Literary Objects in Eighteenth-Century British Literature

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Literary Objects in Eighteenth-Century British Literature LITERARY OBJECTS IN EIGHTEENTH-CENTURY BRITISH LITERATURE by HELEN MICHELLE LYONS-MCFARLAND Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English CASE WESTERN RESERVE UNIVERSITY August, 2018 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Helen Michelle Lyons-McFarland candidate for the degree of Doctor of Philosophy*. Committee Chair Christopher Flint Committee Member Athena Vrettos Committee Member William Siebenschuh Committee Member William Deal Date of Defense May 18, 2018 *We also certify that written approval has been obtained for any proprietary material contained therein. Dedication To Matthew Without your love and support, I never could have done this. You are the beat of my heart and the foundation of my life. Thank you. Table of Contents List of Figures 2 Acknowledgments 3 Abstract 6 Introduction 8 Chapter One - The Walls Between Us: Literary Objects in 32 Defoe, Mackenzie, and Austen Chapter Two - Secret Passages: Objects and Social Mobility in 91 Defoe, Goldsmith, and Haywood Chapter Three - Print as Authority, Literacy as Agency: Lennox, 158 Gay, and Sterne Chapter Four - Illustrations and Authorial Control: Harrison and Cooke 208 Chapter Five - Conclusion 266 Notes 272 Works Cited 286 1 List of Figures 1. Robinson Crusoe’s list 53 2. Mrs. Bulkley as Kate Hardcastle 118 3. Title page of Henrietta, first edition (1758) 222 4. First page of The History of Pompey the Little, first edition (1751) 224 5. Frontispiece of The History of Pompey the Little, first edition (1751) 227 6. Illustration 1 for Henrietta (1787) 233 7. Illustration 2 for Henrietta (1787) 235 8. Illustration 3 for Henrietta (1787) 236 9. Illustration 4 for Henrietta (1787) 238 10. Illustration 1 for The History of Pompey the Little (1781) 241 11. Illustration 2 of The History of Pompey the Little (1781) 243 12. Illustration 1 for Henrietta (1798) 249 13. Illustration 2 for Henrietta (1798) 250 14. Illustration 3 for Henrietta (1798) 252 15. Illustration 4 for Henrietta (1798) 254 16. Illustration 5 for Henrietta (1798) 255 17. Illustration 1 for The History of Pompey the Little (1795) 257 18. Illustration 2 for The History of Pompey the Little (1795) 259 2 Acknowledgments This project could not have happened without the patience and wisdom of so many people who supported me on the road from returning student to Ph.D. First, I would like to thank my advisor, committee chair, and mentor, Christopher Flint. His thorough feedback, keen insight, and endless support extended from the first Research Methods class I took with him to the last revisions of this project. I cannot thank him enough for everything he’s done. I would also like to extend thanks to the other members of my dissertation committee: Athena Vrettos, William Siebenschuh, and my fourth reader William Deal. Your enthusiasm, engagement, and support encouraged me and kept me going. Special thanks go to Athena, who supported me in my love of Gothic literature and helped me improve my writing so much. Thank you all. Additionally, I am grateful to Kim Emmons, who supported me in my teaching as Director of the Writing Program and was always available for advice when I needed it. Kurt Koenigsberger likewise was there for me as my early advisor and as Director of Graduate Studies, and I appreciate his support and generosity with his time. Rob Spadoni took an interest and gave me my first D on a paper ever, spurring me forward to greater effort -- that experience was invaluable. Erika Olbricht was ever willing to talk me through my concerns and gave me so much good advice. Barbara Burgess-Van Aken mentored me through my early teaching assignments and encouraged me to look beyond tenure-track positions. To all of you, my deepest thanks, as well as to the rest of the CWRU English department. 3 To Latricia and Susan: you put up with my late paperwork and weird questions. Thank you for all you do for all the grad students in the department, but especially for your help to me. To John Webster at University of Washington, thank you for setting me on this path. I was an evening student attending UW part time, but I never forgot your words -- or your recommendation letter for grad school. To Megan, Melissa, Erin, Jess, Thom, Kristin, Misha, Kate, and Ray: you have been my cohort, my support group, my band of scholars, my day-drunk brunch friends. I will always cherish your friendship and look back on this time with you at CWRU with particular fondness. All my love and thanks to you all. I would also like to thank the British Library for access to its amazing holdings and permission to take photos of the relevant books, the KSL Special Collections department for its eighteenth-century collections, the University of Virginia Rare Book School for a crash course in descriptive bibliography that was invaluable in Chapter Four, and the American Society of Eighteenth Century Studies for helping me refine my research interests and showing me where my people were. Special thanks to Jonathan, who was the best combination cheering section and beta reader of a dissertation ever. Thanks also go to Kalyn for squiring me around Bristol and Bath, and who took on proofreading this monster of a project out of the goodness of her heart. Last but not least, my undying thanks to my family. My husband Matthew, to whom this project is dedicated, supported me and kept me fed, safe, warm, and mostly sane throughout graduate school, which is no small task. Sarah, friend of my heart who 4 has stuck with me through ups and downs, actually took time off to come to my defense and celebrate with me. My parents supported me through the darkest times and refrained from asking awkward questions like “aren’t you done yet?” My extended family, the McFarlands, McMillins, Lyonses, and Reddens, posted cute pictures and supportive notes and generally showed me they were proud of me. Finally, my sons, Alisdair and William. They made the biggest sacrifice of all on the doctoral altar -- their time with their mother. I hope this has helped them understand that despite challenges, they can reach for even the farthest stars and, with the help of those who love them, get there despite the odds. I am so proud of you both. All my love, boys, always. 5 Literary Objects in Eighteenth-Century British Literature Abstract by HELEN MICHELLE LYONS-MCFARLAND As consumer culture expanded in eighteenth-century Britain, British literature likewise took a turn toward “realism,” a more lifelike portrayal of characters and settings that regularly included object references or “literary objects.” This dissertation examines the usage of literary objects from the early 1700s to the early 1800s, tracing the ways authors adapted to the growing presence of object ownership in British culture and society through their inclusion of literary objects in their works. Through a combination of close reading and historical context, this thesis argues that authors used the presence of literary objects to convey multivalent information about both fictional and real-world society and culture, enabling authors to indirectly question overarching power structures in ways that would have been difficult to do directly. The first three chapters address how authors primarily used objects as indicators of boundaries (“walls”) and points of access (“doors”), with a third category of literary object that represented social and cultural authority. Building on these arguments, the last chapter investigates how booksellers used paratext involving literary objects, specifically through illustrations, to co-opt a degree of authorial status in reprinting formerly popular novels. The resulting body of evidence 6 suggests a larger pattern of authorial use of literary objects to reflect an increasingly complex relationship between people and goods, as shown across a selection of eighteenth-century British fiction. 7 Introduction One of the most striking differences between seventeenth- and eighteenth-century British cultures is the rising prominence of objects in daily life. As commerce took on growing importance within England and the merchant classes gained a greater portion of the nation’s wealth, relationships between people and objects changed. Items that were once restricted to the upper classes due to cost and rarity became more widely available due to improvements in manufacturing and transportation. As they did, the middle classes not only emulated the upper classes by purchasing significant but previously unavailable goods, but also created a sense of individualism through their objects. These people wished to be defined by their belongings rather than their origins — what they had achieved rather than what they had started with. In using objects as a social leveler, the British middle classes created an opportunity for expression that transformed materialism in fiction, embedding objects into their national consciousness and sense of personal and social identity. Mirroring the changes they saw in daily life and the rising importance of objects in personal interaction, authors incorporated the inanimate world in their fictional texts, reinforcing the very changes that motivated them. Whether simply adding objects to descriptions and character observations or writing in the “it-narrative” genre, where objects narrated their adventures in the world of people and commented on the vagaries of human nature along the way, eighteenth-century authors mapped out a fictional landscape where objects were nearly as important as people, communicating what the people would not or could not by themselves. The rise of objects and object ownership as 8 an important facet of British society and culture impacted what it meant to be a British citizen — in effect, to be recognized as a person.
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