By Katherine Binhammer
Eighteenth-century literature monitors a fascination with the seduction of a virtuous younger heroine, so much famously illustrated by means of Samuel Richardson's Clarissa and repeated in 1790s radical women's novels, within the many memoirs through fictional or genuine penitent prostitutes, and in highway print. throughout fiction, ballads, essays and miscellanies, tales have been instructed of women's wrong trust of their fanatics' vows. during this ebook Katherine Binhammer surveys seduction narratives from the past due eighteenth century in the context of the recent perfect of marriage-for-love and exhibits how those stories inform various tales of women's emotional and sexual lives. Drawing on new historicism, feminism, and narrative concept, Binhammer argues that the seduction narrative allowed writers to discover diverse fates for the heroine than the domesticity that turned the dominant shape in later literature. This research will attract students of eighteenth-century literature, social and cultural heritage, and women's and gender experiences.
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Additional resources for The Seduction Narrative in Britain, 1747-1800
Example text
Clarissa’s discursive emplotment of her pre-rape story importantly makes a distinction between love and sex. Prior to the rape, Clarissa believes it is possible both to acknowledge love without relinquishing her body sexually and to admit sexual desire without this entailing love. She tries to plot her feelings for Lovelace accordingly, but if these feelings are to become love, they require time and the right social conditions to develop. Love, for Clarissa, is not instantaneous; it does not erupt at first sight as desire.
The plot that her love would have had to follow exists outside the novel’s diegesis, but that the plot is marked as an alternative – though unwritten and unknown – route is clear. ” (1,341). “More than” is not saying everything; it only intimates that within this particular field of men, Lovelace is the one she could have loved and only if he had deserved her love. If Lovelace’s character had been different, she could have loved him but her own internal feelings of love are not enough to constitute love.
The admission only increases the misogyny of the forced marriage plot. Her declared preference – not love, but “preferable regard” – only serves as proof to her bachelor uncle that “[t]he devil’s in your sex,” that all women prefer “whoremongers” because they are all whores (154). ” The story does not progress while Clarissa writes approximately 21,000 words in two days. ” The length and repetition in this section – how many times must she answer “if her heart be free”? – prompts the reader’s desire 36 The Seduction Narrative in Britain, 1747–1800 for Clarissa’s story to be different.