"This Theatre of Monstrous Guilt": Horace Walpole and the Drama of Incest

"ThisTheatreofMonstrousGuilt": HoraceWalpoleandthe DramaofIncest PAUL BAINES HoraceWalpolecompletedhistragedyTheMysteriousMotherin1768, andithasremainedmysteriouseversince.WhereasWalpole'sThe CastleofOtranto(1764)hasneverbeenoutofprint,TheMysteriousMother hashardlyeverbeeninit.AUscholarsacceptthatOtrantostandsasthe inauguraltextoftheGothicnovel;fewerscholarsareawareofthefoundationalandinfluentialstatusofTheMysteriousMotherinGothicdrama .1 Theplayhasremainedoddlysecretlongafterpoliticalorgender-basedcriti- cismmighthavebeenexpectedtorecoverit.Thereasonsforneglectare partlytobelocatedinthescandalousnatureoftheactionitself,aseventhe briefestplotsummarywillindicate:the"mother"ofthetitleisthewidowed CountessofNarbonne,whohasbanishedhersonEdmundforasupposed sexualmisdemeanorwithhermaid;sixteenyearslaterhereturns,witha fellow-soldiernamedFlorian,toconfronthismysteriouslycontritemother, andmarriesabeautifulorphan,Adeliza.Throughthemachinationsofavil- lainouspriest,Benedict,itisdiscoveredthatAdelizaisactuallytheoffspring ofEdmund'soriginaltransgression,whichtookplacenotwithBeatricethe maid(ashehadassumed)butwithhisownmother;hehasthusunwittingly marriedhisownsister/daughter.TheCountess,whohasbornetheknowl- edgeofthistruthallalong,stabsherself.2 Itisanextremeversionofincestnarrative,eveninliteraryterms,andthis portrayalofafamilyinruinshasalwayshadthepotentialtoleadreaders 287 288/BAINES backtoWalpole'sownfamilylife.Theyoungestsonoftheseemingly immovableandall-powerfulPrimeMinisterofEngland,broughtupasa weaklingbyanadoredandadoringmotherwhilethefathermaintaineda separateandquitepublicestablishmentwithhismistress,andrumoredon occasiontobenotactuallySirRobertWalpole'ssonatall,HoraceWalpolecouldhavefoundamplematerialformelodramaintheillegitimacies,di- vorces,andsexualdisastersofhisownimmediatefamilycircle.Agendered orsexualizedapproachisfoundinearlyaccountsoftheplay:in1821Byron sawWalpoleas"the'UltimusRomanorum,'theauthoroftheMysterious Mother,atragedyofthehighestorder,andnotapulingloveplay.Heisthe fatherofthefirstromance,andofthelasttragedyinthelanguage,andsurely worthyofahigherplacethananylivingwriter,behewhohemay."3A"semi- nal"author,then,as"fatherofthefirstromance,"Walpole'sRomanvirtues arespecificallymasculineones:"puling"isawordwhichtheplayitselfuses toindicateeffeminacy(BenedictcontemptuouslycallsAdelizaa"puling moppet"[5.1],andEdmunddescribeshimselfasamere"pulingboy"before hismother'sauthority[2.1]),sotheplaybecomesdefinedashighlymascu- line.Ontheotherhand,Coleridge'srawestnerveseemstohavebeentouched bytheplay,andByron'scommendationofit,andhevigorouslycontestedits author'spersonalmasculinity:"TheMysteriousMotheristhemostdisgust- ing,detestable,vilecompositionthatevercamefromthehandofman.No onewithasparkoftruemanliness,ofwhichHoraceWalpolehadnone, couldhavewrittenit."4 ModernbiographersanddefendantsofWalpolehavecommented,often withacertainembarrassment,onthesupposedconnectionbetweenThe MysteriousMotherandWalpole'sownsexualcharacter.WS.Lewisnotes: Thetwentiethcenturyhasbeeninitiatedintothemysteriesoftheuncon- sciousandneedsnoglossonTheMysteriousMother,butonepointshould perhapsbenoted....WhenWalpolecametoarrangehisworksforpost- humouspublicationheprintedhis"EpitaphonLadyWalpole,"withits praiseofhersensibility,charity,andunbigotedpiety,immediatelyafter TheMysteriousMother.5 Psychoanalyticcriticismoftheplayhasoccasionallyfollowedthislead.Betsy Harfstdecodestheplayasa"punishmentdream"throughwhichWalpole purgesunresolvedOedipaltensionsandotherlatentpersonalstresses(such asguiltabouttheelementofparricidalwish-fulfillmentinTheCastleof Otranto,andattachmenttotheelderlyMadameduDeffand,whodoubled bothasmother-figureanddaughter-figure);MartinKallichconfirmsitas"a fascinatingpsychologicalpalimpsestwhereintheoutlinesoftheauthor'slife "ThisTheatreofMonstrousGuilt"/289 atatimeofcrisismaybedeciphered."6Thetemptationtousetheplayinthe serviceofpsychobiographycontinues.Inthemostrecentbiographyof Walpole,TimothyMowlcomprehensively(ifratherpunitively)"outs"hisanti-heroasanunambiguoushomosexual,andstraightforwardlyanchorsthe tragedytoafearofheterosexualpressure.7 Ihavenowish,however,toextendthistidyhomologybetweenpublicand privateanyfurther;myintentionisramertotrytoreconfigureitalongless personalizedsexualandtextuallines.WhileIdonotdenythatsomeofthe play'senergymayderivefrompersonalconflict,apsychoanalyticreading candonothingexceptusetheplaytoanalyzeWalpole'spersonality(which canthenofcoursebereinscribedasthe"source"ofauthoritativemeaning). Iseekinsteadtoofferareadingoftheplay'sOedipaldynamicsofsexandpowerwhichdoesnotdependonadirectidentificationoftheplaywith Walpole'spersonalsexuality.Secondly,Iwishtoexploretheslow-burning revelationoftheplay'stextualhistoryinrelationtothetensionbetween disclosureandconcealmentthroughwhichtheplaydramatizesitssexual content.HeretheconsequencesareinanobviouswaypersonaltoWalpole astheplay'sauthor:thoughnoteveryonewasasunnervedbytheplayas Coleridge,Walpoleknewwellenough(andataconsciouslevel)thesortof scandalthatwouldattachtohimforhavingwrittenit.Theplaytext'sown emergencefromself-censorshipandclandestinecirculation,itsoscillation betweenpublicandprivatestatusinitsreceptionandtextualhistory,re- enactedakindofOedipalpatternintheSophocleanordramaticsenseofa secretwhoseteasingoutisthesourceoftheatricaltension.Itstransgressive stancewithintheorderofprintisoverlaidbyitsgradualabsorptionintothe widerfamilyofWalpole'saudience,realigningthenotionofaprivatesexual crimeinmoresocialterms.WhiletheCountess'soriginalsincannotquitebe redeemedintheworldoftheplay,theregretwhichaccompaniesthatfailure becomestransferredtothetextualredemptionofWalpole's'sin'inhaving authoredit.Theprocessbywhichthishappenscannotsimplybemapped ontotheconfessionorsublimationofaprivatefantasy. I TheMysteriousMotherrevisitswithmoreexplosiveeffectmanyofthe scenesoffamilytensionexploredinWalpole'sTheCastleofOtranto.Inthe novel,theGothicsettingoffersanatavistic,archaizingandyetprivileged spacefortheplayingoutofascenarioofpatriarchaltyranny,rapacity,di- vorceandincest,endingnot(asinsomanylatertextsinthegenre)invirtue rewardedordomesticbliss,butinchildlessdomesticmelancholy,thehero unitedwithasecond-bestwife.SteepedinWalpole'sreadingofJacobean 290/BAINES drama,Otrantoisdramaticinvariouswaysandin1781itwasadaptedfor thestagebyRobertJephsonunderthetitleofTheCountofNarbonne—a titlewhichmoreproperlybelongstotheheroofWalpole'sunperformable attempttoinventGothicdrama.InadaptingOtrantoforatheatrewhichThe MysteriousMotherwouldneverreach,Jephsonrelegatedmuchofthenovel's supernaturalmachinerytonarrativepassages,perhapslearningfromthein- stinctforthevisualandperformablewhichWalpolehaddemonstratedinhis ownplay.ForthenatureofGothic,asWalpoleimaginesittheatrically,is internal;supernaturalforcesbecomepsychologicalones.Whileprovidence andprophecydriveOtrantotowardsarevelatoryconclusionthroughpreter- naturaleventsandapparitions,alltheactiveforcesinTheMysteriousMother areinternalones,linkingtheplaywiththespirit-worldfantasiesoflater closetdramas.Thoughtheeventsoftheplayoccurontheanniversaryofthe originalcrime,andthusmayappeartobepartofacelestialpattern,the notionofanniversaryissomethingwhichtheCountessherselfhasorganized inyearlymourningforherdeadhusband,andthereturntothemomentisat leastasmuchtheproductofindividualconsciousnessasofanydivineplan. ThestormwhichshatterstheCountess'spenitentialstatueofherdeadhus- bandappearsominousandvengefulonlytothepriestsandthecomicand superstitiousporter,notionallytheguardianoftheprivatedomesticspaceof thecastle,whoaccompaniestheCountessonhertriptoencountertheele- mentsin2.3.TheCountessdeliberatelyexposesherselftopatriarchalven- geanceintheshapeofthethunderbolt,butsoonrealizesthatasenseofdoom isalwaysinternal,notcosmic: Omensandprodigiesarebutbegotten Byguiltonpride.Weknowthedoomwemerit; Andself-importancemakesusthinkallnature Busiedtowamuswhenthatdoomapproaches.(3.1)'"Tisfromwithin/1tremble,"shetellsBenedict(1.4).Thereal"thunder-bolt"istheprojectedvisionof"Conscience'sflaminglance"whichsheexperiencesin4 .3.Inthisplaythe"supernatural"isonlytheinventionofhypo- criticalpriestcraft,exertedtofurtherthepowersofthemalignconfessor Benedict;therealityofitisawhollypsychologicalphenomenon,thehaunt- ingpresenceofadead,vengefulspouse,whichtheCountessproducesthrough theactivitiesofconscience.Benedict'swholestrategy,indeed,isto"sound" theCountess's"inmostsoul,/Andmouldittotheinstantofprojection" (1.3);hissuccess,ironically,derivesfromthestrengthofherinnervirtue ramerthantheprovidentialdiscoveryofherweakness.8 ThisgeneralinternalizationismappedontoarecastingoftheOedipusstory,whichWalpoleusesasaliteraryanaloguetolegitimizehisshocking "ThisTheatreofMonstrousGuilt"/291 drama.TheMysteriousMotherisanOedipaldramawhichout-Hamlets Hamletbyrenderingthedesireforincestuousunionbetweensonandmother aconsciousandconsummatedwish(atleastonthemother'spart).Thelan-guageisfullofallusionstoriddles,oraclesandsoon,whichsignalthe Sophocleansource,andbothOedipusTyrannosandTheMysteriousMother endwiththeexileofthecontaminatedsontoawaitdeathafterthesuicideof theguiltymother.Buttherearemajordifferences,mostobviouslyinthelack ofasupernaturalmachinerytorevealthelatentsexualcrime,butalsointhe moreprivatedomesticscopeofthedrama.Thougharistocrats,theNarbonne familyhavenostakeinthestate,andforEdmundtogoandfightinthe nationalwarsispreciselyanextremeformofexile:Gothicisdomesticated hereintoasinglefamilytrauma.Conceivedpartlyasastarvehiclefora (perhapsconveniently)unavailableactress,andinventing,asfemale,thesort ofmonolithic,woundedcharacterofcharismaandexclusionlatertodomi- nate"Byronic"dramainmaleguise,theplayrefocusesattentiononthemother ratherthantheson.InthisitresemblestreatmentsofthePhaedralegendby Euripides(Hippolytus)andRacine(Phèdre);Voltaire'sSémiramis,another highlyexoticversionofmysteriousmotheringwhichWalpolesawinParisin 1766andadmired,isanotherpossiblesource.9Itwouldbeeasyenoughto construethebasicplotofTheMysteriousMotherasadisplacementofmale incestuousdesireontoaguiltymother,renderingthesoninnocent(aswith Hippolytus);theCountesscouldbereadasdisruptivelysensual,usurping patriarchalauthorityoversexualsituationswithcatastrophicresults,forwhich sheispunishedbydeath.MystifyingtheMotherwouldthenbearelatively familiarprocessofcollapsingaveneratedidolintoacastratingwitch.Yet oneofthemostcontroversialorculpableelementsoftheplay,asWalpole understoodit,wasexactlyitsfailuretodemonizetheCountessinthisway. Walpoledepartsfromdramaticconventioninabandoningthegendered andhierarchicaldivisionbetweenmenandwomeninthe"Persons"orDramatisPersonaeandlistingtheCountessatthetop.Intheplay,shepossessesrealpower :asthewidowofNarbonne,shebears(inEdmund'sphrase) "Narbonne'ssceptre"(3.4).Benedictmaybeherconfessorbutsheishis boss,resistingconfessionandabsolution(hismeanstopower)andsilencing himonseveraloccasionswiththeplay'sunambiguousapproval(forexample, in3.4).Hecanonlyrefertotheabsentinstitutionalauthorityof"Holy Church,"whichhealsopointedlycharacterizesasfemale(4.1)andwhich meCountesssimplyignores.Economically,inthesenseofrunningthelaw ofthehome,theCountessisunimpeachable:BenedictandEdmundacknowl- edgethatshescrupulouslypaystherevenuesoftheestatetoherson(1.3, 2.1),reservingaportionforAdelizaandcharitableprovision;atthesame timesheevincesanauthorityoverbothherconfessorandherrebellious, self-consciouslymasculineson,beforewhichtheybothwilt: 292/BAINES COUNTESS:Thouartmyson,andIwillproveamother. ButI'mthysovereigntoo.Thisstateismine. Learntocommand,bylearningtoobey. Tho'frailmysex,Ihaveasoulasmasculine Asanyofthyrace.Thisverymonk, Lordasthouthinkestofmyductileconscience, Quails-lookif'tisnottrue-whenIcommand. EDMUND(alone):Why,thisismajesty.Soundsofsuchaccent Ne'erstruckmineeartillnow.Commandingsex! Strength,courage,allourboastedattributes, Wantestimation;ev'nthepreheminence Wevauntinwisdom,seemsaborrow'dray, Whenvirtuedeignstospeakwithfemaleorgans.10 ItistruethattheCountessneglectstheformsofarchitecturalmasterywhich normallyhouseandembodymalepower:Edmundcomplainsthatthecastle (thecrumblingsiteofthefamilyoikosor"House")isnolongermaintained inthebaronialmannerofhisheroicforefathers(2.1),andBenedictcasti- gatestheCountess'sfailuretorepairthefabricofthechurch(4.5).But Edmund'sfeudalambitionsareimmediatelyandconvincinglyridiculedasa returntoprimitivebrutishnessbyhisfellow-soldier,Florian(2.1)andthe playasawhole,inlinewithWalpole'sWhigcredentials,ismanifestlyanti- sacerdotal."TheCountessvoicesproto-Protestantsympathiesagainstthe corruptionsoftheChurchwhichtheplayveryobviouslyseconds(sheis backedupbyFlorian,andbyreferencestotheincipientReformationinwhich theactionisset),leavingherasasortoficonforanimaginedfutureliberty ofconscience(ifnotofaction).Ifsheisathreattopatriarchy,theplaycannot characterizeherasawhollyunwelcomeone. NoristheCountess'ssexualitythreateninginitselftothemalefigures whoclaimaninterestinit.Benedict,misogynisticallypronetodiscoversexual aberrationinwomenasameanstodominionoverthem,isconvincedofher unassailablesexualprobity: BENEDICT:...Sheown'dtome, That,tho'ofnaturewarm,thepassionlove Didne'eranticipateherchoice.Thecount, Herhusband,soador'dandsolamented, Wonnotherfancy,tillthenuptialrites Hadwiththestingofpleasuretaughtherpassion. This,withsuchmodesttruth,andthattruthheighten'd Byconscioussense,thatholdsdeceitaweakness, Sheutter'd,Iwouldpawnmyorder'scredit Onherveracity.12 "ThisTheatreofMonstrousGuilt"/293 Edmundseeshismotherasa"sensualwoman"(2.1)but(ostensiblyatleast) onlyinthesensethatshehadarighttohersexualpleasures,ashehadaright tohis.Walpolehimselfcommentedinthepostscripttotheplaythat"Ihaveendeavouredtomakeherveryfondnessforherhusbandinsomemeasurethe causeofherguilt,"andtheCountess'sexplanationoftheincestuousmo- ment,inthepenultimatescene(5.6)arguesarealcasefortheplausibilityof thisapparentlycatastrophicfall.Sherevealshowherhusband'sdeathonthe wayhomefromalongabsenceleftherwithadisappointedsexuallonging whichfoundforitsobjectthepersonwhomostresembledhim:hisson.13 Incestisthusnotsomesortofdemonicvisitation,stilllessathoroughgoing corruption,butanadjunctofmarriageandmotherhood,stimulatedbythe verydomesticsceneitviolates. Moreover,theplaydoesnotsimplyconcentrateontheCountess'saber- rantdesire.TheentropieconsequencesoftheseOedipalresemblancesare veryfullyworkedoutinthelibidinouseconomyoftheplay,sinceAdeliza fallsinlovewithherfather-brotherexactlybecauseofhis"parental"ad- dresstoher(3.2);amother-figure,theAbbessunderwhosetutelageshehas lived,diesjustbeforeshemarriesEdmund,andtheCountess,mistaking Edmund'sinvolvementforFlorian's,imaginatively,evenseductively,repeats whatsheguessestobethelover'swordsofwooing,inordertohastenthe match.14EdmundisbesottedwithwhatFlorianironizesasAdeliza's"fruitful "and"matron-like"air(2.1),butonattemptingtoconsummatethemar- riage,asFlorianreports,thesesignsrevealsomethingclosertohome: FLORIAN:...Withavoice Appall...