Material from the Romantic Circles Website may not be downloaded, reproduced or disseminated in any manner without authorization unless it is for purposes of criticism, comment, news reporting, teaching, and/or classroom use as provided by the Copyright Act of 1976, as amended.
Unless otherwise noted, all Pages and Resources mounted on Romantic Circles are copyrighted by the author/editor and may be shared only in accordance with the Fair Use provisions of U.S. copyright law. Except as expressly permitted by this statement, redistribution or republication in any medium requires express prior written consent from the author/editors and advance notification of Romantic Circles. Any requests for authorization should be forwarded to Romantic Circles:>
By their use of these texts and images, users agree to the following conditions:
Users are not permitted to download these texts and images in order to mount them on their own servers. It is not in our interest or that of our users to have uncontrolled subsets of our holdings available elsewhere on the Internet. We make corrections and additions to our edited resources on a continual basis, and we want the most current text to be the only one generally available to all Internet users. Institutions can, of course, make a link to the copies at Romantic Circles, subject to our conditions of use.
All quotation marks and apostrophes have been changed: " for “," for ”, ' for ‘, and ' for ’.
Any dashes occurring in line breaks have been removed.
Because of web browser variability, all hyphens have been typed on the U.S. keyboard
Em-dashes have been rendered as #8212
Spelling has not been regularized.
Writing in other hands appearing on these manuscripts has been indicated as such, the content recorded in brackets.
& has been used for the ampersand sign.
£ has been used for £, the pound sign
All other characters, those with accents, non-breaking spaces, etc., have been encoded in HTML entity decimals.
ON my arrival, I found that an order had already
gone forth for the army to proceed immediately towards Constantinople; and
the troops which had suffered least in the battle were already on their way.
The town was full of tumult. The wound, and consequent inability of
Argyropylo,
Constantinople was
invested, trenches dug, and advances made. The whole Greek fleet blockaded
it by sea; on land from the river Kyat Kbanah, near the Sweet Waters, to the
Tower of Marmora, on the shores of the Propontis,
I rode one morning with Raymond to the lofty mound, not far from the Top Kapou, (Cannon-gate), on which Mahmoud planted his standard, and first saw the city. Still the same lofty domes and minarets towered above the verdurous walls, where Constantine had died, and the Turk had entered the city. The plain around was interspersed with cemeteries, Turk, Greek, and Armenian, with their growth of cypress trees; and other woods of more cheerful aspect, diversified the scene. Among them the Greek army was encamped, and their squadrons moved to and fro--now in regular march, now in swift career.
Raymond's eyes were fixed on the city. "I have counted the hours of her
life," said he; "one month, and she falls. Remain with me till then; wait
till you see the cross on St. Sophia;
"You then," I asked, "still remain in Greece?"
"Assuredly," replied Raymond. "Yet Lionel, when I say this, believe me I look back with regret to our tranquil life at Windsor. I am but half a soldier; I love the renown, but not the trade of war. Before the battle of Rodosto I was full of hope and spirit; to conquer there, and afterwards to take Constantinople, was the hope, the bourne, the fulfilment of my ambition. This enthusiasm is now spent, I know not why; I seem to myself to be entering a darksome gulph; the ardent spirit of the army is irksome to me, the rapture of triumph null."
He paused, and was lost in thought. His serious mien recalled, by some association, the half-forgotten Evadne to my mind, and I seized this opportunity to make enquiries from him concerning her strange lot. I asked him, if he had ever seen among the troops any one resembling her; if since he had returned to Greece he had heard of her?
He started at her name,--he looked uneasily
I related my meeting with her; the story of her death was told and re-told. With painful earnestness he questioned me concerning her prophecies with regard to him. I treated them as the ravings of a maniac. "No, no," he said, "do not deceive yourself,--me you cannot. She has said nothing but what I knew before--though this is confirmation. Fire, the sword, and plague! They may all be found in yonder city; on my head alone may they fall!"
From this day Raymond's melancholy increased. He secluded himself as much as
the duties of his station permitted. When in company, sadness would in spite
of every effort steal
It had often occurred, that, when, as I said, Raymond quitted Perdita's
drawing-room, Clara came up to me, and gently drawing me aside, said, "Papa
is gone; shall we go to him? I dare say he will be glad to see you." And, as
accident permitted, I complied with or refused her request. One evening a
numerous assembly of Greek chieftains were gathered together in the palace.
The intriguing Palli, the accomplished Karazza, the warlike Ypsilanti, "The plague"
refers to an acute virulent disease, usually one reaching or
threatening to reach epidemic proportions, and historically one
caused by a bacterium. The medieval Black Death set much of the tone
and metaphorical conventions still operating in many modern-era
descriptions of plagues.
The history of nineteenth-century
epidemics, and their construction as "the plague," reveals telling
narrative and figurative patterns, all of them relevant to reading
this novel (with its fabric of interwoven political, military,
social, sexual, and medical narratives). As the histories are
explained by Ranger and Slack (pp. 3-4),
Flight from an
infected place was usual, and had to be defended (or attacked)
since it took people away from charitable, neighbourly or
political duties. Carriers of disease were identified and
scapegoats stigmatised: foreigners most often, as in Renaissance
Italy and modern Hawaii, since epidemic disease came from
outside, but also inferiors, carriers of pollution of several
kinds, among whom disease had its local roots--untouchables in
India and ex-slaves in Africa, for example, or Jews at the time
of the Black Death (though less commonly in Europe in later
outbreaks of plague). For their part, the inferiors themselves
thought epidemics the consequence of plots by external enemies,
or governors and elites, to 'poison' the poor. (p. 4)
In our own moment at the end of the twentieth
century, as Susan Sontag has suggested, the very idea of "virus"
itself (rather than any actual bacterial infection) has become the
metaphorical equivalent of "plague." Today a "virus" can infect
computers and cultures (where it takes the form of a "meme") as well
as individuals (p. 157). The very real plague of our time is AIDS, a
syndrome that has most often been figured (at least until very
recently) as a potential pandemic threatening a mass
population.
The comparison of Mary Shelley's fictional depiction of a world-wide apocalyptic plague to the actual plague of AIDS has been the subject of works by critics such as Audrey Fisch, Mary Jacobus, Anne K. Mellor, and Barbara Johnson.
made in its chief cities; conjectures were hazarded as to the progress that disease might have made in the besieged city.Raymond had joined in the former part of the discussion. In lively terms he
demonstrated the extremities to which Constantinople was reduced; the wasted
and haggard, though ferocious appearance of the troops; famine and
pestilence was at work for them, he observed, and the infidels would soon be
obliged to take refuge in their only hope--submission. Suddenly in the midst
of his harangue he broke off, as if stung by some painful thought; he rose
uneasily, and I perceived him at length quit the hall, and through the long
corridor seek the open air. He did not return; and soon Clara crept round to
me, making the accustomed invitation. I consented to her request, and taking
her little hand, followed Raymond. We found him just about to embark in his
boat, and he readily agreed to receive us as companions. After the
"This, my friend, is probably the last time we shall have an opportunity of
conversing freely; my plans are now in full operation, and my time will
become more and more occupied. Besides, I wish at once to tell you my wishes
and expectations, and then never again to revert to so painful a subject.
First, I must thank you, Lionel, for having remained here at my request.
Vanity first prompted me to ask you: vanity, I call it; yet even in this I
see the hand of fate--
"Not without you," I said. "You do not mean to separate again?"
"Do not deceive yourself," replied Raymond, "the separation at hand is one over which I have no control; most near at hand is it; the days are already counted. May I trust you? For many days I have longed to disclose the mysterious presentiments that weigh on me, although I fear that you will ridicule them. Yet do not, my gentle friend; for, all childish and unwise as they are, they have become a part of me, and I dare not expect to shake them off.
"Yet how can I expect you to sympathize with me? You are of this world; I am
not. You hold forth your hand; it is even as a part of yourself; and you do
not yet divide the feeling of identity from the mortal form that shapes
Calderón de la Barca
["Every stone erects a pyramid, / And every flower builds a monument, / Every building is a haughty sepulchre, / Every soldier a living skeleton" (
"Wherefore do I feel thus? At Rodosto I was full of hope; but when first I saw Constantinople, that feeling, with every other joyful one, departed. The last words of Evadne were the seal upon the warrant of my death. Yet I do not pretend to account for my mood by any particular event. All I can say is, that it is so. The plague I am told is in Constantinople, perhaps I have imbibed its effluvia--perhaps disease is the real cause of my prognostications. It matters little why or wherefore I am affected, no power can avert the stroke, and the shadow of Fate's uplifted hand already darkens me.
"To you, Lionel, I entrust your sister and her child. Never mention to her the fatal name of Evadne. She would doubly sorrow over the strange link that enchains me to her, making my spirit obey her dying voice, following her, as it is about to do, to the unknown country."
I listened to him with wonder; but that his
With faltering accents Clara promised, while she still clung to her father in a transport of sorrow. Soon we returned to shore, and I endeavoured to obviate the impression made on the child's mind, by treating Raymond's fears lightly. We heard no more of them; for, as he had said, the siege, now drawing to a conclusion, became paramount in interest, engaging all his time and attention.
The empire of the Mahometans in Europe was at its close. The Greek fleet
blockading every port of Stamboul, prevented the arrival of succour from
Asia; all egress on the side towards land had become impracticable, except
to such desperate sallies, as reduced the numbers of the enemy without
making any impression on our lines. The garrison was now so much diminished,
that it was evident that the city could easily have
Each day the soldiers of the garrison assaulted our advanced posts, and
impeded the accomplishment of our works. Fire-boats were launched from the
various ports, while our troops sometimes recoiled from the devoted courage
of men who did not seek to live, but to sell their lives dearly. These
contests were aggravated by the season: they took place during summer, when
the southern Asiatic wind came laden with into-
Suddenly the system of warfare was changed. We experienced no more assaults;
and by night and day we continued our labours unimpeded. Stranger still,
when the troops advanced near the city, the walls were vacant, and no cannon
was pointed against the intruders. When these circumstances were reported to
Raymond, he caused minute observations to be made as to what was doing
within the walls, and when his scouts returned, reporting only the continued
silence and desolation of the city, he commanded
The tramp of horses, distinctly heard in the
Such was the account sent by Karazza to Raymond: but a tale full of monstrous exaggerations, though founded on this, was spread by the accompanying troop among our soldiers. A murmur arose, the city was the prey of pestilence; already had a mighty power subjugated the inhabitants; Death had become lord of Constantinople.
I have heard a picture described, wherein all the inhabitants of earth were
drawn out in fear to stand the encounter of Death. The feeble and decrepid
fled; the warriors retreated, though they threatened even in flight.
Wolves
Raymond was actuated by far other feelings. He descended the hill with a face
beaming with triumph, and pointing with his sword to the gates, commanded
his troops to--down with those barricades--the only obstacles now to com-
An universal shudder and fearful whispering passed through the lines; not a soldier moved. "Cowards!" exclaimed their general, exasperated, "give me an hatchet! I alone will enter! I will plant your standard; and when you see it wave from yon highest minaret, you may gain courage, and rally round it!"
One of the officers now came forward: "General," he said, "we neither fear
the courage, nor arms, the open attack, nor secret ambush of the Moslems. We
are ready to expose our breasts, exposed ten thousand times before, to "The plague" refers to an
acute virulent disease, usually one reaching or threatening to reach
epidemic proportions, and historically one caused by a bacterium.
The medieval Black Death set much of the tone and metaphorical
conventions still operating in many modern-era descriptions of
plagues.
The history of nineteenth-century epidemics,
and their construction as "the plague," reveals telling narrative
and figurative patterns, all of them relevant to reading this novel
(with its fabric of interwoven political, military, social, sexual,
and medical narratives). As the histories are explained by Ranger
and Slack (pp. 3-4),
Flight from an
infected place was usual, and had to be defended (or attacked)
since it took people away from charitable, neighbourly or
political duties. Carriers of disease were identified and
scapegoats stigmatised: foreigners most often, as in Renaissance
Italy and modern Hawaii, since epidemic disease came from
outside, but also inferiors, carriers of pollution of several
kinds, among whom disease had its local roots--untouchables in
India and ex-slaves in Africa, for example, or Jews at the time
of the Black Death (though less commonly in Europe in later
outbreaks of plague). For their part, the inferiors themselves
thought epidemics the consequence of plots by external enemies,
or governors and elites, to 'poison' the poor. (p. 4)
In our own moment at the end of the twentieth century,
as Susan Sontag has suggested, the very idea of "virus" itself
(rather than any actual bacterial infection) has become the
metaphorical equivalent of "plague." Today a "virus" can infect
computers and cultures (where it takes the form of a "meme") as well
as individuals (p. 157). The very real plague of our time is AIDS, a
syndrome that has most often been figured (at least until very
recently) as a potential pandemic threatening a mass
population.
The comparison of Mary Shelley's fictional depiction of a world-wide apocalyptic plague to the actual plague of AIDS has been the subject of works by critics such as Audrey Fisch, Mary Jacobus, Anne K. Mellor, and Barbara Johnson.
A multitude of men are feeble and inert, without a voice, a leader; give them that, and they regain the strength belonging to their numbers. Shouts from a thousand voices now rent the air--the cry of applause became universal. Raymond saw the danger; he was willing to save his troops from the crime of disobedience; for he knew, that contention once begun between the commander and his army, each act and word added to the weakness of the former, and bestowed power on the latter. He gave orders for the retreat to be sounded, and the regiments repaired in good order to the camp.
I hastened to carry the intelligence of these strange proceedings to Perdita;
and we were
"Foolish girl," cried Raymond angrily, "are you like my valiant soldiers,
panic-struck? What is there inexplicable, pray, tell me, in so very natural
an occurrence? Does not the plague rage each year in Stamboul? What wonder,
that this year, when as we are told, its virulence is unexampled in Asia,
that it should have occasioned double havoc in that city? What wonder then,
in time of siege, want, extreme heat, and drought, that it should make
unaccustomed ravages? Less wonder far is it, that the garrison, despairing
of being able to hold out longer, should take advantage of the negligence of
our fleet to escape at once from siege and capture. It is not pestilence--by
the God that lives! it is not either plague or impending
"Dearest Raymond!" interrupted Perdita, in a supplicating accent.
He had been walking to and fro in the marble hall of the seraglio; Representations of gender
and sexual identity in
A "woman's heart
and sensibility" and even "woman's work" are defined in the early
chapters especially as tied to deep feeling (I.7, II.1, II.2). But
both Lionel and Adrian are described as "effeminate" (e.g.,
III.6--though Lionel says there that "a man must repress such
girlish ecstacies") and instances of cross-dressing, homosocial and
homoerotic feeling (e.g., I.2), and the sense that gender and sexual
identity, like other roles, are
In Volume III, chapter 5, a child is assigned shifting pronouns--male, female, and even the neuter "it"--an authorial or editorial mistake, clearly, but one that it has been argued may unconsciously reflect the book's deeper gender ambiguities.
When it comes to female figures from mythology, the novel opens with a Sybil (who may be a type of Cassandra) and contains important evocations of Pandora and Ariadne, as well as the modern myth of Corinne, to name a few, all potentially significant for any reading of representations of gender in
He seemed half afraid of his own violence, and suddenly quitted the hall: a
look from Perdita shewed me her distress, and I followed him. He was pacing
the garden: his passions were in a state of inconceivable turbulence. "Am I
for ever," he cried, "to be the sport of fortune! Must man, the
heaven-climber, be for ever the victim of the crawling reptiles of his
species! Were I as you, Lionel, looking forward to many years of life, to a
succession of love-enlightened days, to refined enjoyments and
fresh-springing hopes, I might yield, and breaking my General's staff, seek
repose in the glades of Windsor. But I am about to die!--nay, interrupt me
not--soon I shall die. From the many-peopled earth, from the sympathies of
man, from the loved resorts of my youth, from the kindness of my friends,
from the affection of my only beloved Perdita, I am about to be removed.
Such is the will of fate! Such the decree of the High Ruler
"I, and in a few brief years, all you,--this panic-struck army, and all the population of fair Greece, will no longer be. But other generations will arise, and ever and for ever will continue, to be made happier by our present acts, to be glorified by our valour. The prayer of my youth was to be one among those who render the pages of earth's history splendid; who exalt the race of man, and make this little globe a dwelling of the mighty. Alas, for Raymond! the prayer of his youth is wasted--the hopes of his manhood are null!
"From my dungeon in yonder city I cried, soon I will be thy lord! When Evadne
pronounced my death, I thought that the title of Victor of Constantinople
would be written on my tomb, and I subdued all mortal fear. I stand before
its vanquished walls, and dare not call myself a conqueror. So shall it not
be! Did
Reason came unavailing to such high-wrought feelings. In vain I shewed him,
that when winter came, the cold would dissipate the pestilential air, and
restore courage to the Greeks. "Talk not of other season than this!" he
cried. "I have lived my last winter, and the date of this year, 2092,
In the twentieth century futuristic utopias and--more often--dystopias have proliferated: from Gilman, Orwell, Huxley, Zamyatin, Pynchon, Chute, and Burgess, to (more recently) William Gibson, Neal Stephenson, and Octavia Butler, as well as numerous television shows, films, and computer games.
(It is also possible to speculate about the significance of particular dates in the novel, set three hundred years in the future from the French Revolutionary period.)
will be carved upon my tomb. Already do I see," he continued, looking up mournfully, "the bourne and precipitate edge of my existence, over which I plunge into the gloomy mystery of the life to come. I am prepared, so that I leave behind a trail of light so radiant, that my worst enemies cannot cloud it. I owe this to Greece, to you, to my surviving Perdita, and to myself, the victim of ambition."We were interrupted by an attendant, who
About midnight I returned to the palace and sought Raymond; he was alone, and
apparently composed; such composure, at least, was his as is inspired by a
resolve to adhere to a certain line of conduct. He heard my account of the
self-dissolution of the army with calmness, and then said, "You know,
Verney, my fixed determination not to quit
Methought this was but a poor expedient; but I assured him of my obedience
and zeal. I quitted him to take a few hours rest. With the breaking of
morning I was accoutred for my ride. I lingered awhile, desirous of taking
leave of Perdita, and from my window observed the approach of the sun. The
golden splendour arose, and weary nature awoke to suffer yet another day of
heat and thirsty decay. No flowers lifted up their dew-laden cups to meet
the dawn; the dry grass had withered on the plains; the burning fields of
air were vacant of birds; the cicale alone, children of the sun, began their
shrill and deafening song among the cypresses and olives. I saw Raymond's
coal-black charger brought to the palace gate; a small company of officers
arrived soon after; care and fear was painted on each cheek, and in each
eye, unrefreshed by sleep. I found Raymond and Perdita together. He was
watching
"Pardon me," I said, "but even as you speak, I am gone."
"Nay, pardon me," he replied; "I have no right to command or reproach; but my life hangs on your departure and speedy return. Farewell!"
His voice had recovered its bland tone, but a dark cloud still hung on his features. I would have delayed; I wished to recommend watchfulness to Perdita, but his presence restrained me. I had no pretence for my hesitation; and on his repeating his farewell, I clasped his outstretched hand; it was cold and clammy. "Take care of yourself, my dear Lord," I said.
"Nay," said Perdita, "that task shall be mine. Return speedily, Lionel."
With an air of absence he was playing with her auburn locks, while she leaned on him; twice I turned back, only to look again on this matchless pair. At last, with slow and heavy steps, I had paced out of the hall, and sprung upon my horse. At that moment Clara flew towards me; clasping my knee she cried, "Make haste back, uncle! Dear uncle, I have such fearful dreams; I dare not tell my mother. Do not be long away!" I assured her of my impatience to return, and then, with a small escort rode along the plain towards the tower of Marmora.
I fulfilled my commission; I saw Karazza. He was somewhat surprised; he would
see, he said, what could be done; but it required time; and Raymond had
ordered me to return by noon. It was impossible to effect any thing in so
short a time. I must stay till the next day; or come back, after having
reported the present state of things to the general. My choice was easily
made. A restlessness, a fear of what was
Until this moment my soul had been in my eyes only. I had gazed with wonder,
mixed with fear and enthusiasm. The latter feeling now predominated. I
forgot the distance between us: "I will go with thee, Raymond!" I cried;
but, my eye removed from the glass, I could scarce discern the pigmy forms
of the crowd, which about a mile from me surrounded the gate; the form of
Raymond was lost. Stung with impatience, I urged my horse with force of spur
and loosened reins down the acclivity, that, before danger could arrive, I
might be at the side of my noble, godlike friend. A number of buildings and
trees intervened, when I
I no sooner perceived an abatement of the flames than, hurried on by an
irresistible impulse, I endeavoured to penetrate the town. I could only do
this on foot, as the mass of ruin was impracticable for a horse. I had never
entered the city before, and its ways were unknown to me. The streets were
blocked up, the ruins smoking; I climbed up one heap, only to view others in
succession; and nothing told me where the centre of the town might be, or
towards what point Raymond might have directed his course. The rain ceased;
the clouds sunk behind the horizon; it was now evening, and the sun
descended swiftly the western sky. I scrambled on, until I came to a street,
whose wooden houses, half-burnt, had been cooled by the rain, and were
fortunately uninjured by the gunpowder. Up this I hurried--until now I had
not seen a vestige of man. Yet none of the defaced human forms which I
distinguished, could be
Hours passed, while in this scene of ruin I sought for Raymond.
Insurmountable heaps sometimes opposed themselves; the still burning fires
scorched me. The sun set; the atmosphere grew dim--and the evening star no
longer shone companionless. The glare of flames attested the progress of
destruction, while, during mingled light and obscurity, the piles around me
took gigantic proportions and weird shapes. For a moment I could yield to
the creative power of
I was overcome by weariness; the solitude depressed my spirits. The sultry
air impregnated with dust, the heat and smoke of burning palaces, palsied my
limbs. Hunger suddenly came acutely upon me. The excitement which had
hitherto sustained me was lost; as a building, whose props are loosened, and
whose foundations rock, totters and falls, so when enthusiasm and hope
deserted me, did my strength fail. I sat on the sole remaining step of an
edifice, which even in its downfall, was huge and magnificent;