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The Fin-De-Siècle Bohemian's Self-Division by John Brad Macdonald Department of English Mcgill Univers

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The Fin-De-Siècle Bohemian's Self-Division by John Brad Macdonald Department of English Mcgill Univers Ambivalent Ambitions: The fin-de-siècle Bohemian’s Self-Division By John Brad MacDonald Department of English McGill University, Montreal December, 2016 A thesis submitted to McGill University in partial fulfilment of the requirements for the degree of Doctor of Philosophy © Brad MacDonald 2016 ii Table of Contents Acknowledgements ...................................................................................................................... iii Abstract ...........................................................................................................................................v Résumé .......................................................................................................................................... vi Introduction ....................................................................................................................................1 I. The Rise of the Parisian Mecca: The Beginning of French Bohemia ............................14 II. From The Left Bank to Soho: The Early Days of English Bohemia ............................22 III. Rossetti, Whistler, and Wilde: The Rise of English Bohemianism .............................27 IV. Tales from the Margins: The Bohemian Text ..............................................................47 Chapter One: “Original work is never dans le movement”: The Bohemian Collective in George Moore’s A Modern Lover ...............................................................................................................59 Chapter Two: “A Place for Dreaming”: Work, Contemplation and the Solitary Bohemian in George Gissing’s The Emancipated ...............................................................................................86 Chapter Three: Little Masterpieces: Bohemianism and the Visual Sketch in Charles Baudelaire’s “The Painter of Modern Life” and George Du Maurier’s Trilby ............................123 Chapter Four: “Extravagant conversation”: Sociability and Art in Arthur Ransome’s Bohemia in London .....................................................................................................................................148 Coda: “Work without Drudgery”: The Bohemian in Moore, Gissing, Du Maurier and Ransome ......................................................................................................................................................168 Works Cited ................................................................................................................................174 iii Acknowledgements I would first like to express my utmost gratitude to my supervisor, Professor Tabitha Sparks. Through the best of times and the worst of times, you provided thoughtful direction and a steadying influence. Receiving your positive feedback on this project was the most gratifying experience of my academic career. You forever have friends among the MacDonald family. I also wish to acknowledge Professor Peter Gibian who took on the role of co-supervisor in the later stages of this dissertation. Your influence on this project was instrumental. Years ago, I saw you patiently speaking to student after student long after your class was over, and I knew you were the kind of teacher I would like to become. Thank you for everything. Many other brilliant professors have guided me throughout the years, but I would particularly like to express my appreciation to Rohan Maitzen, Marjorie Stone, Allan Hepburn, and Ned Schantz. All of you were gracious enough to take an interest in my research, and it was a sincere pleasure being your student. I owe you all a great deal. Additionally, this project would not have been possible without the generous financial support of educational and governmental institutions. The Social Sciences and Humanities Research Council of Canada’s Doctoral Graduate Scholarship allowed me to focus on my research and complete my dissertation. Also, through two McGill University travel grants, I was able to present parts of this thesis at the North American Victorian Studies Association Conference at the University of Wisconsin, and the George Gissing Conference at York University. During this project, many amazing people helped me along the way including, Louise Overington, Danny Lutz, Chad Burt, Melissa Burt, Joseph Hagel, Alla Shiskov, Leigh Kotsilidis, iv Craig Tarbox, John Vincent, Marc Ducusin, my students and colleagues at Marianopolis College, as well as the comics of the Montreal comedy community. Finally, special consideration goes to the following people who were directly responsible for my finishing this dissertation: Trevor McGuigan, for having my back and making life funny; Jonathan Noel, for keeping me company in the wee hours; Amanda Cockburn, for helping me get a job and be a person; David Hollingshead, for your sympathy and understanding while I endlessly complained about my inevitable doom; Leah Lefort, for believing in me and coming to visit at the best possible time; Danielle Dipaolo, for pulling me out of the darkness and being a blinding beam of encouragement; Shireef Darwish, for being my beloved brother and fellow appreciator; Ariel Buckley, for your love, insight, and compassion while you listened to me go on about these bearded weirdos many a night; Charlie Dunn, for always coming through in the clutch with just the right words when I needed it; Connor Byrne, for your sage advice and saintly support (you’d make a good Pope). To all the bohemians–real and fictional–with whom I spent these years, in the words of Arthur Ransome, “My life will be the happier, turn out what it may, for these friendships.” Most of all I would like to dedicate every single word of this dissertation to my Mom, Dad, and sister, Tara, the most thoughtful, kind and selfless people I know. Without you three, nothing means a damn. I love you. v Abstract This thesis examines the character of the bohemian artist in late-Victorian culture, with special focus on three fictional texts and one non-fictional account: George Moore’s A Modern Lover (1883), George Gissing’s The Emancipated (1890), George Du Maurier’s Trilby (1894), and Arthur Ransome’s Bohemia in London (1907). These texts frame countercultural painters and illustrators as possible saviours of modern art at the turn of the century. In each text, bohemian artists take the British art world by storm, infiltrating the bastion of middle-class aesthetics, the Royal Academy. In challenging the establishment’s artistic conventions (particularly its preference for classical works) and its commercial marketplace, bohemian characters like Moore’s Thompson, Gissing’s Mallard, and Du Maurier’s Little Billee produce offhand sketches and unfinished or careless paintings, working without working, or making art that remains in a liminal state between complete and incomplete. Their ambivalence towards artistic production reveals their suspension between a reluctance to participate in the commercial art market, and their need to do so to survive. In parallel with this conflict, all four texts end inconclusively, suggesting the potential of an avant-garde movement while remaining wary of its sustainability. Jed Esty’s study of bildungsromans, Unseasonable Youth: Modernism, Colonialism, and the Fiction of Development (2012), argues that late-century novels of arrested development compromise the health of the British Empire. In a similar vein, I argue that these four künstlerroman critique the health of English art.1 My first chapter examines the bohemian collective in Moore’s A Modern Lover, showing how this group rises and falls through its novel approach to artistic labour. My second chapter focuses on Gissing’s solitary bohemian Mallard in The Emancipated who prizes his hallucinatory dreams over the paintings that he submits for exhibition. In my third chapter, I study Du Maurier’s Trilby, analyzing how the on-the-spot illustrations of its protagonist Little Billee skewer bourgeois concepts of creative production. My fourth chapter on Ransome’s Bohemia in London explores the bohemian painter’s social escapes and the way they both invigorate and doom his artistic practices. A brief conclusion considers my texts in the context of other treatments of nineteenth-century creative labour, such as James Eli Adams’ Dandies and Desert Saints (1995) and Andrew Dowling’s Manliness and the Male Novelist in Victorian Literature (2001). Despite vital work from Mary Gluck, Elizabeth Wilson and Jerrold Seigel on bohemianism, the fin-de-siècle bohemian in English literature remains understudied, a neglect which this thesis corrects. 1 Though apparently non-fiction, Ransome’s highly stylized text follows the narrative pattern of the künstlerroman. vi Résumé Ambitions ambivalentes : Le conflit interne du bohémien fin-de-siècle Cette thèse examine le personnage de l’artiste bohémien présent dans la culture à la fin de l’époque victorienne, mettant un accent particulier sur trois textes fictionnels et un texte non- fictionnel: A Modern Lover (1883) de George Moore, The Emancipated (1890) de George Gissing, Trilby (1894) de George Du Maurier, et Bohemia in London (1907) de Arthur Ransome. Au tournant du siècle, ces textes dépeignaient les peintres et les artistes contra-culturels comme des sauveurs potentiels de l’art moderne. Dans chaque texte, des artistes bohémiens captivent le milieu artistique britannique et infiltrent la Royal Academy, bastion de l’esthétique de la classe moyenne. En contestant les conventions artistiques de l’établissement (en particulier, la préférence
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