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Mark Twain's "The Ysm Terious Stranger," a Nineteenth-Century Lyrical Novel

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Mark Twain's Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1974 "The aB seless Fabric of This Vision": Mark Twain's "The ysM terious Stranger," a Nineteenth-Century Lyrical Novel. Robert Edward Lowrey Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Lowrey, Robert Edward, ""The asB eless Fabric of This Vision": Mark Twain's "The ysM terious Stranger," a Nineteenth-Century Lyrical Novel." (1974). LSU Historical Dissertations and Theses. 2619. https://digitalcommons.lsu.edu/gradschool_disstheses/2619 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 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Xerox University Microfilms 300 North Ze«b Road Ann Arbor, Michigan 48106 "The Baseless Fabric of This Vision": Mark Twain's The Mysterious Stranger, A Nineteenth-century Lyrical Novel A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Robert Edward Lowrey M.A., Texas ASM University, 1964 May, 1974 ACKNOWLEDGEMENT I would like to thank Professor Lewis P. Simpson for his helpful and humane criticism of all phases of this study, and I would like to thank Professor Darwin Shrell and Professor Otis Wheeler for suggestions that have helped me to glue the pieces together. Finally, I would like to thank Professor Harry P. Kroitor of Texas A&M University for leading me out of dark places from time to time, over a great many years. CONTENTS Page ACKNOWLEDGMENT ............................................... ii A B S T R A C T ...........................................................iv CHAPTER I. THE CONTEXT OF THE VISION: THE LYRICAL NOVEL .................................. 1 II. THE MACHINE AND THE IMAGINATION: PARAMETERS OF MARK TWAIN'S PHILOSOPHY OF M A N .................................. 14 III. THE BASELESS FABRIC OF THEODOR'S VISION: THE LYRICAL DESIGN OF THE MYSTERIOUS STRANGER ...................................................47 IV. CONCLUSION ............................................. 7 9 BIBLIOGRAPHY .................................................. 119 APPENDIX I PROBLEMS OF TE X T ........................... 12L APPENDIX II THE RECURRING DREAM-VISI ON : THE "NO.44" VERSION OF THE MYSTERIOUS STRANGER .................... 134 ABSTRACT Lowrey, Robert Edward, B.A. Texas A&M University, 1962 M.A., Texas ASM University, 1964 Doctor of Philosophy, Spring Commencement, 1974 Major: English Literature Minor: American Literature "The Baseless Fabric of This Vis ion11 : Mark Twain * s The Mysterious Stranger, A Nineteenth-century Lyrical Nove1 Dissertation directed by Professor Lewis P. Simpson Pages in Dissertation, 148. Words in Abstract, 565. This study examines The Mysterious Stranger as an expression of Mark Twain's final vision of the nature of man, which is based on his belief that imagination is the source of the individual's self-awareness. To grasp Mark Twain's vision, however, we must examine the lyrical design of the novel. Its form conveys the vision. The lyrical novel uses the narrative form to approach the function of poetry. Its primary purpose is the suspension of time in a pattern of images which suggests a portrait of the hero's inner being. The "world" of the novel is reduced to a lyrical point of view through which the hero renders him­ self and his real or imagined exoeriences as a symbolic vision. The lyrical novelist asks how the mind perceives reality, whether this reality is external or internal, and what the relationship is between awareness of these ques­ tions and social involvement. The lyrical novel is a i v special instance of the novel of awareness. The Mysterious Stranger is an example of this special type of novel, con­ veying its themes through imagery rather than through realistic episodes. Mark Twain's vision of God, man, and society is re­ vealed in What Is Man? , the Notebooks, and in some of his letters. For Mark Twain, the originator of all thought, form, and color is an indifferent force which can be com­ prehended best through the study of "Nature and her his­ tory." Man is a machine the operations of which are deter­ mined by temperament and the influences of habitat and associations. Although the man-machine cannot change himself, he can be improved through training. The moralist should provide positive influences for the man-machine which will train his ideals upward to the ultimate benefit of the community. Mark Twain demonstrates this philosophical vision of man in The Mysterious Stranger through the lyrical design of the narrative. In what amounts to a spiritual auto­ biography, Theodor transmutes his world of sensible encounters into a pattern of images through which he con­ structs a symbolic self-portrait. There are two distinct angles of vision in the narrative. Young Theodor embarks on a journey to awareness, but under the narrative control of the reflecting, mature Theodor who selects significant details. Since the journey to awareness is a mental and emotional journey, the recounting of the quest ultimately becomes the expression of a pattern of images which des­ cribe the narrator's understanding of his own being. Satan is a symbolic figure representing the imaginative ideal, and at the end of the novel, Theodor assimilates Satan into his expanded consciousness. By establishing a fic­ tional world in which Theodor discovers himself with the help of a creature of his own imagination. Mark Twain goes beyond the views of What Is Man? to suggest that the imagination may be more powerful than external reality in the individual's quest for self. By concentrating on the hero's intuitive responses rather than on the faithful representation of objective reality, and by employing lyrical techniques which lead to the hero's uniting of past-present-future in solf-portrai- ture, Mark Twain juxtaposes the history of mankind with the nineteenth-century assumptions about moral and social evolution. The Mysterious stranger points toward modern novelists' concerns with machine-age man's preoccupation with things and the "dissociation of sensibility" which results. Mark Twain's intuitive understanding of the importance of depicting the alien protagonist adrift in the chaos of a nominalistic universe seems to have prompted his selection of a narrative form which freed him from the role of the realistic reporter and allowed him to represent his vision of the human condition poetically. vi CHAPTER I THE CONTEXT OF THE VISION: THE LYRICAL NOVEL The purpose of this study is to examine The Mysterious Stranger as an expression of Mark Twain's final vision of the nature of man, society, and the universe, a vision which is based on his belief that internal, not external, reality is the source of the individual's self-awareness. Much can be understood about Mark Twain's vision of man's existence during the later years of his life from a study of What is Man? , the Notebooks, and some of his letters; but it is in The Mysterious Stranger that this vision is embodied in a compelling story. In order to understand Mark Twain's philosophical vision, however, we must examine the nature and design of the novel, since its form demon­ strates its meaning. This is essentially the form of the "lyrical novel." An understanding of the characteristics of the lyrical novel is necessary, therefore, if we are to comprehend The Mysterious Stranger as an expression of Mark Twain's final vision. According to Ralph Freedman, the lyrical novel "is a hybrid genre that uses the novel to approach the function ^ 1 2 of a poem.The potential for lyrical fiction is present in most prose narrative forms, Freedman says; but he specifically defines the lyrical novel in terms of the works of such authors as Hermann Hesse, Andre Gide, and Virginia Woolf.
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