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UNIVERSITY OF CALGARY Renaissance Parables of Duplicity in Vanora Bennett's Portrait of an Unknown Woman and Mary Novik's Conceit by Theresa Rae Baker A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF ENGLISH, FACULTY OF HUMANTIES, GRADUATE PROGRAM IN ENGLISH CALGARY, ALBERTA JULY, 2009 © Theresa Rae Baker 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-54393-1 Our file Notre reference ISBN: 978-0-494-54393-1 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduce, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la lot canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. •+• Canada UNIVERSITY OF CALGARY FACULTY OF GRADUATE STUDIES The undersigned certify that they have read, and recommend to the Faculty of Graduate Studies for acceptance, a thesis entitled "Renaissance Parables of Duplicity in Vanora Bennett's Portrait of an Unknown Woman and Mary Novik's Conceit' submitted by Theresa Rae Baker in partial fulfilment of the requirements for the degree of Master of Arts. Supervisor, (Dr. Pamela McCallum, Department of English) (Dr. Michael Ullyot, Department of English) (Dr. Elizabeth Jameson, Department of History) Date Abstract "Renaissance Parables of Duplicity in Vanora Bennett's Portrait of an Unknown Woman and Mary Novik's Conceit' explores the marginalized histories of real women in two historical novels written since the terrorist attacks of September 11, 2001. Vanora Bennett's richly-layered novel and the well-crafted poetic language in Mary Novik's Conceit re-imagine the lives of women by employing what Toril Moi calls a "woman's vision of the world" (268), rather than Virginia Woolfs advice to forget gender when women write. With the help of theorists Georg Lukacs, Hayden White, Linda Hutcheon, and Diana Wallace, this thesis examines how these two twenty-first-century novels are both inheritors of traditional forms and innovators of twenty-first century approaches. I employ Diana Wallace's excellent survey of British women's historical fiction in the twentieth century, to examine how Bennett and Novik adapt the historical novel tradition to reflect the unease in twenty-first- century society. iii Acknowledgements I would like to acknowledge the support and guidance of my advisor, Dr. Pamela McCallum, who has shared my passion for the exploration of how twenty-first century women authors are retrieving or re-imagining women's lost histories. Thank you for your wealth of knowledge, your humour, and your wise suggestions. The upcoming opportunity to present a condensed version of my exploration of Vanora Bennett's Portrait of an Unknown Woman at the "Echoes of the Past Conference" (Newcastle University) in Newcastle, U.K., on 27 June 2009, will be a rewarding culmination of two years' hard work. I would also like to acknowledge the support of Dr. Mary Polito, who helped me toward a better understanding of Renaissance women; Dr. Susan Bennett, who referred me to Dr. McCallum; and Dr. Michael Ullyot, who allowed me to explore the contexts surrounding King Richard III and Shakespeare's Richard III. I must also acknowledge the benevolence of the Owen Family Scholarship and the Alberta Government's Queen Elizabeth II Scholarship; and at the University of Calgary, the Faculty of Humanities' Career Development Award and the URGC Graduate Travel Award to attend the conference in Newcastle. Equally influential has been the support of my fellow graduate students: Connie Luther, Pilar Aguilar Malavia, Drew McDowell, Paul Faber, and Sheba Rahim. iv Dedication I dedicate this thesis to my husband, Lee Baker, for his unwavering support and confidence in my undertaking of this project, and to my daughter Lindsay and son David who have equally supported my efforts. Thank you for all the assistance and patience, love and laughter that you have all shared with me throughout this process. I am also very grateful to Penny Andrews, Judith Arato, Kendy Bentley, Karen Booth, Paula Kennedy, Rayna Rabin, and Marley Rynd for their support and wisdom. TABLE OF CONTENTS Approval page ii Abstract iii Acknowledgements iv Dedication v Table of Contents vi Chapter One: Introduction: Renaissance Parables of Duplicity in Vanora Bennett's Portrait of an Unknown Woman and Mary Novik's Conceit 1 Chapter Two: Vanora Bennett's Portrait of an Unknown Woman 16 Sir Thomas More, Saint and Statesman 27 Meg Giggs Clement, an Unknown Woman 45 Chapter Three: Mary Novik's Conceit 64 John Donne, Poet and Priest 72 Ann More Donne, Lover and Mother 87 Pegge Donne Bowles, an Unknown Poet 100 Conclusion: "Metafictional games" and Knowable Facts 118 Bibliography 127 vi 1 Renaissance Parables of Duplicity in Vanora Bennett's Portrait of an Unknown Woman and Mary Novik's Conceit Chapter One: Introduction: Renaissance Parables of Duplicity in Vanora Bennett's Portrait of an Unknown Woman and Mary Novik's Conceit Sylvia Townsend Warner's 1936 short story "The Democrat's Daughter" narrates the elopement of one of the three daughters of the radical and eccentric Charles Stanhope, third Earl Stanhope (1753- 1816). Stanhope was as famous for his inventions as he was infamous for supporting the principles of the French Revolution and arguing against Britain's interference in France's politics. Warner's narrative makes allusions to Stanhope's support of France and his connection to his brother-in-law Prime Minister William Pitt, the Younger. Yet it is Stanhope's youngest daughter, Lucy, who catalogues the principles to which Stanhope subscribes and for which his society mocked him: they were "compelled to sleep without a nightcap and with the window open...Hester [was] sent out to ward turkeys on the common...the coronet [was] taken down from the park gates... [and she was] addressed by an embarrassed tenantry as plain Miss Luqf (66). Despite his advanced liberal ideas, Stanhope does not choose to extend the same 2 kind of liberalism to his daughters, evidenced by his expectations that Lucy marry the man her father has chosen for her: "Mr. Turner...an admirable apothecary'' (63). Lucy Stanhope is both physically and metaphorically short­ sighted, a foolish girl who always obeys her father's commands, but petulantly decides to kill herself to extricate herself from this alliance: "With this end in view she ate neither dinner nor supper, walked her feet wet in the park, sat in a draught all the evening, and stayed awake to cry to the limit of her endurance" (67). Her ridiculous attempt to do herself harm results in nothing more than "a raging appetite, a stiff neck" (68) and a cold that brings a visit from her intended. Surprisingly, despite her disdain for the match her father has made for her, Lady Lucy—who is so demure as to not even look up from the apothecary's boots during their interview—develops an interest in Mr. Turner. Perhaps Mr. Turner was "an orphan. Better still, he might be a foundling, a foundling who would presently be recognized as a foundling of a good family" (70), Lucy imagines. These romantic fantasies are countered by Mr. Turner's condescending concern for Lucy's "delicate [constitution]" (77) that "would require particular care" (75); she convinces herself his concern is chivalric and that she is "deep in love" (79). So when her sisters, Hester and Griselda, decide to "write to Uncle Pitt.... [who] would hardly wish to see his niece married to an apothecary" (80), Lucy appeals to Edmund Turner for "an immediate 3 elopement" (82). In a footnote to this story, Warner confirms Stanhope's youngest daughter, "in 1796, being then sixteen...married an apothecary in Sevenoaks"1 (83). Although these liberal politics of Stanhope gave birth to noble ideals, including Stanhope's involvement with William Wilberforce to abolish the slave trade, and were considered radical for their time, the Earl's politics failed to encompass agency or suffrage for women. As presented in Warner's story and corroborated by the Oxford Dictionary of National Biography, many of Stanhope's actions backed up his liberal political rhetoric, but his role as a father followed the examples of the rest of his generation and, indeed, the previous ones.
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