ABSTRACT

This essay explores the ways in which Mary Tighe's manuscript novel Selena restages characters and situations from Charlotte Smith's novels Emmeline and Celestina to advance the courtship novel's potential for resisting patriarchal enculturation. The parallels between Selena and Emmeline are striking: both protagonists leave home at seventeen and are stalked by their cousins; both meet their true loves after they commit to relationships with their cousins; both have older unhappily married female friends whose experiences partially represent their authors' autobiographies; and both sustain significant friendships with fallen women they try to help. Many of these parallels resurface in Celestina, which presents a second stalker in Montague Thorold, who serves as a model for a second stalker in Selena, Edwin Stanmore. Comparable to the radical revision of Apuleius Tighe presents in Psyche, Selena transforms episodes from Smith's novels to push harder on their proto–feminist politics, scripting harsher outcomes for the stalkers who pursue Selena and strengthening her psychological and moral autonomy. More than a homage, but not quite a correction, Tighe's attention to Smith in Selena reinterprets the work of a valued predecessor, engaging in what Susan Wolfson designates as a romantic interaction.

摘要

本文探讨了玛丽·泰格 (Mary Tighe) 的手稿小说赛琳娜 (Selena) 如何重新演绎夏洛特·史密斯 (Charlotte Smith) 的小说艾米琳 (Emmeline) 和塞莱斯蒂娜 (Celestina) 中的人物和情境，以提高求爱小说抵抗父权文化的潜力。Selena 和 Emmeline 之间的相似之处是惊人的：两个主角都 17 岁离开家，并被他们的堂兄弟跟踪；两人在与表亲建立关系后都遇到了真爱；两人都有年长的不幸已婚女性朋友，她们的经历部分代表了作者的自传；并且两人都与他们试图帮助的堕落女性保持着重要的友谊。这些相似之处中的许多在塞莱斯蒂娜（Celestina）中重新出现，它在蒙塔古·索罗德（Montague Thorold）中出现了第二个缠扰者，他是赛琳娜（Selena）第二个缠扰者埃德温·斯坦莫尔（Edwin Stanmore）的模型。与《灵魂之神》中对 Apuleius Tighe 的激进修订相比，赛琳娜对史密斯小说中的情节进行了改造，以更努力地推动他们的原始女权主义政治，为追求赛琳娜的跟踪者制定更严厉的结果，并加强她的心理和道德自主权。不仅仅是一种敬意，但不是完全的纠正，Tighe 在 Selena 中对 Smith 的关注重新诠释了一位有价值的前辈的作品，参与了 Susan Wolfson 所说的浪漫互动。