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Dreading He Knew Not What: Masculinities, Structural Spaces, Law and the Gothic in the Castle of Otranto, Pride and Prejudice, and Wuthering Heights Samantha E

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Dreading He Knew Not What: Masculinities, Structural Spaces, Law and the Gothic in the Castle of Otranto, Pride and Prejudice, and Wuthering Heights Samantha E CORE Metadata, citation and similar papers at core.ac.uk Provided by Scholarship@Claremont Claremont Colleges Scholarship @ Claremont Pitzer Senior Theses Pitzer Student Scholarship 2013 Dreading He Knew Not What: Masculinities, Structural Spaces, Law and the Gothic in The Castle of Otranto, Pride and Prejudice, and Wuthering Heights Samantha E. Morse Pitzer College Recommended Citation Morse, Samantha E., "Dreading He Knew Not What: Masculinities, Structural Spaces, Law and the Gothic in The asC tle of Otranto, Pride and Prejudice, and Wuthering Heights" (2013). Pitzer Senior Theses. Paper 58. http://scholarship.claremont.edu/pitzer_theses/58 This Open Access Senior Thesis is brought to you for free and open access by the Pitzer Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Morse 1 Dreading He Knew Not What: Masculinities, Structural Spaces, and the Gothic in The Castle of Otranto , Pride and Prejudice , and Wuthering Heights “What we call real estate – the solid ground to build a house on – is the broad foundation on which nearly all the guilt of this world rests.” -Nathanial Hawthorne “The tyrant grinds down his slaves and they don’t turn against him; they crush those beneath them.” -Heathcliff in Wuthering Heights by Emily Brontë Introduction This essay investigates the integral linkages between Gothic spaces and Gothic masculinities in three texts: Horace Walpole’s The Castle of Otranto , Jane Austen’s Pride and Prejudice , and Emily Brontë’s Wuthering Heights . The Castle of Otranto was the first explicitly declared “Gothic story” published in 1764 and sets the template for subsequent developments in Gothic literature. Pride and Prejudice published in 1813 is a conventional love story that is usually not viewed as Gothic; however, I argue it serves as a useful counterpoint while also exhibiting intersections with the Gothic tradition. Finally, Wuthering Heights published in 1847 represents the new Victorian Gothic taking place within the contemporary English home rather than the exotic medieval castle. At the core of this examination is architecture, or more specifically, the physical constructions and built environments that comprise a man’s property. I explore how a man uses his property to construct, legitimize, and perform his identity. In the Female Gothic, the home is a place of anxiety for women, where patriarchal dominance and violence reign to constrain female agency. I argue that the home is also an anxiety-ridden space for men, who are similarly tyrannized by a force they have limited power to fight against: legality. The issue of property ownership as a means of defining masculine selfhood in these texts lead men to extreme, and arguably unnatural, resorts to cling to their coveted status as autonomous property holders and virile men. Morse 2 A man’s personhood is defined by his property ownership, yet this ownership is strictly bound in a web of laws that are often inherently unfair. Significant additions to these laws correspond with the rise of the Gothic novel. Common Law Doctrine II.i.13 written by Sir William Blackstone in 1776 specifically admits women from the process of property transmission and reinforces the system of primogeniture, which fixed the bequeathal of a father’s property solely to that of his firstborn son. Ruth Anolik 1 conducts a compelling analysis of how this law contributes to female anxieties in the Female Gothic; however, this statute also has significant implications for men, which have heretofore been overlooked. That is, to pass down his property a father must have a son . This of course is the driving conflict in both The Castle of Otranto and Pride and Prejudice : neither Manfred nor Mr. Bennet has a son to inherit their property. Another noteworthy issue in the new Commonwealth Doctrine is that only the firstborn son has a place in the line of property transmission. Accordingly, being gendered male is not enough to guarantee property ownership and its corresponding security of identity. Though the issues of non-firstborn sons are beyond the scope of this investigation, they should be kept in consideration as an additional source of male anxiety in property ownership. Thus, legal issues of property ownership and inheritance are the source of immense anxiety for men and are key to a meaningful Gothic study of The Castle of Otranto , Pride and Prejudice , and Wuthering Heights . In this excerpt from my senior thesis, I begin by contextualizing the importance of Gothic architecture and the literary scholarship of Men’s Studies. I then analyze how the male characters in The Castle of Otranto , Pride and Prejudice , and Wuthering Heights use structural spaces to legitimize and exert their autonomy, thus seeking to conform to the hegemonic ideal of masculinity. Yet due to issues of property ownership and inheritance, I argue that the home, 1 Anolik, Ruth Bienstock. "The Missing Mother: The Meanings of Maternal Absence in the Gothic Mode." Modern Language Studies 33.1/2 (2003): pp. 24-43. Morse 3 rather than bolstering masculine identity, is actually an anxiety-ridden space that challenges the men’s performances of idyllic masculinity. Situation in Gothic History and Scholarship Gothic history is inextricably linked to architecture. The Goths, Germanic barbarians, dismantled the architecture of the Roman Empire, both physically and metaphorically, through marauding, thus bringing the Western World into the Dark Ages. Roman and Greek architecture was founded on orders, which emphasize mathematically calculated balance and symmetry. Yet during the Middle Ages, the orders were often ignored and a new form of architecture evolved that had more free and non-uniform motifs; these included lofty towers and spires, the ogival or pointed arch, the ribbed vault, flying buttresses, lengthy galleries, and an arcade chamber called triforium 2. During the Italian High Renaissance, this non-classical architecture became officially referred to as Gothic (Castle 679). Yet by the mid-fifteenth century, Renaissance architects vehemently condemned the Gothic form as “grotesque and bizarre, evocative indeed of the uncouth hordes among whom it had supposedly originated” (680). The Gothic was not embraced until the mid-seventeenth century in England, when economic and imperial advancement kindled an interest in constructing a national history based on ancient origins. Both political and literary discourse began referencing England’s Gothic roots. As early as 1648 Nathanial Bacon connects English law to a Gothic derivation: “Nor can any nation upon earth shew so much of the ancient Goth-ique law as this Island hath” (Bacon 96) and in 1690 Sir William Temple alludes to “the ancient Western Goths, our Ancestors” in his essay “Of Poetry” (Temple 86). After the Hanoverian succession of 1714, Britain was politically stable and increasingly prosperous, thus strengthening the demand for patriotic myths. Terry Castle asserts that the Goths were 2 A thorough definition and historical analysis of Gothic architecture in England can be found in Bond, Francis. Gothic architecture in England : an analysis of the origin & development of English church architecture from the Norman conquest to the dissolution of the monasteries . London: B. T. Batsford, 1905. Morse 4 particularly attractive because of their valor in battle, inherent sense of justice, and purported chivalry to women; ultimately, the Goths became “primordial embodiments of a distinctively ‘British’ genius and cultural energy” (Castle 681). Consequently, newly powerful Whig leaders spearheaded a trend of neo-Gothic architecture. Chris Brooks explains that these Gothic constructions were designed to evoke the past and “say something about being British,” while concordantly representing and forging a contemporary national identity based on new liberties (Brooks 56). In addition to the political significance, Castle suggests another meaningful role of Gothic architecture in eighteenth century British culture. After two centuries of cold rationalism had dried the British imagination, suddenly, “Something about the looming, claustral grandeur of the Gothic cathedrals had a power, it seemed, of reawakening exactly that ‘scared awe’–a sense of vast, encompassing and imponderable spiritual forces–elsewhere absent from the world” (Castle 689). The Gothic space–massive, labyrinthine, and gloomy–enticed the imagination and begged to be filled. Thus the Gothic architecture trend inspires a literary one, with Gothic castles as the genre’s primary setting. These cold stone structures exert a powerful, compulsory force on the human body of the literary characters and the actual readers. Castle describes Gothic literature as “intensely corporeal” (697) and explains, “The Gothic novel worked like caffeine… being first and foremost a stimulant, a kind of auto-intensifier, a way of feeling one’s own body” (698). Both characters and readers experience spontaneous surges of adrenaline in the Gothic setting because it targets the most innate fear of all animals: becoming prey. The Gothic castle, not based on the harmonious symmetry of the Greco-Roman tradition, is the quintessential disorderly space for immobilization and entrapment. This becomes a recurrent trope in eighteenth century Gothic fiction: a heroine is trapped or lost in a Gothic castle (or similarly Morse 5 maze-like space,
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