The Unwritten History of the Woman of Genius (Austen, Staël, Siddons): What She Says, Goes

Jane Austen, Clifford Siskin once proposed, was for a long time the sole exception to the ‘Great Forgetting’: the only female author from a period when women in fact dominated the literary marketplace whom English-language readers still remembered a century later. The better to recover Austen’s own thinking about the memorability and durability of female achievement, this article puts Austen’s third novel, Mansfield Park (1814) into conversation with the Swiss-French novelist Germaine de Staël’s Corinne, or Italy (1807). It traces Austen’s response to Stael’s influential storyline of female genius, as well as the allusions to the English tragedienne Sarah Siddons that form another link between the two novels. In Staël’s story of a brilliant but doomed improvisatrice, the glamour of the female genius is associated, poignantly, with a vocality that eludes archiving in written marks or signs. Yet the premise that what the woman of genius says, goes, and that her words are fated to vanish into thin air, also becomes within Corinne the foundation for Stael’s investigation of cultural transmission and of the limitations of written forms as archives of transient aural experiences. With its commentaries on performance, memory, and ephemerality, Mansfield Park continues this project of media theory.