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Romances of Modern Enchantment at the British Fin De Siècle

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Romances of Modern Enchantment at the British Fin de Siècle by Melanie Christine East A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Melanie Christine East, 2019 Romances of Modern Enchantment at the British Fin de Siècle Melanie East Doctor of Philosophy Department of English University of Toronto 2019 Abstract This thesis examines the relationship between romance and Max Weber’s narrative of the disenchantment of modern life in which scientific calculation has mastered mystery. I argue that specific British novels at the fin de siècle deploy romance to resist the rationalization of experience and create new forms of enchantment. I re-read texts by major authors that include tropes of romance when the mode was synonymous with the Romance Revival of authors like Rider Haggard and R.L. Stevenson, but disavowed by proponents of realism and emerging modernism. Unless it appears to deconstruct itself, romance from this period continues to be viewed by critics as nostalgic. The novels I call “romances of modern enchantment” employ metafictional elements to subvert narrow understandings of romance as a conservative mode, instead drawing on areas of uncertainty in modern life as sources for romance. In Chapter One I examine discourses of play in Thomas Hardy’s A Laodicean (1881). Hardy challenges romance’s association of play with childishness by exploring the gothic castle, the theatre, the telegraph, and the casino, demonstrating how these sites become material for romance. Chapter Two reads G.K. Chesterton’s The Man Who Was Thursday: A Nightmare (1908) as a metaphysical detective novel that combines Edwardian detection with the medieval dream vision to show how ii mystery might be sustained within modern romance. Chapter Three contends that Joseph Conrad and Ford Madox Ford’s collaborative novel, Romance (1903), re-works the “boy’s adventure” story to challenge ideologies of imperial masculinity by drawing on Catholicism and literary impressionism as subversive discourses. Finally, Chapter Four attends to romance in Ford’s post-war tetralogy Parade’s End (1924-28), arguing that these novels challenge collective efforts to memorialize the dead and contain trauma by employing hagiographical tropes to depict the inconveniently returned soldier. My project demonstrates that both fin-de-siècle and current critical perceptions of romance ignore possibilities for the mode as an experimental literary strategy that explores uncertainty without rationalizing, controlling, or regulating it. Re-reading romance in these novels broadens our understanding of the connection between literary form and the disenchantment narrative, and reveals ways in which romance might enchant modern life. iii Acknowledgments This thesis was generously supported by University of Toronto Fellowships and a Doctoral Completion Award, as well as by Ontario Graduate Scholarships including The Toronto Star OGS at the Faculty of Arts and Science, and the Kathleen Coburn Award. I owe my supervisory committee an enormous debt of gratitude. This project would never have come to fruition without the careful and patient work that each member put into reading it over many years. My supervisor, Christine Bolus-Reichert, inspired my project in the first place, and she has been a tireless supporter. Her perceptive comments, questions, and even her listening ear kept me going whenever the project seemed to be at another dead end. Mark Knight’s discerning suggestions and his willingness to come on board my committee helped steer the project toward success. His kind, professional guidance is a model I hope one day to emulate. Audrey Jaffe’s brilliant and meticulous feedback still continues to amaze me. The thesis would be inferior without her keen, critical eye. Thanks also to my examining committee for engaging so generously with my project. Dr. Katherine Baxter’s knowledgeable report has led me to see aspects of the thesis through fresh eyes, and her penetrating questions before and during the exam will continue to incite further thought. Thanks also to Hao Li and Cannon Schmitt for their insightful questions and feedback. Academia can be very isolating, but I have picked up several cherished friends along the way. Laurel Ryan, Kailin Wright, Jenny O’Kell, and Marci Prescott-Brown helped me navigate graduate school and have cheered me on since the beginning. They are all fierce, brilliant women and I am proud to call them my friends. Julia Grandison’s patient, empathetic support also carried me through this program. I relied on her in myriad ways, and owe so much of this thesis to her generous iv friendship. Christine Choi has been an exceptional ally: she has walked this journey beside me and, to the end, has been the most faithful encourager in all the ways she knows. I am profoundly grateful to have such a large support network outside academia. Melanie C., Alex Y., Erika F., Charla W., Denise L. and many others have prayed me through, and have stuck with me when I was too busy to be a friend. I was already a mother when I began writing this thesis, so it is also imperative to acknowledge that I could not have finished the project without a small army. Several good women selflessly cared for my children so that I could go the coffee shop and work. Thank you to all of the young women who helped out whenever I called: Julia B., Tracy L., Aimee, R., Julia R., and Chelsey G. Miraculously, my oldest and dearest friend, Lyndsay M., also became our caregiver for an extended time: I’m so thankful for that period in our friendship. Lastly, I have been wildly blessed to have Donna L. care for my children (and me) for the last few years. She continues to be an indescribable gift. I would like to thank my family for just some of the ways their presence in my life has contributed to this thesis. My grandmother, Shirley, introduced me to “Anne-with-an-E” and the world of stories. My brother, Trevor, and my sister-in-law, Jessica, randomly called with offers to babysit. My in-laws, Sue and Eric East, have done everything in their physical power to encourage and enable me. My parents, Sharon and Dieter Breitkreuz, worked hard to give me every opportunity they could. They started me down this road, and I want nothing more than to make them proud. Above all, I have depended upon the daily support of three remarkable humans. My husband and my children deserve more gratitude than I can express here, and this project is dedicated to them. My husband, Jamie, has made continual sacrifices to help me achieve my goal; his support in every aspect of my life has meant that I could write this thesis. Finally, my children have been the constant source of joy and meaning beyond this project. Noah and Rebeckah—mommy’s “pieces” is finished. v Table of Contents Abstract ii Acknowledgments iv Table of Contents vi Introduction: Romance and Modernity in the Fin de Siècle British Novel 1 Romance Revival and the “Battle of the Books”: Romance versus Realism 8 Romance and Modernism: “Abandoned Clearings” and the “Swan Song” of Romance 13 Methodology and Critical Terms: “Romance as (Dis)-Organizing Principle” 17 Methodology and Critical Terms: Romance in the Age of Disenchantment 20 Methodology and Critical Terms: Romance and the Ethics of Enchantment 25 Overview of Chapters 31 Chapter One: A Romance of Play: Uncertainty in Thomas Hardy’s A Laodicean 36 Critical Reception 39 Sites of Uncertainty: Play, Sincerity, and Performance 43 Play and Gothic Sincerity 48 Sites of Uncertainty: Play and Telegraphy 54 Sites of Uncertainty: Play, Chance, and Gambling 63 Chance and Probability 65 Gambling and Morality 67 The Romance of Gambling in A Laodicean 71 The Network and Enchanted Perception 77 Chapter Two: A Romance of Order: Detection and Dream Vision in Chesterton’s The Man Who Was Thursday: A Nightmare 82 Critical Reception 86 Limits, Order, and Enchantment 90 Detective Fiction: The Romance of Order 93 Detective Fiction: Realist Detection 97 Detective Fiction: Metaphysical Detection, Anarchism, and (Dis)order 100 Dream Vision and Detection 107 Dream Vision in The Man Who Was Thursday 113 Metaphor and Logos: Mysterious Order 117 Chapter Three: “The old thing . done in a way that is new”: Re-enchanting the “Boy’s Story” in Conrad and Ford’s Romance 124 Critical Reception 128 Adventure Romance: Conrad’s Conflicting Canon 132 Adventure’s Content: Masculine Codes of the Boys’ Book 134 Adventure’s Pattern: “Quickly Changing Scenes” and the Form of Experiencing 138 Literary Impressionism 142 An Impressionist Chronicle of Youth 146 Impressionist Bewilderment: Candlelit Shadows and Uncertain Sight 148 Impressionist Bewilderment: The Enchantment of Catholicism 154 Catholicism and the Ethic of Uncertainty 159 vi Impressionist Vision and the Emplotment of Romance 162 Chapter Four: Saint Christopher in the Trenches: Spiritual Romance in Ford Madox Ford’s Parade’s End 167 Critical Reception 171 Romance, Disenchantment, and War 175 Disenchantment in Some Do Not 181 Representing Trauma: Romance and Formlessness 185 St. Christopher the Giant Mealsack: Secular Hagiography and Excess 190 Trauma and Romance in Last Post: Resurrected Christ and Returned Soldier 196 Trauma and Romance: Resistant Mourning and Return to Arcadia 201 Conclusion 208 Works Consulted 212 vii 1 Introduction: Romance and Modernity in the Fin de Siècle British Novel It may be that when we have tired of ransacking the centuries and of inventing new kingdoms, we shall find at our own doors the object of our quest. —T. Michael Pope, “The Matter of Romance,” 467 If we had knowledge of absolute certainty there could be no such thing as romance for us. If science held absolute sway, if we were not for ever skirting the perilous edge of the unknown, we should never be disappointed and we should never hope .
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