Serving the Storyline of the Novel: The Powerful Role of the Feudal Servant-Narrator
This thesis addresses issues of class as represented through the narrative agency exercised by the servant-narrator in Castle Rackrent and Wuthering Heights. Thady Quirk and Ellen Dean are servant-narrators who strategically use feigned allegiance, astute perception, and selective disclosure to wield power over the lives of their masters. These “arts of subordination” allow the servant-narrator to tell his or her own life narrative, while appearing to share the masters’ memoirs. While both servant-narrators are motivated by economic means, Ellen Dean’s involvement throughout Wuthering Heights is further complicated by her desires of emotional connection. However, each servant-narrator achieves his or her goals by manipulating the events and relationships that constitute his or her masters’ lives.
"The Plain Round Tale of Faithful Thady": Castle Rackrent as Slave Narrative
Critics of Maria Edgeworth’s Castle Rackrent tend to focus on textual elements—gender issues, the symbolism of the Big House, colonial hegemony— or contextual readings by placing Edgeworth in the Anglo-Irish history and tradition. While such criticism usually in some way examines the main theme of the text, the appropriation of power and authority, little of it accomplishes both the textual and contextual analysis that Castle Rackrent deserves. Exploring Thady’s “plain round tale” as a slave narrative in content and form sheds new light on the work both textually and contextually; in Thady Quirk, Edgeworth has created a typical slave narrator who recounts a history of oppression which is ultimately mediated by an outside editor. As John Cronin writes of Castle Rackrent, “What Maria Edgeworth has given us . . . is a magnificently realised slave, a terrifying vision of the results of colonial misrule. There must have been a moment of clearly deliberate artistic decision in which she realised that what needed to be said must be said through one of the submerged people.”1 The three main textual elements of the narrative indicate its likeness to typical slave narratives: its presentation of a conflicted slave narrator, its use of the framing device of the outside editor, and its narrative structure of episodic anecdotes that utilizes memory, description, and didacticism.
Nobody's Story: The Vanishing Acts of Women Writers in the Marketplace, 1670-1820
Nobody's Story is a ground-breaking exploration of the careers of five influential women writers of the Restoration and eighteenth and early nineteenth centuries. The 'nobodies' of her title are not ignored, silenced, erased, or anonymous women. Instead, they are literal nobodies: the abstractions of authorial personae, printed books, scandalous allegories, intellectual property rights, literary reputation, debts and obligations, and fictional characters. These are the exchangeable tokens of modern authorship that lent new cultural power to the increasing number of women writers during the eighteenth century. Women writers, Gallagher discovers, invented and popularized numerous ingenious similarities between their gender and their occupation. Far from creating only minor variations on an essentially masculine figure, they delineated crucial features of 'the author' for the period in general by emphasizing their trials and triumphs in the market place. Aphra Behn (1640-1689) and Delarivier Manley (1663-1724) became popular and notorious by likening their authorship to the perceived 'nothingness' of female sexuality and deceptions of scandalous rumour-mongering. This preoccupation with absence and misrepresentation, Gallagher argues, was imported into the novel, the new genre that encouraged identification with 'nobodies' - with fictional characters understood to have no individual embodied referents in the world. In studies of the economic relations, authorial personae, and fictional techniques of Charlotte Lennox (1729-1804), Frances Burney (1752-1840), and Maria Edgeworth (1768?-1849), the book details the evolving connection between the development of the novel and the growing prestige of the female author.