality of Conversation (London: Anthem Press, 2003), pp. 61-3. 3 Joseph Addison, ‘On the pleasures of the imagination’, Spectator, 416, 27 June 1712, pp. 290-3 (p. 292). Introduction 8 compel the reader to ‘see’ the images that he or she paints in the mind’s eye from the text that appears on the printed page, allowing the aesthetic functioning of descriptions to produce a more ‘lively’ impression in the imagination than sight alone could offer. Lionel Trilling’s landmark essay ‘Manners, Morals, and the Novel’ (1961) proposes that ‘well-chosen’ words are as much in dialogue with manners as they are with their linguistic roots: What I understand by manners, then, is a culture’s buzz of implication. I mean the whole evanescent context which is made up of half-uttered or un- uttered or unutterable expressions of value. They are hinted at by small actions, sometimes by the arts of dress or decoration, sometimes by tone, gesture, emphasis, or rhythm, sometimes by the words that are used with a special frequency or a special meaning.4 David Lodge points out in Language of Fiction (1966) that Trilling’s survey explains how manners — the link between the visible and the audible — operate in actuality.5 In literature, however, they take on a more complex status because even the ‘half-uttered, un- uttered or unutterable’ must be redrawn through verbal expression.
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