Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2000 Francis Hayman: an Artist Reading British Literature in the 1740s. Stephen Alan Raynie Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Raynie, Stephen Alan, "Francis Hayman: an Artist Reading British Literature in the 1740s." (2000). LSU Historical Dissertations and Theses. 7293. https://digitalcommons.lsu.edu/gradschool_disstheses/7293 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bieedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. FRANCIS HAYMAN: AN ARTIST READING BRITISH LITERATURE IN THE 1740S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment o f the requirements for the degree of Doctor of Philosophy in The Department of English by Stephen A. Raynie B.A., University of Illinois, 1984 M.A., University o f Missouri-Kansas City, 1996 August 2000 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number 9984361 Copyright 2000 by Raynie, Stephen Alan All rights reserved. __ ____ _ _ ® UMI UMI Microform9984361 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©Copyright 2000 Stephen Alan Raynie All rights reserved ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DEDICATION To Francis Hayman: painter, critic, spectator, andbon viveur iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS I have never heard of a scholar who did not rely on many others for advice, support, guidance, ideas, and sometimes, just a pleasant remark. Professor David Weinglass of the University of Missouri-Kansas City first brought the interaction of text and image to my attention, and the credit for planting the seed for this project goes to him. Conversations with the ever tolerant and supportive Professor Jim Springer Borck nurtured the project, and the kind commentary of Professor Janet Aikins, who agreed to travel from the University of New Hampshire to serve on my dissertation committee, continued to provide needed encouragement during my revisions. I am especially indebted to Professors John I. Fischer and Anna K. Nardo for taking the time to weed the digressions from my early draffs in order to uncover the seedling of my argument. I would also like to thank Professor Kevin L. Cope, whose good-humored disposition and profound scholarly insight illuminate and encourage the entire profession. I am also extraordinarily grateful to Professor Robert C. Leitz, Curator of the James Smith Noel Collection at Louisiana State University in Shreveport, for allowing me access to his fine library. His encouragement of entrepreneurial scholarship, provision of free images, and just plain friendliness are unprecedented in the history of research institutions. Martha Lawler, also of the James Smith Noel Collection, likewise deserves my thanks for her kind help during my visits. I am indebted to as well to the James Smith Noel Foundation for its generous financial support. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The staffs at the Hill Memorial and Middleton Libraries at the Louisiana State University likewise have been extraordinarily obliging. Roberta Ruiz in the interlibrary loan department deserves special praise in this regard, for she has inconvenienced herself on numerous occasions to obtain materials for me on short notice. I would also like to thank Ann Polito and Judy Bolton for their friendliness and their assistance in providing images from the rare book collection at the Hill Memorial Library. At the Middleton Library, I owe Margaret Stephens and Barbara Wittkopf my thanks for helping me track down elusive allusions. I also owe a debt of gratitude to my great friend, poet, cultural critic, and correspondent Erik McCarthy for reading and commenting on my chapter drafts. I would also like to thank my wife Joanne, my son Jacob, my parents, and the rest of my family for their patient support. It is for emphasis that I mention my family last, for without these precious relationships to sustain me, this project would never have begun. v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS COPYRIGHT.......................................................................................................................ii DEDICATION....................................................................................................................iii ACKNOWLEDGEMENTS.............................................................................................. iv ABSTRACT.......................................................................................................................vii INTRODUCTION................................................................................................................1 CHAPTER 1. HAYMAN’S INTERPRETIVE INDEPENDENCE AND THE REVISION OF SHAKESPEARE.................................................................................... 17 CHAPTER 2. HAYMAN’S VISUAL ANTI-PAMELA AND THE PROBLEM POSED BY ILLUSTRATION.........................................................................................61 CHAPTER 3. HAYMAN’S VISUAL COMMENTARY IN MOORE AND BROOKE’S FABLES FOR THE FEMALE SEX. .........................................................103 CHAPTER 4. EVE’S ASSERTION OF INDEPENDENCE IN HAYMAN’S ILLUSTRATIONS FOR PARADISE LO ST . ................................................................ 143 CONCLUSION.................................................................................................................172 WORKS CITED...............................................................................................................175 APPENDIX A. TRANSCRIPT OF FABLES FOR THE FEMALE SEX. .................. 193 APPENDIX B. PUBLICATION CONSENT FROM EIGHTEENTH-CENTURY LIFE...................................................................................................................................248 VITA................................................................................................................................. 249 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT The on-going comparison of the sister arts (poetry and painting) in the eighteenth century recommends a reassessment of Francis Hayman's role as an artist reading and interpreting literary texts. A founding member of the Royal Academy in 1768, Francis Hayman began his artistic career as a scene painter at the Goodman's Fields and Drury Lane theaters. Although Hayman was one of the most prolific book illustrators in mid eighteenth century Britain, relatively little critical attention has been devoted to his work. Moreover, his circle of friends included such Old Slaughter's and St. Martin's Lane Academy regulars as Henry Fielding, William Hogarth, David Garrick, Hubert Gravelot, Martin Folkes, and the young Thomas Gainsborough. Yet his illustrations in the 1740s for Samuel Richardson's Pamela, Thomas Hanmer's elaborate quarto edition of Shakespeare, Thomas Newton's