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Northumbria Research Link Northumbria Research Link Citation: Farn, David (1992) A place of illusion : a study of the works of Iris Murdoch in relation to certain aspects of her use of the Platonic cave myth. Doctoral thesis, Newcastle Polytechnic. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/15698/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html Some theses deposited to NRL up to and including 2006 were digitised by the British Library and made available online through the EThOS e-thesis online service. These records were added to NRL to maintain a central record of the University’s research theses, as well as still appearing through the British Library’s service. For more information about Northumbria University research theses, please visit University Library Online. A PLACE OF ILLUSION: A STUDY OF THE WORKS OF IRIS MURDOCH IN RELATION TO CERTAIN ASPECTS OF HER USE OF THE PLATONIC CAVE MYTH by DAVID FARN A thesis submitted in partial fulfilment of the requirements of the Council for National Academic Awards for the degree of Doctor of Philosophy Research carried out at Newcastle Polytechnic, Department of Historical & Critical Studies in collaboration with the University of Reading January 1992 STATEMENT OF OBJECTIVES Plato's parable of the Cave and the Sun, as a way of picturing man's striving after goodness, is a central image in Iris Murdoch's fiction and non-fiction. However, critics focus too much attention on the apparent end-point of the pilgrimage, that is to say, the Sun, whereas Murdoch's interest is in fact focussed much more democratically among the denizens of the Cave. It is my intention here to explore the reasons for that shift in perception, and to restore a proper sense of perspective to the various stages of the quest for goodness, by looking in detail at Plato's original myth and the way in which Murdoch has customised it to suit her own purposes. Also, Murdoch and her critics have always been acutely aware of the implications of her neo-Platonic views on art and the paradoxes they give rise to, especially as regards her own fiction. However, a new trend in Murdoch's fiction, detectable since about 1980, has put increasing strain on the credibility of her stated early ambitions of reconciling the demands of the formal and the contingent in her brand of realist fiction. This ground is so far largely uncharted by ctitics. It is my purpose here to re-examine Murdoch's fictions as art objects, especially her most recent ones, and to place them in the context of work done in the same field by her contemporaries. Iris Murdoch's philosophy is essentially neo-Platonic, but because of the peculiar path which criticism of her work has taken, the tenor and detail of that philosophy has become misrepresented. The thesis charts the history of Murdoch criticism to show the origins of that mis- representation, reiterates Plato's original Cave-and-Sun myth of 1he, Republic, and examines anew how Murdoch has customised the myth in order to say more about the Self. The essential qualities promoted by the myth, which I call dynamism, self-deception and democracy, are shown naturally to provide a structure and rationale for the thesis and are thus thrown into fresh relief. This groundwork is covered in a full Introduction, and the following chapters address the qualities of the myth in detail, applying them directly to Murdoch's fiction and non-fiction. Chapter One develops the notion of dynamism in Murdoch's writing, as contrasted with the urge her characters have to see goodness in static terms, focussing on her comic play with the Platonic pligrimage and its corruption into a Romantic Quest, and on the way in which, like TS Eliot, she sees artistic and moral mediocrity as linked. Chapter Two explores Murdoch's picturing of the Fire in the Cave as a way of representing the self as a deceiver and appropriator of Freudian mythology, especially with reference to her articulate male narrators. Chapter Three discusses the democratic distribution of goodness within the Cave, in the light of the tendency Murdoch's characters (and critics) have of seeing goodness in elitist terms, detecting a new kind of tolerance for life as lived by the Fire, and challenging the way some feminist critics have misrepresented the myth. Chapter Four charts Murdoch's recent shifts of interest within the Cave, and the emergence of a new category of character. Chapter Five discusses IMurdoch's developing optimism about the role of the Platonic pilgrim, and considers the impact of this optimism on the status of the novels as artefacts. Chapter Six concludes with an examination of some of the unresloved paradoxes of Murdoch's approach to fiction writing, in the context of her early ambitions and of what contemporary writers are achieving in the same field. I would like to convey my thanks to the following for their invaluable help: Dr Allan Ingram of Newcastle-on-Tyne Polytechnic, and Lionel Kelly of Reading University, for their advice and encouragement, Iris Murdoch for her correspondence, and Helene Farn for her endless support. page INTRODUCTION 1 CHAPTER ONE: Dynamism in A Word Child and The Sea, The Sea 19 CHAPTER TWO: Self-Deception in A Severed Head, The Black Prince and The Sacred and Profane Love Machine 41 CHAPTER THREE: Democracy in The Bell, An Unofficial Rose and Nuns and Soldiers 66 CHAPTER FOUR: A Changing Emphasis in The Nice and the Good, Bruno's Dream and Henry and Cato 92 CHAPTER FIVE: A New Optimism in The Philosopher's Pupil and The Good Apprentice 117 CHAPTER SIX: 'An Ocean of Reflection' in The Book and the Brotherhood, and The Message to the Planet 142 ENDNOTES 163 APPENDIX: The Cave and the Sun 174 REFERENCES BIBLIOGRAPHY At the end of Iris Murdoch's The Good Apprentice (1985), Stuart Cuno, the character in the novel who wishes to apprentice himself to goodness, eventually decides upon what form this apprenticeship will take. He. resolves to become a teacher and to direct his efforts towards educating the young. He anticipates his role as a teacher in this way: 'You can teach language and literature and how to use words so as to think. And you can teach moral values, what used to be called prayer, and give them an idea of what goodness is, and how to love it Of the is how to do it ... course problem ... it's all in that, the whole problem is in that - I'll have to learn ' (1) ... His father, Harry, replies to this with characteristic scepticism: 'the dedicated life is illusion the idea is pure an ... of goodness romantic opium. ' Stuart's stepbrother, Edward, is more sympathetic, and expresses the thought that Stuart 'might become a great educational reformer, we certainly need one, ' though he is doubtful about Stuart's reasoning. To his own admision that 'there are good things in the world', he must add a qualification: 'But which are they? ' said Edward. 'We might all mean different ones. ' 'Never mind, drink to them. Come. ' They raised their glasses. (2) The novel ends on this hopeful, but ambiguous, toast to 'good' and the 'good things'. I begin the discussion at this point partly because it is one of Murdoch's more recent and clear fictional statements on a study of goodness which began in the nineteen-fifties and has so far amounted to twenty-four novels and a number of philosophical books, and partly because the three men clinking glasses at the end of The Good Apprentice represent three types of character which the veteran reader will find little difficulty in recognising throughout Murdoch's fiction. Harry represents an extreme type of character who, like Carel Fisher in The Time of the Angels (1966) and Julius King in A Fairly Honourable Defeat (1970), simply deny the existence of 'goodness', or regard it as a sort of vast confidence trick, an 'illusion', perpetrated by a body of people too weak spirited to acknowledge that they live in a world which operates solely according to the dictates of self-interest. Edward stands for a much more frequently encountered middle-range of characters, for example Michael Meade in The Bell (1958) and John Ducane in The Nice and the Good (1968), for whom the term has meaning, but -1- whose attitudes to it waver or become revised as a result of their experiences - those for whom, accepting that there are 'good things in the world', the problem remains in deciding which things are the good ones. Stuart stands for a third, fairly rare, type of character who, like Brendan Craddock in Henry & Cato (1976) and Tallis Browne in A. Fairly Honourable Defeat (1970), operate at the opposite end of the scale to that occupied by Harry - those who dedicate their lives to the pursuit of goodness.
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