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THE DISTEMPER of a GENTLEMAN": GROTESQUE VISUAL and LITERARY DEPICTIONS of GOUT in GREAT BRITAIN 1744-1826 Calinda Shely

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THE DISTEMPER of a GENTLEMAN University of New Mexico UNM Digital Repository English Language and Literature ETDs Electronic Theses and Dissertations 8-25-2016 "THE DISTEMPER OF A GENTLEMAN": GROTESQUE VISUAL AND LITERARY DEPICTIONS OF GOUT IN GREAT BRITAIN 1744-1826 Calinda Shely Follow this and additional works at: https://digitalrepository.unm.edu/engl_etds Part of the English Language and Literature Commons Recommended Citation Shely, Calinda. ""THE DISTEMPER OF A GENTLEMAN": GROTESQUE VISUAL AND LITERARY DEPICTIONS OF GOUT IN GREAT BRITAIN 1744-1826." (2016). https://digitalrepository.unm.edu/engl_etds/12 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in English Language and Literature ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i Calinda C. Shely Candidate English Language and Literature Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Gail Houston, Chairperson Carolyn Woodward Aeron Hunt Amy Brandzel Aeron Haynie ii "THE DISTEMPER OF A GENTLEMAN": GROTESQUE VISUAL AND LITERARY DEPICTIONS OF GOUT IN GREAT BRITAIN 1744-1826 by CALINDA C. SHELY B.A., Sociology and English, Angelo State University, 2006 M.A., English, Angelo State University, 2008 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of New Mexico Albuquerque, New Mexico July 2016 iii ACKNOWLEDGEMENTS I would first like to thank my committee for their guidance, patience, and encouragement in the dissertation process. Dr. Gail Houston has been instrumental in helping me to finish this project by supporting me, offering counsel, and giving important feedback. I do not think I can ever fully express how grateful I am to her. Dr. Carolyn Woodward, co-chair, has offered critical insight on eighteenth-century and Regency culture and novels that allowed me to work from a literary-cultural studies perspective and thereby strengthen my argument; as well, her encouragement was always heartfelt and much-appreciated. Dr. Aeron Hunt really went above and beyond as a reader of this project, despite it being from an earlier period than the one she focuses on in her own scholarship; her detailed feedback and strong moral support and kindness to me were incredibly valuable. Dr. Amy Brandzel, as always, challenged me to think from an interdisciplinary perspective and helped to shape my revisions to better reflect postcolonial and feminist perspectives. Dr. Aeron Haynie willingly joined my committee late in the project, despite having no obligation to do so, which I am deeply appreciative of. In addition to their help with this dissertation, each of these committee members has provided guidance and support in coursework and career matters, and from them I have learned what kind of scholar and mentor I hope to be. Further, I wish to thank my family, who has always encouraged me throughout my educational career. They always believed in me and told me I would finish this dissertation, despite setbacks, and their confidence helped me to sustain my own through difficult times. I could not have done this without their support. iv Finally, I want to extend my gratitude to the members of my writing groups, Dr. Leslie Morrison, Dr. Annarose Fitzgerald, and Dr. Stephanie Spong. Each of these friends has helped me in many ways such as by looking at drafts, talking through ideas, tracking down theory and scholarship, listening to me vent, and more. They, too, were integral to my success in finishing this degree. v "THE DISTEMPER OF A GENTLEMAN": GROTESQUE VISUAL AND LITERARY DEPICTIONS OF GOUT IN GREAT BRITAIN 1744-1826 BY CALINDA C. SHELY B.A., SOCIOLOGY AND ENGLISH, ANGELO STATE UNIVERSITY, 2006 M.A., ENGLISH, ANGELO STATE UNIVERSITY, 2008 DOCTOR OF PHILOSOPHY ABSTRACT In this dissertation I explore the way in which visual and literary representations of gout in British literature and popular culture during the period 1744-1826 evince anxieties regarding over-consumption, particularly in relation to imperial expansion. I argue that the prevalence of gout in graphic satire indicates a common cultural understanding and perception of upper-class over-consumption of food, alcohol, material goods, and sex that threatens the health of the entire British body politic. These depictions provide a way through which the interests of those outside of the ruling classes can begin to develop a sense of community and subtly articulate a voice calling for an alteration or revision of the unwritten constitution of the nation. In chapters one through three I demonstrate the ways in which examples of gout in graphic satire evidence widespread dissatisfaction with upper-class over-consumption as it affects the nation’s political, economic, and social systems. In chapter four I examine representations of gouty men of the aristocracy and upper gentry in Sarah Fielding’s The Countess of Dellwyn and Tobias Smollett’s The Adventures of Roderick Random; I contend that Fielding and Smollett offer rather more radical and nuanced depictions of this stock figure than those common within the graphic satire of the era. These authors’ representations thus offer greater possibilities for revision of the unwritten constitution structuring the nation and its institutions. In chapter five I argue that Samuel Richardson’s Clarissa depicts Mr. Harlowe as a nouveau riche character representative of the changing physiognomy of the upper classes; his over- consumption demonstrates the contagious nature of immoderation and the tragic effects that it has upon women, who are treated as commodities used to enable further aggregation and aggrandizement. vi Table of Contents Introduction ......................................................................................................................... 1 Chapter 1: Political Representations of Gout in Graphic Satire during the Georgian and Regency Eras .................................................................................................................... 43 Chapter 2: More than His Fair Share: Personal Economy and Grotesque Over- Consumption in Graphic Satire ......................................................................................... 85 Chapter 3: Graphic Indicators of Grotesque Over-Consumption upon Social Aspects of the Constitution of Georgian Britain............................................................................... 123 Chapter 4: Unhealthy, Wealthy, and Despised: Gouty Gentlemen in The Countess of Dellwyn and The Adventures of Roderick Random ......................................................... 163 Chapter 5: “Aspiring to Greater Distinction”: Mr. Harlowe and Contagious Over- Consumption among the Nouveau Riche in Clarissa .................................................... 206 Conclusion ...................................................................................................................... 235 Works Cited .................................................................................................................... 241 1 Introduction For humble individuals like myself, there is only one poor comfort, which is this, viz. that gout, unlike any other disease, kills more rich men than poor, more wise men than simple. --Thomas Sydenham My project examines the ways in which gout was constructed in Great Britain during the period 1744-1826. With examples drawn from both popular culture and the novel, I conclude that these representations demonstrate societal anxiety regarding over- consumption by men from the nobility and gentry classes. I begin with a personal story. I was diagnosed with diabetes in early February of 2014. I was devastated. I knew I was predisposed to the disease because of my genetics; both of my parents, all four grandparents, and at least two great-grandparents are or were diabetic. Still, I blamed myself. I had made an effort to exercise frequently and eat right. I had thought I could stave off the disease by living a healthy life, but it did not work, and I thought I had failed. I saw myself as I thought society saw me and others who had Type II diabetes: fat, weak-willed, undisciplined, and lazy. Then, though, I had a talk with my doctor, who explained to me the factors that were out of my control, mainly genetics in this case, as well as the incredible amount of stress I was under trying to finish my PhD. She looked me straight in the eyes and said, “Calinda, this is not something you did or did not do. We cannot just escape our genetics.” Although her words made me feel better, it wasn’t until several weeks later, when I talked to my advisor about the issue, that I understood what I had been doing. I was 2 ascribing a set of values and a metaphorical significance to what I saw as—what society had told me was—a disease of consumption. This incident and the extreme irony of its coincidence with my doctoral project showed me that society is still struggling, as Susan Sontag explains in Illness as Metaphor, to understand and cope with our fears about disease by using metaphor. I recognized that presumed diseases of over-consumption were not a thing of the past. A seeming worldwide obesity epidemic and its representations in the media demonstrate the continued tendency toward imbuing diseases with symbolic significance. Even gout is making a big comeback, as evidenced by advertisements
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