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Corpses, Coasts, and Carriages: Gothic Cornwall, 1840-1913

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Corpses, Coasts, and Carriages: Gothic Cornwall, 1840-1913 Corpses, Coasts, and Carriages: Gothic Cornwall, 1840-1913 Submitted by Joan Passey to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English in September 2019 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Joan Passey Signature: ………………………………………………………….. Words: 91,425 1 Abstract While there are defined Irish, Welsh, and Scottish Gothic traditions, there has been a notable critical absence of a Cornish Gothic tradition, despite multiple canonical and less-canonical authors penning Gothic stories set in Cornwall throughout the long nineteenth century. This critical oversight is part of a longer tradition of eliding Cornwall from literary and cultural histories—even from those to which it has particular relevance, such as histories of the industrial revolution (in which its mining industry was a major contributor), and the birth of the tourist industry, which has shaped the county and its economy through to the present day. This thesis will rectify this gap in criticism to propose a Cornish Gothic tradition. It will investigate Gothic texts set in Cornwall in the long nineteenth century to establish a distinct and particular tradition entrenched in Cornwall’s own quest for particularity from other Celtic nations and English regions. It will demonstrate how the boom in Cornish Gothic texts was spurred by major changes occurring in the county in the period, including being the last county to be connected to the national rail network, the death of the mining industry, the birth of the tourist industry, large-scale maritime disaster on its coasts, and the resituating of the legendary King Arthur in Tintagel with the publication of Tennyson’s Idylls of the King. An understanding of Cornwall’s historical context is necessary to fully comprehend the use of Cornwall in Gothic texts by authors such as Thomas Hardy, Wilkie Collins, Mary Elizabeth Braddon, Arthur Conan Doyle, Sabine Baring-Gould, Robert Stephen Hawker, and Bram Stoker. The absence of Cornwall from Gothic literary histories— and literary analyses more generally— is a significant gap in our understanding of the role of space and place in the literary imagination which this thesis aims to rectify. Not only will a study of the Cornish Gothic provide new insight into the Gothic as a genre but provide new ways of approaching canonical Gothic authors. 2 Acknowledgments This thesis is dedicated to my grandfather, Frank Frederick Scott, who taught me to love railways and the sea, and who probably drove through Cornwall in a lorry once. It is in loving memory of Christina Annesley, who would have written an amazing thesis, and Dr Jayne Wackett, whose generosity reinvigorated me when I was close to quitting. This thesis would not have been possible without the supervision and infinite patience of Professor Nick Groom and Professor William Hughes. Thank you. My eternal gratitude to Dr Andy McInnes, without whom I would never have applied for a Masters, let alone a PhD. I am forever indebted to Professor Madhu Krishnan, Dr John McTague, Dr Laurence Publicover, Dr Sian Harris, Dr Emily Coit, Dr Jane Wright, and the University of Bristol English Faculty at large for their mentorship, time, and support over the last four years. This thesis was written near exclusively in writer’s retreats ran by Pam Lock and would not exist without her kindness as a colleague and a friend. Thank you to my dear cohort for collaboration, inspiration, commiseration, and friendship. Especially to Tabitha Stanmore, Caitlin Greenwood, Lucy Elkerton, James Watts, James Wilson, Grace di Meo, Alex Jones, Louise Benson James, Leonie Thomas, Jen Baker, Rhiannon Easterbrook, and many more who offered love and wine. I would not be here in the first place without the generosity, support and patience of my family—my mum Laura, my dad David, my nanny Joan, my sister Jodie, and my dearest friends and soul sisters Ellie Stevenson and Rebekah Roebuck. I am grateful forever to Harry Cruse, my patient partner, for unerring gentility, humour, support, and good spirits when mine were very, very low. Thank you for everything. I am grateful, too, for the many librarians, curators, and administrative and support professionals who have enabled every step of this journey with their expertise and generosity. Especially to the Courtney Library and the Royal Cornwall Museum, the David MacGregor Library of the SS Great Britain, Rhian Rowson of Bristol Museum, the Bristol Doctoral College, Dr Kate Kennedy, the Oxford Centre for Life Writing, and in the very last stages, the NCCPE. This thesis was supported by the South, West, and Wales Doctoral Training Partnership (AHRC), the Cornwall Heritage Trust, and the Q Fund. 3 Contents Contents Cover Sheet........................................................................................................ 1 Abstract .............................................................................................................. 2 Acknowledgments .............................................................................................. 3 Contents ............................................................................................................. 4 Introduction ......................................................................................................... 5 Chapter Outlines ............................................................................................... 49 Chapter One: “Let us catch the sea-wolves falling on their prey”: Folklore, National Identity, and the Gothic in Cornish Shipwreck Narratives ................... 55 Chapter Two: “Given up to dead folk”: King Arthur and Gothic Tourism ......... 113 Chapter Three: “The dead lay buried and yet unburied”: Cornish Mining Narratives and the Subterranean ................................................................... 171 Chapter Four: “A delightful place to be buried in”: A Pair of Blue Eyes and the Function of Travel in Gothic Cornwall ............................................................. 226 Conclusion ...................................................................................................... 271 Bibliography .................................................................................................... 279 4 Introduction Corpses, Coasts, and Carriages: Gothic Cornwall, 1840-1913 Robert Louis Stevenson in Across the Plains (1862) recalls the uncanny experience of meeting with Cornish miners abroad: A knot of Cornish miners who kept grimly by themselves... discussing privately the secrets of their old-world, mysterious race. Lady Hester Stanhope believed she could make something great of the Cornish; for my part, I can make nothing of them at all. A division of races, older and more original than that of Babel, keeps this close, esoteric family apart from neighbouring Englishmen. Not even a Red Indian seems more foreign in my eyes. This is one of the lessons of travel—that some of the strangest races dwell next door to you at home.1 Stevenson's passage summarises the popular perception of Cornwall as a barbarous space in the wider British imaginary in the period. At this time, Cornwall was perceived as “a mysterious race”, distinct from the surrounding English race (and seemingly from Stevenson’s Scottish kin). They are separate geographically, culturally, and historically. Despite Cornwall being an English county the Cornish are very explicitly “apart from neighbouring Englishmen”. They are proximal or adjacent to England, but not English. Instead they are foreign, divided, and their difference is exaggerated by their ancientness, as they are both “old-world” and “older” than “Babel”. This ancientness, however, is not elevated—instead, it reinforces the primitivity of the Cornish and upholds their otherness, strangeness, and insularity. The Cornish here are miners forced from their homes by radical economic decline and fighting to preserve their strangeness “across the plains” in the construction of a global Cornish diaspora. This goes some way to explaining why the Cornish jealously guard their secrets, stories, and culture while half a world stands between them and their homeland. Stevenson's observations encapsulate the recurrent association of the Cornish with other seemingly old and threatening, barbarous 1 Robert Louis Stevenson, Across the Plains (London: Chatto & Windus, 1909), p. 55. Lady Stanhope (1776-1839) was a socialite, traveller, and adventurer. 5 peoples—Red Indians, Celts, and Phoenicians. Furthermore, Stevenson gestures to one of the central tenets of the mid-nineteenth-century British Gothic—the domestic Gothic, or the return of the Gothic to the homestead, where “the strangest races dwell next door”. The nineteenth century saw a turn of the Gothic inwards, away from Ann Radcliffe and Horace Walpole’s Mediterranean climes, where “the wild landscapes of Romantic individualism give way to terrors and horrors that are much closer to home”.2 While earlier Gothic authors, such as Clara Reeve, set Gothic tales in England, nineteenth- century Gothic writing demonstrated a particular preoccupation with domestic fiction as encapsulating national anxieties in an increasingly globalised world. Gothic
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