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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 75-6540 MOSELEY, Ann, 1947- the VOYAGE PERILOUS : WILLA CATHER' S MYTHIC QUEST INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. 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Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 75-6540 MOSELEY, Ann, 1947- THE VOYAGE PERILOUS : WILLA CATHER' S MYTHIC QUEST. The University of Oklahoma, Ph.D., 1974 Language and Literature, general Xerox University Microfilms, Ann Arbor, Michigan 4sio8 © 1974 ANN MOSELEY ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE VOYAGE PERILOUS: WILLA GATHER'S MYTHIC QUEST A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY ANN MOSELEY Norman, Oklahoma 1974 THE VOYAGE PERILOUS: WILLA GATHER'S MYTHIC QUEST APPROVED- BY: DISSERTATION COMMITTEE FOREWORD In the last two or three decades there has been substantial evidence to indicate an increasing critical awareness of the importance of myth to literature. Classical mythological works by James Frazer, Thomas Bulfinch, Charles Mills Gayley, and Edith Hamilton have been re­ examined and re-evaluated, and important new works have been added by Richard Chase, Henry Nash Smith, R. W. B. Lewis, Joseph Campbell, and Northrop Frye. The investigations of these scholars have indicated that the study of myth is valuable and relevant not only to such obviously mythic works as those of T. S. Eliot and James Joyce, but also to most other literary works as well. Fitting neatly into the American romantic tradition established by Hawthorne, Melville, Whitman, and Poe, Willa Cather was herself deeply aware of the importance of myth to literature, and throughout her career she used myth, sometimes in obvious allusions, but more often as an undercurrent of structure and theme. Cather's conscious use of myths in her fiction has been pointed out by such critics as Bernice Slote, John Randall, James Woodress, and L. V. Jacks. However, no critic has made a comprehensive study either of her reliance on mythic quests and conflicts or of her use of particular mythologies— Greek, Roman, Norse, American Indian, and Christian; it is this particular void of Catherian criticism which the present study aspires to fill. Ill ACKNOWLEDGMENTS For their advice and suggestions regarding this manuscript, I wish to thank the members of my Graduate Committee, Dr. Robert M. Davis, Dr. David P. French, Dr. Bruce I. Granger, Dr. Roy Raymond Male, and especially Dr. Victor A. Elconin, my very kind and understanding advisor who has the rare ability to combine his own perceptive suggestions with a profound respect for the ideas of others'. My gratitude is also extended to Stephen L. Wolfard of the University of Oklahoma Library, who was kind enough to allow me to keep books checked out for over a year, and to my typist, Pat Bradfield, who worked long hours to perfect this manuscript. As always, my very special love and thanks are due to my husband, Fred Moseley, who is always ready to sacrifice himself to give me help and encouragement when I need them, and to my little one-year-old daughter Christie, who was never able to understand why Mommie sometimes had to work instead of playing with her! IV TABLE OF CONTENTS Page FOREWORD............................... iii ACKNOWLEDGMENTS .......................................... iv CHAPTER I. THE "VOYAGE PERILOUS": GATHER'S LIFE AND ART .......................................... 1 II.THE PURSUITOF YOUTH IN ALEXANDER'S B R I D G E .......... 43 III. ALEXANDRA'S QUEST FOR FULFILLMENT IN 0 PIONEERS!.................................... 69 IV. THE QUEST FOR ARTISTIC TRUTH IN THE SONG OF THE L A R K .................................... 98 V. JIM BURDEN'S SEARCH FOR IDENTITY IN MY ANTONIA . 127 VI. THE FAILURE OF THE AMERICAN WESTERING MYTH IN ONE OF O U R S ................................... 163 VII. THE COLLAPSE OF THE WESTERN IDEAL IN A LOST LADY ........................................ 189 VIII. THE CONFLICT OF THE ARTIST IN THE PROFESSOR'S HOUSE ........................................ 211 IX. THE QUEST FOR IMMORTALITY IN MY MORTAL ENEMY .... 245 X. THE QUEST OF THE SPIRIT IN DEATH COMES FOR THE ARCHBISHOP................................... 264 XI. THE QUEST FULFILLED IN SHADOWS ON THE R O C K ........ 312 XII. THE WINTER OF LIFE AND LOVE IN LUCY GAYHEART .... 337 XIII. THE ROLE OF THE SOUTHERN MYTH IN SAPPHIRA AND THE SLAVE GI R L ................................ 354 XIV. CONCLUSION: WILLA CATHER AND THE BRIGHT MEDUSA OF A R T ...................................... 382 BIBLIOGRAPHY............................................... 399 V CHAPTER I THE "VOYAGE PERILOUS": GATHER'S LIFE AND ART Stereotyped by many critics as a weak traditionalist, a romantic escapist, and a squeamish member of the genteel tradition,* Willa Cather is a writer who greatly deserves serious study and réévaluation. In her art as well as her life, she courageously and energetically pursues beauty and truth, believing with Keats that "Beauty is truth, truth beauty." This pursuit leads her into a mythic quest in which she delves into the recesses of her own mind and heart as well as into the very roots of civilization itself. In this search she unveils the dual nature of man— the divine and the demoniac— and she reveals his basic and eternal conflicts between order and disorder, reason and passion, Apollonian and Dionysian desires. Her fiction is permeated with such contrasting themes as past and present, flesh and spirit, pagan and Christian, East and West, and because she is such a superb and subtle artist, she is "able to give expression to . [both] the bright dream and the dark; to the brief, optimistic morning dream and the foreboding vision of the long uneasy night. *See Granville Hicks, "The Case Against Willa Cather," and Lionel Trilling, "Willa Cather," in Willa Cather and Her Critics, ed. by James Schroeter (Ithaca, New York: Cornell University Press, 1967), pp. 139- 55. ^"The Frontier Dream," Times Literary Supplement, 3152, 27 July 1962, p. 540. 2 In her early fiction Cather seems to place more importance on her "bright dreams," for here she writes primarily of contemporary society and the practice of art in Eastern America and in Europe. How­ ever, her quest eventually brings her back to the West, to the frontier, which is defined by Turner as "the meeting point between savagery and civilization" 2; it also leads her into a deeper consideration of the human spirit as found not only in the present, but also in past civili­ zations. Her ultimate metaphors are those of sunset and harvest, repre­ senting the mysteries of death and rebirth as evinced in the everlasting soil and in the eternal human soul. 1 Perhaps the first major conflict that Willa Cather felt was that between her artistic aspirations and her natural desire for a free and joyful life. No doubt it was difficult for her to "sacrifice" herself to art, for the facts of her life indicate that she was naturally a strong-willed, out-going, and fun-loving individual. Being such an energetic person, she could take neither life nor art lightly. She once ? called true artistic creation the "voyage perilous," and her oim artistic career was indeed a perilous journey— from Virginia to Nebraska, from West to East and then finally back to the West, from physical exile to artistic home. Willa Cather was born on December 7, 1873, in Frederick County 2 Frederick Jackson Turner, The Frontier in American History (1920; rpt. New York: Holt, Rinehart and Winston, 1962), p. 3. \illa Cather, The Kingdom of Art: Willa Cather*s First Principles and Critical Statements, 1895-1896, ed. by Bernice Slote (Lincoln: University of Nebraska Press, 1966), p. 417. Virginia/* the first of Charles Fectigue Cather and Mary Boak Cather's seven children. Even as a very young child, she showed a tendency toward the self-reliance and independence which characterized her adult life. For example, Lewis reports that once there were many overnight guests at the Cathers' Willowshade farm, and Willa was asked to sleep with her grandmother so that her little cousin Philip Frederic could sleep in her cradle.
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