Abstract
In recent years, Eleanor Sleath’s long-neglected The Orphan of the Rhine has received attention as a valuable addition to the Gothic canon. In particular, critics have hailed the unconventionality of her worldly heroine Julie de Rubine. In this article, we resituate Julie’s exceptionalism in a specifically post-Reformation context, arguing that, in Julie, Sleath has created a powerful maternal icon whose mediating authority contests iconoclastic attacks on Marian devotion in seventeenth- and eighteenth-century England. Julie is, as critics have observed, the moral center of the text, and we show how that role is warranted specifically by her religiosity. Although partway through Orphan Julie suffers to some extent the common Gothic mother’s fate, being abducted and held captive in a convent for a portion of the novel, she remains the focus of the other characters’ attention and ultimately is restored to preside over the deathbed confession of her errant husband. By showing how Julie’s immaculate motherhood reforms the patriarchal family, we suggest that Catholicism, however counter-intuitively, can be understood as a potentially “queer” element in modern British consciousness. By inspiring an alternative domesticity, Sleath’s maternal icon shows one way that the Gothic can provide a constructive alternative to modernity’s strictures.
Keywords
Gothic, Gothic literature, female Gothic, Catholicism, religion, motherhood, maternity
Recommended Citation
Orndorff, Esmeralda and Myers, Joanne E.
(2025)
"The Maternal Icon in Eleanor Sleath's The Orphan of the Rhine,"
ABO: Interactive Journal for Women in the Arts, 1640-1830: Vol.15: Iss.1, Article 2.
http://doi.org/10.5038/2157-7129.15.1.1356
Available at:
https://digitalcommons.usf.edu/abo/vol15/iss1/2
Included in
Feminist, Gender, and Sexuality Studies Commons, Literature in English, British Isles Commons