The Anatomical Differences in Jules Barbey D'aurevilly's L

A TWICE-TOLD GOTHIC ROMANCE: THE ANATOMICAL DIFFERENCES IN JULES BARBEY D’AUREVILLY’S L’ENSORCELÉE AND EMILY BRONTË’S WUTHERING HEIGHTS By KATHRYN IRENE MOODY A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2003 For Gaga. TABLE OF CONTENTS page ABSTRACT....................................................................................................................... iv CHAPTER 1 THE “GENDER” OF THE TEXT................................................................................1 2 THE BEAU TÉNÉBREUX..........................................................................................5 3 VAMPIRE MOTIFS...................................................................................................11 L’Ensorcelée and the Vampire ...................................................................................13 Wuthering Heights and the Vampire ..........................................................................20 4 TOWARD AN ÉCRITURE FÉMININE ....................................................................27 5 CONCLUSIONS ........................................................................................................41 WORKS CITED ................................................................................................................52 BIOGRAPHICAL SKETCH .............................................................................................54 iii Abstract of Thesis Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Arts A TWICE-TOLD GOTHIC ROMANCE: THE ANATOMICAL DIFFERENCES IN JULES BARBEY D’AUREVILLY’S L’ENSORCELÉE AND EMILY BRONTË’S WUTHERING HEIGHTS By Kathryn Irene Moody December 2003 Chair: William Calin Major Department: Romance Languages and Literatures In this thesis, I establish evidence of a proto-écriture féminine à la Hélène Cixous and Luce Irigaray in Emily Brontë’s Wuthering Heights by comparing it to a similar novel L’Ensorcelée, by Jules Barbey D’Aurevilly. The two novels are similar—both fall into the genre of gothic romance and both contain not only the Byronic hero (which is de rigueur for the genre), but also a nontraditional heroine (remarkable for her fiery independence and refusal to play the role of the traditional gothic heroine, the maiden in flight). In support of my argument, I first assert the existence of a vampire motif in both L’Ensorcelée and Wuthering Heights and trace this motif through both works. I propose that the abbé de la Croix-Jugan and Heathcliff are vampiric figures and that Jeanne de Feuardant and Catherine Earnshaw are their respective victims. However, the difference in each author’s retelling of the vampire myth is that, while each heroine reacts similarly to the “vampire’s” attack (with attraction to the attacker), only Catherine is permitted to return the attack and to “vamp” her attacker and others. Thus, we first see evidence of iv écriture féminine in the fluid, multidirectional quality of Catherine’s desire as compared to Jeanne’s more linear desire. Further, we may note that Brontë’s “vampires,” like many vampire figures of the nineteenth century, are polymorphously perverse, while Barbey’s are not, and this quality is associated with the féminine. Brontë also employs the féminine method of mixing the gender roles of her characters, assigning typically masculine roles to women and vice versa. We see this in terms of the vampire myth in that the enabler of her vampire is male, though this role is typically assigned to a female: la Clotte in L’Ensorcelée. We see further swapping of traditional gender roles in Brontë’s use of froda and forza, or fraud and violence. According to Northrop Frye, froda is typically the tool of the female, and forza is associated with the male. We find that this is more or less the case in L’Ensorcelée, where Jéhoël is the physically violent warrior and Jeanne resorts to mysticism in her attempts to woo Jéhoël. However, in Wuthering Heights, it is Catherine who prefers physical violence, slapping and pinching at Edgar and Nelly in her anger, while Heathcliff favors froda, plotting and scheming to achieve his ends. We also see the féminine strategy of “masquerade” in Catherine’s behavior in Wuthering Heights. I suggest Jeanne is a character obsessed with the Realm of the Proper à la Cixous, while Catherine is a character torn between the Gift and the Proper. Finally, I contrast Barbey’s polarization of good and evil forces and characters with Brontë’s refusal to impose a moral code on her characters, who resist the categorization typical to non-féminine works. Thus, using the vampire motif, I assert that Wuthering Heights is a work that anticipates écriture féminine by comparing it to L’Ensorcelée, a work that contains a fiery and independent but not particularly féminine heroine. v CHAPTER 1 THE “GENDER” OF THE TEXT Jules-Amedée Barbey d’Aurevilly’s 1852 gothic romance L’Ensorcelée1 first appeared in serial form in l’Assemblée nationale. Emily Brontë’s own work of the same genre Wuthering Heights2 was first published in 1847. Each novel recounts a similar tale, despite differences in nationality and language, for both novels fall into the genre of gothic romance. The gothic novel, with its pseudomedieval mystery and horror, has its roots in Horace Walpole’s 1764 The Castle of Otranto, but celebrated its heyday in the 1790’s, with Ann Radcliff’s The Mysteries of Udolpho (1794) and The Italian (1797), as well as Matthew Gregory Lewis’s The Monk (1796) (Fiedler 1992, 126-7). The gothic novel’s name derives from the architecture of the ruins of medieval buildings, which inspired themes of darkness, storm, “ghosts, madness, outrages, superstition, and revenge” (Merriam-Webster 480). Although the gothic novel reached its peak in the 1790s, later novelists continued to employ gothic elements and themes (481). While the motif of the beautiful woman in flight does not manifest itself, at least not literally, in our two mid-nineteenth century works, we do see the general gloomy atmosphere, violence, revenge, and elements which at the very least hint at the supernatural. The most important theme left over from the gothic to find its way into Wuthering Heights and 1 Paris: Garnier Flammarion, 1966. 2 Norton Critical Edition. New York: Norton & Co, 1990. 1 2 L’Ensorcelée is a certain emphasis that Leslie Fiedler, in Love and Death in the American Novel, describes thus: the fully developed gothic centers not in the heroine . but in the villain (the persecuting principle of damnation). The villain-hero is, indeed, an invention of the gothic form, while his temptation and suffering, the beauty and terror of his bondage to evil are among its major themes. (128) This is the beau ténébreux of romanticism, the predecessor of Heathcliff3 and l’abbé de la Croix-Jugan. The romance, as a genre, contains a plot which is mysterious or adventurous, in a setting which is distant from the world of the reader. In The Secular Scripture: A Study of the Structure of Romance (1976), Northrop Frye maintains the two key elements of romance are a love story and the adventures which lead up to its consummation (24). L’Ensorcelée and Wuthering Heights qualify as romances because of their mysterious plots (hinting at the supernatural), love stories (weird as they appear), and violent escapades (murder and blood). Finally, we see in both texts the influence of the late romantic period in which Barbey D’Aurevilly and Brontë authored their respective texts. Of course, much of Romanticism overlaps with the gothic as well. In addition, late Romanticism focused on the triumphs and struggles of the exceptional individual. This is evident in both Brontë and Barbey, as neither author creates conventional characters. Further, Brontë and Barbey show romantic trends in their depictions of nature as reflecting the passions of their characters. In Romanticism, Lilian R. Furst asserts the strength of English Romanticism lies in its “lack of cohesion . For its outstanding trait is its individualism, and from this stems its variety, its vigour and its freshness” (48). Emily Brontë’s work reflects this sentiment in that Wuthering Heights is a distinctly different 3 Fiedler, 133. 3 work than anything that precedes it. Says David Cecil in Victorian Novelists: Essays in Revaluation, Brontë’s “achievement is of an intrinsically different kind from that of any of her contemporaries” and one of her distinguishing features is the “freshness” of her imagination (137, 161). Says Furst, French Romanticism, on the other hand, is characterized by “political and religious strife” (50). This is evident in Barbey’s subject matter, as the effects of the revolution and of its consequences on the Church necessarily made their way into the works of the French Romantics. Furst continues, “In revolt against the old artificial contentions,” the French Romantics, “repeatedly pleaded for truth and naturalness in . speech” (51). We see this in both Brontë and Barbey, as each phonetically spells out the speech of the rural, less-educated characters. Even given the fact that the works both reflect the late Romantic trends of the time, and that each falls into the genre of gothic romance, the two novels bear an almost uncanny resemblance. They depict very similar stories of class struggle, revenge, and the conflict between two impossibly ardent passions. Barbey and Bronte paint

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