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The Nineteenth-Century Decadents/Ce of Alcott, Egerton, D' Arcy and Rachilde

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The Nineteenth-Century Decadents/Ce of Alcott, Egerton, D' Arcy and Rachilde University of Alberta Dionysian Dominatrices: The Nineteenth-Century Decadents/ce of Alcott, Egerton, D' Arcy and Rachilde Sarah Elizabeth Maier B.A., M.A. 'u'' A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Doctor of Philosophy. Department of Comparative Literature and Film Studies Edmonton, Alberta Fa11 1997 National Library Bibliothèque nationale I*i of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395, rue Wellington OttawaON K1AON4 Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, Ioan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fïlrn, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts f?om it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. To love a woman, is, for an artist, to change one's religion. She is the rival of the idea, and she never forgives.. Arthur Symons, "Christian Trevalga" Her life blossomed in excess through what has been called by the philosphers decadence, the end of everythicg . Rachilde, La Marquise de Sade Abstract The idea of decadence at the fin-de-siècle of the nineteenth century has been nearly impossible to define, and is equally problematic to theorize according to any consistent criteria or cluster of ideas. Recent criticism has viewed decadence as the product of the misogyny, homophobia, and racism of the male imagination which seeks revenge on women who merely become both the iconic content of male-authored decadent texts and its necessary support, without consideration of the possibility of female decadentdce. In this thesis, 1 confirm the gynophobia of the male-authored decadent text, and move beyond its restrictions to a consideration of the tales "A Marble Woman; or, The Mysterious Model" (1865), "Behind a Mask; or, a Womanls Power" (1866) and A Modern Mephistopheles (1877) by "A. M. BarnardlVLouisaMay Alcott (1832-1888), the short story collections Keynotes (1893) and Discords ( 1894) by "George Egerton, " the short story collections Monochromes (1895) and Modern Instances (1898) by Ella DfArcy, and the novels Monsieur Venus (1884) and La Jongleuse (1900) by "Rachilde." The texts of these women authors share many of the stylistic traits and thematic concerns of male-authored decadent texts such as the love of the artificial and the ornamental, shocking statements and images of literary cross-dressing, sexual excess, perversion and ennui without being merely a replication of those male texts- These female authors, and their decadent female characters, refuse the role of passive 'Other' imposed by the rigid binaries which previous theories/theorists have posited as constitutive of decadence, causing those binaries to deconstruct. These fernale decadents manipulate a mask of womanhood and the masquerade of the proper, idealized woman in order to annihilate her image and regenerate a decadent female who is driven by desire and sexuality, necessarily located by tradition as perverse because of its deviation from social conventions- It is by virtue of the woman's usurpation or appropriation of the position as artist that she can be considered a decadent within this historical framework. These women authors becorne creators of worlds whose laws are self-contained, and who are thus engaged in transgression; freeing subject(ed) female sexuality through the dispersal of the inherited stultifying rules, these women revision the world and impose a counter-discourse to nineteenth-century society and male-authored decadentske. This reading of female decadence is from a feminist perspective and incorporates, for purposes of elucidation, appropriate theoretical concepts from various texts such as Diana Fuss's concept of strategic essentialism, Eve Sedgewick's consideration of womanls place in the homosocial continuum, and Judith Butler's questions regarding the performativity of gender. All of the texts are read with a Foucauldian eye to relations of power both within the texts and in the decadent context, as well as a strong exploration of the Nietzschean conceptualization of Dionysian decadence. Acknowledgemen ts If it is possible to Say, in the steps of Oscar Wilde, that what follows in these pages is "chaos, illuminated by flashes of lightning," it is in the hope that 1 have captured the brilliance of those people who gave me strength with their unwavering support. 1 would like to express ay appreciation to several mentors and colleagues who have been integral to this project. My most profound thanks are reserved for Professor Milan V. Dimic whose encyclopedic mind, erudite insights and unfailling wisdom have long inspired my desire to be both a scholar and a teacher. Professors Edward Mozejko and Paul Robberecht have rny unreserved thanks for faith of their continuous encouragement which helped me find the words when 1 felt 1 had nothing of importance to Say. Professor Bruce Stovel will always have my gratitude for his excitement, precision and kind assistance in al1 of my projects, front Thomas Hardy to Decadence. Tea for two shall never be the same: Professor Margaret M. Van de Pitte's Wise words, generous spirit, and gracious counsel have earned my life-long respect. 1 extend my warmest thanks to my external examiner, Professor Chris Snodgrass (Florida), who took time from his valuable schedule to provide me with his challenging criticism and his energizing enthusiasm which will immeasurably advance this project in the months ahead. My dalliance into Decadence crystallized into the ideas contained in this dissertation at the School of Criticisrn and Theory at Dartmouth College. The scholarships I received from both the School and the Faculty of Graduate Studies and Research at the University of Alberta made it possible to immerse myself in an incredible atmosphere which 1 could only hope to repeat in the future. Professors Elaine Showalter and Naomi Schor's enthusiasm for and rigorous challenges to the naïve thoughts of a young scholar during my intense introduction to "theoretical" society has made inmeasurable differences in both my life and work. The many documents and texts that 1 required were retrieved for me with a smile from dusty library shelves, both near and far, by the efficient Interlibrary Loan staff at the University of Alberta and by the ever helpful staff at Dartmouth College Librâry. 1 would like to express my special appreciation to Elizabeth Kuiken; my even more unusual inquiries always benefit from her guidance as the irreplaceable clairvoyant of the Salter Reading Room where 1 took refuge at many times during the storm of graduate school. My family and friends know that 1 am oft struck dumb in moments when 1 wish to express my deepest indebtedness. Of these important people, none have had a greater influence on the path which 1 have chosen than Mr. Donald Macpherson; this man, whose rendition of Chaucer's "Prologue" showed me that great literature enriches life with the mernories it creates for both the teacher and the student, will always have my greatest admiration. I only hope that 1 may capture the essence of his passion for literature in my own, and instill the desire for knowledge in students of my own. To the people that follow, I must express my sincere appreciation: to Penny and Nancy for showing me what laughter in the face of adversity can do for the spirit and Michael Handman for his encouragement of my own laughter in a difficult time; to Shirley Konrad whose long-time friendship has enriched my life; to Chuck, Helen and Randy Curr, Anne and Nil10 Romanzin, Gene and Norman Kendrick, as well as Sheila Thompson for being the best of chosen farnily. Finally, when my rough edges threatened to unravel during the final stages of this project, 1 could always rely on the student turned seamstress and great friend, Tracy Balash, to gather together al1 my loose ends with conversations, coffee and cheesecake, For her tireless support, 1 Save her special thanks. 1 leave the most important, and inexpressable, thanks for my dedication. This work is, as are al1 of my others, for Patrick and Valerie Maier, whose love, wisdom and courage will always sustain me, For my parents-- without whom none of this would matter. Table of Contents Introduction ..................................... 1 Note on the Text ................................. 17 a Chapter One American/British/French Wornan in the Nineteenth-Century.......... ............... 18 a Chapter Two Male-Authored Decadents/ce .................. 40 Chapter Three Concord Scheherazade: Louisa May Alcott; or,"A. M. Barnard"? ...... 70 a Chapter Four Femme (s) de Si ècl e : "George Egerton" and Ella DIArcy............ 120 Chapter Five Dionysian Dominatrix: Monsieur Rachilde, Homme des Lettres ........ 165 Conclusion: Defining Female Decadentske ........ 212 Works Cited ...................................... 220 Appendix A: "SHE-NOTES"
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