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The Vicar of Wakefield W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 A Tale of Two Vicars: Thomas Stothard's and Thomas Rowlandson's Illustrations of "The Vicar of Wakefield" Katherine W. Rawson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the English Language and Literature Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Rawson, Katherine W., "A Tale of Two Vicars: Thomas Stothard's and Thomas Rowlandson's Illustrations of "The Vicar of Wakefield"" (1998). Dissertations, Theses, and Masters Projects. Paper 1539626171. https://dx.doi.org/doi:10.21220/s2-n7vs-ks69 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. A TALE OF TWO VICARS: THOMAS STOTHARD'S AND THOMAS ROWLANDSON'S ILLUSTRATIONS OF THE VICAR OF WAKEFIELD A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Katherine W. Rawson 1998 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Approved, December 1998 fitix (ff-//A. tuiifc Robert P . Maccubbin 1 - S ttrlLj-eJf Robert J i j Scholnick Kim Wheatley ii TABLE OF CONTENTS Page ACKNOWLEDGMENTS iv LIST OF ILLUSTRATIONS v ABSTRACT viii INTRODUCTION: ILLUSTRATION AS INTERPRETATION 2 CHAPTER I. THE VICAR OF WAKEFIELD: THE CRITICAL DEBATE 9 CHAPTER II. STOTHARD'S VICAR 14 CHAPTER III. ROWLANDSON'S VICAR 47 CHAPTER IV. VICAR TO VICAR 80 NOTES 97 WORKS CITED 101 ACKNOWLEDGMENTS The writer is grateful to Professor Robert P. Maccubbin for seeing to it that this delinquent, and graying, student finished her degree. The writer also thanks Professors Robert J. Scholnick and Kim Wheatley for their careful reading and quick dispatch of the work. LIST OF ILLUSTRATIONS Plate Page 1. Thomas Stothard, "The Vicar Taking Leave of 21 George," illustration for The Vicar of Wakefield, published by E. Harding and J. Good (London, 1792), engraved by James Parker. Courtesy of the Huntington Library, San Marino, California. 2. Thomas Stothard, "The Rescue of Sophia from 28 Drowning," illustration for The Vicar of Wakefield, published by E. Harding and J. Good (London, 1792), engraved by James Parker. Courtesy of the Huntington Library, San Marino, California. 3. Thomas Stothard, "The Honeysuckle Arbour," 34 illustration for The Vicar of Wakefield, published by E. Harding and J. Good (London, 1792), engraved by James Parker. Courtesy of the Huntington Library, San Marino, California. 4. Thomas Stothard, "The Vicar and Olivia," 37 illustration for The Vicar of Wakefield, published by E. Harding and J. Good (London, 1792), engraved by James Parker. Courtesy of the Huntington Library, San Marino, California. 5. Thomas Stothard, "The Prison Sermon," illustration 41 for The Vicar of Wakefield, published by E. Harding and J. Good (London, 1792), engraved by James Parker. Courtesy of the Huntington Library, San Marino, California. 6. Thomas Stothard, "The Family Party," illustration 44 for The Vicar of Wakefield, published by E. Harding and J. Good, (London, 1792), engraved by James Parker. Courtesy of the Huntington Library, San Marino, California. 7. Thomas Rowlandson, "The Vicar of Wakefield," 53 illustration for The Vicar of Wakefield, published by R. Ackermann (London, 1817), engraved by Rowlandson. Copied from the reissue of the 1817 edition by Methuen Sc Co. (London, 1904). v Plate Page 8. Thomas Rowlandson, "The Departure from Wakefield," 57 illustration for The Vicar of Wakefield, published by R. Ackermann (London, 1817), engraved by Rowlandson. Copied from the reissue of the 1817 edition by Methuen & Co. (London, 1904). 9. Thomas Rowlandson, "Hunting the Slipper," 62 illustration for The Vicar of Wakefield, published by R. Ackermann (London, 1817), engraved by Rowlandson. Copied from the reissue of the 1817 edition by Methuen & Co. (London, 1904). 10. Thomas Rowlandson, "The Family Picture," 65 illustration for The Vicar of Wakefield, published by R. Ackermann (London, 1817), engraved by Rowlandson. Copied from the reissue of the 1817 edition by Methuen & Co. (London, 1904). 11. Thomas Rowlandson, "The Stage," illustration for 71 The Vicar of Wakefield, published by R. Ackermann (London, 1817), engraved by Rowlandson. Copied from the reissue of the 1817 edition by Methuen & Co. (London, 1904). 12. Thomas Rowlandson, "The Fair Penitent," 74 illustration for The Vicar of Wakefield, published by R. Ackermann (London, 1817), engraved by Rowlandson. Copied from the reissue of the 1817 edition by Methuen & Co. (London, 1904). 13. Thomas Rowlandson, "The Weddings" illustration for 76 The Vicar of Wakefield, published by R. Ackermann (London, 1817), engraved by Rowlandson. Copied from the reissue of the 1817 edition by Methuen & Co. (London, 1904). 14. Thomas Rowlandson, "Sophia Rescued from the Water," 81 illustration for The Vicar of Wakefield, published by R. Ackermann (London, 1817), engraved by Rowlandson. Copied from the reissue of the 1817 edition by Methuen & Co. (London, 1904). vi Plate Page 15. Thomas Rowlandson, "The Squire's Intrusion," 85 illustration for The Vicar of Wakefield, published by R. Ackermann (London, 1817), engraved by Rowlandson. Copied from the reissue of the 1817 edition by Methuen & Co. (London, 1904). 16. Thomas Rowlandson, "The Vicar Preaching to the 89 Prisoners," illustration for The Vicar of Wakefield, published by R. Ackermann (London, 1817), engraved by Rowlandson. Copied from the reissue of the 1817 edition by Methuen & Co. (London, 1904). vii ABSTRACT The thesis is an examination of two sets of illustrations, drawn by different artists, for Oliver Goldsmith's The Vicar of Wakefield (1766). The set of illustrations designed by Thomas Stothard in 1792 gives a sentimental reading of the novel, while the set designed by Thomas Rowlandson in 1817 offers an ironic interpretation. A comparison of the text to both sets of illustrations reveals how well the reading presented by each artist is supported by Goldsmith and lends clues as to how two such diverse readings could emerge from one source, a problem that verbal critics of the novel have debated for two centuries. A careful reading of the illustrations suggests that Stothard followed a formula of sentimentality in keeping with the eighteenth-century cult of sensibility and that Rowlandson followed no formula, using his own keen powers of observation to interpret Goldsmith. As a result, Rowlandson's illustrations offer a more complex reading than Stothard's, and better match the ambiguity of Goldsmith's text. Despite the greater sophistication of Rowlandson's interpretation, both sets of illustrations are supported by Goldsmith to some degree and have value as early interpretations of the novel. viii A TALE OF TWO VICARS: THOMAS STOTHARD'S AND THOMAS ROWLANDSON'S ILLUSTRATIONS THE VICAR OF WAKEFIELD INTRODUCTION ILLUSTRATION AS INTERPRETATION In his preface to the New York edition of The Golden Bowl, Henry James writes, "I should be in fact tempted here, but for lack of space, by the very question itself at large -- that question of the general acceptability of illustration" (1: ix). I find the question as tempting as James, who was not able to resist pursuing the issue further in his preface. The question "at large," that of the acceptability of illustration, depends on the answers to a series of smaller but equally intriguing questions: How does illustration interact with the text? Does illustration stand as art in itself or is it inextricably tied to the art of the text? Does it limit the author's art, expand it, or serve as comment upon it? How does it affect the reader's impression of the text? And is that effect different for different types of readers? James tackles some of these smaller questions in his preface. He does so using the example of his dilemma over the appropriate illustration of the 1909 New York edition of The Golden Bowl. He felt that the illustration of the action of his novel would interfere, or impinge, or, worst case, 2 3 supersede his own influence on the reader. The text that puts 11 forward illustrative claims (that is producing an effect of illustration) by its own intrinsic virtue” finds "itself elbowed, on that ground, by another and a competitive process” (1: ix). James describes this muscling of words by picture as "a lawless incident” (1: ix), a phrase that conveys his sense of violation as author. In further comments, he also seems to indicate a feeling that illustration attaches itself to the text and then feeds on it: "The essence of any representational work is of course to bristle with immediate images; and I, for one, should have looked much askance at the proposal . to graft or 'grow,' at whatever point, a picture by another hand on my own picture" (1: ix). James objects to the "grafted" nature of illustration in general, but avoids discussing the possibility of the further outrage of an illustration poorly done or ill-chosen as to its effect. The unspoken horror of an inappropriate graft, a limb from a misshapen creature grafted on the lovely body of his text seems to be lurking in James' objections. James is too sophisticated, however, to yield completely to his darkest paranoia about illustration. How can he deny that art inspires art? In the preface, James concedes that inspiring a "garden" of images in the reader or another artist is a compliment to the author; indeed, he admits that "nothing could better consort than that, I 4 naturally allow, with the desire or the pretension to cast a literary spell" (1: x).
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