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Jane Porter in the Margins Jane Porter in the Margins: Paratext in the Romantic National Novel Sarah Faulkner A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2020 Reading Committee: Juliet Shields, chair Jesse Oak Taylor Charles LaPorte Program authorized to offer degree: English ©Copyright 2020 Sarah Faulkner University of Washington Abstract Jane Porter in the Margins: Paratext in the Romantic National Novel Sarah Faulkner Chair of the Supervisory Committee: Juliet Shields Department of English “Jane Porter in the Margins: Paratext in the Romantic National Novel” argues that Romantic novelist Jane Porter uses paratext in her national novels to accomplish bold political and personal goals. I examine her most famous novel The Scottish Chiefs (1810) as a case study of Romantic female authorship in which Porter asserts women’s power to shape conceptions of national identity. Often studied as an imitator of Walter Scott, Porter published two historical novels before Waverley (1814) and claimed her innovative precedence in multiple prefaces and footnotes to her novels. While Porter presented a modest feminine authorial persona to her public, my archival and bibliographical study reveals a politically engaged woman writer seeking to serve her nation from the margins. Each of the three chapters traces a paratextual element across multiple editions (1. Title page; 2. Footnotes and prefaces; and 3. Illustrations and bindings) to reveal how it facilitates Porter’s fervent support of British unity and women’s patriotic service. This dissertation studies the paratext of The Scottish Chiefs to help restore Porter’s reputation as a political writer and reveal her contributions to the nineteenth- century novel and women’s authorship. Beyond Porter, I seek wider acknowledgement of paratext’s crucial role beside the text within a book, particularly how it shapes the legacy of both book and author. Acknowledgments I am grateful to my friends and family as well as the institutions that made this dissertation possible. To all my family for believing in me: Mom and Dan, Dad and Debi, Holly, Tracy, Logan, Grandmother, Bert, Mike and Vicky, Will and Claudine, and my sweet nieces Kenzie and Brighley who helped me remember who I wish to be. Thank you for giving me places to stay, warm meals, vacations, visits on research trips, and holding an evergreen belief that I would accomplish my goals. To all my friends who provided encouragement, commiseration, and moments of relaxation and joy these six years. Elan, Anna, and Lizzy: thank you for being the best of friends, bringing me tea in the morning, whisking me off to Long Beach for a weekend, or hosting me for SoCal getaways of arts and brunch. My endless gratitude also to Lindsay, Olivia, Rachel, Martha, Lauren, the KBP Crew (Krista, Kelsey, Julia, Alyssa, Tory, Annie), and GPSS folks for (sometimes involuntarily) listening to my overlong ruminations on nineteenth-century women’s writing and fun facts about Jane Porter. A special thank you to my esteemed colleague Matt Poland for providing gentle commiseration, intellectual camaraderie, and being the Ron to my Knope. My dearest thanks to my invaluable writing partner Claire Barwise, without whom this dissertation would not be completed. From late- night phone calls discussing theory and organizational practices to long evenings out in Seattle, thank you for providing me with true fellowship during this process and sincere friendship beyond. My thanks also to my committee, Juliet Shields, Charles LaPorte, and Jesse Oak Taylor, for their guidance and above-and-beyond support; to my lifelong mentors in the study of English, Gretchen Grey-Hatton and Lynda Hall, for instilling a love of nineteenth-century women writers; and to Devoney Looser for her generosity in sharing transcriptions of the Porter’s letters I could not access. My thanks also to Elliott Stevens, Geoffrey Turnovsky, Jeffrey Todd Knight, Elizabeth Simmons-O’Neill, Kate Norako, Brian Reed, Anis Bawarshi, and Candice Rai. I am grateful for the UW English Department and Expository Writing Program’s institutional and financial help, and thank the fine folks of the UW 18th and 19th Century Graduate Research Cluster who read drafts and provided much needed community throughout this project. My continuous thanks to all the 18/19C scholars I’ve met at various conferences around the world who encouraged me and promised me that I would indeed finish this dissertation one day. All my love to the 300+ students I have taught at UW for sharing their learning with me and reminding me why I do this work. My sincere thanks to the institutions that granted me awards and fellowships to perform my research, including the New York Public Library Short-Term Fellowship, McGill-ASECS Fellowship at the Burney Centre, and University of Washington’s Chester Fritz International Research Fellowship, Míceál Vaughan Fellowship, and multiple Textual Studies Research Awards, which allowed me to access rare editions and manuscripts housed at the Huntington Library, McGill University, National Library of Scotland, New York Public Library, British Library, and Durham University Library. I would like to thank Liz Denlinger and Charles Carter for their help in making my research at the New York Public Library possible, and Peter Sabor and Catherine Nygren at the Burney Centre. All archival material within is quoted with permission, for which I also give my thanks. Finally, my thanks to my two Janes, Jane Porter and Jane Austen, for inspiring a passion that has become a beautiful life. Table of Contents List of Abbreviations / i Introduction / 1 Chapter One: Jane Porter’s Ossianic Anachronism / 42 Chapter Two: No Apology Necessary: The Paratextual Personas of Jane Porter and Sydney Owenson / 86 Chapter Three: The Bound Afterlife of Jane Porter / 138 Conclusion / 204 Bibliography / 212 Faulkner i List of Abbreviations Throughout this dissertation I cite many different editions of Jane Porter’s The Scottish Chiefs and Thaddeus of Warsaw. To differentiate these editions, I use the following abbreviations: The Scottish Chiefs: TSC SN: Bentley and Colburn’s Standard Novels edition (1831), McGill University Special Collections. TSC Virtue: George Virtue’s edition (1841), New York Public Library Pforzheimer Collection. TSC Crowell: Thomas Y. Crowell and Co. edition (ca. 1890s), University of Washington. TSC McClurg: A. C. McClurg and Co. edition (1891), University of California, San Diego. TSC Broadview: Broadview Press edition, edited by Fiona Price (2008). TSC Scribner’s: Scribner’s Illustrated Classics edition (1991). Thaddeus of Warsaw: ToW First: Longman and Reese first edition, (1803), McGill University Special Collections. ToW Second: Longman and Reese second edition (1804), National Library of Scotland. ToW SN: Bentley and Colburn’s Standard Novels edition (1831), McGill University Special Collections. Sydney Owenson’s The Wild Irish Girl is also abbreviated in in-text citations: TWIG: Oxford UP edition, edited by Kathryn Kirkpatrick (2008). Faulkner 1 Introduction Jane Porter (1775-1850)1 was one of the best-selling and most popular novelists of the Romantic era. Her novels narrate various tumults in European history; her 1810 novel The Scottish Chiefs tells the tale of William Wallace’s (1270-1305) valiant fight to free thirteenth-century Scotland from the tyrannical rule of England’s Edward I (1239-1307). Set amidst the national strife of succession and the romance of a mysterious locked iron box, the action of the novel begins when the English governor of Lanark murders Wallace’s pregnant wife Marion. Wallace, who admits he had previously been blind to Scotland’s woes while happy in his domestic bliss, declares himself to now be the servant of Scotland and vows to secure its freedom. Along his five-volume quest he gathers many companions, many of whom are drawn not from history but from Porter’s imagination, including the young hero Edwin Ruthven and Wallace’s eventual second wife Helen Mar. Helen becomes the second principal character of the novel as she falls in love with Wallace and takes virtuous action in national events in opposition to her stepmother Lady Joanna Mar, who covets Wallace’s beauty and power and eventually betrays him to the English. Though the novel ends with the death of Wallace and the coronation of his friend Robert Bruce (1274-1329),2 Porter softens the ending by including a secret marriage ceremony between Wallace and Helen and removing his final anguish. Just as Wallace is about to be hanged, Helen rushes to the scaffold; he bursts from his bonds to hold her and dies a peaceful death of a broken heart in her embrace. Wallace thus dies unsullied by the torture detailed in history and unconquered by the English. Helen soon also dies of a broken heart upon Wallace’s coffin, and the mysterious iron box is opened to reveal the Regalia of Scotland, which Bruce dons to become King. Porter concludes her novel by 1 Though Porter’s birth year is frequently listed as 1776, Thomas McLean has recently proven that Porter was born in December 3, 1775 (“Jane Porter’s Later Works” 45). 2 Porter refers to Robert the Bruce as simply Robert Bruce in the novel. Faulkner 2 signaling the end of Scottish-English conflict, writing: “a lasting tranquility spread prosperity and happiness throughout the land” (TSC Virtue 2: 461). The novel’s romantic incidents induce great emotion not merely to entertain a growing readership, but to warm British hearts to patriotism. Yet this is just one vehicle of Porter’s politics within The Scottish Chiefs. A pivotal scene in the first volume shows William Wallace’s ardent followers pressing him to don the crown of Scotland and become their new king. He refuses, citing his lack of royal blood and his desire to serve Scotland as a brother, father, and patriot, but not as its ruler.
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