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Declamation and Dismemberment: Rhetoric, the Body, and Disarticulation in Four Victorian Horror Novels

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Declamation and Dismemberment: Rhetoric, the Body, and Disarticulation in Four Victorian Horror Novels BRUMLEY, MARK ELLIOTT, Ph.D. Declamation And Dismemberment: Rhetoric, The Body, And Disarticulation In Four Victorian Horror Novels. (2015). Directed by Dr. Anne D. Wallace and Dr. Nancy Myers. 256 pp. The fundamental question this dissertation seeks to answer is how late-Victorian horror fiction produced fear for its contemporary audiences. This study argues that the answer to this question lies in the areas of rhetoric—more specifically, oratory—and the body. This may seem unremarkable, but the notion of a rhetorical body was problematic for Victorians due to suspicion of eloquence and anxiety over the instability of bodies. This ambiguity is expressed through recurring images in horror fiction of the destruction of the monstrous body—typically through cutting—in relation to rhetorical performance and display. This study appropriates a medical term to refer to this phenomenon, disarticulation, which means amputation. Disarticulation, then, becomes a form of control of the transgressing body. It is expressed in society and literature in three forms, either as allusions or direct representations: public execution, including torture and dismemberment; anatomical dissection and its suggestion of vivisection; and aestheticization, which refashions death as life. Proponents of these practices claimed that they produced social order, scientific knowledge, and art. In the larger culture, however, they produced horror. But disarticulation is just one explanation for the fear produced by late Victorian horror fiction. This study also speculates that dread is produced by epideictic, which seems peculiarly present alongside other Classically-inspired rhetorical performances and displays in the five primary texts selected for examination: Frankenstein by Mary Shelley; Dracula by Bram Stoker; The Island of Dr. Moreau by H.G. Wells; The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson; and The Picture of Dorian Gray by Oscar Wilde. DECLAMATION AND DISMEMBERMENT: RHETORIC, THE BODY, AND DISARTICULATION IN FOUR VICTORIAN HORROR NOVELS by Mark Elliott Brumley A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 2015 Approved by ____________________________ Committee Co-Chair ____________________________ Committee Co-Chair APPROVAL PAGE This dissertation written by Mark Elliott Brumley has been approved by the following committee of the Faculty of the Graduate School at The University of North Carolina at Greensboro. Committee Co-Chair.__________________________ Committee Co-Chair.__________________________ Committee Member.____________________________ ____________________________ Date of Acceptance by Committee __________________________ Date of Final Oral Examination ii TABLE OF CONTENTS Page LIST OF FIGURES ........................................................................................................... iv CHAPTER I. INTRODUCTION: RHETORIC AND RENEWAL ............................................1 II. THE BACKGROUND: RHETORIC AND MONSTROSITY ...........................16 III. MONSTER AS ORATOR IN FRANKENSTEIN. ...............................................35 IV. EXECUTION AND DISMEMBERMENT IN DRACULA .................................69 V. PENAL DISSECTION IN MOREAU AND JEKYLL AND HYDE. ..................109 VI. THE AESTHETICIZATION OF THE CORPSE IN DORIAN GRAY ..............175 VII. CONCLUSION: RHETORIC, MONSTERS, AND RENEWAL .................... .229 WORKS CITED ..............................................................................................................243 iii LIST OF FIGURES Page Figure 1. Spherical Illustration from Gilbert Austin’s Chironomia (“File: Chironomia Sphere)……………...…………………….….………...34 Figure 2. 1871 Editorial Cartoon Showing Darwin as Ape (“File: Editorial Cartoon Depicting”).…………………………….…….…173 Figure 3. “Mr. Gorilla” Goes to a Party in 1861 Cartoon (“The Lion”).……………….174 Figure 4. Sketches from Leonardo Da Vinci’s Anatomical Studies (“Leonardo da Vinci Anatomical Drawings”)…………………….….…....226 Figure 5. Drawing from Andreas Vesalius’s De Humani Corporis Fabrica (“File: Vesalius Fabrica”)…………………………………………...……....227 Figure 6. Emblematic Frontspiece of Vesalius’s De Humani Corporis Fabrica (“De Humani”).……………………..….…………………………............….….228 iv CHAPTER I INTRODUCTION: RHETORIC AND RENEWAL If rhetoric died in Britain in the 1800’s, it rose from the grave before the end of the century as something monstrous and frightening. The starting point for this study is the premature burial given rhetoric in the nineteenth century. As Susan Jarratt writes, “Though the Romantics are beginning to attract some attention … the death of rhetoric remains virtually unchallenged as the reigning metaphor for the second half of the century” (73). One of the scholars who does challenge rhetoric’s obituary is Don Paul Abbott. “A remarkable number of critics and historians have proclaimed—sometimes with dismay, sometimes with delight—the death of rhetoric,” Abbott states (105). But rhetoric did not expire by the early nineteenth century due to linguistic nationalism and Romantic aesthetics, he argues: it actually enjoyed a renaissance. Interest and optimism about rhetoric were kept alive by the elocutionists, foremost among them Thomas Sheridan. In an age when men such as David Hume, Oliver Goldsmith, and Richard Polwhele were lamenting British ineloquence, Abbott explains, Sheridan asserted that restoring oratory to its rightful place at the head of the liberal arts curriculum would revitalize language, religion, and liberal learning in England (117). According to Abbott, the nation’s renewed interest in oratory is evident in eighteenth-century anthologies of parliamentary speeches (120). After citing Sheridan’s belief that Shakespeare and Milton 1 owed much of their success to “‘their skill in oratory’” and that rhetorical education “‘would precipitate a cultural renaissance,’” though, Abbott offers nothing on rhetoric’s potential impact on literature (qtd. in 118). However, rhetoric can be seen as having a profound impact on British literature in the nineteenth century, and its impact may seem odd and unexpected. Rather than leading to what might be expected—the production of classically-inspired epics reflecting political, religious, and military unity—rhetoric inspired a violent literature of horror that interrogated claims about rhetoric’s motives, methods, and efficacy. Attitudes toward rhetoric in nineteenth-century horror fiction are decidedly negative. The basis for this claim is the frequent presence of rhetorical performance and display in the literature in connection with the destruction of the body or suggestions of the destruction of the body. This study appropriates a convenient medical term to refer to this phenomenon: disarticulation. In a medical sense, disarticulation refers to amputation, but it is also a term with a general sense that can also be applied to human speech. Disarticulation, therefore, can be applied both to the body and its utterances. The trope involves the sundering of textual bodies leading to somatic destruction or transformation. Its primary images are of the penetration, cutting, and dismemberment of the body. These can be the bodies of characters involved in oratory as well as those of their audiences. The destruction of the body by any means is disturbing and profound. As John Knott writes, “The human body is man’s oldest and most important symbol” (13). He elaborates, “Even the very notion of a knife cutting into a human body is charged with emotion” (18). This study equates rhetoric with a bladed instrument. Disarticulation is 2 succinctly captured by Johann Wolfgang Von Goethe, whose Faust imagines “rhetoric” as having an “edge” that “glints and cleaves” and “By which you curl the shavings of mankind” (Faust ll.554-5). Through Faust, a teacher of rhetoric, Goethe expresses an anxiety toward the subject that can also be said to characterize the British Romantics and Victorians. On the one hand, rhetoric could be used, as Sheridan believed, to unify a diverse nation, advance social progress, promote cultural production, and inspire religious devotion. On the other hand, it could be used, as in revolutionary France, to deceive, manipulate, judge, subject, and terrorize people. The main theory of this study is that rhetoric informs the characterizations and plots of some of Britain’s most popular fin-de-siècle horror stories, including Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson, The Picture of Dorian Gray by Oscar Wilde, The Island of Dr. Moreau by H.G. Wells, and Dracula by Bram Stoker. It is a rhetoric preoccupied with monstrosities, informed not only by ancient but also contemporary medico-juridico- scientific1 practices that disciplined those bodies by destroying them for public consumption. As a discursive system that claims bodies, it reduces them to parts, hybridizes them, displays them, and silences them. Rhetoric, therefore, is depicted as a monstrous, antithetical activity that not only produces monstrosities but also destroys them. 1 Although this comprehensive term may be used elsewhere, the only source in which I have encountered it is Janet Rago’s essay “Dr. Jekyll and Mr. Hyde: A ‘Men’s Narrative’ of Hysteria and Containment.” 3 Within the aesthetics of late-Victorian horror novels, the body becomes a rhetorical object. Rhetoric, in these novels, is depicted primarily
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