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Monstrous Hybridity: the Greco-Roman and Biblical Aesthetics of the Sea in the Long Romantic Period. a Thesis Submitted in Fulfi

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Monstrous Hybridity: the Greco-Roman and Biblical Aesthetics of the Sea in the Long Romantic Period. a Thesis Submitted in Fulfi Monstrous Hybridity: The Greco-Roman and Biblical Aesthetics of the Sea in the Long Romantic Period. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. School of English, Media and Performing Arts, University of New South Wales. Mandy M. Swann Supervisors: Scientia Professor Christine Alexander and Dr. William Walker December, 2010. COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed Date ..zh.lv....... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed Date ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed Date X h 11 < ©2010 by Mandy M. Swann All Rights Reserved. Acknowledgements I would like to thank my supervisors Christine Alexander and Bill Walker for their continual support and encouragement, as well as Cian Duffy, Peter Fletcher and Graham Harman for their generosity in providing much needed feedback on the project at important junctures. I also thank Dr Campbell Aitken, who provided editorial services related to standard D (Language and illustrations) and standard E (completeness and consistency) of the Australian Standards for Editing Practice. I am indebted to my fellow doctoral candidates, Emma Wortley, Mark Tutton and Ryan Twomey for their friendship during the research and writing of this thesis. Most importantly, I am especially indebted to my parents, Laurine and Arthur Fitzpatrick and my husband, Patrick Caldon, for their enduring kindness and love. Table of Contents Introduction: Critical transformations of the Romantic Sea..........................................10 The Greco-Roman and Biblical Character of Romantic Seas...............................23 Chapter 1: The Feminine Supernatural.......................................................................... 35 Homer and Hesiod................................................................................................. 36 Heroic Battles with Sea Chaos.............................................................................. 45 Chapter 2: Mare Nostrum, Virgil’s Aeneid................................................................... 58 The Hero and the Sea............................................................................................ 60 The Sea as Unreason and Frenzied Rage...............................................................71 Sea-Nymphs in the Service of Rome.....................................................................78 Chapter 3: Salvation and Chasms of Blood, the Biblical Sea........................................84 God’s Control over the waters............................................................................... 89 Sea Monsters in the Bible.......................................................................................... 99 No more Sea............................................................................................................. 109 Romantic Seas, a Prelude..............................................................................................113 Chapter 4: Ann Radcliffe’s Pagan Sea Nymphs..........................................................115 Magical Sea Women.............................................................................................120 Chapter 5: ‘The Mighty Waters Rolling’, Wordsworth’s Poetic Seas........................ 140 ‘Never again can I behold a smiling sea’............................................................145 Dreaming of Immortality......................................................................................155 Chapter 6: ‘A thousand thousand slimy things’, Coleridge’s Unitarian Sea...............168 The Light of “the One Life’’ on the Ocean...............................................................178 Chapter 7: Shelley’s Sea-isle Utopias in the ‘deep wide sea of Misery’.....................209 Utopian Seascapes................................................................................................217 The Sea in Shelley’s “Vision”............................................................................. 241 Chapter 8:‘The destroying angel of tempest’, the Sea of Charlotte Bronte.................251 Oceanic Vistas of Female Subjectivity................................................................257 A Sea of Emotion in Jane Eyre and Villette..........................................................263 Conclusion: Romantic Seas, Sublime Pathways to God................................................ 283 Appendix..................................................................................................................... 290 Bibliography................................................................................................................ 297 Illustrations Frontispiece: Gustave Dore, France, 1832-1883, The Destruction of Leviathan (1865) engraving. The Dore Bible Illustrations, New York: Dover Publications, 1974. Image source: The Dore Bible Gallery. Figure 1: John William Waterhouse, Britain, 1849-1917, Circe Invidiosa (1892), oil on canvas, 180.7 x 87.4 cm. South Australian Government Grant 1892. Art Gallery of South Australia, Adelaide. Image source: Art Gallery of South Australia. Figure 2: Sir George Beaumont, Britain, Peele Castle in a Storm (1805), oil on canvas. Dove Cottage, Grasmere. Image source: The Wordsworth Trust. Figure 3: Percy Bysshe Shelley, Bodleian MS. Shelley e. 4, sketch and poem fragment. The Bodleian Shelley Manuscripts: A Facsimile Edition with Full Transcriptions and Scholarly Apparatus, vol. 3, P.M.S. Dawson ed., London: Garland Publishing, 1987. Figure 4: John Martin, Britain, 1789-1884, The Evening of the Deluge (1828) Mezzotint and engraving 597x817mm, Victoria and Albert Museum, London. Image source: The Web Gallery of Art. Figure 5: J.M.W. Turner, Britain, 1775-1851, Sunset at Sea, with Gurnets (c. 1836-40) watercolour with body colour and chalk. The Whitworth Gallery, Manchester. Image source: The Whitworth Gallery. Gustave Dore, The Destruction of Leviathan, engraving (1865). Introduction: Critical transformations of the Romantic Sea. Since the early twentieth century, critics of the Romantic period have described the portrayal of the sea in Romantic literature as aesthetically transformative, and Romantic aesthetic transformations of the sea as representative of a definitive break with Greco-Roman and biblical portrayals of the sea.1 2Myra Reynolds (1909), for example, claims the sea “waited” for the Romantics. For W. H Auden (1951), Romantic depictions of the sea are evidence of the “revolutionary changes in sensibility and style” of the Romantic era.3 In the short collection of lectures constituting Auden’s The Enchafed Flood: Or the Romantic Iconography of the Sea, the Romantic “attitude” to the sea is distinguished from Greco- Roman and biblical images and ideas about the sea (what Auden refers to as the “classic attitude”). Auden observes “new notes in the romantic attitude”4 to the sea and a poverty of religious belief is one of them: “the images of the Just City, of the civilized landscape protected by the Madonna . the rose garden or island of the blessed are lacking in romantic literature because the romantic writers no longer believe in their existence”.5 Without reference to the role of God or religious belief, Auden characterises Romantic seas as objects of desire and redemptive human experiences: to wander at sea amid the unknown is pleasurable for the Romantic and the mutable nature of the sea is liberating.6 Alain Corbin’s cultural history of English and French attitudes to the sea, The Lure of the Sea: The discovery of the seaside 1750-1840 (1988 in French and 1994 in English), describes a similar pattern of change: the period of 1750-1840 was one where “recollections
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