By Julia M. Wright
During this cutting edge research Julia M. Wright addresses not often requested questions: how and why does one colonized kingdom write approximately one other? Wright specializes in the best way nineteenth-century Irish writers wrote approximately India, exhibiting how their very own adventure of colonial subjection and unfulfilled nationwide aspirations knowledgeable their paintings. Their writings show sympathy with the colonised or oppressed humans of India with a view to unsettle nineteenth-century imperialist stereotypes, and show their very own competition to the assumption and truth of empire. Drawing on Enlightenment philosophy, stories of nationalism, and postcolonial concept, Wright examines fiction by means of Maria Edgeworth and woman Morgan, gothic stories via Bram Stoker and Oscar Wilde, poetry by means of Thomas Moore and others, in addition to a wide range of non-fiction prose. In doing so she opens up new avenues in Irish reports and nineteenth-century literature.
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Extra resources for Ireland, India and Nationalism in Nineteenth-Century Literature
In Chapter 5, I turn from colonial spaces to colonial time in investigating the ways in which the gothic fragmentation of history served a colonial historiography in contrast to a British historiography Introduction: Insensible Empire 25 in which steady progress consistent with an auspicious origin is the founding assumption. In Morgan’s essays on absenteeism and Maturin’s gothic novel, Melmoth the Wanderer, conquest is depicted as an intervention in the proper course of history, persistently derailing national and narrative progress.
English ladies can dance with Irishmen, and English gentlemen are outcast if they are accused of seducing and murdering an Irishwoman, even an improperly desiring and murderous one. The larger region of India, however, is the site of insensible monstrosity: populated by disloyal servants and the rapacious anaconda, it saps the strength and the will of the English settlers. In Chapter 5, I turn from colonial spaces to colonial time in investigating the ways in which the gothic fragmentation of history served a colonial historiography in contrast to a British historiography Introduction: Insensible Empire 25 in which steady progress consistent with an auspicious origin is the founding assumption.
58 Of Castlereagh, he writes, ‘‘The principal performer in this scene was, of all men, the last who could have been supposed ambitious of exhibiting in such a character. . Ireland witnessed his delinquency with sorrow’’ (12). General Nugent, the local military leader, is described in similar terms: ‘‘His visit was attended with considerable parade, and a good deal of that empty pomposity, more characteristic of the fop than the soldier’’ (16). The interrogation of Teeling and other political prisoners ‘‘only tended to betray the indecision of the council, and to expose the weakness which all their assumed courage and importance could not conceal’’ (21), and the government makes ‘‘some little effort to uphold a show of legislative authority’’ (51).