Disability as Metaphor and Lived Experience in Samuel Richardson's Pamela and Sarah Scott's Millenium Hall

Disability as Metaphor and Lived Experience in Samuel Richardson's Pamela Sarah Scott's Millenium Hall Jason S. Farr (bio) studies scholars often champion the investigation of lived experiences disability over metaphor. In Theory, for instance, Tobin Siebers historicizes disabled bodies part because metaphor converts into something else.1 Given exclusionary nature ableist metaphors, adopts this approach good reason. I would argue, however, that we are at a point now eighteenth-century literary which can do both; is, uncover eighteenth century take seriously. By juxtaposing representations with dynamic, three-dimensional portrayals disability, may conceptualize how was imagined deprivation but also it could serve personally socially transformative ends narrative. To show such method works, examine (1740) (1762): two novels portray physical starkly different terms. conceives deformity plot device while reveals constructed bodily standards subjugate people.2 Despite their differences, these depict queerness narrative devices imagining social sexual reform. [End Page 309] Pamela, Richardson shores up able-bodied, heterosexual romance between Mr. B. through Mrs. Jewkes, who is portrayed monstrous her embodiment queer desire. its development, adheres to tenets what David T. Mitchell Sharon L. Snyder call "narrative prosthesis," or transhistorical representational model serves "crutch" generating conflict resolution.3 According prosthesis, "the materiality metaphor" tendency make abstract concepts visible body, first uncovered then explained justified. As result, brought from margins heart before finally rehabilitated, fixed, eradicated.4 Jewkes's work together prostheses ground conceptions libertinism, female virtue, sentiment. For example, upon meeting describes terms: "She broad, squat, pursy, fat Thing, quite ugly. … She has huge Hand, an Arm thick my waist. Her nose flat crooked, Brows grow Eyes; dead, spiteful, grey, goggling Eye, be sure, she has. And Face broad."5 Jewkes said "to waddle" when walks, indicating mobility impairment appear supplement body intentions (PA, 114). Pamela's portrayal physiognomic thought, unconventional appearance mirrors inward depravity. caricature facial features—the sustained attention "flat crooked" eyebrows—is supposed reveal inner wickedness (114). construes face metaphorical repository uncouthness threatens young women's virtue. character symbolizes libertine sexuality hopes expunge British society. pursues aggressively, just does. characters' alignment, becomes B.'s excess. "The naughty Woman came me Air Confidence, kiss'd me, See Sister, she, here's charming Creature! not tempt best Lord Land run away her!" 107). justifies ignominious actions by calling desirability. Later, carriage ride Lincolnshire, reports sat next her, "squeezing saying, Why you very pretty, silent Dear! once offer'd kiss me. But said, don't like Sort Carriage, Jewkes; Persons...