Ellen Percy

What were the origins of C.S. Forester's Horatio Hornblower series of novels? A good argument can be made that it all began here with Horatio Howard Brenton. In the early 1800's Sir Edward Belcher was a British Naval officer, surveyor and explorer of the first rank. In his 40 years of service he captained numerous ships and generated a well-deserved reputation as a skilled seaman. His final command was of the unsuccessful expedition to find the missing and ill-fated explorer, Sir John Franklin. In the process of attempting this rescue mission, however, Belcher lost four of his five ships to pack ice. While he was acquitted of negligence in a court martial, he never again served on active duty. Instead, Belcher, a cousin of Frederick Marryat, devoted the rest of his life to writing. Included was this book, Horatio Howard Brenton, originally published in 1856 as a three volume set. It can be plausibly argued that this novel was the real model for C.S. Forester's character: Horatio Hornblower. Forester's first wife, Kathleen, was a Belcher. Add to that the similarity of the story lines between Brenton and Hornblower, and the use of a common first name-and some reasonable questions might be asked. At a minimum, it is inconceivable that Forester did not at least know about Belcher's book. Was it the primary model for his work? You will need to read it and decide for yourself. "A Naval Novel of the most genuine and natural kind" - London Chronicle

Terry Castle's recent study of masquerade follows Bakhtin's analysis of the carnivalesque to conclude that, for women, masquerade offered exciting possibilities for social and sexual freedom. Castle's interpretation conforms to the fears expressed by male writers during the period&—Addison, Steele, and Fielding all insisted that masquerade allowed women to usurp the privileges of men. Female authors, however, often mistrusted these claims, perceiving that masquerade's apparent freedoms were frequently nothing more than sophisticated forms of oppression. Catherine Craft-Fairchild's work provides a useful corrective to Castle's treatment of masquerade. She argues that, in fictions by Aphra Behn, Mary Davys, Eliza Haywood, Elizabeth Inchbald, and Frances Burney, masquerade is double-sided. It is represented in some cases as a disempowering capitulation to patriarchal strictures that posit female subordination. Often within the same text, however, masquerade is also depicted as an empowering defiance of the dominant norms for female behavior. Heroines who attempt to separate themselves from the image of womanhood they consciously construct escape victimization. In both cases, masquerade is the condition of femininity: gender in the woman's novel is constructed rather than essential. Craft-Fairchild examines the guises in which womanhood appears, analyzing the ways in which women writers both construct and deconstruct eighteenth-century cultural conceptions of femininity. She offers a careful and engaging textual analysis of both canonical and noncanonical eighteenth-century texts, thereby setting lesser-read fictions into a critical dialogue with more widely known novels. Detailed readings are informed throughout by the ideas of current feminist theorists, including Luce Irigaray, Julia Kristeva, Mary Ann Doane, and Kaja Silverman. Instead of assuming that fictions about women were based on biological fact, Craft-Fairchild stresses the opposite: the domestic novel itself constructs the domestic woman.

Includes music.