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Art and Idea in the Novels of Sane Austen, Fanny Burney

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Art and Idea in the Novels of Sane Austen, Fanny Burney ESCAPE FROM DIDACTICISM: * ART AND IDEA IN THE NOVELS OF SANE AUSTEN, FANNY BURNEY AND MARIA EDGEWORTH S. J. E. PARROTT D. PHIL. THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE JUNE 1993 TABLE OF CONTENTS PW Abstract Abbreviations INTRODUGTION 1 CHAPTER 1 Advice Books and the Courtesy Novel 12 i Courtship Behaviour for Women 13 ii Female Education - Accomplishments and Sensibility 25 iii Sir Charles Grandison. as a Courtesy Novel 32 iv Narrative Features of the Courtesy Novel 48 CHAPTER 2 Conflicts Between Art and Idea in Exemplary 53 Fiction: Two Case Studies Part I Camilla -A Courtesy Book Novel? 54 Part 2 Belinda -A Polemicist's Novel? 84 CHAPTER 3 Conflicts Between Art and Idea in the 102 Question of Upbringing Part I Mature Versus Nurture in Camilla 106 Part 2 Nature Versus Nurture in Belinda 118 Part 3 Upbringing in Helen: The Exemplary Novel Versus the Naturalistic Novel 130 CHAPTER 4 Conflicts betwe n Art and Idea: Sane 140 Austen and the Advice Book Tradition Introduction 141 i Sense and Sensibility 147 ii Pride and Preludice 154 iii Mansfield Park 164 - ii - iv Persuasion 173 v First Loves and Marriage 183 vi Emma and Exemplary Fiction 187 CHAPTER 5 Conflicts between Art and Idea: lane 196 Austen and the Question of Upbringing Part I lane Austen and the Philosophers 197 Part 2 Nature Versus Nurture in Nansfield Park 215 i Nature Versus Nurture and the Prices 218 ii The Crawfords: Narrative Complexity and the 227 Question of Corrigibility Part 3 lane Austen: A Lockean Environmentalist? 238 CHAPTER 6 Speech and Character in Jane Austen 260 i Linguistic and Communicative Competence 270 CHAPTER 7 Free Indirect Discourse and Noral Commitment 303 Bibliography 338 - iii - ABSrRACT The thesis explores the conflict between art and idea in the novels of Jane Austen and some of her contemporaries. 'Idea' stands for the convictions which drove eighteenth century novelists to be didactic, even, as with Mary Brunton, to assert that the novelists' 'art' - the characters and their stories - was merely a vehicle for conveying religious truths. Yet the art of the novel had powerful pull of its own which made it a difficult vehicle to control for these purposes. The central part of the thesis explores the difficulties involved when novelists attempted directly to convey 'truths' about subjects on which they held strong convictions for example about upbringing. Maria Edgeworth's Belinda provides a case study of the problems encountered when the subject of education is tackled head-on; Fanny Burmey's Camilla is an equally illustrative example of similar problein which occur when the codes of behaviour enjoined by the courtesy books clash with the requirements of a novel. A critical examination is made of the claim that Jane Austen was influenced by the advice- book tradition and that Mansfield Park for example has a courtesy-book heroine. Detailed accounts of how Mansfield Park and Persuasion differ from the courtesy-book novel support the apparently orthodox, even old-fashioned, critical position (which I defend against the charge of 'social conditioning') that Jane Austen was a better novelist than Fanny Burney or Maria Edgeworth because she responded more whole-heartedly to the artistic possibilities of novel writing. In essence the case is that Jane Austen was more interestingly multivoiced than these contemporaries. One result of this multivoicedness is that, unlike Edgeworth, Bage or Brunton, Austen avoids the appearance of contributing to an intellectual debate. Chapters 6 and 7 develop the theme that Jane Austen's Chawton novels become interestingly multivoiced because of the development of narrative techniques using dialogue and 'substitutes for dialogue'. In particular it is proposed that the development of free indirect discourse, and other modes of what I have called 'character indexation' of narrative, makes possible a supple relationship between narrator and main characters and hence between what is said and what is shown in the novels about moral issues. - iv - Abbreviations used: Northanger Abbey NA Sense and Sensibility S&S Pride and ELeJ. qdice P&P Mansfield Park MP Emma E Persuasion p I would like to acknowledge with thanks the support and advice provided by my supervisor Bob Jones (Mr. R. T. Jones). - INTRODUCTION The Grounding of a Thesis In 1993, it seems to be necessary, in however compressed a way, to indicate where one stands, particularly on the question of the very feasibility of interpreting an author's text, or of whether 'an author's text' can have any meaning. In my own case I should not have been happy with a blunt admission that I believed no grounds can be adequate and that the most one could achieve is a reasonably well-written contribution to an intellectual game or joke. I did, and still do, believe in the general validity of sensitive readings of worthwhile texts. For my thesis these texts are realistic novels with more or less lifelike characters. I was encouraged therefore to find reputable modern critics who, while aware of the dangers of using words like 'worthwhile', 'sensitive', 'realistic' and 'lifelike' in these contexts, were willing to engage with sceptics on their own ground. I needed to concern myself with theoretical or metacritical issues because of the particular nature of my thesis, which is an attempt to pin down the nature of Sane Austen's greater psychological realism in comparison with her contemporaries, particularly Fanny Burney and Maria Edgeworth. This kind of literary critical enterprise is open to fundamental criticism. There is, for example, the marxist line of attack which sees 'essential individuality' as a bourgeois fiction; it is a symptom of the 'empiricist fallacy' which fails to recognise that what we -1- may take to be objective reality is merely the effect of our social conditioning. Lennard J, Davis, (whose views will be discussed in chapter 7 below) in his radically sceptical work, Resisting Novels, takes as an example the supposed 'recognition' of the 'essential individuality' of Mr Bennet in Pride and Prejudice In Davis's view there is far too little evidence - far too few words allotted to Mr Bennet - for any character' to be established. We have been fed a few trigger words and from our own minds, or class-based situation, we supply the rest. A similar accusation of 'social conditioning' comes from critics such as Dale Spender who regard a claim that Jane Austen was a better novelist than, say, Mary Brunton, as being the result not of careful reading but of the dominance of male critics, who have ensured over the last hundred and fifty years that Jane Austen should be regarded cis a one-off, an inexplicable exception to her female contemporaries. I recognise the force of this type of criticism and I agree that it is fallacious to seek the definitive meaning of an author's text as if it had and retained a relationship with a fixed, pre-existing reality. On the other hand, I do not believe that interpretation. of literature or of any other aspect of human life, is merely self-regarding; and I hoped to find some support against radical scepticism and thoroughgoing relativism. I found a provisional resting point in the critical positions of A. K Duckworth (particularly his essay 'Prospects and Retrospects') and Stanley Fish (particularly his, Is There & Text in this Class? ). What went some way to quell my unease was that -2- both critics agreed that there could be no determinate reading of literary texts - the text is always partly a function of interpretation - but that they did not reach radically sceptical conclusions from this premise. Duckworth, for example, accepts that there can be qualified determinate readings. By this he seems to mean that we can detect in a text those parts which invite multiple or even contradictory interpretations and, in relationship to our own time, we can, as he puts it, repair the indeterminacies. He believes that even a 'classic' author like Austen will leave lindeterminacies to be repaired in her work' and, more positively, he suggests that, 'only specific instances' can determine 'whether the critical repair of indeterminacy generates meaning or points to aesthetic failure on the author's part'. ' Duckworth therefore, differs from the radically sceptical critics who deny all 'closure', that is the possibility of any determinate reading. For instance, in talking of Sense and Sensibili-ty he claims, in Saussurian terms, that it is not just a mass of signifiers with nothing signified: 'While Sense and Sensibilily is, not a nut whose kernel can be easily extracted, neither is it an onion the peeling of which reveals nothing except the infinity of its own envelope' (p. 18). These ways of looking at criticism may be considered only mildly comforting. Combined with the views of Stanley Fish, however, they can be more reassuring. What Duckworth called 1. 'Prospects and Retrospects', Sane Austen Today ed. Joel Weinsheimer, (University of Georgia Press, 1975), p. 14. -3- 'readings for a particular temporal disposition', (p. 20) Fish refers to more simply as 'persuasive' rather than 'demonstrative' readings. ' He falls back on a concept of 'interpretive communities' which provide authority for a core of agreement. But these interpretive communities are not offered as completely solid ground: they are not, in his words, 'either monolithic or stable' (p. 347). Like Kuhnian paradigms in the context of 'normal science" they can, and at some time will be overturned by revolutionary changes in our world picture. On the other hand, they are proof against radical scepticism and relativism, since, at any particular time, they are all we have got; there is no other ground for us, no vantage point from which we can express radical doubt; they are the only grounds from which future changes can develop.
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