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Queen Mary and Westfield College London University PhD Thesis ...

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'overpowered...by the solicitations of...friend[sJ' to visit Bethlem 311 . The ingenuousness of the<br />

st<strong>and</strong>ard assertion of disinclination was partly belied by the visit <strong>and</strong> the account of the visit<br />

themselves. 'Benevolus', in The <strong>London</strong> Chronicle of 1761, became decidedly mawkish when<br />

inveighing over the hard-heartedness of a female visitor <strong>and</strong> comparing her to his ideal vision of<br />

motherhood, in a painting depicting 'the snowy bosom' of a mother suckling her child 312. Far<br />

from perceiving the insane truly, Mackenzie's Harley repeated the same old caricatures that had<br />

pervaded Bedlam literature for centuries. The brutish keeper vies with the mad mathematician,<br />

speculator, schoolmaster, sultan/king, in a tradition that owes more to Ward, Brown, Swift<br />

<strong>and</strong> Hogarth, than to the reality of Bethlem 3t3 . Even the celebrated love-sick young lady, who<br />

reduced contemporary readers to tears, seems, to modern eyes, an artificial, stylised model,<br />

derived considerably from the earlier models of Ophelia <strong>and</strong> Clarissa. harley's sympathy <strong>and</strong><br />

charity to the 'unfortunate' girl is also a very old ideal, although driven home with more pathos.<br />

As John Mullan has observed, literary 'sensibility is a construction. The novels which use it as<br />

an incarnation of alienated sensitivity are not reports on social conditions, <strong>and</strong> resist reduction<br />

to social history'314.<br />

Not all visitors were unconscious of the taint of affectation. Sophie von Ia Roche, for<br />

example, recognised that 'my grief <strong>and</strong> despair could do the poor sufferers no good' 315 . While<br />

'curiosity' still drew Sophie to Bethlem, it was not to try out the wit <strong>and</strong> extravagance of the<br />

patients, but 'to test the truth of [the hospital's]...philanthropy'.<br />

That more visitors laughed in spite of themselves or 'angry with myself', like Cowper,<br />

when previously they had laughed 'honestly' or less guiltily, is significative of a real change in<br />

attitudes, arising out of enlightened sensibility. That as late as 1784, however, Cowper <strong>and</strong> other<br />

paragons of the new feeling still sought to 'excuse' being 'merry where there is more cause to<br />

311 laid; The World, xxiii, 137. This was not an entirely novel device or always disingenuous, of course. Pedro,<br />

in The Pilgrim, had been persuaded by a city gent to visit Bethlem, despite his initial disinclination; Ill, vi, Is<br />

6-23. Cowky, too, claimed to 'have been drawn twice or thrice by company to go to Bedlam, despite having been<br />

sickened by the experience; Euaps, 93.<br />

312 <strong>London</strong> Chronicle, 21-3 May 1761, 491.<br />

313 Man of Feeling, 29-35. See, also, Everett Zimmerman, 'Fiagments of history <strong>and</strong> The Man of Feeling: from<br />

Ridard Bentley to Walter Scott', in Eighteenik Cenftiry Stsdiej, vol. 23, no. 3, Spring 1990, 283-300; 291-2 &<br />

note 13, re. the double-edged nature of Mackenzie'g vision of the mad.<br />

314 John Mullan, Sen jimeni <strong>and</strong> Soc,aih g1. The Lsngteage of Feel,ng in Ike E,gkleenili Cenlsry (Oxford,<br />

Clarendon, 1988), 224 <strong>and</strong> p5mm, asp. thap. 5.<br />

315 Sophie in <strong>London</strong>, 166.<br />

70

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