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Responses to Early Gothic Fiction and the Cultivation of Emotional Taste UNIVERSITY OF CALIFORNIA, IRVINE Bad Writing: Responses to Early Gothic Fiction and the Cultivation of Emotional Taste DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in English by Elizabeth Jean Mathews Dissertation Committee: Professor Daniel M. Gross, Chair Professor Jayne Elizabeth Lewis Professor James A. Steintrager 2018 © 2018 Elizabeth Jean Mathews DEDICATION In memory of my mother, who cared about emotions above all else, accepted difference, and always strove for understanding. ii TABLE OF CONTENTS Page LIST OF FIGURES v ACKNOWLEDGMENTS vi CURRICULUM VITAE vii ABSTRACT OF THE DISSERTATION viii INTRODUCTION 1 Critical Emotion 7 Eighteenth-Century Emotion and Criticism 10 Gothic Scholarship 14 Trans-historicism 18 Reception Studies 20 Implicated Criticism 27 Chapter Overviews 29 CHAPTER 1: Old-School: Formulaic Feeling and Categorical Interest in The Castle of Wolfenbach 34 Emotional Education 38 The School of Affliction 48 Feeling Against the Formula 67 Conditional Interest 76 CHAPTER 2: Shock Treatments: Sensation and Constraint in, around, and beyond The Monk 86 Marketing The Monk 92 Genre and Feeling in Reception 106 Sex and Violence 112 Illustrating Emotion 119 Rhetorical Power and Contextual Control 129 CHAPTER 3: Sweet Emotion: The Mysteries of Udolpho and Emotional Taste 144 Emotional Taste 148 Radcliffe’s Permeations 155 Tainted Sweetness 167 Radcliffe’s Penetrations and Mediations 172 Uses of Emotional Taste 180 CHAPTER 4: Jeers for Fears: Camp and Ambiguity in The Castle of Otranto 184 Camp Counseling 188 Paratextual Cathexis 194 Otranto’s Compelling Plot 200 iii Reading between the Lines 206 Crying Shame 224 Conclusion: Bad Ambiguity 230 SELECTED BIBLIOGRAPHY 235 iv LIST OF FIGURES Page Figure 1 Cover of the Bestseller Library edition of The Monk (1960) 97 Figure 2 Cover of the Dennis Wheatley Library of the Occult edition of The Monk (1974) 98 Figure 3 Cover of the Avon edition of The Monk (1975) 99 Figure 4 Cover of the Oxford University Press edition of The Monk (1977) 101 Figure 5 Cover of the Oxford University Press edition of The Monk (1985) 101 Figure 6 Cover of the Oxford University Press edition of The Monk (2002) 105 Figure 7 Charles Reuben Ryley’s watercolor The Monk (ca. 1796) 122 Figure 8 Anonymous illustration, “Restez, enchanteresse, restez pour ma destruction” (1797) 124 Figure 9 Jean François Eugène Prudhomme, frontispiece from Ambrosio; or, The Monk (1822) 124 v ACKNOWLEDGMENTS I am deeply grateful for the guidance and support of my committee chair, Daniel Gross, who saw the value in this project from the beginning, allowed me the freedom to develop my ideas, and remained steady through the highs and lows of the last several years. I am very lucky to have worked with someone who understood what I was trying to express most of the time and trusted that it was important even when it didn’t yet make sense. Jayne Lewis contributed her insight, close attention, and historical knowledge to these chapters, and I am grateful for her kindness and astute questions throughout the writing process. Jim Steintrager pointed me to sources that proved vital for my thinking. Ann Van Sant, Irene Tucker, Jeanne Scheper, Robert Folkenflik, Oren Izenberg, and Theodore Martin were generous with their time and expertise, and I benefited from the passion for new approaches among all the professors at UCI. Kirsten Saxton’s depth of knowledge and enthusiasm helped this project along, and she and Ruth Saxton gave me essential advice and encouragement. Early exchanges with Elizabeth Neiman, Megan Milota, and the members of the Eighteenth-Century Questions group assisted me in honing my topic and methodology, as did the feedback of conference attendees at NEASECS and PAMLA. I am grateful to The Huntington Library, San Marino, California, for opening its collection to me. I thank Oxford University Press for granting permission to use the covers of its books and photographer Andrea Pistolesi for letting me work with the Oxford cover that features his image. I appreciate The Lewis Walpole Library, Yale University; the Bibliothèque Nationale de France; and The New York Society Library for allowing use of their digitized collections. I am indebted to the intellectual community of graduate students in the English Department at UCI. My cohort helped me stay on track and offered me a wealth of perspectives. I am particularly grateful to Jessie Wirkus, Sharon Kunde, Jens Lloyd, Maureen Fitzsimmons, Chris Dearner, and Maria Bose for responding to various drafts of my work in progress and sharing their own work with me. My students in several literature and writing classes allowed me to see Ann Radcliffe and Horace Walpole with fresh eyes. Paul Constant helped me think through the culture of book reviewing and provided me with an early model of reading with discernment while resisting snobbery. Anne Mathews has been my lifeline during this project, and she and Steve Arntson have helped me in more ways than I can name. Mary Anne and Pete Tamburro offered boundless support and a writer’s retreat in the Adirondacks. Diana Mathews, Mary Hicks, and Jessica Langlois provided childcare and thoughtful companionship as I learned how to write with a small child, and Aruna Ekanayake helped me process the challenges of academia. Ellery Mathews-Tamburro gave me a reason to continue to reach high, and she kept me grounded in the physical world and the delights of daily life. Nick Tamburro is my sounding board and my hero in everyday challenges and ambitious endeavors, and this project would not have been possible without him. vi CURRICULUM VITAE Elizabeth J. Mathews PhD in English literature, University of California, Irvine, June 2018 MA in English literature, University of California, Irvine, March 2013 MFA in creative writing, Mills College, May 2009 BA in interdisciplinary studies, The Evergreen State College, September 2000 Publications New Perspectives on Delarivier Manley and Eighteenth-Century Literature: Power, Sex, and Text, coeditor with Aleksondra Hultquist, Routledge, July 2016 Book review of Populism, Gender and Sympathy in the Romantic Novel by James P. Carson, in Aphra Behn Online: Interactive Journal for Women in the Arts, 1640-1830 2, no. 2 (September 2012) “‘A Strange Sympathy’: The Rhetoric of Emotion in The History of the Nun; or, The Fair Vow- Breaker,” in Aphra Behn Online: Interactive Journal for Women in the Arts, 1640-1830 2, no. 1 (March 2012) Teaching University of California, Irvine Teaching Assistance, Gender and Sexuality Studies, 2018 Instructor, Writing, 2012-2018 Seminar Leader, Humanities, 2016-2017 Instructor, English, 2014-2015 Mills College Teaching Assistant, English, 2008-2011 vii ABSTRACT OF THE DISSERTATION Bad Writing: Responses to Early Gothic Fiction and the Cultivation of Emotional Taste By Elizabeth Jean Mathews Doctor of Philosophy in English University of California, Irvine, 2018 Professor Daniel M. Gross, Chair “Bad Writing: Responses to Early Gothic Fiction and the Cultivation of Emotional Taste” analyzes portrayals of emotion in early gothic fiction, using the particular features of these portrayals to explain variations in reception. Focusing on eighteenth-century British gothic works that have been harshly criticized either in their day or in ours, I discuss Eliza Parsons’s Castle of Wolfenbach, Matthew Lewis’s Monk, Ann Radcliffe’s Mysteries of Udolpho, and Horace Walpole’s Castle of Otranto, novels whose tumultuous reception histories especially beg questions about how and why readers judge and feel differently about literature. For instance, early reviewers of Udolpho express sorrow and terror in response to what they describe as the novel’s well-wrought scenes, but a recent Goodreads reviewer writes that she would like to slap its heroine. I consider these kinds of responses to be a function of what I call “emotional taste,” and I propose explanations for differences in emotional taste by closely analyzing how the novels construct affective experiences using tools with variable associations. In doing so, I attend to the way formal, linguistic, and mechanical features gain or lose emotional relevance depending on a reader’s historical viii positioning and attitude toward the text. I argue that because the craft of gothic fiction carries complex histories of emotional relation within and beyond the text, when critics judge the writing of these novels as good or bad, their judgments reveal less about the quality of the writing and more about the affective norms of literary and critical expression that inform the judgment. In turn, when critics argue that certain kinds of reading are good or bad, they draw attention to the ways these affective norms are in flux. Using a broad range of responses from professional and amateur critics, I demonstrate how the emotional rhetoric and conventions of diverse critiques, when put in conversation with the details of the text, can offer new perspectives on the novels and on the practices of literary criticism themselves. ix INTRODUCTION There is a sense in which modern culture may be the interminable struggle around where and how to draw the boundary line between good and bad reading and writing. —William B. Warner, Licensing Entertainment The eighteenth-century British gothic novels that readers take up today often have tumultuous reception histories, and ones I analyze in my dissertation, dating from 1764 to 1796, especially beg questions about how and why readers judge and feel differently
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