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Download (2MB) Table of Contents Introduction Literary Context and Critical Background Page 1 Political Hinterland Page 5 Literary Hinterland Page 13 From the Historical to the Contemporary: Shifts in Perspective Page 20 Modern Critical Receptions Page 25 Lawless, Fiction and Socialization Page 39 Chapter I Hurrish: Representations of Violence through Character and Landscape Political and Literary Context Page 50 An Iron Land Page 62 Ideology and its Characteristics Page 71 Character and Landscape Page 79 Common Victims: Hurrish, Maurice and Alley Page 86 Patriotism and Nationalism Page 91 Peasant Squalor and Individual Human Value Page 96 Hurrish as Social Critique Page 103 Narratives of the Self: A Comparative Reading of Hurrish and A Drama in Muslin Page 108 Chapter II Historical Fiction Part I. With Essex in Ireland The Personal in History Page 117 Romance and Anti-Romance Page 126 Ideology and Revelation Page 138 The Feminine: Mistress, Mother and Crone Page 144 Narrative Form and Textual Experience Page 153 Chapter III Grania: Darwinism Biological Variation and New Woman Page 166 Darwinism and Literature Page 171 The Novel‟s Opening: Adapting to Environment Page 180 Stock and Pedigree: Honor and Grania Page 185 Stock and Pedigree: Murdough and Grania Page 192 Individual Promise and Social Revelation Page 201 The Struggle for Self-Assertion Page 209 Degeneration: Individual and Communal Page 222 Chapter IV Historical Fiction Part II. Maelcho National Tale and Historical Novel Page 234 Fiction and Stadialism Page 240 Temporal Otherness Page 254 Racial Theory: Lawless and Contemporary Discourse Page 266 Historical Realism: Fiction and Historiography Page 277 Conclusion Lawless and Subjectivity Page 286 Socialization and Alienation in Lawless Page 295 Bibliography Page 304 For my mother Brigid Stewart Prunty. Abstract If the measure of a writer‟s relevance is the extent to which he or she registers the discursive range of the period in which they write and the extent to which subsequent generations can recover that discursive energy from his or her work, then Emily Lawless should require no justification for inclusion in a tradition of significant Irish literary voices. The fictional work, in particular, of this writer facilitates access to an expanse of issues which constituted a major part of late nineteenth-century political, social and cultural debate in both Ireland and Britain. Most notably, the dissident alternative aspiration which she voiced to an increasingly monologic Irish nationalism renders a study of her work indispensable to a thorough and meaningful appraisal of that period. The methodology employed in this study is, through a close textual reading of the four major novels which have a direct bearing on the national project, Hurrish, With Essex in Ireland, Grania and Maelcho, to discover and examine the specific discursive elements operating in each and, widening the analysis, to both contextualize Lawless‟s use of such elements and evaluate their social and political function with reference to current critical interpretations. By such a method, the relevance which Lawless registered in her own period is reflected by a comparable relevance in the current critical attitude to her period‟s literature. Also, only through such a primarily textualist study can the threads which make up each novel‟s subtext be picked up and followed. One such subtext appears in Hurrish by which the natural environment is represented equivocally as both familiar homeland and as a landscape inscribed by an estranging antipathy. By revealing the correspondence of this textual thread to the overt narrative of a fractured community it is possible to explore the close interaction of an ideological position taken by the author to both agrarian violence and Irish national belonging and the personal disquiet regarding her position. Similarly in Grania, the uncovering of Lawless‟s inflection of a Bildungsroman concerning a West of Ireland peasant woman with metropolitan discourses of degeneration and Social Darwinism allows for an in-depth evaluation of the narrative as a critique of essentialist doctrines deployed by Gaelic and Cultural Revivalists in 1890s Ireland which centred on the regenerative ethnic purity of the western native peasant stock. That such a discursive element operates through a comparative and evaluative incompatibility signals the misgivings which Lawless appears to harbour concerning an integrative and accommodating national future. As in the case of Grania, the method of close reading employed in this thesis will also allow for a positioning of Lawless within a broader British literary current in its capacity to reveal discursive, generic and technical aspects of her writing which correlate with the wider imperial and social literary tradition to which Lawless also addressed herself. This is particularly evident in Maelcho in which Scottish Enlightenment stadial theory and the historical novel form pioneered by Sir Walter Scott will be shown to play a significant role in Lawless‟s conceptualisation of Irish social and historical development. Likewise in With Essex in Ireland the use of the female element in the narrative as a mechanism for managing the social category of competitive male violence will be seen to reflect that employed by the English novel of the same period as outlined by Nancy Armstrong. It will be the intention of this dissertation, therefore, to demonstrate that Lawless‟s engagement with contemporary social issues, whether directly as in Hurrish and Grania or indirectly through her historical fiction in With Essex in Ireland and Maelcho, is motivated by a determination to tease out the co-ordinates of an Irish national consciousness and thus concentrate attention on the knots and wrangles which conceptions of national identity and social formation posed. In doing so she tended to shade much of her representations of Irish issues with traditional Ascendancy political values which inevitably rendered her evaluations and solutions tellingly partisan. Within her fiction, the authorial emphasis is invariably brought down to the level of the individual -- a level to which Lawless consistently reduces the issues with which she grapples. It will be the argument of this dissertation that Lawless‟s use of alienated subjects as protagonists of each of the novels discussed here demonstrates the attempt by her to focus attention on the displacement of a significant tradition in Irish historical and cultural inheritance, a tradition which she viewed as progressively excluded from and dispossessed of meaningful participation in contemporary political and social formations of a modern national identity. Acknowledgments. I would like to thank Professor Margaret Kelleher for the indefatigable energy she brought to bear in supervising the development of this thesis. Her good humour, knowledge of the subject, attention to detail, and the endless hours she must have spent reading, rereading and reading again one draft after another has earned her my deepest gratitude. The six years journeying through M.A. to Ph.D. with her has been a real pleasure. I would also like to thank the Department of English at N.U.I. Maynooth and Maynooth‟s John Paul Library, particularly the staff who were always attentive and helpful. Trinity College Library, its Early Printed Books Section, and The National Library of Ireland were all wonderful resources to make use of and I am equally thankful to them. In acknowledging the contributions to this thesis I would also like to bring to mind my mother whose presence will always be inseparable from the time spent on it. Introduction. Emily Lawless. Literary Context and Critical Background. If the measure of a writer‟s relevance is the extent to which he or she registers the discursive range of the period in which they write and the extent to which subsequent generations can recover that discursive energy from his or her work, then Emily Lawless should require no justification for inclusion in a tradition of significant Irish literary voices. The fictional work, in particular, of this writer facilitates access to an expanse of issues which constituted a major part of late nineteenth-century political, social and cultural debate in both Ireland and Britain. Most notably, the dissident alternative aspiration which she voiced to an increasingly monologic Irish nationalism renders a study of her work indispensable to a thorough and meaningful appraisal of that period. Distinct from these wider parameters yet reflective of them, the novels and periodical writing of Emily Lawless reveal a shifting, often fractured personal consciousness attempting to secure an apparently uncertain position in a world defined more by its transitional impetus than by any reliable stability. It is in this tension between the personal, private world and the public arena that Lawless‟s work most reveals its late Victorian relevance. The personal and the public converge in texts punctuated by ideological prejudice and preconception, a traditionalist seeking after comfortable stabilities and a liberalism which reveals a real sympathy with and an understanding of her country‟s challenges. By addressing many of the problems of her day within the structure of her novels Lawless inevitably applied her own valuations and responses to them, revealing, as she did so, personal idiosyncrasies of thought and emotion. The harsh realities with which her characters are made to grapple and the equally harsh outcomes which characterize her fictions
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