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"The Most Dreadful Visitation": an Examination of Dickens's Treatment of Madness in His Novels by Heather a Pike A

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"The Most Dreadful Visitation": An Examination of Dickens's Treatment of Madness in his Novels by Heather A Pike A thesis submitted for the degree of Doctor of Philosophy Department of English April 1995 University of Salford Contents I Introduction P. 1 Notes p. 6 2 "To Define True Madness": Dickens in Context. P. 7 Notes P. 21 3 "The Trembling of the Balance": Dickens's Use of Literary Traditions. P. 24 Notes P. 49 4 "Inconsequent foolishness"? Dickens's Personal Attitude Towards Madness. P. 61 Notes P. 74 5 Madness and Moral Failure: Dickens's Early Fiction. Notes 6 Victims and Catalysts: Dickens's Portrayal of Madness in Barnaby Rudge, Mr Dick and Miss Havisham. P. 117 Notes P. 154 7 The Ways of Providence and Dickens's Portrayal of Insanity in A Tale of Two Cities. P. 168 Notes P. 202 8 Conclusion: "The Thought that Travelled by a Crooked Lane". P. 208 Notes P. 215 Appendix p. 217 Notes P. 224 Bibliography p. 226 I Plates Plate 1, Caius Gabriel Cibber, "Raving Madness", 1677. Caius Gabriel Cibber, "Melancholy Madness", 1677. Plate 2, William Hogarth, "The Rake in Bedlam", from "The Rake's Progress", 1735. Plate 3, Johann Henrich Fuseli, "The Madhouse", c.1772. Francoise Goya, "The Madhouse", 1793. Plate 4, "Madness". Taken from Charles Bell, Essays on the Anatomy in Painting, London: Longman, 1806. Plate 5, Richard Dadd, "Sketch to Illustrate the Passions, Agony - Raving Madness", 1884. Plate 6, Illustrations exemplifying the treatment of insanity in Haslam's key, together with drawings of "Douche" and "Rotary Machine" from Sir Alexander Morison's Causes of mental disease...(1828). Plate 7, William Blake, "Nebuchadnezzar", 1795. Plate 8, A lithograph of the hermit, John Lucas, by William Short of Eye (date uncertain). Plate 9, Katherine Drake, "Lunatics' Ball, Somerset," 1848. II attitudes of certain influential medical writers in the nineteenth century towards the condition (the nature of which proved difficult to define), and notes the ways in which Dickens was affected by contemporary medical debates on the subject. Dickens's portrayal of madness in his novels was to some extent influenced by earlier literary conventions. The third chapter broadly considers his writing within the context of a range of literary traditions, indicating ways in which the subject of insanity was handled in a variety of genres with which he was familiar. The chapter highlights themes of madness as a punishment for human misdeeds: the use of insane characters as victims of circumstance, and the restorative effects of insanity. This study will, however reveal, that although Dickens's writing draws upon a wide range of literary traditions, his novels bear his own individual stamp. Chapter Four considers ways in which Dickens was influenced by his own first- hand knowledge of madness, as experienced by people known to him, or visited by him. It highlights his attitudes towards those who were mentally afflicted, and illuminates the nature of his strongly-held views on this subject, as author and as editor. In the ensuing chapters, several key novels have been selected for a detailed consideration of ways in which Dickens's handling of madness shifted in focus as he matured as a writer. Chapter Five compares and contrasts his early treatment of this theme in Sketches by Boz, Pickwick Papers, Oliver Twist and Nicholas Nickleby, novels in which he explored the potential of madness as an expression of moral failure. The sixth chapter, whilst drawing upon some themes from The Old Curiosity Shop, highlights his experimentation with an insane central character in Barnaby Rudge. It also notes the significant contribution of the minor character, Mr Dick, within the framework of David Copperfield, contrasting the role of this benign madman with that of the deranged, malign figure of Miss Havisham in Great Expectations, characters exemplifying his portrayal of insanity in victims of circumstance, whilst also illustrating their potential effect upon other characters. The treatment of insanity in Bleak House and Little Dorrit is examined in the seventh chapter, which highlights Dickens's experimentation with insanity as an expression of human frailty and concludes with a study of A Tale of Two Cities, a novel iv marking the height of Dickens's achievement in his arresting portrayal of madness in both theme and character. The final chapter evaluates the significant role of madness in Dickens's novels, and draws conclusions about the reasons why he chose to describe insanity in so many forms. Whilst illuminating ways in which his portrayal of this subject shifted in focus as he mastered new technical skills, it highlights the changing uses Dickens made of insanity. Far from being a "dreadful visitation" in its literary representation, Dickens discovered that madness, a subject which fascinated him, provided him with a wealth of possibilities in exposing hidden depths of meaning in his novels, highlighting too the ways in which his own creative vision changed in its emphasis as he matured as a writer. V A Note on Abbreviations and Quotations from Dickens's Novels. Quotations from Dickens's novels are taken from the Penguin editions throughout. The Pilgrim edition of the letters is used wherever possible, and abbreviated as Letters. where another edition is used, fuller references are given. vi Caius Gabriel Cibber, "Raving Madness", 1677 Caius Gabriel Cibber, "Melancholy Madness", 1677 PLATE 1 William Hogarth "The Rake In Bedlam", from 'The Rake's Progress'. 1735 PLATE 2 Johann Henrich Fuseii, "The Madhouse", C.1772 Francisco Goya, "The Madhouse", 1793 PLATE 3 "Madness". Taken from Charles Bell, Essays on the Anatomy in Painting (London: Longman, 1806). PLATE 4 Richard Dadd, "Sketch to Illustrate the Passions,Agony - Raving Madness," 1854 PLATE 5 Hasiam's key for forcing open patients' mouths. Morison's "the douche" Morison's "Rotary Machine". Drawings of "the Douche" and "Rotary Machine" from Sir Alexander Morison's Cases of mental disease... (1828). PLATE 6 / William Blake, "Nebuchadnezzar". 1795 PLATE 7 A Lithograph of the hermit, by William Short of Eye (near Peterborough (date uncertain)). PLATE 8 Katharine Drake, "Lunatics' Ball, Somerset", 1848 PLATE 9 Chapter One Introduction When visiting America in 1842, Dickens inspected two very different establishments accommodating insane patients, in South Boston and in New York. Of the institution in South Boston, he observed that it was "admirably conducted" on "enlightened principles of conciliation and kindness" with "the greatest decorum", 1 but he criticised the asylum in New York for its lack of order, its failure to provide patients with purposeful activity, and its dull, blank appearance. He noted that "everything had a lounging, listless, madhouse air, which was very painful" in this "sad refuge of afflicted and degraded humanity" (pp. 140-141). 2 However, it is not his description of the two establishments which is the most striking feature of Dickens's record of these visits, but his comment about the condition of insanity itself. Madness, he observes, is "the most dreadful visitation to which our nature is exposed": an illuminating remark at an early stage in his writing career, of the impact made by the plight of the insane upon Dickens. Madness was to be a subject which Dickens explored through a range of themes and characters over a period of many years. He does not merely use insanity as a literary device; his powerful descriptions conveying the effects of deranged behaviour illustrate the way in which this subject gripped his imagination, as will become evident in this study. Dickens's novels are remarkable for their wide array of characters experiencing brief or prolonged periods of insanity. Such creations are used as a means of moral or social comment, as comic relief, as indicators, touchstones, mirrors or catalysts, often 1 providing insight into other characters and events. His description of maddened scenes of wild crowd violence offer further illustrations of his fascination with the impact of irrationality. An examination of certain key novels, in which Dickens experimented with various forms in portraying madness, will reveal the extensive use he made of this theme, and the ways in which his early exploration of madness as an expression of moral failure was later followed by experimentation with insane figures as victims of circumstance or as catalysts in his plots, and by his portrayal of insanity as an expression of human frailty, which became interwoven with themes of redemption in A Tale of Two Cities. In depicting the cause and effects of many forms of insanity, Dickens undoubtedly drew from a wide range of literary sources. His novels mark his own development as a writer experimenting with different aspects of his representation of insanity, together with his attempts to overcome some technical problems inherent in any sustained portrait of madness. The Dickens world is, of course, notable for its eccentric grotesques: 3 memorable figures like Mrs. Gamp or Quilp, who seem larger-than-life, yet Dickens also chose to portray characters who were not merely motivated by the bizarre compulsions of his eccentrics. Such figures offered him the potential to explore the more "dreadful" effects of irrationality in its many forms. Some of his insane creations were to provide him with the opportunity of highlighting emotional extremes, often cast into relief by the effective use of contrast. It is intriguing that such a dynamic character as Dickens (and one only has to glance through his letters to marvel at his tireless energy), someone who was obsessively keen to maintain a sense of order in his own personal affairs, 4 should have been repeatedly drawn into exploring the fragmented, disordered state of irrationality. His writings notably reveal Dickens's overt, philosophical beliefs about the importance of duty, illustrated, for example, by his letter to his youngest son on the day of Plorn's departure to Australia, which concludes: "I hope you will always be able to say in after life, that you had a kind father.
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