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GERMAN Mstory, ENGLISH DRAMA and the POLITICS OF 'THE GERMAN'S TALE' - GERMAN mSTORY, ENGLISH DRAMA AND THE POLITICS OF ADAPTATION IMKEHEUER PHD TIlE UNIVERSITY OF YORK DEPARMENT OF ENGLISH AND RELATED LITERATURE APRIL 2008 ii TABLE OF CONTENTS Page Acknowledgements 11l Abstract IV Abbreviations VI INTRODUCTION 1 CHAPTER 1 'Mistaken for a personal gift' - Harriet Lee, 'Kruitzner', Aristocracy and the Thirty Years' War 9 CHAPTER 2 'If you encourage me I shall perhaps try some more' - 35 Georgiana, Duchess of Devonshire, Closet Drama, Pedagogy, Patronage, and Female Aristocratic Authorship CHAPTER 3 'That war with softer cares may be united' - 89 The Hungarian, 'Gennan Drama' and the Politics of Adaptation CHAPTER 4 'The rejection of the Austrian yoke' - 130 Nationality, Nobility and Mental Theatre in Byron's Werner CHAPTERS 'A bad poem, but a fairly good drama' - 162 Aftermath: The Three Strangers, Macready's Werner and Debates on Authorship, Plagiarism and Originality CONCLUSION 182 BIBLIOGRAPHY 1. Manuscripts Sources 185 2. Published Sources 185 3. Secondary Literature 193 iii ACKNOWLEDGEMENTS I warmly thank Dr Jack Donovan, my supervisor until his retirement in January this year, for his encouraging and understanding supervision and continuous support, and for many invaluable suggestions and insights. I am also grateful to Prof Jane Moody for the crucial and inspiring recommendations she gave me as my advisor and for her encouraging supervision during the last months of my project. I thank the AHRC for funding my PhD and making it possible for me to embark on this research. I also thank the University of York for supporting a trip to Paris to present part of my work at the International Byron Conference, as well as a trip to Chawton House Library to deliver a paper at the Readers, Writers, Salonnieres Conference, and the British Association for Romantic Studies for granting me a Stephen Copley award for a research visit to the British Library. Thanks are also due to the staff at the archives of Castle Howard and Chatsworth, especially Alison Brisby and Andrew Peppitt, and to the staff at Chawton House Library, Alton, the Theatre Museum, London, Brotherton Library at the University of Leeds, the Borthwick Institute at the University of Yor~ and the British Library both in London and Boston Spa, for their friendly and resourceful support and for making my research visits both fruitful and pleasant. I am grateful to the staff at the Huntington Library, California, the Folger Shakespeare Library, Washington D. C., the National Library of Scotland, Edinburgh, and the New York Public Library for their forthcoming service in providing me with copies of manuscript material. Additionally, I thank the staff at the University Libraries at York, Bremen and Hamburg for their supportive service throughout the preparation of this study. Many thanks to Monika Coghen, Thomas Crochunis, Angela Escott, Angela Esterhammer, David Harrison, Catriona Kennedy, Nat Leach, Mauro Pala, Carla Pomare, Gabriele Poole, Margot Strickland and Caroline Walker for providing me with copies of their unpublished conference papers or articles that otherwise would have been difficult to access. I am grateful to Helen Boyles, Gillian Dow, Amy Garnai, Fiona Price and Susie Steinbach for inspiring mails, conversations and suggestions at different stages of my research. I particularly thank. Prof Donald Bewley for his enthusiasm for my project, for letting me read his transcripts of the Duchess of Devonshire's manuscript plays, and for an inspiring email conversation on, among many other things, the Duchess of Devonshire, Metastasio, theatre, Italian opera and its English reception in the eighteenth century. Finally, I warmly thank my mother, Gerlinde Heuer, and my grandmother, Ilse Kautz, for their continuous encouragement, understanding and belief in me. Without their support, I would never have begun this thesis, let alone finished it. I am happy to dedicate it to them with love. IV ABSTRACT This thesis investigates the adaptation history of Harriet Lee's novella 'Kruitzner, or The German's Tale' (1801). Published in The Canterbury Tales, a collection of novellas by Harriet Lee and her sister Sophia, 'Kruitzner' is now largely remembered as the source of Byron's tragedy Werner (1822) . However, in addition to Werner, the story was incarnated as a closet drama (1802) by Georgiana, Duchess of Devonshire, in collaboration with her sister Harriet, Countess of Bessborough; a stage play by Lee herself (1825), and a stage adaptation of Werner by William Charles Macready (1830). The fIrst chapter introduces The Canterbury Tales and its relationship to the radical debates of the late 1790s. The argument considers the radical associations of the German historical setting Lee uses in 'Kruitzner' and demonstrates that Lee employs a particularly politically charged historical context (the Thirty Years' War) to comment on her own time. I also consider Lee's approach to history and at the anti-aristocratic discourse in the novella, applying Bourdieu's concept of habitus to her representation of social conduct and appearance. In the second chapter I explore the many ways in which the Duchess of Devonshire was involved in the theatrical and literary world. A particular focus of this chapter is her early play Zillia (1782), which I discuss in connection to the political dimension of pedagogical drama for the education of the female elite. I also consider the relationship between Zillia and Devonshire's later theatrical projects and political agenda, and assess how her concept of a drama addressing intimate emotions anticipates Joanna Baillie's theory of 'closet drama', sketched in the 'Introductory Discourse' to her Plays on the Passions (1798). Additionally, I discuss the relationship between elite private theatricals and Romantic experimental drama. The third chapter is devoted to The Hungarian, and the political dimension of Devonshire's theatrical activities in the 1790s and early 1800s. Thus, her epilogue for the frrst Drury Lane staging of Joanna Baillie's De Monfort (1798) is part of a careful strategy to eliminate the radical associations of the play's German setting. Devonshire also appropriates Lee's radical novella in accordance with her own Whig politics. The Hungarian can be read as a pedagogical drama promoting the idea of an education of sensibility, which assigns to women the task of educating men in sympathy and politeness, and teaches them to combine military with civilian virtues. As becomes evident, Devonshire's dramas are themselves positioned on the margins between the privacy of the 'closet' and the public sphere. In the fourth chapter I explore Byron'S Werner in connection to his politics, his theatrical activities and his views on drama. I investigate how he appropriates the Thirty Years' War setting of Lee's novella for the context of post-Napoleonic Europe, particularly alluding to his opposition against the politics of Restoration and the Austrian occupation of Northern Italy. Simultaneously referring to the radical debates of the late 1790s and early 18008 and subtly modifying the anti-aristocratic elements of his source, Werner is an example of Byron's ambivalent political views. This ambivalence is also reflected in his complex relationship with the stage. His concept of 'mental theatre' has strong affinities to Baillie's idea of 'closet drama', but also to aristocratic elite theatricals. As in Devonshire's case, Byron's attempts to distance his plays from public performances and commercial playwriting are deeply informed by his aristocratic status. The concluding chapter investigates Byron's subtle strategies of simultaneously praising and dismissing Lee's novella in his preface and comments to Werner, and Lee's own v attempt to reclaim her story by writing herself a dramatic adaptation, entitled The Three Strangers, which reinvents the story yet again as a melodrama with parodic elements. In this context, I also discuss William Charles Macready's acting version of Werner (1830), as well as the play's reception history and the debate on its authorship at the end of the nineteenth century. My dissertation opens up perspectives on the strategic ways in which women writers used historical settings and literary adaptation to participate in political debates; on the relationship between experimental Romantic drama, pedagogical writing and aristocratic elite culture; and on the interactions between gender, genre, class and authorship. VI ABBREVIATIONS BL British Library. BU Byron's Letters and Journals, 12 vols., ed. Leslie A. Marchand. London: John Murray, 1973-82. BCMP Lord Byron: The Complete Miscellaneous Prose, ed. Andrew Nicholson. Oxford: Clarendon Press, 1991. BCPW Lord Byron: The Complete Poetical Works, 7 vols., ed. Jerome J. McGann et. aI. Oxford: Clarendon Press, 1980-1991. CH Castle Howard. PMLA Publications ofthe Modern Language Association ofAmerica. RR The Romantics Reviewed. Contemporary Reviews ofBritish Romantic Writers. Part B: Byron and Regency Society Poets, 5 vols., ed. Donald H. Reiman. London, New York: Garland Publishing, 1972. 1 INTRODUCTION In the last year of the century, the cultural journal The Nineteenth Century published an article which made a curious claim. According to its author Frederick Leveson Gower, Byron's tragedy Werner (1822)1 had been written not by Byron himself, but by Leveson Gower's own grandmother, the famous Georgiana, Duchess of Devonshire (1757-1806).2 Leveson Gower's statement seemed particularly surprising and absurd because Werner, although
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