Passion and Language in Eighteenth- Century Literature

Home , Aaron Hill (writer), Eliza Haywood, John Dennis (dramatist), Richard Savage (poet)

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Passion and Language in Eighteenth-Century Literature The Aesthetic Sublime in the Work of Eliza Haywood, Aaron Hill, and Martha Fowke

Earla Wilputte

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passion and language in eighteenth-century literature Copyright © Earla Wilputte, 2014. All rights reserved. An earlier version of part of Chapter 4 originally appeared in the essay “Eliza Haywood’s Poems on Several Occasions: Aaron Hill, Writing, and the Sublime,” Eighteenth-Century Women: Studies in their Lives, Work, and Culture 6 (2011): 79–102 (AMS Press). Part of Chapter 5 originally appeared in the essay “Midwife for the Mind: Delivering the Passions in Aaron Hill’s The Plain Dealer (1724),” Journal for Eighteenth-Centur y Studies 31, no. 1 (2008): 1–15. They are used here in revised form, with permission. First published in 2014 by PALGRAVE MACMILLAN® in the United States—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978-1-137-44204-8 Library of Congress Cataloging-in-Publication Data Wilputte, Earla Arden, 1959– Passion and language in eighteenth-century literature : the aesthetic sublime in the work of Eliza Haywood, Aaron Hill, and Martha Fowke / by Earla Wilputte. pages cm Includes bibliographical references and index. ISBN 978-1- 137-44204-8 (hardback : alk. paper) 1. English literature—18th century—History and criticism. 2. Emotions in literature. 3. Haywood, Eliza Fowler, 1693?–1756—Language. 4. Hill, Aaron, 1685–1750—Language. 5. Sansom, Martha Fowke, 1689–1736—Language. I. Title. PR448.E46W66 2014 820.9'353—dc23 2014007772 A catalogue record of the book is available from the British Library. Design by Scribe Inc. First edition: September 2014 10 9 8 7 6 5 4 3 2 1

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Contents

Acknowledgments ix 1 The Need for a Language for the Passions 1 2 Life’s Progress through the Passions 29 3 “Give Me a Speaking and a Writing Love”: Passionate Letters 51 4 The Miscellany’s Picture Poems and Haywood’s Poems on Several Occasions 83 5 The Plain Dealer’s Progress from the Garrison to the Midwife 115 6 The Dangers of Giving Way to Language 147 Conclusion: Hill’s, Fowke’s, and Haywood’s Progress through the Passions 187 Notes 197 Bibliography 219 Index 231

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Chapter4 1 The Need for a Language for the Passions

Our Discourse is imperfect, unless it carry with it the marks of the Motions of our Will: It resembles our Mind (whose Image it ought to bear) no more than a dead Carkass resembles a living Body. —Bernard Lamy, The Art of Speaking

[W]ords give way, like quicksand, beneath too weighty a pile of building. —Aaron Hill to Martha Fowke

The ability of discursive language to communicate the passions begins to be questioned in the early eighteenth century. Are words “a dead Carkass,” lacking life, soul, and essence, “like quicksand,” an easily shifting, yielding mass engulfing and entrapping meaning? Some eighteenth-centur y philosophers thought that, with its gradual secularization, poetic language had become emasculated and weak, bereft of its ability to express and incite the passions. Conversely, literary critics such as John Dennis theorized that “never any one, while he was wrapt with Enthusiasm or ordinary Passion, wanted either Words or Harmony.”1 A growing ambivalence over the ability of words to relate effectively one’s passions, and hence one’s subjectivity, devel- ops over the eighteenth century, with some believing that literature too blithely elicits passions from readers and others contending that language has lost its efficacy. The purpose of this study is to explore how three authors—Aaron Hill, Eliza Haywood, and Martha Fowke,

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2 Passion and Language in 18th-Century Literature making up the nucleus of the London literary group, the Hillarian circle, from 1720 to 1724—attempt to develop a language for the passions that clearly conveys the deepest felt emotions. In essence, these three authors endeavor to transcend human separateness and bind one soul to another through words. Hill, Haywood, and Fowke and their personal and professional relationships with each other within Hill’s literary circle afford an intriguing and problematic context in which to study the passions and their communication in the first half of the eighteenth century. Writers in a variety of forms (periodicals, poetry, letters, plays, essays, and novels) over a long period of productive years, Hill, Haywood, and Fowke engage in a progressive and reactionary debate over how to express and write the passions. Whereas recent criticism notes “a clear intersection between the perceived crisis in the management of the passions and the emerging mission of the novel,”2 in the Hillarian circle we witness intelligent, passionate minds grappling with finding a language for the passions that can imaginatively convey one’s innermost feelings before the novel’s “agenda” of reforming and restraining those passions can be effectively put into action. The Hillarian circle is beginning to attract serious scholarly attention in the wake of high-quality bibliographical, biographical, and critical work. Foundational studies on Hill, Fowke, and Haywood by Christine Gerrard, Phyllis Guskin, Patrick Spedding, and Kathryn R. King all reference the complex relationships among these three writers within the larger Hillarian circle and present significant scholarship to which I am especially indebted. Guskin’s Clio: The Autobiography of Martha Fowke Sansom, 1689–1736, the first modern edition of Clio: or, A Secret History of the Life and Amours of the Late Celebrated Mrs. S–n—m, provides a detailed examination of Fowke’s life and her role in the Hillarian coterie; Gerrard’s biography Aaron Hill: The Muses’ Projector 1685–1750 devotes two chapters to the making and the breaking of the Hillarian circle, including the part that the Fowke–Haywood dispute played in that breakup; Spedding’s A Bib- liography of Eliza Haywood is indispensable for linking biographical information with the publishing history of Haywood’s works; and King has authored several influential articles exploring the literary and personal relationships of Haywood with the Hillarians, including “The Case of Eliza Haywood, Aaron Hill, and the Hillarians, 1719– 1725” and “When Eliza Met Aaron: A Story of Sublime Sensation,” as well as, most recently, A Political Biography of Eliza Haywood. Each of these critical studies dedicates attention to the relationships and influences, the friendships and shifting alliances among the most

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The Need for a Language for the Passions 3 famous Hillarians. My intention here is to focus specifically on Hill’s, Haywood’s, and Fowke’s experimentation with and attempts at the development of a language for the passions in their poetry and prose. As these studies have shown, the possible relationships among Haywood, Hill, and Fowke (her married name is Sansom but she established her poetic reputation under her maiden name) are col- laborative, competitive, and often eroticized. From 1720 to 1724, Haywood reveres Hill as a poet and as a man; once friends, Haywood and Fowke become bitter and vengeful enemies; Fowke and Hill engage in a clandestine extramarital affair; Fowke uses her sexuality unabashedly with men; and Haywood is scorned by the circle after publishing a scandal novel that includes a vicious personal exposé of her former friend. All three write, discuss, and theorize about the passions and their passions for each other. As a literary coterie of young men and women, the Hillarians are fascinated with the passions— excessive emotions like love, sorrow, fear, anger, envy—and how they can be best expressed in social relationships and in writing. My study of works by these three writers traces their experimentation with philosophical and linguistic theories, including the aesthetic sublime. The members of the Hillarian circle variously argue in their individual works for the validity of a language built on experience, specifically a sensory, sensual, and passionate experience. This argument aligns them with the empiricist project but insists on the place of the passions in a discussion of knowledge gained through experience. Suspended somewhere between the spiritual and the physical, the passions seem to elude any but abstract, poetic description. Hill often complains that “words give way, like quicksand” or “fall feath’ry like dew.” Hill, Haywood, and Fowke seek to develop a language that ensures not only a sympathetic comprehension of the excessive emotions that we all undergo but an understanding of the three writers’ own passionate subjectivity. Eliza Haywood, author of many novels about love, lust, aban- donment, and revenge, was recognized by James Sterling in 1725 as the “Great Arbitress of Passion.” From 1719 with the appearance of her first novel, Love in Excess, Haywood had captured the attention of readers by arousing their passions and vicariously involving them in the adventures of her beleaguered heroines, sexually preda- tory villainesses, and intriguing—both in the sense of carrying on a secret amour or illicit intimacy and in the sense of exciting interest or curiosity—female protagonists. By the 1740s, Haywood adopted a new persona from that of the amatory novelist, with a more specific mandate: she became arbitress of all the passions, a philosopher of

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4 Passion and Language in 18th-Century Literature human nature and explorer of interiority. From 1744 with her periodical The Female Spectator, she not only wrote about how passion could victimize individuals through society’s ability to read emotions’ physical manifestations but focused on the mind itself, the “secret springs” of human actions. Philosophy and reflection were what she intended to stir in her readers: encouraging a meditation on their own passions as instigators of action, on the passions of others to elicit sympathy, on human nature and what it means to be human. Her understudied novel Life’s Progress through the Passions: or, The Adven- tures of Natura (1748), with its deliberate choice of a male hero rather than a female to avoid her culture’s prejudicial association of the passions with women, traces the life of its main protagonist from infancy to his death at age 63, analyzing each stage and predominant passion he experiences. In addition to examining the passions as natural elements of humanity, the novel’s combination of philosophical discourse and the amorous language of her early novels explores modes of self-knowledge and subjectivity, as well as exposes the inadequacy of so-called objective, religious, and philosophical discourses to fully comprehend the passions. Aaron Hill was also known for his studies of the passions, though his later work is primarily concerned with how they could be best portrayed in stage performance through physical gesture and voice. His Essay on the Art of Acting, poems such as “The Actor’s Epitome” and “The Art of Acting” (1746), and his 1734 theatrical periodical The Prompter explicitly address how an actor must conjure up the emotions and deliberately, physically, and vocally convey them to an audience. In his 1724–25 periodical The Plain Dealer, coedited with William Bond (chief author of a continuation of The Spectator [1715] that occasioned Fowke’s correspondence with him), Ned Blunt the Plain Dealer and his friend, poet Tony Jyngle, devise a system of “Mind Midwifery” wherein the passions can be successfully cured or delivered. Passions are regarded here, in the language of the classi- cists, as a “Disease,” a “Small-Pox of the Mind” in need of a “moral Draught.”3 Meanwhile, through the course of the periodical’s publication, Mr. Plain Dealer himself, a man in his “grand Climacterick” or sixty-third year, finds himself unreasonably falling in love with Patty Amble, a young coquette in his social circle. His inability to follow his own therapy for the passions imbues his educative system with a certain irony that his readers could not fail to miss. While Haywood’s Life’s Progress is intent on demonstrating the naturalness and humanity of the passions and the need for social sympathy with them, Hill’s and Bond’s Plain Dealer delineates the need

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The Need for a Language for the Passions 5 to moderate the passions and regulate them to accommodate society’s agenda even while questioning it. Haywood and Hill appear to be at odds with one another in their passion theory; however, upon closer examination, their views do share significant similarities. Both are concerned with controlling the physical manifestations of the passions to gain the sympathy of others by communicating specific emotions or to protect the person experiencing the passions by impeding others’ reading them on his or her body. Both authors are intrigued by the relation between passion and personal identity: the need to express the passions in order to express the individual. Finally, throughout their works, both Haywood and Hill are interested in how the passions can be translated into language, and both experiment specifically with concepts of the sublime to communicate to others the physical and psychological effects of personal feelings. Martha Fowke, a poet and a free spirit, seems little affected in her work or life with the need to conform to society’s demands for feminine decorum. As she details in Epistles of Clio and Strephon, her early poetic collaboration with William Bond, she yearns for public acclaim for her writing; she strives to be another Shakespeare, and in her autobiographical Letter to Hillarius (Aaron Hill), she wants to be recognized first and foremost as a talented poet, not an inspiring muse. Never one to moderate the expression of her passions to protect her reputation, Fowke uses her writing as a means to many ends—love, fame, revenge, and communicating her philosophy of life and how she perceives the world. Eighteenth-centur y empiricist theory of the mind “stressed the radical individuality of perception”: that all people experienced and viewed the world uniquely. Because this account of perception held the danger of “solipsistic skepticism,” it was also believed that there was a “uniformity of human nature”—a community of experience shared by all. Poets, authors, and painters struggled to find the appro- priate mode for communicating an individual’s passions and ideas so that people could share in and understand the feelings of others. “It was a commonplace of empiricist theory that words were arbitrary counters used to represent ideas, but that pictorial images have a closer relationship to the objects they imitate.”4 Yet words, arbitrary though they may be, are the instruments of choice for authors. Where painter Joshua Reynolds could confidently state that the “internal fabrick” of men’s minds and the “external form of . . . bodies” were “nearly uniform” with one another—that there was an “agreement in the imaginations as in the senses of men”5— writers struggling to find an adequate language for the passions so as to express and externalize

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6 Passion and Language in 18th-Century Literature specific states of interiority were less sure. Poetry attempting to imitate the visual concreteness and precision of the pictorial arts—poems such as Aaron Hill’s “The Picture of Love” and Martha Fowke’s “Clio’s Picture”—strive to impress how and what they felt on their readers’ imaginations by using what Locke called “external sensible Signs” standing for “invisible Ideas.”6 Eighteenth-centur y science, with its increasing interest in investigating the mind and brain, is also at this time developing the field of psychology, for which a discourse for interiority had to be invented. By examining various aspects of eighteenth-century passion theory through the cultural and literary lenses of these three members of the Hillarian circle, we can discover not only their own rumina- tions and speculations about the passions but examples of the passions themselves. Rather than clouding the issue, the personal and professional connections among Haywood, Fowke, and Hill intensify the discussion. The Hillarian circle was a coterie of authors pulled in by Aaron Hill’s creative energies and dynamic personality. Brean Ham- mond has called Hill “the cultural glue” of the period because of his involvement in theater, poetry, critical correspondence, and moral and technical support for young writers, as well as his entrepreneurial ventures in business and publishing.7 Not only Haywood and Fowke, but Richard Savage, John Dyer, James Thomson, David Mallet, and Edward Young, among others, were at times part of Hill’s literary coterie, benefiting from Hill’s finding subscribers for their works and his writing epilogues, poems, and essays in their support, as well as providing an intellectual and creative venue in which they could inter- act personally and in writing. Apart from Haywood (“Eliza”), Fowke (“Clio”), Hill’s wife, Margaret (“Miranda”), and Mrs. Joseph Mitch- ell (“Ophelia”), the women members of the circle are known to us only by their poetic pseudonyms: “Aurelia,” “Daphne,” “Evandra,” and “Diana.” The Hillarians, almost all under the age of thirty in the early 1720s (except for Hill himself and Fowke; Haywood, by our best guess, would turn thirty in 1723), shared their works in manu- script and exchanged ideas about poetry, authorship, and aesthetics. They would meet at Aaron and Margaret Hill’s home in Petty France, Westminster, and in the Temple lodgings of Arnold Sansom and his poet wife, Martha Fowke. The group served as the prototype for the fictional “Assembly, of both Sexes, very numerous and diversified” that meets twice a week in The Plain Dealer8 and later in Haywood’s The Tea-Table (1725–26). Though no detailed descriptions of any of the Hillarian circle’s specific meetings have come to light, we can reconstruct some of their discussions and themes from these fictional

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The Need for a Language for the Passions 7 depictions, from the poems within Savage’s Miscellaneous Poems and Translations by Several Hands (participants in the coterie; 1726), and from occasional references in some members’ letters and poems. In a 1729 poem by Mitchell, he remembers looking forward to “enjoy[ing] the Hours of Tea / In CLIO and MIRANDA’s Company,”9 and in a letter to John Dyer, Benjamin Victor recalls “[h]ow many delightful hours [they] enjoyed with that elegant lover [Hill], and his charm- ing Clio! how like those scenes we read in our youthful days, in Sir Philip Sidney’s Pastoral Romance!”10 As fondly remembered by its members years after the fact, the real-life circle was a crucible from which various writings, collected miscellanies, and sometimes intimate relationships were generated. Passion was definitely in the air in the early 1720s circle—passion in our modern sense of the word: volatile, sexually charged emotions. Such was the stuff of Haywood’s early novels as well as Fowke’s poetry. Haywood became connected with the Hillarians probably around the time the first part of Love in Excess was published in 1719; Fowke, about a year later, also entered as a publicly recognized author, having published poems as early as 1711 and in 1720 The Epistles of Clio and Strephon, a poetic dialogue with Bond. Fowke was apparently friends with Haywood before their association with the circle, from the time they both attended meetings “at the house of the widely celebrated deaf and dumb celebrity fortune-teller Duncan Campbell.”11 If Hay- wood’s A Spy upon the Conjurer (1724) is to be believed, the strained relationship between her and Fowke stemmed from Haywood’s seeing the fortune Campbell predicted for Fowke:

A Time will shortly come, when it will be evident you will be so [the Mistress] to a great many, and most of them Men far unworthy of your Favours;——Y ou will at last, in spite of the Censures of all who know you, have the good luck to get a Husband.——Happy may you then be, if you can have the Power to live in any Regularity; but I much fear you will not. Whenever this Day comes think of me, and, if it be possible, prevent a Fate most terrible, which I see now hanging o’er your Head.

Haywood writes that from that moment, Fowke “began to hate me, for being Witness of what he writ, with such an Inveteracy, that I believe she neither eat nor slept in Peace the Day she did not do me some Injury.”12 By 1721, Martha Fowke was firmly ensconced as the feminine focal point of the Hillarian circle, and she is celebrated in many of their

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8 Passion and Language in 18th-Century Literature poems. The group’s 1726 Miscellaneous Poems and Translations by Several Hands (known as the Miscellany) included poems about her, or addressed to her, by Hill, Savage, Dyer, Mallet, and by Hill’s wife, “Miranda.” (By the time of the Miscellany’s publication, Haywood was no longer a part of the circle and so was prohibited from con- tributing to it.) Although persuaded by her brother to wed her lover Arnold Sansom in 1720, Fowke refused to be restricted by marriage and soon embarked on a clandestine affair, at first epistolary and then physical, with Aaron Hill between 1721 and 1723. Hill encouraged a poetic alliance between Richard Savage and Fowke that resulted in their close friendship. None of these relationships is overlooked by Haywood in her works of the early 1720s. Haywood often portrays Fowke as a promiscuous, lustful woman: reputedly in the “Discourse” appended to Letters from a Lady of Quality to a Chevalier (1721); recognizably as Tortillée in The Injur’d Husband (1722); as “Madam—F—” in A Spy upon the Con- jurer (1724); and finally as Gloatitia—meaning one whose long fixed stare is lust filled—and as the unnamed bad influence on “Riverius” (Savage) in the first part of Memoirs of a Certain Island Adjacent to the Kingdom of Utopia (1724). Rumors about the contents of that scandal novel, in which Haywood depicts Fowke as having an incestuous relationship with her father, three bastard children by various men, and numerous affairs before and after her marriage, led to Haywood being spurned by the circle in 1724. Scholars continue to wonder why Haywood wrote such increasingly malicious portrayals of Fowke, their theories ranging from the personal—Fowke stole Sav- age’s affections from Haywood; Haywood loved Hill and was jealous of their affair; she objected to Fowke’s irresponsible and flirtatious letter-writing; she envied Fowke’s money and clothes; she disliked Fowke’s libertine lifestyle—to the professional—she did not approve of Fowke’s cheapening of the woman author figure; she did not like Fowke’s mixing of the professional and personal in the Hillarian circle; she felt that Fowke’s poetry was valued over her own prose. Though no definite reason for Haywood’s anger with Fowke has been uncov- ered, the vitriolic passion remains. The Hillarians supported Fowke and scorned Haywood. The nature and variety of literary sociability within the group—ranging from evaluation and correction (of both writing and behavior), to encouragement and praise, to adulation and scorn—reveal not only how belonging to a literary culture influences writers’ work but how their works are reflective of their own passions. For this reason, a study of how the three core members of the Hillarian circle discussed and experimented with a theory for a

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The Need for a Language for the Passions 9 language for the passions is particularly important for our understanding of literary group dynamics and culture. Eliza Haywood and Martha Fowke were both rumored to have had personal attachments to the married Hill, and both were passionate women and writers. Although Haywood authored more than 72 different works during her lifetime and has recently attracted many scholarly studies and new editions of her works, we know very little about her personal life. Spedding’s Bibliography of Eliza Haywood, King’s “Eliza Haywood, Savage Love, and Biographical Uncer- tainty,” and her more recent political biography of Haywood do much to undermine old, prejudicial suppositions about Haywood’s personal life as they work to uncover tangible evidence to delineate her life among her contemporaries. But it remains a difficult task. The oft-quoted reason for the lack of detail about Haywood’s history is that she urged “a particular Person, who was well acquainted with all the Particulars of it, not to communicate to any one the least Circumstance relating to her; so that probably, . . . the World will still be left in the dark.”13 In a very real sense Haywood’s identity is a fiction, because such a dearth of biographical detail has not stopped the speculations about her—has not stemmed the creation of fictions about her in an attempt to reassemble some facts about her life. Was she the mother of two illegitimate children, as Pope suggested in The Dunciad? Was one fathered by Richard Savage? Did she “ador[e] Hill as a man” as his most recent biographer suggests?14 Was the reason she broke her friendship with Fowke over jealousy of the lat- ter’s affair with Hill? Or did the women have professional jealousies and differences? Kathryn King has effectively dismantled the “Sav- age Love” hypothesis that Fowke and Haywood were romantic rivals over Richard Savage to reveal Hill as “the focus of erotic energies in the coterie.” Though aware that “the complexity of the passions that rocked the Hillarians . . . [involved] an intertwining of literary ambi- tions and sociable impulses with a volatile eroticism that was part linguistic and part physical,”15 King does not investigate how those passions play a role in the group’s experimentation with the aesthetic sublime. As we shall see, the coterie’s firsthand experience of the passions often comes under their poetic scrutiny and influences the blending in their language of the sensory and the epistemological to emulate sublime feeling. Both Jerry Beasley and Christine Gerrard have recently suggested that Haywood may have been in love with Aaron Hill. “Eliza” and “Hillarius” wrote poems to and for each other, incarnations of him figure prominently in several of her early novels, and her only collection

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10 Passion and Language in 18th-Century Literature of poetry features several ecstatic poems about him and his writing. But their friendship came to an abrupt end when her scandal novel featured Fowke as “Gloatitia,”

that big-bone’d [sic], buxom, brown Woman, . . . [She and her father] scrupled not to be seen in the same Bed together, and the old Goat would run into luscious Encomiums on the Beauties of her Limbs to all the young Chevaliers who came to his Levée . . . from one scene of Debauchery she hurries to another, and scarce a day passes, with- out being witness of some new Crime as extravagant as shameless . . . [S]he has lately been deliver’d of a Child which must heir the unhappy Rutho’s [Arnold Sansom’s] Estate, tho’ to which of her Enamorato’s the little Compound does with most right belong, even the omnipotent Jupiter, who breath’d the Breath of Life into it, can scarce determine.16

Although earlier works of hers had depicted Fowke’s promiscuity as verging on the iniquitous, with Memoirs Haywood crosses the line from propriety into reprehensible passion herself. Lust, jealousy, anger, and revenge—extr eme passions all—ar e elicited and enacted in the retaliatory writings among the Hillar- ians at that time. This study of how the eighteenth century saw the passions, and Haywood’s, Hill’s, and Fowke’s creative attempts to convey them through language, focuses on the three writers’ literary relationships within the circle and their emerging discourses on human nature. It also examines their attitudes to the passions by using Fowke, “Clio,” as a prismatic point through which their attitudes and writings are focused, fictionalized, and diffracted. I have already alluded to Haywood’s primary fictional portrayals of Fowke and her illicit passions. But Aaron Hill’s perspective must also be considered. He writes poems to and about Fowke that appear in Savage’s 1726 Miscellany as well as some erotically charged personal letters to her, published in his posthumous Works (1753). She is also probably the prototype for the animated coquette Martha “Patty” Amble who secures Mr. Plain Dealer’s affections through flirtation, baby talk, and his own imagination. Fowke and her various incarnations come to be cast as the “Other” by both Hill and Haywood—sometimes as a playful coquette who magically elicits love in an old curmudgeon (as Patty in The Plain Dealer), most often as that dangerously passionate, expressive individual who requires yet resists regulation (in Haywood’s fiction). But Fowke is also a writer herself, struggling to convey her own passions of love, ambition, and fear through language. Her poetry, and her

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Index

acting theory Art of Speaking, The (Lamy), 1, 56, “Art of Acting,” 4, 147 83, 90 Essay on the Art of Acting, 4, 137, asymptotic, 12, 162, 195 147 Haywood’s, 148–49, 163 Bacchanals, Bacchant, 111–12 Hill’s, 28, 147–48, 154–55 Backscheider, Paula R., 160 See also Hill, Aaron: works: The Barbican, 121, 128 Prompter; performing the See also garrison passions Beasley, Jerry C., 9, 164 Addison, Joseph (Spectator), 22, 168 Behn, Aphra, 75, 109, 112, on lack of passion, 48 214–15n11 passions of men and women, 20 Oroonoko, 125 “Pleasures of the Imagination,” Preface to The Lucky Chance, 88–89, 162 101, 107 on Sappho, 73 Betterton, Thomas aesthetics, 52, 56 on acting, 148 aesthetic sublime, 21–23 biles, 13, 14 defined, 78–79, 84, 162 See also humors See also Longinian sublime Blackmore, Sir Richard “amatory aesthetic,” 34 against figurative language, 46 ambition, 10–11, 64, 123, 141 as “Sir Clouterly Rumble” in The described, 43–44 Plain Dealer, 138, 212n40 Amble, Martha “Patty” (Plain Blackwall, Anthony Dealer), 30, 118, 126–27, 131, figures as language for passions, 140, 189, 192 56 Fowke as prototype, 10 blood Anderson, Emily Hodgson, 24, 148 and ink, 80–81 anger, 16, 34, 148, 149, 179, love-melancholy/lovesickness, 213n2 73, 77, 80, 156 described, 46–47, 131, 135–37 menstrual, 14, 80 apatheia (detachment), 15, 47–48 and the passions, 13–14, 73, 78, Aquinas, Thomas, Saint, 16 133 Aristotle, 15, 22, 25, 70, 97 pregnancy, 80

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232 Index blood (continued) Burton, Robert and reading, 64 Anatomy of Melancholy, 77 sanguine humor, 14 and sex, 79, 96, 192 Cable, Lana veins, 79–80, 171, 191 on metaphor, 161–62 See also blushing Campbell, Duncan, 7 Blunt, Ned (Mr. Plain Dealer) Cheyne, George character, 15, 20, 117–18, 119–21, An Essay of Health and Long Life, 126 18, 122 language, 124, 126–27, 142–43 Cleis, Saphho’s daughter, 53 in love, 30, 126–29 “Clio.” See Fowke, Martha on love, 94, 124 Clio. See Letter to Hillarius (Fowke) blushing, 14, 63 “Clio’s Picture” (Fowke), 6, 27, 68, body 69, 90–93, 164, 191 Clio/Fowke’s, 67, 70, 73, 91–92, conflict 190 between reason and passion, 16, languishing/lovesick, 76, 78, 80 43, 119, 169 opposed to soul/mind, 52–53, between mind and body, 49, 65, 66, 72, 75, 107, 132, 190 91 orgasm, 141–42, 143, 146 See also duality passions displayed on, 21, 23, 41, courtly love, 27, 66, 159, 162 136, 148–49, 167–70, 174, See also platonic love 188 Culler, Jonathan, 78 passions effect on, 14, 15, 18, 28, curiosity, 31–35 39, 49, 118, 136 reader’s, 58, 64 dashes, 46, 59, 62, 71, 157–58, See also humors; language for the 172, 174, 183, 195 passions; Mallet, David: “To dramatic pause, 156–57 Mira”; nerves; physiology Dennis, John Bond, William on “Cold-writers,” 110 Epistles of Clio and Strephon (with effect of sublime, 109 Fowke), 5, 7, 52, 54, 60 on figurative language, 56 The Plain Dealer (with A. Hill), 4, on passion and writing, 99, 129 27, 115, 117, 131, 188, 192 on poetry and the sublime, 22, Boursault, Edmé, Treize lettres 98, 103 amoureuses, 54–59, 61 Descartes, René, 18, 25 Bowman, Walter disease, (passions as a), 4, 13, 16, Haywood’s “Irregular Ode 78, 118, 122 to . . . ,” 100–105, 112, cure, 130, 133–35, 138 160–61 of the mind/soul, 15, 31 and Hill, 208n53 “Small-Pox of the Mind” (Plain Bragge, Francis Dealer), 4, 135 Practical Treatise on the duality, in human nature, 13, 17, Regulation of the Passions, 42, 49 17, 40, 127 See also conflict; libertinism

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Dyer, John, 6, 8, 23, 84, 89, 100 for passions, 56–57, 106, 143, letter to Clio, 206n2 179 painting of Clio/Fowke, 27, 83, prejudice against, 35, 46 85–87, 88 “Flirtillaria,” Memoirs of a Certain Island . . . (Haywood), 165, ecstasy, 98, 113, 143, 191–92 182 religious, 111 fort. See garrison sexual, 100, 157–58 Foucault, Michel See also ekstasis passion theory, 18, 23, 76 ekphrasis (literary description of Fowke, Martha work of art) ambition, 5, 11 between visual and linguistic, 27, fortune predicted, 7 84, 88 and Hill, 9, 11, 66, 67–72 ekstasis (ecstacy) husband, Arnold Sansom, 6, 8, effect of sublime, 98, 181 10, 72, 165 empiricist theory, 3, 5 as Martha “Patty” Amble (Plain enargeia (supreme animation in Dealer), 10 language), 71, 191 as “Mira,” 89–90, 190–91 epistles. See letters performs passions, 88, 104, 150, Epistles of Clio and Strephon (Bond/ 162, 163, 173, 184, 185 Fowke), 52–55, 60, 63, 64, 143 portrayed by Haywood, 8, 28 epithymia (overpowering desire), Cleomira (British Recluse), 161 119, 124 Flora (Betsy Thoughtless), eros, 119, 127, 144 193–94 erotic(ized), 9, 58, 108–10, 141, Gloatitia (Memoirs), 8, 10, 150 116, 180–83 Tortillée (Injur’d Husband), See also body; language for the 8, 163–66, 170, 172–75, passions 175, 185 exclamation marks, 62, 90, 96, 171, resented by Haywood, 7, 8, 180– 183, 189 81, 184 eyes resentment of Haywood, 7, 28, and imagination, 85, 97, 127 116–17 and love, 123–24, 154, 156, 167 Sappho’s daughter, Cleis, 53, 73, penetrating gaze, 91 202n7 See also Ficino, Marsilio; love; and Savage, 8, 166–67 reading works Clio (Letter to Hillarius), 72– Fairer, David, 168, 190 81, 104–5, 116, 191 fear, 14 “Clio’s Picture,” 68–69, 88, Ficino, Marsilio 90–93, 164, 191 De amore, 85, 88, 89 “Innocent Inconstant, The,” eyes, 97, 124, 156 74, 163, 191 imagination and love, 85, 124 “On Lady Chudleigh,” 100 figurative language, 28, 77, 111, 191 “To Mr. John Dyer, of metaphor, 35, 162 Carmarthenshire,” 100

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Fowke, Martha (continued) and revenge, 44–45, 193 “To Mr. Thomson, On his and Savage, 176, 180, 184–85 blooming Winter,” 190 works “To Miranda . . . on Sleep,” 164 British Recluse, The, 150, 151– 63, 171, 193 Galen, 13–15, 79, 132 City Jilt, The, 33 galley slaves, 16, 17, 121 “Discourse concerning garrison, in The Plain Dealer, 115, Writings of this Nature, by 118, 120–21, 125, 128, 145, Way of Essay,” 20, 52, 55, 170 59, 63–64, 81, 148 Gerrard, Christine, 2, 9, 68, 101, Female Spectator, The, 29, 45, 107, 108, 110, 127, 164, 180, 48, 200 188, 205n96, 211n5 History of Jemmy and Jenny “Gloatitia.” See Fowke, Martha Jessamy, The, 194 History of Miss Betsy Gomez, Madeleine-Angélique de Thoughtless, The, 193–94 Haywood’s Poems on Several Injur’d Husband and Lasselia, Occasions, 104 The, 163–76, 183, 193 Les journées amusantes, 104 Lasselia, dedication, 34, 147 Reflexions sur l’inconstance des Letters from a Lady of Quality hommes,104, 208–9n80 to a Chevalier . . . , 52, Gordon, Scott Paul, 154 54–65, 160 Granville, George (Baron Life’s Progress . . . , 26, 29–50, Lansdowne), 23 94, 193, 200n1, 200n2 grief, 45, 92, 118, 145, 179, 213n2 Love in Excess, 23–24, 43, 46– described, 78, 116, 168, 175 47, 51, 54, 70, 142, 143, divorced from sublime, 106 149, 160, 199n46 Guskin, Phyllis J., 2, 68, 163, Memoirs of a Certain Island . . . , 202n6, 204n53, 205n96 10, 116, 131, 179–86, 217n101 Hammond, Anthony Poems on Several Occasions, 98– New Miscellany of Original Poems, 113, 129, 168, 181, 184, 68–69, 91, 105 208n53 Hammond, Brean, 6 “To Diana . . . ,” 100, 110 “Irregular Ode to Walter Haywood, Eliza, 2, 3–5 Bowman,” 100–104, acting theory, 14, 28, 148–49, 163 112, 160, 161, 208n53 critical of metaphor, 35–39 “Translated from the French” “Great Arbitress of Passion,” 3, [3], 104, 208n53 11, 24–25 “Vision, The,” 100, 107, critical of metaphor, 35–9 110, 112 lyrical language, 24 Rash Resolve, The, 98, 170, Mallet on, 180 176–79, 180 personal life, lack of evidence, 9 Spy upon the Conjurer, A, 7–8, portrayed by Fowke, 116–17 166 resentment of Fowke, 7–10, 180– Tea-Table, Part One, The, 144, 81, 184 187

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Index 235 heart, 13, 57, 63, 142, 155 “Vision, The,” 107, 108, heat of, 13–14 111–12 houses vital spirits, 13, 96, 170 Hill, Margaret (née Morris), 6, 11, and passion, 72–73, 77, 170, 179 27, 7, 165, 188 versus reason, 120, 194 Aaron Hill’s love-letters to, 66– Helen of Troy, 85, 93 67, 68, 69, 71 Hill, Aaron, 4–5, 6, 11 in Memoirs of a Certain Island acting theory, 23, 28, 147, 154 (Haywood), 165 affair with Fowke, 3, 8, 11, 27, “Miranda,” 6, 97, 100 66, 71, 72, 164–65, 192, as “Montamour,” 164, 166, 167 193–94 works on death of Fowke, 11–12, 192 “To Aurelia,” 164–65 family portrayed by Haywood, 165 “Sleep,” 164 on language, 3, 22, 27, 28 Hillarian circle, 6–8, 187 marriage, 11, 164–65 and the passions, 7, 9 on paraphrase, 56 prototype for The Plain Dealer on poetry, 22–23, 56, 90, 91 assembly, 6 and Savage, 11, 117, 176, 184– See also Bowman, Walter; Dyer, 85, 187, 203n19, 217n113 John; Fowke, Martha; works Haywood, Eliza; Hill, “To the Author of the Margaret; Mallet, David; foregoing Verses, A Mitchell, Joseph; Savage, Painter . . . ,” 84, 86–87 Richard; Thomson, James Creation, The, 22, 99, 101, Hippocrates, 12, 14 208n53 Essay on the Art of Acting, 137, humoral theory, 13 147 See also biles Fatal Vision, The, 147 Hobbes, Thomas, 16 Judgment-Day, 99, 101, 169, Homer, 69, 112, 184–85 208n53 Howell, James, “To the Knowing love-letters, 10, 27, 66–72 Reader Touching Familiar “Messenger, The,” 164, Letters,” 52 215n64 Hume, David, Treatise of Human “On Seeing Mr. Elly’s Picture Nature of Mrs. Oldfield,” 90–91 sympathy, 19, 33, 34, 49 “Picture of Love, The,” 93–98, humors, 13, 14, 15 104, 141–42, 146, 215– See also biles; blood 16n64, 216n89 Hutcheson, Francis, Essay on the Plain Dealer, The (with Bond), Nature and Conduct of the 91, 94, 115–45, 176, 187–90, 192, 211n5, Passions 211n12 sympathy, 19, 25, 34, 124, 187 “Preface to . . . The Creation,” talking cure, 129, 138, 192 22, 56 Prompter, The, 4, 137, 147, “ideal presence,” 58–59, 70 154–55 identity, 5, 12 Psalm 104, 67, 108 passions’ role in, 15, 16, 19, 134

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236 Index identity (continued) Lamb, Jonathan, 99, 109, 181 through writing, 88, 104, 129, Lamy, Bernard, The Art of Speaking, 145 1, 56, 83, 90, 148 See also interiority; subjectivity language for the passions, 1–3, 12, imagination 24, 117, 152 generating passions, 14, 66, 72 classical, 120, 124, 140 and love, 84, 85, 88–89, 124, 127 fusion of physiological and and performing passion, 149 psychological, 28, 61, 93– “plastic imagination,” 132 94, 97–98, 113, 140–46, and reading, 64, 72, 113, 175, 156 189 and Haywood, 54, 146, 150–51, and sensibility, 18, 85, 89, 132 161, 178, 191 and words, 84, 88, 161–62 limitations, 36, 143, 195 See also Addison, Joseph: sensory effects, 18, 72 “Pleasures of the theory, 5–6, 22–23 Imagination”; Ficino, See also aesthetic sublime; Marsilio “amatory aesthetic”; Dennis, Ingrassia, Catherine, 148 John; lyrical language; “Innocent Inconstant, The” metaphors; Sappho (Fowke), 74, 163, 191 Le Brun, Charles, Method to Learn interiority, 21, 32, 169, 172, 185 to Design the Passions, 85, 148 ekphrasis and, 84, 88 letters figurative language, 106 and bodies, 57–59, 63–64, 72 inability to convey, 136 dangers of, 63–65 melancholy as discourse for, 47, epistolary theory, 51–52, 55, 58, 190 72 and physiology, 148 “ideal presence,” 58–59, 70 and sympathy, 175 Richardson, 72 See also identity; subjectivity sexual nature of, 52, 72 visione, 70 jealousy, 78, 140, 187, 189, 213n2 See also Epistles of Clio and described, 135–36, 137 Strephon; Haywood, Eliza: in Hill marriage, 164–65 “Discourse concerning Johnson, Samuel, 51 Writings of this Nature,” joy, 110, 122, 158, 160, 179, 213 Letters from a Lady of described, 18, 96, 128 Quality; Hill, Aaron: Judgment-Day (A. Hill), 99, 101, works: love-letters; Letter to 169, 208n53 Hillarius (Fowke); reading Letter to Hillarius (Fowke), 52, 72– Kames, Lord [Henry Homes], 81, 104–5, 116, 131, 165, 191 Elements of Criticism libertinism, 17, 73 “ideal presence,” 58–59, 70 See also duality; Wilmot, John King, Kathryn R., 2, 9, 23, 99, Locke, John, 6, 26, 31, 191 150, 166, 176, 180, 200n1, clarity in language, 21–22, 35, 217n101 102–3

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curiosity, 31–32 McKeon, Michael, 72 and metaphor, 35 medical discourse, 21, 27, 122, 168, Longinian sublime, 22, 101, 110, 191 111, 143, 161, 191 and Fowke, 73, 77, 79 described, 98–99, 105–7, 109– See also blood; body; lovesickness 12, 155, 168, 181, 192, melancholy 210n89 Anatomy of Melancholy, 77 effect of, 100, 103, 142–43, 157, love, 73–74, 77, 142 168 religious, 122, 124 love, 27, 46–47, 48–49, 71, 77, See also biles; Cheyne, George; 88, 94, 118, 123–24, 144–45, humors 213n44 Merritt, Juliette, 151–52 amatory rhetoric, 150–51 metaphors, 41–43, 46, 70, 94, 104, disease, 78–80, 141 140, 170 effect on body and mind, 49, conventional/overused, 35–36, 61–62, 71, 85, 128, 146, 73, 106, 150 171, 183 critical attitude toward, 22, 35, excess of, 17, 179 46 humanizing, 32–33, 77, 126 and the passions, 35, 41, 58, 77, “love refined” (Fowke), 104–5 113, 116, 143 “Picture of Love, The,” 93–98, and the sublime, 84, 96–97, 110, 104, 141, 146, 216n64, 113, 143 216n89 theory, 161–62 The Plain Dealer in love, 126–28 midwife for the mind, 129–40, 175 social, 16, 97 “Mira.” See Fowke, Martha spiritual, 96, 122 “Miranda.” See Hill, Margaret sublime, 17, 141–42, 143, 149, Miscellaneous Poems and 190, 195 Translations (Savage)21, 83– tyrannical, 73–74, 124, 143, 98, 100, 124, 164, 176, 201 176–77, 189 Mitchell, Joseph, 6, 7 See also eyes; Ficino, Marsilio; lovesickness; platonic love nerves, 18–19, 79, 132, 137, 154 lovesickness, 27, 52–53, 73, 47, 77, See also Cheyne, George; 78, 80 imagination; sensibility; Lubey, Kathleen, 34, 150 Willis, Thomas Lyotard, Jean-Francois, 137 Nussbaum, Martha, 133 lyrical language, 24, 79, 199n46 opera, 39–43, 44, 49 Malebranche, Nicholas, 16 Orr, Leah, 217n101 Mallet, David, 6, 8, 23 Ovid, 53, 60, 107, 112, 119, 120, on Haywood, 180–81 126 “To Mira, from the Country,” 89–90 painting renames Fowke, 190 advantage over words, 22, 84–85, Manley, Delarivier, 130 206n6

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238 Index painting (continued) See also acting theory; Hill, of Clio, 27, 83 Aaron: works: The Prompter difficulty to capture essence/soul, physician for the mind/soul, 133, 83, 85, 86, 87, 89, 91, 113 138, 175 and language, 84, 87, 88, 98, See also midwife for the mind 176 physiology, 13, 64, 80, 132, 133 and the passions, 5, 84–85, See also body; nerves 96–97 “Picture of Love” (A. Hill). See Hill, poems about, 206n1 Aaron See also Addison, Joseph; Le Piles, Roger de, 89 Brun, Charles; Dyer, John; Plain Dealer, The (Bond/A. Hill). Granville, George; Piles, See Hill, Aaron Roger de; “Clio’s Picture”; “plastic imagination,” 132 Reynolds, Sir Joshua; Plato, 13, 14, 36, 38, 113, 119–20, Richardson, Jonathan, Sr. 124, 127, 128, 156 parentheses, 172 Ion, 111 parody, 36, 87, 109 Phaedrus, 115, 118, 141 antisublime, 183 platonic form, 85, 93 passions platonic love, 60–61, 115, 188 different in men and women, 20, in Epistles of Clio and Strephon, 133, 154 52, 54, 60 reason a slave to, 12, 41, 42–43, and Fowke, 73, 76, 77, 79, 192 48–49, 71, 113 and Haywood, 48–49, 60–61 repression of, 12, 15, 20, 65, 81, in Letters from a Lady of 126, 148–49, 170, 180 Quality . . . , 55 “ten dramatic,” 213n2 theory (see Aquinas, Thomas, See also courtly love Saint; Aristotle; Bragge, Pope, Alexander, 22 Francis; Cheyne, George; Dunciad, 9, 217n115 Galen; Hippocrates; “Eloisa to Abelard,” 48, 73, 103 Hobbes, Thomas; Hume, Essay on Man, 19, 97 David; Hutcheson, Francis; “Rape of the Lock,” 15, 139 Malebranche, Nicholas; Porter, John Plato; Pope, Alexander; Critical Essay Containing Some Senault, Jean-Francois; Watts, Remarks . . . , 54, 55, 57, 63 Issac; Wright, Thomas) pregnancy, 80, 133, 158 See also ambition; anger; disease; “Emanuella” (Rash Resolve), grief; jealousy; joy; love; 177–78 revenge; shame; vanity and Fowke, 80, 205n96 pause, dramatic, 59, 62, 156–58, and writing, 110, 139 172 Prompter, The (A. Hill). See Hill, See also dashes Aaron performing the passions, 65, 129– 30, 136, 137, 139–40, 147–49, reading 154, 162, 172–74 to cure passions, 134–35

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Haywood reading Hill, 99, as “duLache,” (Injur’d 112–13 Husband), 163 letters, 58–59 as “Pandarus,” (Memoirs), novels, 34, 152 184–85 physiology of, 64 as “Riverius,” (Memoirs), 8, 182, reason. See under passions 183–84, 185 religion as “Thersites,” 184–85 to control passion, 41, 42, 44, works 122 Miscellaneous Poems and religious sublime, 191 Translations (Miscellany), See also Dennis, John 108 repetition, 24, 46, 62, 90, 161, 171, “Friend, The,” 184 172, 178, 183, 195, 199n46 “To Mr. John Dyer, a Painter,” revenge, 10, 44–47, 79, 137 84, 85–86, 89 “To Mrs. Eliz. Haywood, described, 45 on . . . Love in Excess,” Haywood’s against Fowke, 28, 193 54 Haywood’s against Savage, 184 “To Mrs. Eliza Haywood. Reynolds, Sir Joshua, Discourses on on . . . The Rash Resolve,” Art, 5 98, 150 rhetoric, 23, 25, 159 “To Sir William Brewer, amatory, 150, 160, 183, 214n11 Baronet,” 100 deadens ideas, 22–23 “Unconstant,” 74 heightening (amplification), 56 savages, 15, 35, 40–41, 121, 125 “inexpressibility topos,” 150 “savage subjects,” 17, 41, 121, 122 insincere, 57, 155, 160, 162 Senault, Jean-Francois, The See also ekphrasis; enargeia Philosophy of the Passions, 17, Richardson, Samuel, 21, 72, 164 41, 119, 121 Richardson, Jonathan, Sr. sensibility, 20–21, 33, 75, 154, 180 on painting versus words, 84, Shakespeare, William, 5, 30, 43, 87, 86, 97 107, 116, 147, 185 Richetti, John, 24, 140, 150, 162, shame, 41–42, 44, 148, 157, 158, 178, 214n11 177–78 Rochester. See Wilmot, John sorrow. See grief Royal Society, 35, 102 soul corporeal and rational, 36, 38, Sansom, Arnold 79, 179 husband of Fowke, 6, 8, 72, 165, expansion of the, 16, 142 166 See also imagination; Plato as “Rutho” (Memoirs), 10, 182 Spacks, Patricia Meyer, 21 Sansom, Martha. See Fowke, Martha Spectator,The. See Addison, Joseph Sappho, 53, 73, 78, 112, 191, Spedding, Patrick, 2, 9, 55, 176 202n7 spirits Savage, Richard, 8–9, 23, 117, animal, 13, 20, 79, 90, 95, 110, 176, 180, 203n19, 211n5, 132 217n113, 217n115 vital, 13

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Sterling, James, “For Mrs. Eliza “Vision, The.” See Hill, Aaron: Haywood on her Writings,” 3, works 24–25, 150 visione, 70 Stoics, 15, 17, 47 See also apatheia Watts, Isaac, The Doctrine of storms, 106, 124, 127, 168, 191 the Passions Explain’d and subjectivity, 72, 182, 185, 191, 194 Improv’d, 17, 40, 41, 42–43 See also identity; interiority wild animals/beasts, 15, 16 sublime. See Longinian sublime Willis, Thomas, 18, 19, 38, 42, 79, syllabub, 136 133 sympathy, 16, 19–20, 29, 31–34, “Twinns striving in the same 58, 126, 192 womb,” 38, 49 and sensibility, 21, 40, 78, 162 See also nerves See also Hume, David; Wilmot, John (Earl of Rochester), Hutcheson, Francis 17–18 “A Satire against Reason and synesthetic, 87 Mankind,” 42 women tempests, 25, 124, 141, 168, 175 in Hillarian circle, 6 turbulent oceans, 35, 124, 169 prone to passions, 14, 20, 154 See also storms repress passions, 20, 65, 81, 148, Thomson, James, 6, 23, 99, 190–91 170 thymos (spiritedness), 119, 127 and writing, 55, 64, 100, 107, Tierney-Hynes, Rebecca, 193 112, 130, 145 translations words, 1, 22–23, 46–47, 84, 85, from the French (Haywood), 55, 95–96, 105, 159 56, 100, 104–7 inadequate for passions, 12, 68, losses in, 56 72, 151, 195 Psalm 104 (A. Hill), 67, 108 “living words,” 22, 27, 191 tropes. See disease; “savage and Locke, 35, 102 subjects”; galley slaves; storms; See also Longinian sublime; tempests; wild animals/beasts metaphor Wright, Thomas, 16–17 vanity, 64, 139–40, 2140 writing and Fowke, 11, 192 and identity, 88, 104, 129, 145 veins, 79–80, 171, 191 and vanity, 139, 212n40 See also blood See also women vent, 80, 153–54, 159, 168–69, 193 zeal, 123 virtue, 21, 31, 74–76, 124 Zeuxis, 85