Epilepsy and Catalepsy in Anglo-American Literature between Romanticism and Realism: Tennyson, Poe, Eliot and Collins

Abstract

Epilepsy and catalepsy were not clearly separated in the minds of people in the early 19th century, and catalepsy may have been used as a diagnostic euphemism for epilepsy. Tennyson, in “The Princess’” describes, under the diagnosis of catalepsy, probable temporal lobe epileptic dreamy states with derealization which serve as a metaphor of sexual and moral ambivalence, the poem’s central theme. It seems that Tennyson knew such seizures from his own father who had been given a diagnosis of catalepsy. Poe gave his Berenice in the novella of the same title a diagnosis of epilepsy as a reason for a premature burial. However, there was a good deal of unlikelyhood in this, and when he came to this theme in “The Fall of the House of Usher’” and in “The Premature Burial’” he chose instead a diagnosis of catalepsy which fitted better with the plot. The fits of the title character in George Eliot’s Silas Marner, diagnosed as catalepsy, would today rather be seen as epileptic twilight states. It would seem that this author drew from contemporary dictionary descriptions which described conditions similar to Marner’s fits under the heading of catalepsy. In Eliot’s “legend with a realistic treatment’”, the twilight states are a central factor in the plot and explain Marner’s reclusion and passivity. In Poor Miss Finch by English realist Wilkie Collins, the posttraumatic seizures of Oscar, one of the main characters, their cause, their treatment with silver nitrate, and the subsequent discoloration of his skin are central supporting elements of a perfectly constructed plot. Collins gives an exact description of a right versive seizure with secondary generalisation, and how to deal with it. In none of these works seizures are seen in a negative light. They rather evoke reactions of sympathy and support.