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L-G-0007613594-0013670141.Pdf Palgrave Studies in the Enlightenment, Romanticism and Cultures of Print General Editors: Professor Anne K. Mellor and Professor Clifford Siskin Editorial Board: Isobel Armstrong, Birkbeck; John Bender, Stanford; Alan Bewell, Toronto; Peter de Bolla, Cambridge; Robert Miles, Stirling; Claudia L. Johnson, Princeton; Saree Makdisi, UCLA; Felicity Nussbaum, UCLA; Mary Poovey, NYU; Janet Todd, Glasgow Palgrave Studies in the Enlightenment, Romanticism and Cultures of Print will feature work that does not fit comfortably within established boundaries – whether between periods or between disciplines. Uniquely, it will combine efforts to engage the power and materiality of print with explorations of gender, race, and class. By attending as well to intersections of literature with the visual arts, medicine, law, and science, the series will enable a large-scale rethinking of the origins of modernity. Titles include: Claire Brock THE FEMINIZATION OF FAME, 1750–1830 Brycchan Carey BRITISH ABOLITIONISM AND THE RHETORIC OF SENSIBILITY Writing, Sentiment, and Slavery, 1760–1807 E. J. Clery THE FEMINIZATION DEBATE IN 18TH-CENTURY ENGLAND Literature, Commerce and Luxury Adriana Craciun BRITISH WOMEN WRITERS AND THE FRENCH REVOLUTION Citizens of the World Peter de Bolla, Nigel Leask and David Simpson (editors) LAND, NATION AND CULTURE, 1740–1840 Thinking the Republic of Taste Anthony S. Jarrells BRITAIN’S BLOODLESS REVOLUTIONS 1688 and the Romantic Reform of Literature Mary Waters BRITISH WOMEN WRITERS AND THE PROFESSION OF LITERARY CRITICISM, 1789–1832 Forthcoming titles in the series: Ian Haywood BLOODY ROMANTICISM Palgrave Studies in the Enlightenment, Romanticism and Cultures of Print Series Standing Order ISBN978– 1–4039–3408–6 (hardback) 978–1–4039–3409–3 (paperback) (outside North America only) You can receive future titles in this series as they are published by placing a standing order. Please contact your bookseller or, in case of difficulty, write to us at the address below with your name and address, the title of the series and the ISBN quoted above. Customer Services Department, Macmillan Distribution Ltd, Houndmills, Basingstoke, Hampshire RG21 6XS, England The Feminization of Fame, 1750–1830 Claire Brock © Claire Brock 2006 Softcover reprint of the hardcover 1st edition 2006 978-1-4039-8991-8 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2006 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 978-1-349-54234-5 ISBN 978-0-230-28645-0 (eBook) DOI 10.1057/9780230286450 A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Brock, Claire, 1977 The feminization of fame, 17501830/Claire Brock. p. cm. “ (Palgrave studies in the Enlightenment, romanticism and the cultures of print) Includes bibliographical references and index. 1. European literature“18th century“History and criticism. 2. European literature“19th century“History and criticism. 3. European literature“Women authors“History and criticism. 4. Fame“History“18th century. 5. Fame“History“19th century. I. Title. II. Series. PN751.B76 2006 809.892709409033“dc22 2006042626 10987654321 15 14 13 12 11 10 09 08 07 06 Transferred to Digital Printing in 2014 For Paul and Siân Brock Contents List of Figures viii Acknowledgements ix Introduction: Feminizing Fame 1 1 ‘A New Sort of Glory’: Jean-Jacques Rousseau’s ‘little philosophical chemistry’ and the Reach of Rousseauvian Fame in Eighteenth-Century Britain 15 2 Catharine Macaulay: ‘triumph[ant], when alive, o’er future fate’ 46 3 Mary Robinson and the ‘splendour of a name’ 77 4 Inflating Frances Burney 109 5 Germaine de Staël: ‘When one can no longer find peace of mind in obscurity, it is necessary to look for strength in celebrity’ 137 6 William Hazlitt, On Being Brilliant: The Spirit of the Age 169 Afterword 194 Notes 197 Bibliography 224 Index 238 vii List of Figures 1 The Statue of Mrs Macaulay erected in the Church of St Stephen Walbrook, London,inLady’s Magazine, VIII (October 1777). Courtesy of the British Library. 69 2 Thomas Gainsborough, Mrs Mary Robinson (1781). Oil on canvas, 2337×63 cm. By kind permission of the Trustees of the Wallace Collection. 97 3 Joshua Reynolds, Mrs Robinson (1784). Oil on canvas, 76×63 cm. By kind permission of the Trustees of the Wallace Collection. 98 viii Acknowledgements Researching a subject as fascinating as fame has offered me the oppor- tunity to have so many valuable discussions, with both academic and non-academic colleagues and friends. Fifteen minutes of fame should be especially awarded to the following: Matt Adams, Imogen Aitchison, Jennie Batchelor, Michael Bell, Maxine Berg, Richard Coulton, Amy Culley, Aaron Davies, Nicky Dawson, Kathy and Chris Dew, Simon Dew, Markman Ellis, Joseph Giddings, Rafe Hallett, David Higgins, Gemma James, Anne Janowitz, Cora Kaplan, Andy Lamb, Emma Mason, Mike and Nic Morley, Jane Rendall, Nick, Jacob and Reuben Selby, Beth Stanley, Barbara Taylor, Minnie Watkins (in memoriam: 1976–1999) and Kate Williams. Karen O’Brien was an enlightening PhD supervisor; Nigel Leask and Jenny Uglow inspiring examiners. Maggie Selby has been supportive beyond the call of friendly duty, reading and commenting upon everything I have written. Her approbation means a great deal, and if anyone deserves an award for lifetime achievement, it is she. Grateful thanks also to the English Department at the University of Leicester, who generously provided funding for the illustrations. The loudest applause must go to my family: my grandparents, Ann and the late Fred Brock and Francis and Vera Connolly, and my sister Helen Brock. Ben Dew has provided stellar support and encouragement over the past few years. My greatest debt is to my parents, Paul and Siân Brock, whose contribution simply cannot be quantified. A version of Chapter 1 appeared as ‘Rousseauvian Remains’, History Workshop Journal, 55 (Spring 2003), 136–53; an early draft of Chapter 3 was published as “‘Then smile and know thyself supremely great”: Mary Robinson and the “splendour of a name”’, Women’s Writing, 9.1 (2002), 107–24; and parts of Chapter 6 are forthcoming as ‘William Hazlitt: On Being Brilliant’, Studies in Romanticism. My thanks to the British Library for permission to use Figure 1; the Wallace Collection for allowing me to reproduce Figures 2 and 3; and the Science and Society Picture Library for the jacket illustration. ix Introduction: Feminizing Fame Fame is fickle, flirtatious and eternally female. The famed are always men; women have been relegated to occasional footnotes in the history of fame. This book intends to redress the balance by examining a partic- ular cultural moment, from the mid-eighteenth century to the first decades of the nineteenth, when fame as a concept underwent a process of feminization and enabled women to embrace celebrity. In what has become known as the ‘age of personality’, fame was debated in theory, but also experimented with in practice, in full view of the public. Fame became something other than an exclusive and exclusionary bastion of the socially privileged in this period and became, to borrow the words of Jean-Jacques Rousseau, a form of celebrity which was ‘more [one’s] own’, something to be achieved and enjoyed in a lifetime rather than as a lifetime achievement.1 It has become a frustrating, critical commonplace to acknowledge this democratizing process only in relation to men.2 While progress has been made in the study of eighteenth-century women’s writing, there still remains an apparent barrier to allowing women their share of publicity, even in cases where this was recognized by their contemporaries. In prac- tice, women came increasingly to dominate a feminized literary culture, their civilized and civilizing influences providing the standard by which to judge cultural sophistication. Women have been described by critics largely as spectators of the new sorts of glory, shying away from the glare of publicity. Female sociability and social influence were perceived by eighteenth-century commentators as productive and thus progressive in the development of an enlightened and prosperous society, but women were also intimately and actively involved in the quest for literary laurels, and were celebrated for their achievements by their contempor- aries of both sexes. I want to readdress this critical marginalization of 1 2 The Feminization of Fame, 1750–1830 the famous female writer
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