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Charlotte Smith and the Sonnet

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Charlotte Smith and the Sonnet 1 Charlotte Smith and the Sonnet Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy by Bethan Lloyd Roberts August 2014 2 For George Condliffe (1925-2014) i Acknowledgements Thank you, very much, to Paul Baines for supervising this thesis, and for all that has involved. Thank you to Kelvin Everest for reading and commenting on the draft. I would also like to thank the staff and postgraduate community in the School of English at the University of Liverpool – as well as in the university more widely – for their support and encouragement. For financial help, I am grateful to the University of Liverpool; Funds for Women Graduates; BARS, for a Stephen Copley Postgraduate Research Award; and am especially grateful to Barbara Statham and for the help I have received from the Price Memorial Scholarship Fund. Thank you to my family and friends for their support, especially my parents Jill and Lloyd; and to Huw, Emma and Simon. Special thanks to my Grandpa George: I would like to dedicate this thesis to him. Parts of chapters two and three have appeared as ‘From River to Sea: Literary Past and Present in Charlotte Smith’s Elegiac Sonnets’ in SEL Studies in English Literature, 54.3 (2014). ii Contents Acknowledgements i List of Illustrations iii Abstract iv Introduction 1 Thesis Structure 16 Chapter One: The Eighteenth-Century Sonnet 18 Elegiac Sonnets 46 Chapter Two: Tradition 52 Woodlands 52 Streams 65 River Arun 73 Other Poetic Landscapes 96 Chapter Three: Innovation 102 The Sea 102 ‘All the charms of novelty’ 106 Breaking ‘the silent Sabbath of the grave’: Sonnet XLIV 114 Between Sea and Churchyard 130 Giddy Brinks and Lucid Lines 140 Chapter Four: Wider Prospect of the Sonnet Revival 149 Illegitimate Sonnet 155 ‘Other Song’: 1789 and Beyond 161 Hotwells and Penshurst 170 Chapter Five: Botany to Beachy Head 185 The Goddess of Botany 188 Economies of Vegetation 194 Gossamer 201 Coda: Beachy Head 206 Bibliography 217 iii List of Illustrations 1. George Smith, ‘Classical Landscape’ (c.1760-1770) 8 2. S. H. Grimm, watercolour view of the entrance front of Bignor Park (1780) 47 3. Brookwood Hall (Lys Farm), J. P. Neale, Views of the Seats of Noblemen and Gentlemen, in England, Wales, Scotland, and Ireland. Second Series (London: Smith, Elder, and Co., 1824), vol I 53 4. Illustration to ‘Nightingale’, Charlotte Smith, A Natural History of Birds (London: J. Johnson, 1807) 54 5. Illustration to sonnet IV ‘To the Moon’, Charlotte Smith, Elegiac Sonnets. The Fifth Edition. With Additional Sonnets and Other Poems (London: T. Cadell, 1789) 66 6. Illustration to sonnet XXXVI ‘To the River Arun’, Charlotte Smith, Elegiac Sonnets. The Fifth Edition. With Additional Sonnets and Other Poems (London: T. Cadell, 1789) 83 7. Illustration to sonnet XII, ‘Written on the Sea Shore – October 1784’, Charlotte Smith, Elegiac Sonnets. The Fifth Edition. With Additional Sonnets and Other Poems (London: T. Cadell, 1789) 102 8. ‘Middleton Church Sussex’, The Gentleman’s Magazine, 66 (1796) 118 9. ‘Middleton Church, Sussex, N.E.’, The Gentleman’s Magazine, 67 (1797) 119 10. ‘Middleton Church, Sussex’, The Gentleman’s Magazine, 98 (1805) 119 11. John Constable, ‘Middleton Church Coast of Sussex-in part washed away by the Sea see Charlotte Smith’s Sonnet 10 July’ (1835) 120 12. John Constable, ‘Middleton Churchyard and form of a sceleton in the bank of the Churchyard’ (1835) 120 13. Illustration to ‘Elegy’, Charlotte Smith, Elegiac Sonnets. The Fifth Edition. With Additional Sonnets and Other Poems (London: T. Cadell, 1789) 125 14. Illustration to sonnet LXX, ‘On being cautioned against walking on an Headland overlooking the Sea, because it was frequented by a Lunatic’, Charlotte Smith, Elegiac Sonnets, and Other Poems, by Charlotte Smith. Volume II (London: T. Cadell, Jr and W. Davies, 1797) 142 15. S. H. Grimm, watercolour view of the back of Bignor Park (1780) 183 16. John Constable, ‘Bignor Park looking towards Petworth’ (1834) 184 17. Charlotte Smith, watercolour, from Hilbish, Charlotte Smith: Poet and Novelist (Philadelphia: University of Pennsylvania, 1941) 188 iv Abstract This thesis considers the place of Charlotte Smith’s Elegiac Sonnets in the eighteenth- century sonnet revival. Smith is often credited with reviving the sonnet form, and has attracted attention as a ‘Romantic’ poet. This thesis seeks to rebalance the existing critical focus by locating Smith’s sonnets in their eighteenth-century context and by considering her engagement with tradition alongside her innovation and influence. It offers a new history and evaluation of the eighteenth-century sonnet, and locates Smith’s sonnets within it. It traces the expansion of Elegiac Sonnets through its multiple editions from 1784 to 1800, charting Smith’s changing approach to – and the interactions between – form, literary tradition and place. Thus, the thesis clarifies Smith’s real significance as a writer and her place in literary history. 1 Introduction In 1802, The Critical Review announced that the ‘sonnet has been revived by Charlotte Smith: her sonnets are assuredly the most popular in the language, and deservedly so’.1 After almost two hundred years of critical neglect – confirming Wordsworth’s prediction that she was a poet ‘to whom English verse is under greater obligations than are likely to be either acknowledged or remembered’ – Charlotte Smith (1749-1806) now once again rightly assumes a prominent position in the history of the sonnet.2 In 1715 John Hughes described the sonnet as ‘a Species of Poetry so entirely disus’d, that it seems to be scarce known among us at this time’, yet by 1793, it was observed in the The Critical Review that the sonnet ‘has been so much cultivated of late years, […] that, to say the truth, we begin to be almost satiated with sonnets’.3 This thesis assesses the place of Smith’s Elegiac Sonnets (1784-1800) in this revival, as the sonnet, which had fallen from favour in the years following Milton’s death, became one of the most ubiquitous literary forms of the late- eighteenth century, and a major Romantic form. Curran writes that the sonnet’s ‘rebirth coincides with the rise of a definable woman’s literary movement and with the beginnings of Romanticism. The palm in both cases should go to Charlotte Turner Smith’.4 Indeed, the focus of critics has been on Smith as a ‘Romantic’ poet, and her influence. Curran writes elsewhere that she is ‘the first poet in England whom in retrospect we would call Romantic’, and Jacqueline Labbe’s two monographs on Smith, as well as an edited collection of essays, are deeply concerned with Smith’s place within ‘Romanticism’, as their titles indicate.5 Although Smith is often credited with reviving the form, when Elegiac Sonnets was first published in 1784, the sonnet’s revival had already been initiated. In January 1785, the year following the first edition of Smith’s Elegiac Sonnets, a commentator in The New Annual Register observed how ‘No one can be insensible how much the sonnet hath of late years 1 The Critical Review, 34 (1802), p. 393. 2 William Wordsworth, ‘Notes’, The Poetical Works of William Wordsworth, ed. by Ernest de Selincourt and Helen Darbishire (Oxford: Clarendon Press, 1947), pp. 395-470 (p. 403). The comment is made in a note to ‘Stanzas suggested in a Steamboat off St. Bees’ Head, on the coast of Cumberland’ (1833). 3 John Hughes, The Works of Mr. Edmund Spenser [...], 6 vols (London: J. Tonson, 1715), I, p. cviii; The Critical Review, 10 (1794), p. 114. Here and throughout the thesis, original capitalisation has been maintained in quotations of both poetry and prose. 4 Stuart Curran, Poetic Form and British Romanticism (Oxford: Oxford University Press, 1986), p. 30. 5 Curran, ‘Introduction’, in The Poems of Charlotte Smith (Oxford: Oxford University Press, 1993), pp. xix-xxix (p. xix). Jacqueline Labbe, Charlotte Smith: Romanticism, Poetry and the Culture of Gender (2003); Writing Romanticism: Charlotte Smith and William Wordsworth, 1784-1807 (2011); Charlotte Smith in British Romanticism (2008). 2 become a favourite mode of writing; and a judicious critic may possibly think that it has been cultivated something more than it deserves’.6 As these periodical observations suggest, critical opinion on the sonnet form was ambivalent and unsettled; and the worth and correct manifestation of the form were much-debated topics throughout the last decades of the eighteenth century. Smith’s chief eighteenth- century predecessors in the sonnet were Thomas Edwards (d. 1757), Thomas Gray (1716- 1771), Thomas Warton (1728-1790) and William Hayley (1745-1820), whose sonnets were widely read, and whose sonnets she knew.7 The relationship between her sonnets and those of her contemporaries and predecessors is yet to be fully considered, however, as is her relationship with more remote sonnet tradition, from Petrarch to Milton, and the context of their eighteenth-century status and appropriation. Despite the recent renewed scholarly interest in Smith’s sonnets, a full-length study of the literary and formal context of Elegiac Sonnets, grounded in the eighteenth century, has not yet been made, which this thesis redresses. Critical interest in the sonnet as a ‘Romantic’ form has also meant that the earlier history of the sonnet form in the eighteenth century has often been neglected or overlooked. While it builds on the work of critics such as Curran and Labbe, who have established Smith’s importance, this thesis reconnects Smith with the earlier history of the eighteenth- century sonnet and the first chapter offers an historical overview of the sonnet in the eighteenth century, before the publication of Smith’s first edition of sonnets in 1784. Subsequent chapters trace the development of Smith’s volume within a formal context.
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