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Social Memory and Nineteenth-Century British Historical Fiction Kara G. Marler-Kennedy Doctor of Philosophy

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Social Memory and Nineteenth-Century British Historical Fiction Kara G. Marler-Kennedy Doctor of Philosophy RICE UNIVERSITY Social Memory and Nineteenth-Century British Historical Fiction by Kara G. Marler-Kennedy A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Doctor of Philosophy Robert L. Patten, Co-Chair, Lynette S. Autrey Professor in Humanities Helena Michie, Co-Chair, Professor of English, Agnes Cullen Arnold Professor in Humanities ~~~es Professor of History HOUSTON, TEXAS DECEMBER 2010 ABSTRACT Social Memory and Nineteenth-Century British Historical Fiction by Kara G. Marler-Kennedy This dissertation examines the representation of social memory in British historical fiction from 1810 to 1880. I argue that social memory is crucial to the analysis of historical fiction during this period because it affords us an opportunity to see how authors in the nineteenth century viewed the social dimensions of memory as constructed by communities that envision their pasts in relation to prevailing ideologies and dominant authorities. Specifically, literary representations of social memory are important in understanding how communities come together to achieve common goals or resist dominant authorities through their sense of a common past in one of the most popular genres of nineteenth-century literature, the historical novel. The significance of social memory for the study of nineteenth-century British historical novels centers in the fact that it reveals the processes by which kinship or kindred groups and other social groups can be formed and by which historical consciousness is developed and communicated among those groups within the novel and to the reader. Social memory is defined here as a shared vision of the past, its narratives, and its symbols that embodies the cultural and communal influences on an individual's and broader group's contemporary identity. Social memory can represent a positive, unifying force in an individual's life and a community's day-to-day lived experiences, a force that can be used to achieve common purposes or resist common foes. The activation of social memory, though, offers a paradox: on the one hand, individuals are united by a powerful sense of togetherness as understood by their relationship to the past and its significance to their present, lived experience; yet, on the other hand, individuals may resist this totalizing or homogenizing sense of the past when it threatens the uniqueness of individual subjectivity, specific characteristics of group culture, or forecloses on the possibilities of social action by those on the margins. This dissertation looks at how social memory is represented in non-canonical and canonical historical novels by Sir Walter Scott, Anthony Trollope, Charles Dickens, Elizabeth Gaskell, Edward Bulwer­ Lytton, George Eliot, and Philip Meadows Taylor. ACKNOWLEDGMENTS This dissertation explores the nature of communal bonds created out of a shared sense of the past. It makes sense, then, to acknowledge my own past and present bonds and debts that made the completion of the project possible. To my co-directors, Drs. Robert L. Patten and Helena Michie, lowe especial thanks. Their attentive and close reading of this work over the years has been invaluable, from the earliest working through of what mourning and trauma might have meant in the nineteenth century to the later discussions about how memory becomes critical both to individual and group identity. I am also thankful for the moments when those conversations moved beyond the geographical and temporal borders of nineteenth-century Britain to include the role of memory in issues facing the twenty-first century and our ever-changing visions of the past. Thanks are also owed to Dr. Martin J. Wiener whose questions and comments on the dissertation have made me think more deeply about historiography's role in shaping nineteenth-century British literature and culture. I am grateful to acknowledge the support of a Dissertation Writing Fellowship from the Humanities Research Center at Rice University. The community of fellows for that year, made up of men and women in the departments of religious studies, history, and anthropology, were instrumental in helping me to think about this project in interdisciplinary terms. Once again, I am pleased to thank my parents for their continual encouragement. And, once again, I am delighted to dedicate this project to Jeremy Kennedy. We have been together for one half of our lives now. I am happy to share so much of the past and present with you, and I look forward to a future built upon the happiest of memories. TABLE OF CONTENTS Introduction . 1 Chapter One: Sir Walter Scott, Monuments, and the Spaces of Remembrance .................. 51 Chapter Two: Trauma, Recollection, and Victorian Literary Interpretations of the French Revolution and Napoleonic Wars .............................. 126 Chapter Three: Rupture, Risorgimento, and Archival Pilgrimage. .. 194 Chapter Four: The Contest of Memory ................................................. 251 Conclusion ........................................................... 279 Bibliography. .. 284 INTRODUCTION Farewell all social memory! all thoughts In common! and sweet bonds which link old friendships, When the survivors of long years and actions, Which now belong to history, soothe the days Which yet remain by treasuring each other, And never meet, but each beholds the mirror Of half a century on his brother's brow, And sees a hundred beings, now in earth, Flit round them, whisp'ring of the days gone by, And seeming not all dead, as long as two Of the brave, joyous, reckless, glorious band, Which once were one and many, still retain A breath to sigh for them, a tongue to speak Of deeds that else were silent-save on marble­ Oime! Oime!-and must I do this deed? -George Gordon, Lord Byron, Marino Faliero, Doge of Venice: An Historical Tragedy (1821)1 In Act 3, scene ii of Lord Byron's (1788-1824) Marino Faliero, the Doge throws in his lot with a group of conspirators seeking to overthrow the Venetian Senate, which the Doge feels has insulted him and overreached its authority against the people of Venice. When asked by one of the conspirators the degree to which mercy should be shown to members of the ruling nobility, the Doge vacillates in his answer. He finally exclaims that he is willing ruthlessly to sever the social ties he has with certain members of the ruling class in order to avenge the wrong he has suffered by the Venetian Senate's decision to sentence Michele Steno only to one month of imprisonment after the latter's insult against the Doge's honor and his wife's reputation. His participation in the coup I George Gordon, Lord Byron, Marino Faliero, Doge of Venice: An Historical Tragedy (1821) (Paris: A. and W. Galignani, 1821), pp. 124-25, Act III, scene ii. 2 d'etat combines both private grief with the public's desire for redress and broader social freedoms. As he proclaims before the conspirators: You are met To overthrow this monster of a state, This mockery of a government, this spectre, Which must be exorcised with blood, and then, We will renew the times of truth and justice, Condensing in a fair free commonwealth Not rash equality but equal rights, Proportion'd like the columns to the temple, Giving and taking strength reciprocal, And making from the whole with grace and beauty, So that no part could be removed without Infringement of the general symmetry. In operating this great change, I claim To be one of you-if you trust in me. 2 The Doge expresses, in both passages above, a shift in his allegiance from a bloated aristocratic class to the people. 2 Byron, pp. 116-17, Act III, scene ii. 3 By drawing upon a different manifestation of "social memory" than that which he and the nobles had forged, Marino Faliero calls upon a past designed to lend legitimacy to the movement of the present. As Charles Barker writes in an 1829 review of the play, "Around him flit the recollection of times, so long ago 'they are a doubt in the memory,' though 'they live in annals;' and all that is great either in his own story, or that of the republic, is assiduously present to his mind. The mighty of the days of old appear to surround him, and in thought he stands ever in the presence of the great spirits, whose ashes are shrunk to a handful, but whose memory is abroad on the earth.,,3 In other words, "the long past is invoked to behold and assist" in the formation of a new Venetian society. 4 In the end, the Doge is unsuccessful. He is sentenced to die, and in some histories and Byron's play, he receives the ancient pronouncement of damnatio memoriae, a punishment in which the name of the accused is struck from the historical record and from social memory altogether. 5 The sentence, though, seems to have been ineffectual considering the Doge's presence in subsequent historical and cultural accounts.6 Indeed, 3 Charles Barker, "Lord Byron and M. Casimir Delavigne," The Foreign Quarterly Review 4 (August 1829): 470-83, 473. 4 Ibid. 5 Bo Earle, "Byronic Measures: Enacting Lordship in Childe Harold's Pilgrimage and Marino Faliero," ELH 75.1 (Spring 2008): 1-26,22-23. 6 Charles W. Hedrick, Jr., notes that the practice of damnatio memoriae often has a paradoxical effect different from the erasure of memory that those who pronounce the sentence may desire: "The damnatio memoriae does not work to negate the evidence of the past, but to produce new signs of it." See his History and Silence: Purge and Rehabilitation of Memory in Late Antiquity (Austin: Univ. of Texas Press, 2000), p. xii. 4 before his death in the play, the
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