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The French Revolution in Early American Literature, 1789–1815: Translations, Interpretations, Refractions City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 The French Revolution in Early American Literature, 1789–1815: Translations, Interpretations, Refractions Courtney Chatellier The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE FRENCH REVOLUTION IN EARLY AMERICAN LITERATURE, 1789-1815: TRANSLATIONS, INTERPRETATIONS, REFRACTIONS by COURTNEY CHATELLIER A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 COURTNEY CHATELLIER All Rights Reserved ii The French Revolution in Early American Literature, 1789-1815: Translations, Interpretations, Refractions by Courtney Chatellier This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _____________________ ________________________________________ Date Duncan Faherty Chair of Examining Committee _____________________ _________________________________________ Date Eric Lott Executive Officer Supervisory Committee: William P. Kelly Robert Reid-Pharr Joan Wallach Scott THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The French Revolution in Early American Literature, 1789-1815: Translations, Interpretations, Refractions By Courtney Chatellier Advisor: Duncan Faherty The French Revolution in Early American Literature, 1789-1815: Translations, Interpretations, Refractions, examines the meaning of the French and Haitian Revolutions in early U.S. literary culture by analyzing American novels, periodical fiction, and essays that engaged with French revolutionary politics (by writers including Judith Sargent Murray, Martha Meredith Read, Charles Brockden Brown, and Joseph Dennie); as well as translations and reprints of French texts by writers including Stéphanie de Genlis, Sophie Cottin, and Jean- Baptiste Piquenard that circulated among American readers during this period. Drawing on archival research, and the methodology of book history, this study establishes that translations— though often disregarded by literature scholars because of their seeming unoriginality, their reputations as mere copies of foreign originals, and the presumption that they are therefore not properly literary—in fact played a crucial role in the development of U.S.-American literature. This dissertation thus aims to demonstrate that, far from an extraneous or superficial part of the early United States’ literary culture, translations and reprints of French texts in fact formed a substantial part of that culture; that American writers’ engagements with French revolutionary and counterrevolutionary politics, philosophy, and literature in the years 1789-1815, significantly affected their thinking about the meaning of democracy, equality, political representation, race, iv and gender; and that this facet of early U.S. literary culture marks American literature as not only transnational but translational: American literature developed not by breaking away from European influences, but precisely through engaging with those influences, often in languages other than English. This study thus critiques the monolingualism of early American studies and, drawing on work in translation theory by critics including Barbara Cassin and Lawrence Venuti, argues for new methodologies and practices that engage with the multilingual origins of American literature. v ACKNOWLEDGMENTS I would like to begin by acknowledging that on the first day of his class, during my first semester at the Graduate Center, Robert Reid-Pharr told me to think about the eighteenth century. I have remained impressed by his powers of insight. In few words, he has guided this project greatly, from the outset. At another seemingly small but in fact transformative moment in the process of conceiving this project, when I was experiencing great doubt about everything, Kandice Chuh advised me to take the money and go to the archive—a policy for living that has proven as effective as it is elegant. Support from the Graduate Center—in the form of two research grants from the Advanced Research Collaborative, and a Carell Dissertation Fellowship—enabled me to visit the American Antiquarian Society and the Library Company of Philadelphia, and to consecrate time to writing. Bill Kelly has been gracious with his encouragement of this project, helping me to see the potential in early drafts, and challenging me to find the thread. His centripetal pull as a reader has helped to organize in my thinking at crucial moments and to more clearly articulate this project’s argument. Joan Scott was an inspiration to me on the page long before I met her, and it has been an exorbitant privilege to have her read these words. Duncan Faherty has been incredibly generous with his time and support. It was during his courses at the Graduate Center that I first had a glimpse that a project like this could be possible. His guidance and mentoring have helped me not only to make progress at every stage of writing vi this dissertation, but also to think beyond the walls of 365 Fifth Avenue and towards the larger stakes of academic work. I am grateful to Happy Medium (Lorraine Doran, Michele Hanks, Christina Van Houten, Jeannie Im, and Matthew Nicholas) for their feedback on an early draft of this dissertation’s introduction. And to Nicole Callihan, always, for reminding me to be a writer. Jenny Leroy, Amelia Marini, and Maria Stracke are the coven of kindred spirits in whose company my own existence—and life itself—first began to make sense, against all odds, it seemed, when we were all just starting grad school and figuring things out. My thanks to Reeva, Scott, Peggy, Alan, Michelle, and Adam Gassman, and Safiyya Dharssi: for birthday cakes, words of encouragement, a place to stay in South Boston—and for becoming my family. And to Anna Chatellier, who instilled in me the love of words and art that tether me to myself. Thank you, Mom, for not ever letting them let me use coloring books. Finally, I would like to thank Ben Gassman, most of all—for being helpful. vii The perspectives constitute the thing; each language is a vision of the world that catches another world in its net, that performs a world; and the shared world is less a point of departure than a regulatory principle. —Barbara Cassin, The Dictionary of Untranslatables Translation is so far removed from being the sterile equation of two dead languages that of all literary forms it is the one charged with the special mission of watching over the maturing process of the original language and the birth pangs of its own. —Walter Benjamin, “The Task of the Translator viii TABLE OF CONTENTS Introduction. French Literature in the U.S. Culture of Reprinting: ………………………...…….1 Towards a Translational American Studies I. “You Cannot Have Forgotten Her Long Confinement”: …………………………..…….….. 17 The History of the Duchess of C—— and the Refraction of the Female Gothic II. “Not of the Modern French School”: …………………………………………….…….…… 41 The Ancien Régime, the Natural Aristocracy, and Literary Conservatism in Joseph Dennie’s Port Folio and Martha Meredith Read’s Monima, or the Beggar Girl III. “I Am Often Forced to Refer to France”: ……………………………………….…….…… 87 Sex, Materialism, and Citizenship in Judith Sargent Murray’s “On the Equality of the Sexes” and Charles Brockden Brown’s “The Rights of Women: A Dialogue” IV. Revolutionary Tyranny and Criminal Affections: ……….……………………..….…..…. 135 The French Historical Novel in Translation, 1808-1816 V. Translating the Haitian Revolution: ………………………………………….………….… 177 Mary Julia Young’s The Mother and Daughter: A Pathetic Tale and Jean-Baptiste Piquenard’s Colonial Tales Adonis, ou le bon nègre, and Zoflora, or the Generous Negro Girl ix Coda: ……………………………………………………………………………….…....……. 222 The Counterrevolution, the Word, and the Shared World Bibliography ……………………………………………………………….…….……...……. 226 x LIST OF TABLES Table 1. Editions of The History of the Duchess of C—— …………………………………….. 38 Table 2. U.S. Reprints of French Historical Novels and Romances, 1799-1819 …………….. 175 xi Introduction. French Literature in the U.S. Culture of Reprinting: Towards a Translational American Studies In January 1790, the New York Magazine published the first installment of a story entitled “The History of the Dutchess de C——.” The editors noted that the piece was “extracted from a Work of much Merit, not generally known here, entitled, ‘Adelaide and Theodore; or, Letters on Education,’ first translated from the French of Madame la Comptesse de Genlis, and published in the English Language, in London, in 1784. The Editors presume it will not be unentertaining to their fair Readers” (10). They seem to have presumed correctly: the story was reprinted at least eleven times in the United States between 1792 and 1823, in book and magazine serial editions, in cities spanning New England and the mid-Atlantic region. During this period the author, Stéphanie-Félicité de Genlis (1746-1830)—more commonly known as Madame de Genlis—rose to international renown: she went on to publish upwards of 140 volumes of
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