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Antecedents of the Gothic Mode in Early Modern Poetry

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Antecedents of the Gothic Mode in Early Modern Poetry Antecedents of the Gothic Mode in Early Modern Poetry Colin Yeo BA (Communication Studies) BA (Honours) This thesis is presented for the degree of Doctor Of Philosophy of The University of Western Australia Faculty of Arts, School of Humanities. English and Cultural Studies 2017 THESIS DECLARATION I, Colin Yeo, certify that: This thesis has been substantially accomplished during enrolment in the degree. This thesis does not contain material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution. No part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. The work(s) are not in any way a violation or infringement of any copyright, trademark, patent, or other rights whatsoever of any person. This thesis contains only sole-authored work, some of which has been published and/or prepared for publication under sole authorship. Signature: Date: 28 June 2017 ABSTRACT This study evaluates the significance and deployment of 'Gothic' themes across a range of Renaissance love poems, arguing that a Gothic sensibility actively functions within the textual mode of early modern English poetry. This study adds an important dimension to existing critical scholarship which focuses on the plays of Shakespeare and dramatic works as the primary textual modes of Renaissance Gothic. The methodological approach of this study is to use close readings combined with historical analysis to compare elements of the eighteenth-century literary Gothic with late sixteenth- and early seventeenth-century English poetry. This study focuses on four salient themes: melancholy, the grotesque, the supernatural, and darkness. The analysis of these themes in both Gothic and early modern literature reveals many similarities as well as differences, bringing new meaning to the study of both textual modes. The analyses of Renaissance poetry reveal a preoccupation with characteristic Gothic themes that depict and evoke powerful emotional effects. Influenced by earlier literary traditions and centred on the trope of desire, these texts prompt a view of the world which draws attention to the terrifying, horrifying, unnerving and ambiguous. The first chapter of this study comprises a reading of the subject of melancholy across the Gothic and early modern love poetry, examining similarities and differences between the melancholy Petrarchan lover and melancholy characters in Gothic novels. The second chapter contrasts eighteenth-century Gothic representations of the supernatural with those in early modern verse, where poets envisage themselves as ghosts and practitioners of magic to evoke reactions of fear in their poetic addressees. The third chapter investigates representations of the grotesque in Renaissance poetry, with a particular focal point of comparison with Matthew G. Lewis's seminal Gothic novel The Monk. This reading of 'Gothic bodies' in early modern poetic texts argues for the importance of corporeality in the Petrarchan poetic tradition. The fourth examines the subject of darkness in Renaissance poetry and Gothic novels. I suggest that in both textual modes, writers challenged ideas of stability of meaning by treating darkness as an ambiguous phenomenon. Finally, the fifth chapter considers a number of themes in a single poem, Samuel Daniel's 'The Complaint of Rosamond'. Narrated by a ghost, Daniel's poem combines a number of themes—the supernatural, melancholy and ambiguity—in a narrative that is a fusion of the 'ancient and the modern' and reads as a poetic antecedent to the Gothic. By undertaking an analysis of Renaissance poetry, a textual mode that has received scant critical attention in early modern Gothic studies, this study provides an important contribution to the field. The thesis is positioned alongside a critical tradition that in recent years has grown to encompass areas such as 'Global Gothic' and, more importantly, 'Renaissance Gothic'. It is hoped that the critical trajectory undertaken in this study will serve as an expansion of the compelling scholarly conversations that surround the burgeoning field of 'Renaissance' or 'Early Modern' Gothic studies. ii TABLE OF CONTENTS Introduction: Antecedents of the Gothic Mode in Early Modern Poetry……………………….1 Literary Scholarship: Early Modern Gothic Studies…………………….………………..4 Gothic Sensibilities, Poetry and Emotional Affect………………………………………10 Literary Nostalgia from the Renaissance to the Gothic…………………………………23 Poetic Antecedents of the Gothic Mode…………………………………………………..35 Chapter Overview…………………………………………………………………………..40 Chapter 1: 'The grief of mine afflicted ghost': Melancholy from the Renaissance to the Gothic.………………………………………………………………………………………………...44 Hypochondriac and Love Melancholy…………………………………………………...51 Melancholy, the Imagination and Alternating Registers in the Gothic……………….59 Love Melancholy and Alternating Registers of Emotion……………………………….66 Love Melancholy in the Gothic Mode…………………………………………………….77 Conclusion…………………………………………………………………………………..83 Chapter 2: 'Damned ghosts called up with mighty spells': Early Modern Poetic Supernaturalism and the Gothic…………………………………………………………………...85 Literary Supernaturalism from the Renaissance to the Gothic…...……………………87 Supernatural Forms and Repetition in the Gothic and Early Modern Poetry……......96 Witchcraft and Fear in Early Modern Love Poetry and the Gothic………...………...115 Conclusion……………..…………………………………………………………………..133 Chapter 3: Rack't Carcasses and Ripp'd Hearts: The Grotesque from Gothic to Early Modern……………………………………………………………………………………….….….136 Grotesque Female Characters in The Monk and Early Modern Love Poetry.….…...146 Male Gothic Bodies and the Self……………………………………………………..…..158 'From my breast the cold heart taking': Grotesque Realism and Hearts……….……171 Conclusion…………………………………………………………………………………185 Chapter 4: 'Black horrors of the silent night': Darkness, Ambiguity and the Gothic….…….189 Darkness and Illumination in the Gothic Mode……………………………….……….198 Colonising the Night and Subverting Darkness in Early Modern Verse……………206 Conclusion…………………………………………………………………………………228 Chapter 5: 'From the horror of infernal depths': Early Modern Gothic and Daniel's The Complaint of Rosamond…………………………………………………………………………..231 Literary Nostalgia: Medievalist Poetics in The Complaint of Rosamond…………...232 Gothic Sensibilities and Daniel's Rosamond……………………………………………236 Conclusion: Towards an Early Modern Gothic Sensibility…………………………………….253 Bibliography..............................................................................…………………………………….261 iii ACKNOWLEDGEMENTS There are a few people that have been an important part of the process of completing this project and I would like to begin by acknowledging them here. Firstly, I would like to thank my supervisors Kieran Dolin and Bob White for their guidance and mentorship. I am especially thankful to Kieran for his generosity, patience and professionalism in guiding me through various critical stages in the development of this project. Kieran's insight, feedback and contribution to this thesis have been crucial and I have become a better scholar and writer thanks to his efforts. I would like to thank my family—my father Joseph and mother Chwee Eng, for giving me the opportunity to study in Australia as well as providing me with support through the course of this PhD. This thesis is dedicated to you two. I am grateful in particular to my mother Chwee Eng, whose infectious enthusiasm for the humanities has shaped my own views toward higher learning and literary scholarship. To my wife Jane-Héloïse, I have the utmost thanks for your being an absolute source of unconditional love, patience and emotional support. You have been a wonderful colleague, my most constructive critic and a tremendous source of inspiration. I thank you for always believing in me, especially through the hardest times. Thanks are also due to my friends and colleagues whose support, good cheer and company has kept me going over the years. To James, Bec, Kaz, Amy, Jo, Dave, Ash, Nic and Michie, I thank you for your friendship. A special thanks to Chris for his support, unwavering faith in me and company as both a friend and colleague. Thanks also to Bruce McClintock for his astute feedback and suggestions. I also want to thank members of my extended family and in-laws for their constant support living in Perth. To Lawrence, Angie and their wonderful family, thanks. I am especially thankful to my cousin Kenny and his wonderful wife Minh for their companionship, which will be sorely missed in the years to come. To the Nancarrows and O'Callaghans, I have much thanks for the encouragement and support I have received as a part of your families. Thanks also to the University of Western Australia for a generous IPRS/SIRF stipend that has allowed me to complete this project. I also offer my thanks to staff and researchers at the ARC Centre for the History of Emotions, English and Cultural Studies and the Faculty of Arts—especially Katrina, Pam, Ines and Jenny—for assisting me with research and administrative matters. Last but not least, thanks to Professors Andrew Lynch and the late Philippa
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