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Sarah Fielding: Satire and Subversion in the Eighteenth­ Century Novel

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Sarah Fielding: Satire and Subversion in the Eighteenth­ Century Novel Jameson, June (2008) Sarah Fielding: Satire and Subversion in the Eighteenth- Century Novel. Doctoral thesis, University of Sunderland. Downloaded from: http://sure.sunderland.ac.uk/id/eprint/3682/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. SARAH FIELDING: SATIRE AND SUBVERSION IN THE EIGHTEENTH-CENTURY NOVEL A thesis submitted in partial fulfilment of the requirements of the University of Sunderland for the degree of Doctor of Philosophy. June Jameson October 2008 1 ACKNOWLEDGEMENTS Thanks are due to the University of Sunderland for the support of this study, to Elisabeth Knox and Diane Davies at the Graduate Research School, to staff at the Murray Library, particularly Jane Moore at the Inter-Library Loans Department, and to Sue Cottam, Hazel Holt and the girls at the English Office at Priestman Building. Special thanks are also due to Mrs. Miriam M. Smith for her unwavering support. I am indebted to all the teaching staff at the ADMC department who have spurred me on with cheery smiles and words of encouragement through difficult times. I am grateful to Professor Stuart Sim who encouraged me to undertake this study and inspired confidence while acting as my Supervisor. Most of all, I would like to thank Professor Richard Terry, my Director of Studies, for patiently guiding me through to completion and for sharing with me his expert knowledge of the eighteenth century. DEDICATION This thesis is dedicated to my husband Ken and our family who stalwartly support me at all times above and beyond the call of duty. Vita Brevis, Ars Longa. ─And now if any able Muse would kindly attend my Call, I would entreat the Favour of her to sing the Lady tossed about by adverse Fate . If there were any reasonable Hopes of Success, I would make an Effort to allure such Assistance by melodious Verse; but as those Ladies have been long out of Fashion, and would be deaf to all my Supplications, I must proceed in humble Prose. (Sarah Fielding, The History of the Countess of Dellwyn, II: 25). 2 ABSTRACT This study of Sarah Fielding (1710―68) is an original contribution to Fielding scholarship that has a dual purpose: to support those who are striving to re-introduce her to the modern literary landscape in an effort to restore her eighteenth-century literary standing, and to firmly establish Fielding as an early feminist writer. It is argued here that throughout her oeuvre Fielding challenged prevailing traditions that denied women a choice, particularly in education, employment and marriage. These themes are also considered in the political treatises of Mary Astell (1666―1731) and Mary Wollstonecraft (1759―97), who are now widely recognised as feminist writers. It is further argued that Fielding’s subversion in fiction of the English patriarchal system is underscored by her unorthodox performance in the literary arena. This is fully explored alongside her use of sentimentalism as a literary tool with which she challenges her seemingly inhumane society. Fielding’s interest in ‘the Labyrinths of the Mind’ (in modern terms, human psychology) will also be addressed as will her placement in the history of feminism and her placement in the sentimental novel tradition. Fielding’s performance as a literary critic will be compared with the few female authors who, like her, dared to publish literary criticism during her writing career. Accordingly, extracts from Fielding’s novels and her two critical pamphlets will be thoroughly examined. An updated biography of Fielding that is also included here will provide evidence for a further claim, that her fiction is autobiographical in part. A comprehensive account of Fielding’s performance as a literary critic forms the final chapter of this work. It is the first full-length examination of her contribution to the genre and includes an appraisal of her recently unearthed critical pamphlet entitled A Comparison Between the Horace of Corneille and The Roman Father of Mr. Whitehead (1750) that is yet to be formerly attributed to her. Ultimately this study of Fielding will go far beyond what has previously been written about this remarkable eighteenth-century author, particularly regarding her feminist activity. 3 FORMAT Introduction: some historical data relevant to the woman’s situation in eighteenth- century England will explain the feminist quest for social change. The terms ‘sentimentalism’, ‘feminism’ and ‘patriarchy’ are investigated in order to define their eighteenth-century meanings. With references to Alexander Pope, Henry Fielding, Frances Burney and Jane Austen, Fielding’s satire and subversive methodology is considered. An argument for Fielding’s placement as a mid-eighteenth-century link between Mary Astell and Mary Wollstonecraft begins here. The ongoing debate about the authorship of The Cry: A New Dramatic Fable (1754) is also addressed here. I unconventionally argue that Fielding was the text’s sole author. Chapter 1: This consists of biographical data that will provide evidence for the claim that Fielding’s life illuminates her work. It contains new information obtained from personal research about Fielding’s younger days at Salisbury, the boarding-school she attended, where her grandmother Gould’s rented Salisbury house actually stood, and the environment in which she grew up. Whereas many Fielding scholars cautiously suggest that Fielding ‘may’ have lived at Yew Tree Cottage, Bath, I can confirm that she certainly did live there, also that the cottage is now subsumed into Widcombe Lodge, Church Lane, Bath. It will be shown that Fielding’s circle of friends is much wider than previously thought. Contradicting the notion that Fielding was a recluse, it is argued that she was a leading figure in a community of like-minded women. Chapter 2: Since Fielding is known as a sentimental novelist, this chapter thoroughly examines her literary style, her use of satire, and subversive methodology as she tackles socio-political issues and moral dilemmas. With references to Samuel Richardson, Thomas Gray, Laurence Sterne and Henry Mackenzie, Fielding’s placement in the sentimental novel tradition is also evaluated. Chapter 3: With particular reference to the work of John Locke and Fielding’s educational novel for children, The Governess; or, Little Female Academy (1749), 4 Fielding’s quest for female equality in education will be fully explored. Since she often appears to borrow directly from Astell’s polemics, this is also considered. Chapter 4: Fielding’s radical views on female employment and the arranged- marriage system are fully investigated and compared with those of Astell. Fielding’s satirical denunciation of rich women skilled in ‘the Art of Tormenting’ is made clear as she brings into public view the often miserable lives of gentlewomen who perform the role of governess or unpaid lady’s companion in private households. While unconventionally arguing for a woman’s choice in marriage, Fielding condemns male flatterers who pursue women for their dowries and rich old men who, after a profligate life, seek virginal teenage wives to produce heirs for their estates or to act as their nurses in old age or unpaid upper-servants. Chapter 5: This final chapter offers an original account of Fielding’s performance as a literary critic at a time when literary criticism was just beginning to develop as a genre. Evidence for Fielding’s astute analysis of social trends and channels of influence is presented here. Her placement among the few female literary critics who dared to publish their literary criticism during Fielding’s literary career, such as Eliza Haywood, Elizabeth Elstob, Elizabeth Cooper and Charlotte Lennox, will also be addressed ― published as opposed to being contained in private letters or passed around secretly in manuscript form, since this will give a fairer assessment of Fielding’s unconventional literary activity and achievements in this area. June Jameson. 5 SARAH FIELDING: SATIRE AND SUBVERSION IN THE EIGHTEENTH-CENTURY NOVEL Contents Cover page Acknowledgements Abstract of Thesis Introduction ………………………………………………………….1 Chapter 1: Sarah Fielding: A Biographical Account………………. 43 Chapter 2: A Call for Change in the Sentimental Novel …………. .83 Chapter 3: A Mid-Century Call for Female Equality in Education . .132 Chapter 4: A Mid-Century Call for Female Equality In Employment and Marriage ……………………………165 Chapter 5: Flying the ‘Lofty Realms of Literary Criticism’…………206 Conclusion:…………………………………………………………..253 Bibliography …………………………………………………………262 Index ………………………………………………………………….270 Appendix: List of Sarah Fielding’s known works. 6 Introduction Avant-propos hen I first saw Sarah Fielding’s name on a university syllabus, I had no idea W who she was. From Malcolm Kelsall’s introduction to her first novel, The Adventures of David Simple, Containing an Account of his Travels through the Cities of London and Westminster in the Search of a Real Friend (1744),1 I learned that she was ‘something of a bluestocking’ and the third sister of Henry Fielding (1707―54), the Augustan author of The History of Tom Jones, A Foundling (1749). I read David Simple as a work that attacks hypocrisy, affectation and snobbery while calling out for compassion for the suffering individual. I wanted to learn more about the author. I soon discovered the enormity of the task that I had set myself, but as I trawled through barely legible dissertations on creaky microfilm machines, biographies of Henry Fielding and other writers of the day, spending hours in rare book rooms, I became increasingly aware that Fielding’s life illuminates her work. This is mainly why the first chapter of this study takes the form of a biography of Fielding that includes new data from personal research. It will explain why Fielding wrote as she did and what she hoped to achieve. A second reason for the biography is that due to the dearth of information about her life, no comprehensive biography of Fielding exists.
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