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http://andromeda.rutgers.edu.~j

www.britishliterature.com

http://vos.ucsb.edu

Http://englishlit.about.com/arts/englishlit

 

Тема 9. The nineteenth century Novels. Late Victorian Literature. Fiction and poetry.

Проблемные вопросы лекции. Further development of Victorian novels. Female novelists – the sisters Bronte, Mrs. Gaskell and George Eliot (Mary Ann Evans). Fiction and poetry.

Тезисы лекций. Victorian novels frequently tell of the need of individuals, often women, to fulfill themselves in a society offering limited opportunities. Sometimes their predicament is intensified by a situation where the individualism of the Anglo-Saxon Protestant tradition and Latin – Catholic authoritarianism come into conflict with each other. Sometimes the vulnerability of women, in both social and domestic contexts, is seen to be at the mercy of arrogant male attitudes. Love may be personal and passionate and yet marriages, representing the values of society, are often disastrous.

In the isolation of a Yorkshire vicarage, three sisters, none of them destined to live long, were writing novels and poems. Charlotte Bronte (1816-55), who admired Thackeray, dedicated her most un-Thackeray novel, Jane Eyre, to him. Here, in this story of the governess who falls in love with her master, himself married to a madwoman, we have a passion not to be found in either Thackeray or Dickens, a genuine love-story of great realism, full of sharp observation and not without wit. This story, with its frank love-scenes, was something of a bombshell. Her novel Jane Eyre (1847) opens with a transcript from the author’s own life at boarding-school, but the heroine soon passes beyond the world of the author’s experience into the romantic realm of her longing and imagination. The heroine is a genuine woman. Psychologically she is a study of the author’s inner life, and her romantic experience is symbolic of attempt which Charlotte and her sisters made to enlarge and color their oppressive little world with the spaces and splendors of the imagination. For while her experience in life was limited, and constantly tended to throw her back on romantic invention, she was purpose a realist, bent on dealing with things as they are, and on making them better. Charlotte dedicated the novel to Thackeray, in terms which show the moral energy which she possessed. High morality and strong spirit of rebelliousness to injustice; wrong; unfairness of existing order were the strongest features of a heroine. The image of woman of such strong individuality was impossible to find in Dickens or Thackeray, even in Elizabeth Gaskell. In Jane Eyre we can see also successful attempts to show psychological inner life of the main heroine. Beginning with Jane Eyre readers come to know how deep her contact with nature. From her novels we recognize how largely in her life the clouds, the ragged hills, the wide spaces of the Yourkshire moors under sunset or moonlight, made up for the inadequacy of human society and interests. In a deeper sense nature enters into the main background of the plot in order to open the inner life of her heroes. Wuthering Heights (1847) by Emily Bronte (1818-1848) has gradually come to be recognized as one of the major imaginative creations of the century. It is the very heart and soul of the romantic spirit, with its story of wild passion set against the Yorkshire moors. It is fusion of realism and romantic tradition; it is clash of reality and dream. In the history of English novel, this story is unique for its dark and thunderous atmosphere, descriptions of nature as a background for showing inner, psychological conditions of heroes, and its powerful fusion of inordinately passionate love and hate. The novel has been compared to Shakespeare’s King Lear, chiefly because of its immense and uncontrollable passions. Agnes Grey (1847) by Anne Bronte is a story of a rector’s daughter who takes service as a governess, first with the Bloomfield family, whose undisciplined children are described as ‘tiger’ and then with the Murrays, where the conduct of her eldest charge, Rosalie, a heartless coquette, is contrasted with her own modest and gentle behaviour. Rosalie marries ambitiously and unhappily, but Agnes is happily united with Mr. Weston, the curate, the only one to have shown kindness in her days of servitude.

Other novelists included Mrs. Gaskell (1819-1865) and George Eliot (Mary Ann Evans 1819-1880). The religious and social problems of England found a passionate exponent in Mrs. Elizabeth Gaskell (Elizabeth Cleghorn Stevenson), the wife of a Unitarian clergyman in Manchester. Her life brought her into contact with the industrial and social difficulties growing out of the struggle between master and workman; and these she treated with great skill in Mary Barton (1848) and in North and South (1855). Mary Barton is a painfully vivid picture of conditions among the working class during the economic depression which gave the decade the name of the ‘hungry forties’. The novel shows deep feeling for the poor people employed at this time in factories. The book is notable for its realistic depiction of the wretchedness and poverty of the laboring class and its vigorous animus against the factory-owners and industrialists. North and South is a study of the different lives led by English people, especially the poor in the north and the happier ones in the south. The plot centers round Margaret Hale, a gentle girl from the south, who goes north and meets the problems of angry crowds of poor workpeople.

In Cranford (1853), her best – known book, she entered a different field, that of realistic observation for its own sake. Cranford is a series of carefully etched portraits and sketches of English village life. The life of the village, where the ladies of good family are poor, is described with immense skill. The novel is justly famous for the picture it gives of gentlefolk in a sleepy Cheshire town in the early part of the century.

The intellectual and moral life of middle Victorian era is revealed more fully in the works of Mary Ann Evans, or George Eliot ( 1819-1880). She was born in 1819 and grew up in the years when, under the influence of scientific speculation, the English mind was casting loose from it theological searching. She was for a time assistant editor of the Westminster Review, the organ of the freethinkers; and in this position she met John Stuart Mill, Herbert Spencer, G.H. Lewes, and other liberals. Her irregular union with Lewes and her renunciation of formal Christianity were the 2 important events of her life, for they imposed upon her the responsibility of counteracting the view held by many that freedom of thought was naturally accompanied by moral laxity. They strengthened her already powerful ethical impulse. In 1857 she wrote: “If I live five years longer, the positive result of my existence on the side of truth and goodness will far outweigh the small negative good that would have consisted in my not doing anything to shock others.

Before this she had begun to experiment with fiction, her first story ‘The Sad Fortunes of the Reverend Amos Barton ” appeared in Blackwood’s Magzine in 1856. She added to this story two others of moderate length and republished all three as Scenes from Clerical Life. The next year she published her first novel, Adam Bede, and it was evident that a new writer and a great one had appeared. Her next story, The Mill on the Floss (1860), turns on the refusal of her heroine to break the social law for the sake of her own happiness.

The novels of George Eliot were realistic, but she was more than an observer; she was also a scientist and a moralist. She was not content to picture human life as it appears. She tried to pierce behind the shows of things, and to reveal the forces by which they are controlled. Accordingly she analyzes her characters. In the case of the simple types this analysis takes the form of comment, rapid, incisive and convincing. In the case of the more conscious, developed characters, her analysis is more elaborate and more sustained. For her heroines Eliot drew largely upon her own spiritual experience, and this personal psychology she supplemented by wide reading, especially in the literature of confessions. In this way she gained an extraordinary vividness in portraying the inner life. Her most characteristic passages are those in which she follows the ebb and flow of decision in a character’s mind, dwelling on the triumph or defeat of a personality in a drama where there is but one actor. It is to be noted that George Eliot never lets her case drop with the individual analysis. She always strives to make her case typical, to show that the personal action and the results for both the individual and society accord with general laws. Her chief function as a writer is the interpretation of the world in terms of morality. She does not deal with party question, nor primarily with industrial or social problems. Her ethical motive is a broader one than the emancipation of thought or the formulation of a political program. It is to show how, in obedience to law, character grows or decays; how a single fault or flaw brings suffering and death and throws a world into ruin; how on the other hand, there is a making perfect through suffering, a regeneration through sin itself, a hope for the world through the renunciation and self-sacrifice of the individual.

In the history of fiction the last generation of the 19th.century can be distinguished from the first two generations by the comparatively small number of first – rate novelists it produced and by the virtual abandonment by such novelists of the types – the historical novel, the novel of manners, and the social novel – that, alone or in combination, had been popular since the opening of the century. Such novelists as Meredith, Hardy, and James developed complex forms of prose – fiction by skillfully fusing elements earlier novelists had left distinct. Thus, in Meredith and James elements from the novel of manners are combined imperceptibly with searching studies in psychology and morals, and in Hardy romantic elements from the regional novel and fused with a variety of philosophic pessimism. In consequence, the English novel in the third generation of the century attained heights of conscious artistry earlier novelists had rarely achieved.

We turn now to the poetry of the age. Alfred Tennyson (1809-1892), who later was made Lord Tennyson for his contribution to lit, sums up many of the preoccupations of the period in work which is thoroughly Romantic. Romantic, however, with a difference, for Tennyson brings to his sensuous verse a care, a deliberate contrivance of effect, which suggests Pope more than Keats. His music is distinctive, but its flow is by no means ‘artless’ –nothing is left to chance. The first works are ‘irresponsible’, delighting in the world of the senses, but the sense of Victorian responsibility is not long in coming, and moral problems begin to rude. The Palace of art teaches that beauty must be shared almost suggesting the substitution of art galleries and public libraries for the aristocratic gloating over personal treasures. Tennyson is an optimist. Some of his visions, as in Locksley Hall, are of a happy, liberal future and even ‘the Parliament of man, the Federation of the World’. As a technician, he is unsurpassed and the skill with which he manages the simple stanza of the long In Memoriam – immense variety, no monotony – is superb.

Robert Browning (1812-1889) approaches, in his language and imagery, the poetry of our own time. Both are, to some extent, anti-romantic: there are railway – trains, cigars, grand pianos, ‘scrofulous French novels’ and trousers; language is often colloquial and even slangy. There is a lot humor (rarely found in the romantics) and a kind of self-mockery in the grotesque rhymes that Browning sometimes uses. He also suggests the modern poets in his obscurity, but his obscurity does not derive from complexity of thought; it comes from impatience with language and a deliberate desire to dazzle the reader – Browning’s vocabulary is large and his fondness for little-known words proverbial. his early Sordello is so difficult that, of one of the lines, he himself said, ‘when I wrote that only God and Robert Browning knew what it meant; now God only knows’.

Elizabeth Browning (1819-1861) was, in her day, thought to be superior as a poet to her husband. her Aurora Leigh, a blank –verse novel, was hailed as the greatest thing since Shakespeare, but, though it is readable, we cannot now find many marks of greatness in it. Her lyrics- especially the Sonnets from the Portuguese – are pretty, displaying a woman’s passion which seems feeble in comparison with Emily Bronte’s and technically little more than competent.

Список литературы. Михальская Н.П. История английской литературы. М., «Академия», 2007

Alexander M. A History of English Literature, Palgrave Macmillan, 2000

Thornley G.C., Roberts G. An outline of English Literature, Longman, 2002




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