Panic on the British borderlands: The Great God Pan, Victorian sexuality, and sacred space in the works of Arthur Machen.

摘要

From the late Victorian period to the early twentieth century, Arthur Machen's life and his writing provide what Deleuze and Guattari argue to be the value of the minor author: Contemporary historical streams combine in Machen's fiction and non-fiction. The content of the texts that I will analyze demonstrates Machen's interest in the divided self (with inspiration from Robert Louis Stevenson), and those texts consider the subject of non-normative sexuality and its uncanny representations, natural and urban, as a horror that is attractive and abject—a source of fascination and a cause of disgust. The view that I state is that Machen wrote late-Victorian, post-Romantic Gothic literature that is not dependent upon either the cares of Decadence for artificiality or the disavowal of Gnosticism of the worth of mortal life and experiences in the material world.;The enchantment of place and the potential and active horrors of the countryside and the city of the late Victorian and Edwardian periods inform Arthur Machen's life and his literary world. The influence of Machen's childhood in his native county of Gwent, in South Wales, and his adult residency in everywhere from low-rent to more-desirable areas of London feature prominently in two volumes of his fiction, which appeared in the influential Keynotes Series published by John Lane's Bodley Head Press in the 1890s: The Great God Pan and the Inmost Light (1894), and The Three Impostors, or, The Transmutations (1895). Those works of fiction indicate a major pattern in Machen's outlook and imagination. For instance, the The Great God Pan presents Machen's late-Victorian re-invention of Pan, the classical rustic Arcadian god of Greek mythology. The Pan demon—or sinister Pan—evidences an aspect of threatening vitalistic nature that appears at the indefinite center of sexual concealment. Male characters act in secrecy by necessity due to the Labouchère Amendment to the Criminal Law Amendment Act of 1885. Machen uses the more beneficent, affirming aspects of the Pan figure for the short story "The White People" (1899) in the long middle section titled The Green Book. However, threats to female adolescence and sexual sovereignty, and contending principles of female and male energies, unpredictably strike through the more sinister and in the more beneficent of Machen's tales, which include the prose poems of Ornaments in Jade. These factors sometime destroy life, and seldom conceive or sustain its creation. Yet the presence of esoteric concepts in those same narratives offers non-rational alternatives to the attainment of gnosis. The Three Impostors, the second of Machen's Keynotes volumes, with its plot of conspiracies and dark secrets not only suggests Machen's interest in the criminal underworld and involvement with the ritual magic groups of the late-nineteenth century, but also his caution about the dark attraction of that glamour and how those occult groups and leaders operated.;The interest in the abnormal functioning of bodies, a convention of Gothic fiction, appears in Machen's work in correspondence to the status of Sexology and the proliferation of studies of human sexuality in the late Victorian period. Especially important is the concept of sexual inversion, a term for homosexuality that was popularized in the works of the scientific researchers Richard von Krafft-Ebing, in Psychopathia Sexualis (1886), and Havelock Ellis, in Sexual Inversion (co-authored by John Addington Symonds), which is the first volume of Ellis's series Studies in the Psychology of Sex (1897). The final chapters of Machen's The Great God Pan are set in 1888 in London, and there is a direct reference to the White Chapel murders (i.e., the Ripper crimes). Therefore, I analyze Machen's fiction for its gendered focus on abhuman qualities, abnormal behavior, and violence: the abhuman as understood by Kelly Hurley, and violence in London as a version of Walkowitz's London as City of Dreadful Delight. Another historical context exists because the year before Machen finished the first chapter, "The Experiment," the Cleveland Street affair and its scandal occurred and included a royal intervention from the Prince of Wales to halt any prosecutions (1889). In The Great God Pan, Helen Vaughan, who passes from salons in Mayfair to houses of assignation in Soho, represents a dynamic, unified force of being and becoming that draws from and revises the multiple but fractured personality of Stevenson's Jekyll. Likewise, The Green Book girl in the short fiction "The White People" experiences a communion of gnosis that separates her from the social life and conditions of her father, a lawyer, and his middle class world of the British Empire's materialist legal structures. The esoteric and otherworldly, and the physical and material, combine, fragment, and transcend in the local world and the greater cosmos imagined by Arthur Machen. (Abstract shortened by UMI.).