References to Clelia in The Female Quixote
Book IV Chapter III
“Certainly, Sir, said Arabella, you have not well considered what you say, since you maintain, that Love and Beauty are Subjects easily and quickly discussed: Take the Pains, I beseech you, to reflect a little upon those numerous and long Conversations, which these Subjects have given Rise to in Clelia, and the Grand Cyrus, where the most illustrious and greatest Personages in the World manage the Disputes; and the agreeable Diversity of their Sentiments on those Heads affords a most pleasing and rational Entertainment” (Lennox 150).
Previous to this quote, Mr. Glanville has just expressed his belief that there is not much to be said about either beauty or love. He holds very limited and elementary views of these subjects, in Arabella’s mind, especially since he focuses on outward physical traits. His view of love is also fairly formulaic and socially-constructed. Arabella, on the other hand, under the influence of the romance Clelia, believes there is much to be discussed and debated about these issues. She is not content to submit to cultural clichés, but rather acknowledges a “diversity of sentiments” about these topics, and considers the thoughtful engagement of these issues to be a “rational” and fruitful way to spend one’s time.
Book IV Chapter VI
“As extravagant as this Notion was, Arabella found Precedents in her Romances of Passions full as strange and unjustifiable; and confirmed herself in that Opinion, by recollecting several Examples of unlawful Love. Why should I not believe, said she, that my Charms can work as powerful Effects as those of Olympia, Princess of Thrace, whose Brother was passionately enamored of her?
Did not the Divine Clelia inspire Maherbal with a violent Passion for her, who, though discovered to be her Brother, did not, nevertheless, cease to adore her? And, to bring an Instance still nearer to my own Case, was not the Uncle of the fair Alcyone in Love with her? And did he not endeavor to win her Heart by all the Methods in his Power?” (Lennox 164).
Arabella is reflecting on quite an eventful day, where it appears several men are in love with her, including both her cousin and her uncle. Arabella thinks back to her romances to test her situation and sees instances of “unlawful love” happening even to the most virtuous of heroines, and from these, concludes that she must stamp out the flame of passion in these men in order to maintain her “glory” (Lennox 164). But at the same time, Arabella seems at least slightly pleased that by her feminine power, she can work the same charms as the heroines do. She has the ability to cast amorous spells, but also has the power to “stifle” the flames of desire she unintentionally instills in her lovers.
Book IX Chapter IX
“The Action we have it in our Power to perform will immortalize our Fame, and raise us to a Pitch of Glory equal to that of the renown’d Clelia herself.
Like her, we may expect Statues erected to our Honour: Like her, be propos’d as Patterns to Heroines in ensuing Ages: And like her, perhaps, meet with Sceptres and Crowns for our Reward.
What the beauteous Roman Lady perform’d to preserve herself from Violation by the impious Sextus, let us imitate to avoid the Violence our intended Ravishers yonder come to offer us.
…Once more, my fair Companions, If your Honour be dear to you, if an immortal Glory be worth your seeking, follow the Example I shall set you, and equal with me the Roman Clelia.
Saying this, she plung’d into the Thames, intending to swim over it, as Clelia did the Tyber” (Lennox 363).
Here the actions of Clelia directly influence Arabella’s own actions. Previously, she has expressed the desire to engage in heroic, noble, and courageous actions, and she sees the impending arrival of her “ravishers” as an opportunity to finally engage in an act that will bring her “immortal glory.” Arabella misreads the danger, but simultaneously, fully materializes the space of romance as one where a woman can be a heroine and a figure of worth, which is an unlikely state for a woman abiding by the structures of 18th century British society. Within the world of romance, Arabella is able to imagine herself as someone important, living a life worthy of being recorded and celebrated. And she invites the ladies with her to do the same, implying that all women have this potential, if they can act upon it when the situation arises.
Book IX Chapter XI
“And why, since you call for Instances, should I not dread the Misfortunes which happen’d to the divine Clelia, who was carry’d to one of the Isles of the Thrasymenian Lake?...
To the Names of these illustrious Sufferers I am an absolute Stranger, replied the Doctor.
The rest I faintly remember some Mention of in those contemptible Volumes, with which Children are sometimes injudiciously suffer’d to amuse their Imaginations; but which I little expected to hear quoted by your Ladyship in serious Discourse….
From these Books, Sir, said Arabella, which you condemn with so much Ardour, though you acknowledge yourself little acquainted with them, I have learnt not to recede from the Conditions I have granted, and shall not therefore censure the License of your Language, which glances from the Books upon the Readers.
These Books, Sir, thus corrupt, thus absurd, thus dangerous alike to the Intellect and Morals, I have read; and that I hope without Injury to my Judgment, or my Virtue.”
The Doctor, whose Vehemence had hinder’d him from discovering all the Consequences of his Position, now found himself entangled, and reply’d in a submissive tone.” (Lennox 373-4).
In this chapter, Arabella is “converted” from her world of romance to the social norms of her time by the Doctor, who contends that she was never in any real danger, but had construed herself to be based on the fictional romances she so heavily invested in. Arabella appeals to the “historical fact” of her romances, and her self-association with them; if heroines, such as Clelia, were in danger of ravishment and abduction, surely she could be, too. The doctor responds with some of the common critiques of romances at the time; that they are “senseless Fictions” which “pervert the Understanding” (Lennox 374). To this, Arabella responds strongly, making a logical connection between his assertion that romances are dangerous and her enthusiastic consumption of them; the Doctor, must therefore, view her as having a “perverted understanding.” The Doctor, caught unwittingly in the act of making an uncouth personal attack, must back away and try another approach towards Arabella’s “cure.” However, here Arabella is able to prove that she has sense and rationality, even shaming the dignified and educated Doctor, and implies that this is because of her reading of romances, not in spite of it.
“Certainly, Sir, said Arabella, you have not well considered what you say, since you maintain, that Love and Beauty are Subjects easily and quickly discussed: Take the Pains, I beseech you, to reflect a little upon those numerous and long Conversations, which these Subjects have given Rise to in Clelia, and the Grand Cyrus, where the most illustrious and greatest Personages in the World manage the Disputes; and the agreeable Diversity of their Sentiments on those Heads affords a most pleasing and rational Entertainment” (Lennox 150).
Previous to this quote, Mr. Glanville has just expressed his belief that there is not much to be said about either beauty or love. He holds very limited and elementary views of these subjects, in Arabella’s mind, especially since he focuses on outward physical traits. His view of love is also fairly formulaic and socially-constructed. Arabella, on the other hand, under the influence of the romance Clelia, believes there is much to be discussed and debated about these issues. She is not content to submit to cultural clichés, but rather acknowledges a “diversity of sentiments” about these topics, and considers the thoughtful engagement of these issues to be a “rational” and fruitful way to spend one’s time.
Book IV Chapter VI
“As extravagant as this Notion was, Arabella found Precedents in her Romances of Passions full as strange and unjustifiable; and confirmed herself in that Opinion, by recollecting several Examples of unlawful Love. Why should I not believe, said she, that my Charms can work as powerful Effects as those of Olympia, Princess of Thrace, whose Brother was passionately enamored of her?
Did not the Divine Clelia inspire Maherbal with a violent Passion for her, who, though discovered to be her Brother, did not, nevertheless, cease to adore her? And, to bring an Instance still nearer to my own Case, was not the Uncle of the fair Alcyone in Love with her? And did he not endeavor to win her Heart by all the Methods in his Power?” (Lennox 164).
Arabella is reflecting on quite an eventful day, where it appears several men are in love with her, including both her cousin and her uncle. Arabella thinks back to her romances to test her situation and sees instances of “unlawful love” happening even to the most virtuous of heroines, and from these, concludes that she must stamp out the flame of passion in these men in order to maintain her “glory” (Lennox 164). But at the same time, Arabella seems at least slightly pleased that by her feminine power, she can work the same charms as the heroines do. She has the ability to cast amorous spells, but also has the power to “stifle” the flames of desire she unintentionally instills in her lovers.
Book IX Chapter IX
“The Action we have it in our Power to perform will immortalize our Fame, and raise us to a Pitch of Glory equal to that of the renown’d Clelia herself.
Like her, we may expect Statues erected to our Honour: Like her, be propos’d as Patterns to Heroines in ensuing Ages: And like her, perhaps, meet with Sceptres and Crowns for our Reward.
What the beauteous Roman Lady perform’d to preserve herself from Violation by the impious Sextus, let us imitate to avoid the Violence our intended Ravishers yonder come to offer us.
…Once more, my fair Companions, If your Honour be dear to you, if an immortal Glory be worth your seeking, follow the Example I shall set you, and equal with me the Roman Clelia.
Saying this, she plung’d into the Thames, intending to swim over it, as Clelia did the Tyber” (Lennox 363).
Here the actions of Clelia directly influence Arabella’s own actions. Previously, she has expressed the desire to engage in heroic, noble, and courageous actions, and she sees the impending arrival of her “ravishers” as an opportunity to finally engage in an act that will bring her “immortal glory.” Arabella misreads the danger, but simultaneously, fully materializes the space of romance as one where a woman can be a heroine and a figure of worth, which is an unlikely state for a woman abiding by the structures of 18th century British society. Within the world of romance, Arabella is able to imagine herself as someone important, living a life worthy of being recorded and celebrated. And she invites the ladies with her to do the same, implying that all women have this potential, if they can act upon it when the situation arises.
Book IX Chapter XI
“And why, since you call for Instances, should I not dread the Misfortunes which happen’d to the divine Clelia, who was carry’d to one of the Isles of the Thrasymenian Lake?...
To the Names of these illustrious Sufferers I am an absolute Stranger, replied the Doctor.
The rest I faintly remember some Mention of in those contemptible Volumes, with which Children are sometimes injudiciously suffer’d to amuse their Imaginations; but which I little expected to hear quoted by your Ladyship in serious Discourse….
From these Books, Sir, said Arabella, which you condemn with so much Ardour, though you acknowledge yourself little acquainted with them, I have learnt not to recede from the Conditions I have granted, and shall not therefore censure the License of your Language, which glances from the Books upon the Readers.
These Books, Sir, thus corrupt, thus absurd, thus dangerous alike to the Intellect and Morals, I have read; and that I hope without Injury to my Judgment, or my Virtue.”
The Doctor, whose Vehemence had hinder’d him from discovering all the Consequences of his Position, now found himself entangled, and reply’d in a submissive tone.” (Lennox 373-4).
In this chapter, Arabella is “converted” from her world of romance to the social norms of her time by the Doctor, who contends that she was never in any real danger, but had construed herself to be based on the fictional romances she so heavily invested in. Arabella appeals to the “historical fact” of her romances, and her self-association with them; if heroines, such as Clelia, were in danger of ravishment and abduction, surely she could be, too. The doctor responds with some of the common critiques of romances at the time; that they are “senseless Fictions” which “pervert the Understanding” (Lennox 374). To this, Arabella responds strongly, making a logical connection between his assertion that romances are dangerous and her enthusiastic consumption of them; the Doctor, must therefore, view her as having a “perverted understanding.” The Doctor, caught unwittingly in the act of making an uncouth personal attack, must back away and try another approach towards Arabella’s “cure.” However, here Arabella is able to prove that she has sense and rationality, even shaming the dignified and educated Doctor, and implies that this is because of her reading of romances, not in spite of it.
