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The Business of Literature in Eighteenth-Century Britain University of Kentucky UKnowledge Literature in English, British Isles English Language and Literature 1999 Misogynous Economies: The Business of Literature in Eighteenth- Century Britain Laura C. Mandell Miami University of Ohio Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Mandell, Laura C., "Misogynous Economies: The Business of Literature in Eighteenth-Century Britain" (1999). Literature in English, British Isles. 64. https://uknowledge.uky.edu/upk_english_language_and_literature_british_isles/64 Misogynous Economies Misogynous Economies The Business of Literature in Eighteenth-Century Britain Laura Mandell THE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 1999 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine College, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Club Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 03 02 01 00 99 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Mandell, Laura. Misogynous economies: the business of literature in eighteenth-century Britain / Laura Mandell. p. cm. Includes bibliographical references (p. ) and index. ISBN 0-8131-2116-7 (cloth : alk. paper) 1. English literature—18th century—History and criticism. 2. Miso- gyny in literature. 3. Capitalism and literature—Great Britain—History —18th century. 4. Women and literature—Great Britain—History—18th century. 5. English literature—Women authors—History and criticism. 6. Capitalists and financiers in literature. 7. Economics in literature. 8. Ethics in literature. 9. Women in literature. 10. Rape in literature. PR448.M57M36 1999 99-17695 820.9'353—dc21 The aesthetic is going to come back: The question is, on what terms? —Cora Kaplan Contents List of Figures viii Acknowledgment ix Introduction 1 1. Misogyny and Literariness: Dryden, Pope, and Swift 21 2. Capitalism and Rape: Thomas Otway's The Orphan 37 3. Engendering Capitalist Desire: Filthy Bawds and Thoroughly Good Merchants in Mandeville and Lillo 64 4. Misogyny and Feminism: Mary Leapor 84 5. Misogyny and the Canon: The Character of Women in Anthologies of Poetry 107 6. Transcending Misogyny: Anna Letitia Barbauld Writes Her Way Out 129 Conclusion 156 Notes 159 Index 212 Figures 1. G.B. Tiepolo, Tarquin and Lucretia 61 2. The sonnet lady, from [Charles Sorel] The Extravagant Shepherd 101 3. John Dryden, from [John Nichols, ed.] A Select Collection of Poems 124 4. Samuel Johnson, from A Dictionary of the English Language (5th ed., corr.) 125 Acknowledgments This work was inspired by an observation: in eighteenth-century texts in general and Jonathan Swift's texts in particular, Laura Brown has noticed "the necessary intimacy of structures of oppression and liberation." Each of the texts discussed in this work mingle together sexism and feminism in very disturbing ways, so that I was drawn to understand their "intimacy" and how it might be fostered or curtailed by literature. Enlightenment rationality entwines progressive and oppressive discourses in ways that we are still un- tangling at this moment; I hope this book contributes to that end. I would like to thank the many people who inspired and helped to shape this work, including Henry Abelove, Fredric Bogel, Laura Brown, Frances Dolan, Donna Landry, Mary Jacobus, Lori Merish, Lisa Moore, and Char- lotte Sussman. The manuscript was written thanks to various forms of sup- port. I would like to than the Woodrow Wilson foundation for a Mellon Fellowship, Cornell University for a Sage Fellowship, and Miami University for various research grants. Thanks also to Gilbert Mandell for driving a piece of the manuscript over the mountains during a snowstorm to Federal Express, located conveniently in the valley; and to Gregory Gundzik who spent New Year's day with me at Kinkos. I dedicate the book to my husband, mother, and father, and especially to Josef—in the words of Anna Barbauld, "a little invisible being who is ex- pected soon to become visible": may he witness less and understand more about misogyny than I. Chapter 1 was previously published as "Bawds and Merchants: Engendering Capitalist Desires," ELH 59.1 (spring 1992): 107-23. © 1992. The Johns Hopkins University Press. Chapter 4 was reprinted from "Demystifying (with) the Repugnant Female Body: Mary Leapor and Feminist Literary History," Criticism 38.4 (fall 1996): 551-82 by permission of the Wayne State Univer- sity Press. Introduction The nymph, though in this mangled plight, Must every morn her limbs unite. But how shall I describe her arts To recollect the scattered parts? Or show the anguish, toil, and pain, Of gathering up herself again? The bashful muse will never bear In such a scene to interfere. Corinna in the morning dizened, Who sees, will spew; who smells, be poisoned. —Jonathan Swift, "A Beautiful Young Nymph Going to Bed. Written for the Honour of the Fair Sex" Although Jonathan Swift's "A Beautiful Young Nymph" has painfully de- tailed every disgusting, disease-ridden part of Corinna's body before com- ing to this conclusion, the poem's last couplet tells us that it is the "dizened" or dressed Corinna who will make us nauseous. What disgusts Swift is not the female body but its cultural baggage: clothes.1 Moreover, Corinna's body is, the poem tells us, constituted by a heap of prosthetic devices: "a crystal eye," a set of teeth, "rags" to prop up her breasts, "bolsters" for hips.2 The poem sees as nauseating the things that Corinna uses to plug up holes and prop up organs as a way of masking bodily decay. Mary Douglas has shown that cultural practices surrounding bodily orifices function symbolically as a way of representing a society to itself.3 And, in the wake of her work, critics have shown that misogyny in representations is not about women but rather about society: representations that inspire passionate hatred of women and disgust with the female body provide a place for people to work out passionate feelings about changes in economic and social structure.4 Douglas's work and recent criticism make it impossible to see Swift's 1 scatology any longer as a personal psychic problem.5 Swift does not hate Corinna; rather, Corinna gives him the opportunity to master anxieties about social changes, felt by Swift to augur the decay of a paternalist social order: enclosure,6 the blurring of demarcations that separate aristocrats (the peer- age) from the merchant, trading, and professional classes,7 the alienability of property8—profound and troublesome changes accompanying the shift from agrarian and mercantile capitalism at the beginning of the eighteenth century to industrial or "full" capitalism at the beginning of the nineteenth century.9 Since dress, as sumptuary laws indicate,10 had long marked a person's status, it is no wonder that it would become an affectively charged (nauseating) object to members of a society changing in structure from a hierarchy based on status to a class society regulated by ideology. And cer- tainly members of a society engaged in transforming communal into private property via "a parliamentary coup d'etat"11 might be obsessed, symboli- cally, with using stones (crystal eyes and fake teeth) to plug up entrances to a body—i.e., with closing off public access to a particular parcel of land now imagined as having the borders, unity, and integrity of a human body. Although the title of this book indicates that it is about eighteenth-cen- tury economies, the book does not provide a historical account of the emer- gence of capitalism. Rather, it is about the development of affective structures around the emergence of capitalism: the economies discussed here are emo- tional. The following analysis of how misogyny works in both canonical and noncanonical literature tracks two changes in the structure of desire that occur during the eighteenth century, changes necessary to usher in fully capitalist modes of production. In order to desire engagement in capitalist activities, the image of the businessman must be rendered attractive enough for people to wish to identify with it. And, though it seems counterintuitive, the commodity form had to be rendered desirable—it was not automati- cally so. During the course of the eighteenth century, literature was recon- ceived as a commodifiable, canonical object and thereby lent its prestige to the commodity form. In both cases, new affective economies supported the emergence of industrial capitalism. Literature is one place in which feelings and thoughts can be circulated in new ways. In discussing "the business of literature," then, this book is concerned with two things: first, literature's relation to business, the work it does of both promoting capitalism and critiquing it; and second, literary business, the business of making texts into highly marketable canonical objects. Albert O. Hirschman and J.G. A. Pocock offer accounts of people protesting against rather than blithely acceding to the motive of untrammeled self-interest.12 The desire to produce profits and the desire to own commodities is not simply "natural." Capitalist desires had to be made palatable. Literature in Misogynous Economies general and misogynous representations in particular performed some of that work.
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