By Stephen Timoshenko, Donovan Harold Young
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The changing of the name, the taking of a false name or the finding of a nameless child are comparatively rare manifestations, but whenever they occur, they occupy a central place in the novel as in the case of Smith’s Barozzi (1815). Nameless children are difficult to characterise and authors try to palliate the risk of partial characterisation by creating scenarios in which foundlings are discovered with papers or First Steps 37 other items singling them out as figures of importance (Ireland, Gondez, 1805).
5). 5 Frontispiece to Eliza Parsons’s The Mysterious Warning, engraving of a child dying in a dungeon, 1796. 28 The Gothic Child is depicted kneeling, apparently praying for mercy, before the gothic villain. A jar of water is hanging in mid-air; the gothic villain’s outstretched arm and the mother’s uplifted hands create the impression of looking at a photographic snapshot capturing the movements of the protagonists. The engraving represents one of many scenes with children in the novel. It is taken from a secondary plot, a digression that, on first inspection, is only part of the larger network of narrative voices.
With the intervention of a reliable narrator 38 The Gothic Child Bonhote introduces direct criticism of the adult desire to recreate a perfect image of one’s proper self: After an absence of eighteen months [ ... ] we returned to England, and found my young lord just recovered from the small pox, of a very bad sort, which had so much altered him, that my lady believed, or rather affected to believe, that your son had been changed during our absence, or that he might have died, and some designing artful people had imposed their own offspring upon you, to usurp his rights, and rob her little daring of his title and estate.
Advanced Dynamics by Stephen Timoshenko, Donovan Harold Young