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Boucher, Abigail Kate (2015) Representations of the Aristocratic Body in Victorian Literature

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Boucher, Abigail Kate (2015) Representations of the Aristocratic Body in Victorian Literature Boucher, Abigail Kate (2015) Representations of the aristocratic body in Victorian literature. PhD thesis. https://theses.gla.ac.uk/7059/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Representations of the Aristocratic Body in Victorian Literature Abigail Kate Boucher MScR: Victorian Literature; B.A. (hons): English Literature Submitted in fulfilment of the requirements for the Degree of Ph.D. in English Literature School of Critical Studies College of Arts University of Glasgow October 2015 2 ABSTRACT This thesis examines the representations of the aristocratic body in Victorian literature. This thesis argues that the authors often wrote, coded, and interpreted an aristocrat’s physical form as a paradoxical object which reflected many of the complex interclass issues and socio-economic transitions seen throughout the Victorian era. By exploring distinct, sequential genres and types of ‘popular’ fiction in this dissertation, I investigate a broad-spectrum literary treatment of aristocratic bodies as cultural paradoxes: for the same usage of the aristocratic body to crop up again and again in disparate, discrete, and hugely popular forms of literature speaks to the nineteenth-century resonance of the aristocratic body as a codeable symbol and textual object. I use what is termed ‘popular fiction’: fiction largely excluded from the canon, yet with a very large contemporary readership and authors or genres which continued to be widely read immediately following the publication of those individual texts. Popular fiction is, by its very nature, the type of literature that can most reasonably be considered to represent the general, broad-spectrum views of large populations, and in doing so these texts can be used to determine wide-scale desires, anxieties, and expectations surrounding the subjects they contain. Body theory and gaze theory serve as the overarching foundation for exploring the portraiture of aristocratic characters by authors from all classes, although individual chapters deal with their own theoretic approaches to the texts examined within them. Chapter 1 on silver fork fiction from the 1820s to the 1840s uses socio-economic theory, including Bourdieu’s idea of habitus to examine the genre’s treatment of aristocratic bodies as consumer goods and luxury products, which in turn reflected contemporary shifts in social and economic class hegemony. Chapter 2 on G.W.M. Reynolds’s radical 1840s to 1850s serial, The Mysteries of the Court of London , uses the medical humanities and masculinity theory to investigate the text’s endemic infertility in aristocratic men; Reynolds uses the biology of aristocratic male bodies as the locus for moralistic discussions about primogeniture and politics. Chapter 3 on the sensation fiction of Mrs Henry (Ellen Price) Wood utilises feminist theory to illustrate Wood’s portrayal of female aristocrats as bodiless, and yet continually gazed upon; Wood uses the aristocratic female body as a magnifying glass to depict the nineteenth-century female experience, in particular the paradoxes of adhering to private, domestic ideologies while at the same time fulfilling the requirements of the public gaze. Chapter 4 explores the influence of evolutionary theory upon two sister-genres of the fin de siècle Medieval Revival: 3 Ruritanian fiction in Part 1 and a genre I have named the Evolutionary Feudal in Part 2. In Part 1, the aristocratic body is represented as outside of evolution; the genre provides escapism from Darwinism and fin de siècle anxieties of history and (d)evolution by whitewashing the feudal era and subscribing to Thomas Carlyle’s theories of divinely- or cosmically-appointed leaders. Part 2 focuses on texts which depict a post-apocalyptic world returning to a feudal Dark Age, and in which aristocratic bodies are seen evolving or devolving; rather than whitewashing history, the Evolutionary Feudal locates history’s darkest origins in the aristocratic body as a way of predicting possible futures and coping with the concerns of degeneration. 4 Table of Contents Acknowledgments ……………………………………………………………………...6 Author’s Declaration …………………………………………………………………..7 Introduction ………………………………………………………………………........8 Aristocracy and the Public Gaze ……………………………………………….15 Aristocracy and Body Theory ………………………………………………….21 Choice of Texts …………………………………………………………………24 Conclusion ……………………………………………………………………...31 Chapter 1: The Business Model of the Aristocracy: Socio-economics, Consumerism, and Class in the Silver Fork Novels ……………………………………………..……33 Introduction …………………………………………………………..………….33 Silver Fork Novels ………………………………………………………………36 Socio-Economics ……………………………………………………...…………42 A Socio-Economic Reading of the Silver Fork School ……………………...…..44 Use-Value of the Silver Fork Novel ……………………………………..44 Manufacture and Publishing …………………………………………......47 Aristocrats as Objects ……………………………………………………………49 The Business Model of the Aristocracy ………………………………………….53 The Marriage Market: The Female Aristocratic Body …………………………...58 Conclusion ………………………………………………………………………..64 Chapter 2: “ Unblessed by Offspring”: Fertility and the Aristocratic Male in Reynolds’s The Mysteries of the Court of London …………………………………….65 Introduction ………………………………………………………………...…….65 Masculinity and Mysteries ………………………………………………………..69 Feminisation ……………………………………………………...……....72 Emasculation …………………………………………………...………...76 Feminisation and Emasculation in Unison …………………...…………..80 Conclusion ……………………………………………………………...………...88 Chapter 3: Public Vs. Private: Aristocratic Female Bodies in the Works of Mrs Henry Wood …………………………………………….…………...…………………..90 Introduction ………………………………………………...………………….....90 5 East Lynne ……………………………………………………………...……...104 Lady Adelaide’s Oath …………………………………………………...…..…117 The Surgeon’s Daughters …………………………..…………………...……...126 Conclusion ………………………………………...…………………………....134 Chapter 4: Aristocratic Origins in the Fin de Siècle Medieval Revival ………..…. 136 Introduction ……………………………………………………………...……...136 Carlyle …………………………………………………...……………...139 Darwin ……………………………………………………...…………...142 Part 1: Ruritania, or the Chivalric Feudal ……………..………….……………..145 The Prisoner of Zenda ……………………………………………...…...149 Prince Otto …………………………………………………...………….156 The Lost Prince ………………………………………………………….160 Part 2: The Evolutionary Feudal ………………………..……….…….………...167 After London ………………………….…………...………...………….170 The Time Machine …………………………………………...…………183 Conclusion ……………………………………...……………………………….191 Conclusion ………………………………………...……………………………………193 Bibliography …………………………………………...……………………………….198 6 Acknowledgements This thesis is indebted to the tireless patience, advice, and encouragement of my supervisors, Professor Alice Jenkins and Dr. Matthew Creasy. Further, the kind permission of the Hunterian and the University of Glasgow’s Special Collections facilitated my research on the silver fork novels, without which Chapter 1 would not have been possible. I would also like to thank members of the University of Glasgow’s Nineteenth-Century Reading Group for providing a wonderful network of support, proofreading, debate, and happy distractions from difficult chapters. Finally, I want to thank my family for their endless love and enthusiasm for my chosen career path, and for not holding it against me that I moved across an ocean to pursue that career. Most importantly, I am forever grateful to my husband, Ben, for keeping me sane during this process and for listening to countless exasperated recaps of Victorian novels. An earlier and shorter version of Chapter 2 of this work was published in Nineteenth-Century Gender Studies, 9:2 (Summer 2013). 7 Author’s Declaration I am aware of and understand the University’s policy on plagiarism and I certify that this thesis is my own work , except where indicated by referencing, and that I have followed the good academic practices noted on the Declaration of Originality form that was submitted with this dissertation. 8 Introduction In 1983, the historian R.F. Foster stated that in the realm of nineteenth-century scholarship, study of the working class was ‘historigraphically exhausted’ but the aristocracy was ‘not yet academically respectable’, so the middle classes would be the next major locus for critical examination. 1 Foster’s prediction proved to be partly accurate: now, more than thirty years later, academic work on the aristocracy is limited, while research on the middle and working classes remains very active. In the field of Victorian literature, this frequent reticence to discuss an entire social class is not only remarkable, but problematic. In terms of population, the aristocracy in the nineteenth century was ‘consistently less than 1 per cent of Britain’s population, and never over 5 per cent’, and yet literature from the time disproportionately abounds with aristocratic characters. 2 Aristocratic characters feature in most Victorian genres, were written about by authors from all socio-economic backgrounds,
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