Irony, the Integrant in the Art and Philosophy of Thomas Hardy and Joseph Conrad

University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1931 Irony, the integrant in the art and philosophy of Thomas Hardy and Joseph Conrad Richard Gordon Lillard The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Lillard, Richard Gordon, "Irony, the integrant in the art and philosophy of Thomas Hardy and Joseph Conrad" (1931). Graduate Student Theses, Dissertations, & Professional Papers. 2765. https://scholarworks.umt.edu/etd/2765 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. IROKT i 35B lanOOfWaT la THZ lar AND EBILOSOMir -# of lOKmuaiuamYAaD JoazPB coKRAD W Rlehara 15. JLLLUodl Pr##«nt$d ia partial ACLflllgmmt of ttte xtMpiremat fw ## û»gr@0 of Memtmr of Mta State of Montamm 1951 Approveâ: / -OljEftiiMua of Izmik 3St%# Chairman of GrWaata commit UMI Number; EP34675 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation PublisNmg UMI EP34675 Copyright 2012 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQ^sf ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Preface All great literature has used Irooy at least oeeaslonally. Irony Is eaaentlal to the draaatlst and satirist» useful to the novelist and story-teller, and corwenient eren to the lyric poet. If he Mve a tinge of elear-eyed melancholy. Modem writers find irraiy as necessary for plot Qonstructlm and for eosxreyance of criticlam as did Mwlmat «Tit ers. %e «rltlngs of some authors, such as Anatole F^mce, James B. Cabell, sxià Edith Wharton, are li#reg%mted vith all types of iMmy. Ammg wêm «Titers, ^Mmaa Bardy and Jweph Ccmrad are iwtable for seeing lr«qr basic In life, for building vp philosophies in «hleh irtmy Is the integral ccaapoment, wid for «rlting fiction «hleh artistically lllnstrates #ese philosophies. Their InWltlons are similar, but their actual data from o&servatltm, their oe^tods, and their life phi losophies differ—but nat to such a degree that a cmâriscm «111 not throw amih fresh light on each «rlter. Critics have discussed the plot, setting, charaeterizati(m, autobiographical elawnt, poetic feeling, style, psychology, phllmqphy ... in Eardy and Ccmrad, aM have made (mly cursory Mferences to their Irozqr, thus overlooking the most im portant aspect of the style md thou^t in their work. It is my thesis that Irtmy is tW key to an understanding of all that tWy wrote. In asserting that irtmy is integral in the art and philosophy of Bardy and Conrad I mean that it is a necessary part of a lAole, necessary for completenesa. In Chapters I asà III, on the irony in the novels, respectively, of Hardy and Conrad, I illustrate the ironies by brief extracts and somarize them la gyacp#** of the plots of the la#ortaat novel#, Xesr- Ing t&t later tâxe^%«ea the synthesis of my otmolmslons about hasls aM the effects of the irony. 1 treat Bardy^s irony as developing ^troagh his first six novels, and, therefore, make two parts of the chapter on I&rdy*s novels. I find no notable develoênt in Conrad*s novels and treat thw in <ms gnbroken <^pter« ]Dni eaeh chapter I take QP the imvels In (Aronoleglcal order. I use Ooarad's essays and «atobl(%r«#hleal books <mly to cast sap- plemwitary light upon his Irmile satire, his methods, aM his philosophy. Likewise, I employ the poetry of Hardy, including The Dynasts, only to throw additional eonentsry IWrdy's me#<Wls oî lr«gr, lr<mle sat ire, and particularly tipon his philosophy, of lAlcÈi %e amasts Is mMt Goiq)lete expression. A moot (pestlon In &rdy criticism Is sheêr all his oolncldsnces are Irwlcal ohaaces <xe pinre mecldmite. As I drnwrnstrate In ^ last t#o chi^ters, Bar^ has a phllaeMqthIc vlndlcatloa tor all his Ircmles; so in treating his works I accept all his coincidences as valid ironise. In discussing irony in Hardy and Conrad I aim to base my study as weU as my ocmelnslons m tW matter stressed by the authon, and I re frain as far as possible from reding Into Neither Is a system- atle thinker, but each has certain leit-motifs of thought and method; %Mse I wdeavor to define and to smmmrlze. Missoula, B)ntana H. Cr. %* 1 June, 1931 TABLE OP CCRTWP3 DitrWactltm: Izxmy &»8«Q8e of Inmy—Gimaslfloatloma of irony—Soepatic ir<^— âraaatle ir^—ir*my of futé—irony in authw—in oharmmtwms— la f&%# of bo^r—&#a# *% «amraotmriatieg of ir<my— kim&Md f Igarws—ircœy mi «tir®—iroaie amtire—ewMmam, eya- ioiaai, «to.—iwrity of pur» iroay^ CK^t#r X g&amaa Snrây: X»Mty im th# Kotr^ji 1. First Six Sorols: Bwawmte Remeâjeg—examXea of iromy: VMAal, olraamBtaatiaX, la @a#or—iromie plot—wwamema of irottlTO—9a&MP a»m#ood Tree—Irtmlea la «atWxr—iraay in QhgMWt«E3: tW eooie xastiea—irony la plot—k Pair of Blao gyo#—jammio OQmo*^tioa as a mbole—ezw^laa of iroaiaa—initial irwy—ol<NBiag kMmioa—mralmitloa of iroaioa; dOTelcq^gmta— yar fgoB the Madâing «mamloa of irmies-'-saia Irmaioa la plot—ehmraotera as affaot^ by Irtmy—advazme la d^tmmialw- Band of Ethelbwta—wawpXaa Iroaiaa—iroai® plot—a-rala- «ticm of irtmiea—The Ratera of tâie Native—axammlos of iimiea— plot aad eracial iroalea—fruatratlm of pblloa(#tlo irony— aammay of flrat six novala. 2, %e I*tw Itorala: %ra@ li^t aoTela—The Mayw? of Owtw- kpâgg—plot—pcmalbla tisralag pointa—#» Woodlmmawa—plot— amataiiwd omplloatlomas-^^^ abort atoriea—Th# lell-Balqyad— Taaa of ^ D*lJb«r*illo8—-plot aad eraolal iroaias—deeliaa la tToaile the ObwwPe—plot—Father Tiae—farther âeeliae ta iroaie tome Gh(#ter II fhOBsas Hardy: Ironie Attitaâe twmrd Mm aad swlety Mam vmrmw soolety—ircmic remm-ke ta iatroauotlame—"rwmrke m i»a«8Ettt«—fflo a^per classes etf saslety—^ foaiaiae vsaaity—- m mmkiM—om varioms ideas aaâ etmveatiœw—ma death—cm aarriage—STT ti» Choreh emd tiieolcÎR—CM TOP Chapter III Jome^h Oimrad: Irmgr ia the Novels Ho traeeahle iWvelopmmt—Almarw*s Folly—wmmles of irwoy— plot—Am Oatoaat of the Isligtas—plot—Why these lroai@5?-"%e of tile KareissMî ircmie pgreholc^y—fales of Ohrest; "Eeraia"—"The Idiots**—"Aa Om%wt o£ Prt^ress"—*îhe IHrfeora'*— Wed Jim: missed opportaaitiea—Yogth; "%e Beart of Daricwwis*— "Thm Bad of the Te#er"—^nAoom: *%ïAoom"— BxmtMKMr-examle# of irtxaie slsdies—i^lot—change ia Inmie tome. TW Swaret jysast «M tteder Westmm Bms—plot of The ^wBret A^Bt—plot of TBader Westwa gyss—the later short #to- ries—aa esoBQ^le: "BeeaoM of the Dollars"—Chemoe—vletim: og iroaies—ehaose ia the oa&elasioa—Vietory—plot—Boyst, a etady—ê fiesoae—plot—Liagard a victim of fate Oh#tKr I? Jw^h Coarad: Iroaic Attitude toward Man 0<mrad a thiakar aaà critic—iroaic commat izpmi self—aptm critics—iacldeatal iroalc r&smrka ia essays—in aovels—irmgr oa white maa from native vieiçoiat—oa natives and primitive people—iroi^r on wxtoa—(» people ia Tbm Inheritmn:—oa bmi— omslvmltm. CWpter 7 (kmrad: m& DlBlllimlmmmt The then» oC éleillualommmt—dlamgipolmlmeat la reel life— ecmeats m problmm of dimlUmal ommnt—storiee of yoath— "Yottth*—The SheWf Ltee—oîer stories of yow% |>eop2e—OoQrad*s Tiew of yostte Chapter VI %ams Sardy a®ft Joseph Conrad: The Irtmic AWidmnoe of irœay ia HM"# aa& Coarad—their a ses of irwqr— contrasta ia their methods—Conrad's ladtrect stoiT-êllimg— ooaeealmeat la Conrad aad Hardy—eoiaeidenee in Coarad aad ia Bardy's poetz? and prose—eralaatiOQ of eoiaoidmee ia Conrad aad Hardy—larcBîy Wy to effeets—#peal to jaatiee—ir%^ md eharaeteor develo]E#emt — jaat ifieatloa Chester TII Thm&a Hardy imd Joseph Cmrad: %e Philosophy of iTtmy %e world as atrdy «ad Cmrad see it—dlffereaee la their views—ehaaee aad lack—Hardy's qaestloBlag aM cOTclusioas— Conrad*a eoBOlttsl^s—Cooirad's view of aaa—Hardy's view of maa— the |9drohlm at evil—fâ» villaligr of fate—the philos(q)hie basis of ircmie satire—of tWlr ironie methods—maaipolat loa in lardy—irony 1» aatare—t@#«ped optlnlaa aad pessimism ij^teadix: Ohiôl<%lGal Lists of Published Works of Hardy aad Coarad Bibliographies l&troâaetltmî Drony Th* basic mature of all irozy is esqplaiaeâ by the origizml &e«k root of the vord Irsm^, whioh aeant to dissea^ls or to gratmâ. The oaamme at Irany la the mggasticm that aux*faea meaalag mâ Tmderlyimg mwmiBg differ. Iromy la overt ooneaalmaat of pixvpom or Idea bahisd wards or aetitma; that is, elae to the iromy lies in the ir<my itaelf, but la aXmys diaQwrmred too late. More is meant aad said thea meet# eye, for iromy does not editorialize nor fumlah ea^lam&tory All Irtmies ew.

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