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Rewriting Addison, Antiquity, and Female Agency: Lady Mary Wortley Montagu’s “Remarks on Italy”

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Emotions in Non-Fictional Representations of the Individual, 1600-1850

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Abstract

This essay examines how Lady Mary Wortley Montagu’s unpublished correspondence from her residence in Italy from 1739 until 1761 responds to and reshapes the “poetical landskips” presented by Joseph Addison’s Remarks on Several Parts of Italy, in the Years 1701, 1702, 1703 (1705). I argue that Montagu’s self-aware epistolary commentary on life as a British expatriate in Italy serves as a corrective to Addison’s Grand Tour narrative, which she criticizes for its fetishized depictions of antiquity and the superficial engagement with Italian culture. While Addison in Remarks on Italy claims “to trace out the Way Aeneas took,” Montagu conversely presents herself as the “sad Dido” who journeys to Italy to pursue her “little Aeneas”—her young and inconstant Italian lover, Francesco Algarotti. By signaling how female figures, like Dido, are both elided from nationalistic narratives and sacrificed to the great engine of imperialism, Montagu suggests that women’s tenuous ties with their countries of origin grant them greater access to cosmopolitan subjectivity.

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Notes

  1. 1.

    Francis Bacon, “Of Travel,” in The Essays, ed. John Pitcher (New York: Penguin Classics, 1986), pp. 113–4.

  2. 2.

    James Buzard, “The Grand Tour and after (1660–1840),” in The Cambridge Companion to Travel Writing, eds. Peter Hulme and Tim Youngs (Cambridge: Cambridge University Press, 2002), pp. 41–2.

  3. 3.

    Clifford Siskin and William Warner note that “Bacon … recognized print’s growing power,” anticipating the transformation in forms of mediation that trigger the Enlightenment. See “This Is Enlightenment: An Invitation in the Form of an Argument” in This Is Enlightenment, eds. Clifford Siskin and William Warner (Chicago: University of Chicago Press, 2010), pp. 10, 12–15.

  4. 4.

    Buzard, “The Grand Tour,” p. 42.

  5. 5.

    Ibid.

  6. 6.

    Carole Fabricant, “Geographical Projects in the Later Eighteenth Century: Imperial Myths and Realities,” in The Age of Projects, ed. Maximillian E. Novak (Toronto: University of Toronto Press, 2008), pp. 319–20.

  7. 7.

    This is adapted from Lennard J. Davis’s coinage and his argument that “‘fact’ and ‘fiction’ … are not defining two distinct impeachable categories. They are more properly extremes in a continuum” (9). See Factual Fictions: The Origins of the English Novel (New York: Columbia University Press, 1983).

  8. 8.

    See Buzard, “The Grand Tour,” p. 40.

  9. 9.

    Joseph Addison, “Preface,” Remarks on several parts of Italy, &c. in the years 1701, 1702, 1703 (London: 1705), n.p.

  10. 10.

    Addison, Remarks on Italy, p. 271.

  11. 11.

    See Lady Mary Wortley Montagu, The Complete Letters of Lady Mary Wortley Montagu: Vol. II, 1727–1751, ed. Robert Halsband, 3 vols. (Oxford: Clarendon Press, 1966), p. 104.

  12. 12.

    Montagu, Complete Letters, p. 104. See Montagu, The Selected Letters of Lady Mary Wortley Montagu, ed. Halsband (London: Longman Group Ltd., 1970), p. 165. For further discussion about how Montagu transforms the tragic narratives of Dido (and Sappho) in her correspondence with Algarotti, see Shirley F. Tung, “Self-Murder, Female Agency and Manuscripts ‘Mangle’d and Falsify’d’: Lady Mary Wortley Montagu’s ‘1736. Address’d To –’ and The London Magazine.” Journal for Eighteenth-Century Studies 38.1 (March 2015): pp. 115–34.

  13. 13.

    Montagu, Selected Letters, pp. 255–6. It is important to note here that Turkish Embassy Letters “poses many critical challenges” (p. 12) for scholars given that “it is not safe to assume that the missives … are transcriptions of actual correspondence” (p. 13). The 1763 publication is “derived from two leather-bound volumes of continuous fair-copy text carefully written out by Lady Mary and an unknown copyist. The text was likely composed sometime between her return from Constantinople in 1718 and 1724” (p. 13), but Montagu kept this “letter-book” with her and possibly revised parts of her Turkish travel narrative throughout her time in Italy. See the “Introduction” to Lady Mary Wortley Montagu’s Turkish Embassy Letters, eds. Teresa Heffernan and Daniel O’Quinn (Toronto: Broadview Press, 2013).

  14. 14.

    Buzard, “The Grand Tour,” p. 40.

  15. 15.

    See Halsband, “Addison’s Cato and Lady Mary Wortley Montagu,” PMLA 65.6 (Dec. 1950): p. 1122–9. I argue that Montagu’s manuscript poem, “Address’d To–” (a.k.a., “Verses on Self-Murder”) is a lyric reimagination of Cato’s final soliloquy in “Montagu’s ‘1736. Address’d To-’ and The London Magazine.”

  16. 16.

    Montagu, “[Critique of Cato] Wrote at the Desire of Mr. Wortley, suppress’d at the desire of Mr. Adison [sic]” in Essays and Poems and Simplicity, A Comedy, eds. Halsband and Isobel Grundy (Oxford: Clarendon Press, 1977), pp. 63–4.

  17. 17.

    Montagu, “Critique of Cato,” p. 67.

  18. 18.

    Halsband and Grundy, Essays and Poems, p. 67. Following the theatrical debut of Cato, several contemporary critics censured Cato’s love scenes for “feminine passions” unfit for tragedy. The number of attacks over the first half of the eighteenth century prompted the 1764 publication of Cato … Without the Love Scenes, which significantly reduced the role of the female characters in the play. See Lisa Freeman, “What’s Love Got to Do with Addison’s Cato?” Studies in English Literature 1500–1900 39.3 (Summer 1999): p. 468.

  19. 19.

    Addison, Cato: A Tragedy and Selected Essays, ed. Christine Dunn Henderson and Mark E. Yellin (Indianapolis, IN: Liberty Fund, 2004), p. 98. Montagu, “Epilogue. To the Tragedy of Cato” in Essays and Poems, p. 180. Emphasis mine.

  20. 20.

    Montagu, “Epilogue. To the Tragedy of Cato” in Essays and Poems, p. 180.

  21. 21.

    Buzard, “The Grand Tour,” p. 42. The disdain of Montagu by a particular Grand Tourist, Horace Walpole, is well documented, and perhaps, influenced Montagu’s opinions. See Halsband, “Walpole Versus Lady Mary,” in Horace Walpole: Writer, Politician, and Connoisseur, ed. Warren Hunting Smith (New Haven: Yale University Press, 1967), pp. 215–6.

  22. 22.

    Denys Van Renen, “Montagu’s Letters from the Levant: Contesting the Borders of European Selfhood,” Journal for Early Modern Cultural Studies 11.2 (Fall 2011): p. 8.

  23. 23.

    Donatella Abbate Badin, “Self-Fashioning through Travel Writing: Lady Mary Wortley Montagu’s Letters from Italy,” Textus: English Studies in Italy, 25:2 (2012): p. 95.

  24. 24.

    Felicity A. Nussbaum, “British Women Write the East after 1750: Revisiting a ‘Feminine’ Orient,” in British Women’s Writing in the Long Eighteenth Century: Authorship Politics and History, eds. Jennie Batchelor and Cora Kaplan (Basingstoke, UK: Palgrave Macmillan, 2005), p. 122.

  25. 25.

    Daniel O’Quinn discusses Montagu’s inclusion of a reference to Aeneas’s confrontation with the ghost of Dido, claiming that Montagu “reveals the constitutive place of the betrayal of hospitality in the history of Rome … her citation of the Aeneid brings the reader right to the fundamental conflict between the claims of Dido’s love and Aeneas’s bellicose imperial destiny.” See Engaging the Ottoman Empire: Vexed Mediations, 1690–1815 (Philadelphia: Univ. of Pennsylvania Press, 2019), p. 199.

  26. 26.

    Eugenia Zuroski Jenkins, “Introduction: Exoticism, Cosmopolitanism, and Fiction’s Aesthetics of Diversity,” Eighteenth-Century Fiction 25.1 (Fall 2012): pp. 1, 7.

  27. 27.

    For further discussion of Montagu’s relationship with Algarotti, please see “Montagu’s ‘1736. Address’d To-’ and The London Magazine” and Tung, “Elysian Landscapes and Cultural Self-fashioning in Lady Mary Wortley Montagu’s Letters from Turkey and Italy,” Studies in English Literature 1550–1780 (forthcoming Summer 2021).

  28. 28.

    Montagu, Complete Letters, ii, p. 104.

  29. 29.

    From Book 4, ll.381–6 of the Aeneid: “I, sequere Italiam ventis … sequar atris ignibus absens/ et, cum frigida mors anima seduxerit artus/ omnibus umbra locis adero.” See Publius Vergilius Maro (Virgil), Aeneid in Virgil in Two Volumes, vol. I, Ecologues, Georgics, and Aeneid I-VI, trans. H. Rushton Fairclough (Cambridge, MA: Harvard University Press, 1986), pp. 421–2.

  30. 30.

    Halsband, The Life of Lady Mary Wortley Montagu (Oxford: Clarendon Press, 1956), p. 175.

  31. 31.

    Cf. Cynthia Lowenthal, Lady Mary Wortley Montagu and the Eighteenth-Century Familiar Letter (Athens, Georgia: University of Georgia Press, 1994), p. 70: “Such sentiments more importantly provide her with an illusion of control: her most extravagant turn, the claim that her female strength of generosity takes the form of granting ‘little Aeneas’ his freedom, is intended to function as a means of domesticating her ‘foreigner,’ but it is clear that he, like Dido’s Aeneas, is beyond the power of her rhetoric.”

  32. 32.

    Montagu, Selected Letters, p. 165.

  33. 33.

    Montagu, Complete Letters, ii, p. 210.

  34. 34.

    Montagu, Complete Letters, ii, p. 175.

  35. 35.

    Montagu, Turkish Embassy Letters, pp. 146–7. O’Quinn translates the Latin phrase as “Their cares leave them not in death itself.”

  36. 36.

    Montagu, Turkish Embassy Letters, p. 146.

  37. 37.

    For further discussion of Montagu’s depiction of Elysium in her correspondence, see Tung, “Elysian Landscapes and Cultural Self-fashioning.”

  38. 38.

    From Book 4, ll.65 of the Aeneid: “Uritur infelix Dido, totaque vagatur/ urbe furens, qualis coniecta cerva sagitta/ quam procul incautam nemora inter Cresia fixit/ pastor agens telis, liquitque volatile ferrum/ nescius; illa fuga silvas saltusque peragrat/ Dictæos; hæret later, letalis harundo” (pp. 68–73).

  39. 39.

    Montagu, Complete Letters, ii, p. 175.

  40. 40.

    Cf. “the force of that fallacious Fruit” (bk.10, l.1046) in John Milton, Paradise Lost in Complete Poems and Major Prose, ed. Merritt Y. Hughes (Indianapolis: Hackett Publishing Company, Inc., 1957), p. 402.

  41. 41.

    Grundy, “‘The barbarous character we give them’: White Women Travellers Report on Other Races.” Studies in Eighteenth Century Culture 22 (1993): p. 74.

  42. 42.

    For a small sampling of the range of critical analyses of this scene, see: Mary Jo Kietzman, “Montagu’s Turkish Embassy Letters and Cultural Dislocation,” Studies in English Literature 1500–1900 38.3 (Summer 1998): p. 540 (“[Montagu] transforms the potential ‘objects’ of her gaze into speaking subjects who see as well as are seen, who initiate conversation, work, persuade, probe, and surprise”); Lisa Lowe, Critical Terrains: French and British Orientalisms (Ithaca: Cornell University Press, 1991), p. 48 (“She frames the praise of Turkish women … as an intervention and a challenge to the male voyage writers, [but succumbs to the] female objectification and subordination [of] male literary and rhetorical models”); Lowenthal, Montagu and the Eighteenth-Century Familiar Letter, p. 112 (“She neutralizes the implicit threat of violence and vulnerability of the uncovered female body”); Nussbaum, Torrid Zones: Maternity, Sexuality, and Empire in Eighteenth-Century English Narratives (Baltimore: The Johns Hopkins University Press, 1995), pp. 140–1 (“Montagu’s transvestite gazing [is indicative of her] sapphic desire for the sexual freedoms that she attributes to the Turkish women, [which ultimately,] relocate[s] female eroticism onto the Other [and] constrain[s] the desire for sexual freedom to the exotic”).

  43. 43.

    Sandys’s account is quoted in Susan Bassnett, “Travel Writing and Gender” in eds. Peter Hulme and Tim Youngs, The Cambridge Companion to Travel Writing (New York: Cambridge University Press, 2002), p. 229. For the concept of “feminotopia,” see Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation (New York: Routledge, 1992), pp. 155–71. Montagu, Turkish Embassy Letters, p. 101.

  44. 44.

    Montagu, Turkish Embassy Letters, p. 102.

  45. 45.

    Montagu, Turkish Embassy Letters, p. 101.

  46. 46.

    Addison, Remarks on Italy, p. 96.

  47. 47.

    Addison, Remarks on Italy, p. 95.

  48. 48.

    Montagu, Complete Letters, ii, p. 159.

  49. 49.

    Jürgen Schlaeger, “Elective Affinities; Lady Mary Wortley Montagu in Venice,” Venetian Views, Venetian Blinds: English Fantasies about Venice (Atlanta, GA: Rodopi, 1999), pp. 67–9.

  50. 50.

    Montagu, Turkish Embassy Letters, pp. 114–5

  51. 51.

    Ludmilla Kostova, “Constructing Oriental Interiors: Two Eighteenth-Century Women Travellers and their Easts,” edited Vita Fortunati et al. Travel Writing and the Female Imaginary (Bologna: Patron Editore, 2001): p. 23.

  52. 52.

    Lowe, French and British Orientalisms, pp. 44–5.

  53. 53.

    Montagu, Complete Letters, ii, p. 173.

  54. 54.

    Ibid. See fn. 1, p. 173.

  55. 55.

    After frustrating attempts to convince Algarotti to settle near her, Montagu breaks off communication with him in May 1741 concluding, “I see so clearly the nature of your soul that I am as much in despair of touching it as Mr. Newton was of enlarging his discoveries by means of telescopes, which by their own powers dissipate and change the light rays.” See Montagu, Selected Letters, p. 186.

  56. 56.

    Grundy, “Lady Mary Wortley Montagu’s Italian Memoir.” Age of Johnson 6 (1994): pp. 321–2.

  57. 57.

    Grundy, “Italian Memoir,” pp. 322–3.

  58. 58.

    Grundy, “Italian Memoir,” pp. 321–2, 341, 344.

  59. 59.

    Grundy, “Italian Memoir,” pp. 332–9.

  60. 60.

    Grundy, “Italian Memoir,” p. 340.

  61. 61.

    Montagu, Complete Letters, ii, p. 405. A similar sentiment is voiced in Montagu’s letter to Lady Oxford on 27 April 1748, which echoes the social detachment she expresses in her letter to Pope: “I have a pleasure in all your improvements at Welbeck, when I hear them commended, tho I shall never see them. ’Tis almost the only attachment I have in this World, being every day (as it is fit I should) more and more wean’d from it” (Montagu, Complete Letters, ii, p. 385).

  62. 62.

    See line 739 of John Milton, A Masque Presented at Ludlow Castle (Comus), in Complete Poems and Major Prose, p. 107.

  63. 63.

    Montagu, Complete Letters, ii, p. 404.

  64. 64.

    Ibid.

  65. 65.

    Montagu, Complete Letters, ii, p. 421.

  66. 66.

    Montagu, Turkish Embassy Letters, p. 113.

  67. 67.

    Lowe, French and British Orientalisms, pp. 41–2.

  68. 68.

    Montagu, Turkish Embassy Letters, p. 116. Montagu, Complete Letters, iii, pp. 39–40.

  69. 69.

    Montagu, Turkish Embassy Letters, pp. 69–70.

  70. 70.

    Montagu, Turkish Embassy Letters, p. 70.

  71. 71.

    Ibid.

  72. 72.

    Van Renen, “Letters from the Levant,” pp. 11–12.

  73. 73.

    Van Renen, “Letters from Levant,” p. 12.

  74. 74.

    Montagu, Complete Letters, ii, p. 419.

  75. 75.

    Montagu, Complete Letters, p. 420, fn.2

  76. 76.

    Montagu, Complete Letters, p. 420. See Lowenthal, Montagu and the Eighteenth-Century Familiar Letter, p. 189.

  77. 77.

    See Halsband, “Algarotti as Apollo,” p. 224.

  78. 78.

    Montagu, Selected Letters, p. 227.

  79. 79.

    Halsband, “Algarotti as Apollo,” p. 224.

  80. 80.

    This from a letter dated 17 August 1739 quoted in Halsband, The Life of Montagu, pp. 181–2.

  81. 81.

    Pierre Hadot, Philosophy as a Way of Life: Spiritual Exercises from Socrates to Foucault, trans. Michael Chase (Maiden, MA: Blackwell Publishing, 1995), p. 88.

  82. 82.

    William Dowling proposes that the “community surrounding Epicurus in the original Garden in Athens may be taken to demonstrate the way that the otium ideal, ostensibly involving only a withdrawal from the corrupt world, almost inevitably ends with its private circle of virtue having becomes a moral alternative to it … within the otium scene, a private circle of friends exists in perfect sympathy because they have chosen both to renounce the world and to live in the company of one another.” See The Epistolary Moment: The Poetics of the Eighteenth-Century Verse Epistle (Princeton: Princeton University Press, 1991), pp. 46–7.

  83. 83.

    Janet Gurkin Altman, Epistolarity: Approaches to a Form (Columbus: Ohio State University Press, 1982), p. 119.

  84. 84.

    My translation. See Addison, Remarks on Italy, n.p.: “Verum ergo id est, si quis in cælum ascendisset naturamque mundi et pulchritudinem siderum perspexisset, insuavem illam admirationem ei fore; quæ jucundissima fuisset, si aliquem, cui narraret, habuisset.”

  85. 85.

    Lawrence E. Klein, “Addisonian Afterlives: Joseph Addison in Eighteenth-Century Culture,” Journal for Eighteenth-Century Studies 35:1 (2012): p. 102.

  86. 86.

    Dowling, The Epistolary Moment, p. 45.

  87. 87.

    See Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism (New York: Verso Books, 1991), p. 5: “In an anthropological spirit, then, I propose the following definition of the nation: it is an imagined political community— and imagined as both inherently limited and sovereign.”

  88. 88.

    Giuseppe Baretti, A Journey from London to Genoa (London: T. Davies, 1770), p. v.

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    Shirley F. Tung

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  2. Asian Languages and Cultures, University of California, Los Angeles, Los Angeles, CA, USA

    Yinghui Wu

  3. UFR Lettres et Langues, Université de Tours, Tours, France

    Marie-Paule de Weerdt-Pilorge

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Tung, S.F. (2021). Rewriting Addison, Antiquity, and Female Agency: Lady Mary Wortley Montagu’s “Remarks on Italy”. In: Stefanovska, M., Wu, Y., de Weerdt-Pilorge, MP. (eds) Emotions in Non-Fictional Representations of the Individual, 1600-1850. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-84005-1_4

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