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Romanticism and Philip Pullman's His Dark Materials

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Romanticism and Philip Pullman's His Dark Materials In a Tradition of Republican Revolution: Romanticism and Philip Pullman’s His Dark Materials Mr Keith O’Sullivan, BRelSc, MA (Lit) 52101851: ID Number Doctor of Philosophy May 2010 Dublin City University St Patrick’s College Faculty of Humanities Department of English Dr Derek Hand: Supervisor Dr Mary Shine Thompson: Auxiliary Supervisor Declaration I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor of Philosophy, is entirely my own work and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Keith O’Sullivan 52101851 May 2010 2 Contents Abstract............................................................................................................................... 4 Acknowledgements............................................................................... 6 Abbreviations and Notes...................................................................... 7 Introduction.......................................................................................................................11 His Dark Materials and Revolutionary, Republican Romanticism....................... 11 An Age of Revolution.......................................................................................... 17 A Republican Milton and a Revolutionary Blake............................................. 29 Theoretical and Critical Approach...........................................................................47 Structure of the Argument.........................................................................................63 Chapter One: His Dark Materials as Children’s Fantasy............................................67 His Dark Materials and the Educative Potential of Story......................................67 Democratizing Language: His Dark Materials as Crossover Fiction.................. 91 The Fantasticality of His Dark Materials as a Work of ‘Stark Realism’........... 114 Chapter Two: His Dark Materials, Paradise Lost and Romantic Iconoclasm........130 Milton, Paradise Lost, Heresy and Anti-Clericalism in Romantic Writings.... 131 Characterizing Republican Disobedience and Liberty in His Dark Materials...158 The Authority, Dust and the Republic of Heaven in His Dark Materials.......... 176 The Ecclesiastical Magisterium of His Dark Materials....................................... 192 Chapter Three: His Dark Materials and Romanticized Childhoods.........................207 Wordsworthian and Blakean Constructions of the Child.................................... 207 The Absence of Nostalgia for Childhood Innocence in His Dark Materials... .229 Dsemonizing Childhood Sexuality m His Dark Materials.................................. 247 Integrating Childhood and Adulthood in His Dark Materials............................264 Conclusion.......................................................................................................................279 Works Cited.....................................................................................................................291 3 Abstract ‘In a Tradition of Republican Revolution: Romanticism and Philip Pullman’s His Dark Materials' by Keith O’Sullivan Philip Pullman’s children’s fantasy His Dark Materials is a work influenced by Romanticism, particularly British Romanticism. The thematic concern of the work, with building not a kingdom but a secular humanist republic of heaven where all people are free and equal citizens, and its philosophical concern, with the dialectic between childhood innocence and adult experience, owe much to values and norms held and developed by Romantic writers and thinkers. His Dark Materials makes a case for the revolutionary potential of literature, but children’s fantasy specifically, to challenge established customs and effect social change. Its republican validation of personal liberty, egalitarianism and partnership questions the centrality of Christian mythology, theology and ecclesiasticism in Western culture, as well as oppressive nostalgias for childhood innocence that refuse to say anything positive about adult experience. While John Milton and Paradise Lost - the Romantics’ foremost precursor poet and poem - the works of William Blake, particularly Songs of Innocence and of Experience, and Heinrich von Kleist’s ‘On the Marionette Theatre’ are acknowledged influences on His Dark Materials, there are also similarities between the text and the political tracts of Jean-Jacques Rousseau, Thomas Paine and William Godwin, as well as the imaginative writings of William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Bysshe Shelley and John Keats. Despite the continued growth in the number of critical essays published on Pullman’s oeuvre, relatively few scholarly monographs have been published on His Dark Materials', furthermore, while the influence of Romanticism on His Dark Materials is generally accepted, the extent of this influence has not been examined in detail. Danijela Petkovic suggests that while ‘it is possible to draw numerous parallels’ between His Dark Materials and ‘the key Romantic texts of the nineteenth century’ to do so would necessitate going ‘far beyond the scope’ of scholarship to date (2008: 97) - this dissertation illuminates some of these parallels. This dissertation begins with an introductory chapter that states the thesis and expounds the relationship between His Dark Materials and a revolutionary and republican strain in Romantic writing; contextualizes the dissertation, both theoretically and critically; and, outlines the structure of the argument in the succeeding chapters. Chapter One, entitled ‘His Dark Materials as Children’s Fantasy’, argues that Pullman employs the language and generic conventions of children’s literature and fantasy to develop a story that promotes the need for personal and social change to as wide a readership as possible. In light of his acknowledged indebtedness to Milton, Chapter Two, entitled ‘His Dark Materials, Paradise Lost and Romantic Iconoclasm’, considers both the influence of Paradise Lost on the thematic concern of His Dark Materials with building a republic of 4 heaven and the similarities the text shares with iconoclastic theology and theocracy in Romantic writing. Chapter Three, entitled 'His Dark Materials and Romantic Constructions of Childhood’, examines the dialectic between childhood innocence and adult experience in His Dark Materials, as well as the text’s challenge to oppressive nostalgias for childhood that malign maturation and subordinate children to adults. The dissertation concludes with a chapter that offers a summation of the arguments made to substantiate the claim that the thematic and philosophical concerns of Pullman’s text are expressed through well-established Romantic paradigms - that His Dark Materials is written in a tradition of republican revolution. 5 Acknowledgements This dissertation would have been impossible to complete without the support, patience, help and advice of a number of people. I thank my primary supervisor, Dr Derek Hand, for giving clarity to the thesis; my auxiliary supervisor, Dr Mary Shine Thompson, for insisting on precision in terms of expression; Celia Kennan for having patience when the metaphorical waters were muddy; the board of governors of the Church of Ireland College of Education (CICE) for their financial support; both principals of CICE, Dr Anne Lodge and Sydney Blain, for being so facilitating, especially with regard to workload; and, my colleagues at CICE, especially Valerie Coghlan, members of the Department of English at St Patrick’s College, and the executive committee of the Irish Society for the Study of Children’s Literature for their encouragement. I also thank my mam, dad, brothers and sisters, the Carpenter family, relatives, and friends for their interest in my research and for their understanding of my absence from events for so long; and, Mia for being too young to have missed her dad when he was writing and preparing for bis viva. This dissertation is for Jennifer, who makes all things worthwhile: ‘In every sense, but that of plagiarism, this work is as much yours as it is mine’. 6 Abbreviations and Notes Prim ary Sources NL: Pullman, P. (1998). Northern Lights. London: Scholastic. SK: Pullman, P. (2001). The Subtle Knife. London: Scholastic. AS: Pullman, P. (2001). The Amber Spyglass. London: Scholastic. Secondary Sources CPW: aLl references to Milton’s vernacular prose are to Wolfe, D. M. et al, (Eds.). (1953-1982). Complete Prose Works o f John Milton. New Haven: Yale University Press. OED: Thompson, D. (Ed.). (1995). The Concise Oxford Dictionary o f Current English (9th Edition). Oxford: Clarendon Press. Online Sources John Milton All references to Paradise Lost are taken from the online 1667 first-edition text provided by the Electronic Text Center, University of Virginia Library, at http://www.hb.virginia.edu: accessed 1 May 2010. The 1667 title page describes 7 Paradise Lost as ‘a poem written in ten books’; however, when Milton came to work on a revised edition in 1674 he rearranged the text into twelve books. While this twelve-book version became canonical, the changes are so few - as the 1667 poem was, in most ways, already so finished - that the need for restructuring is arguable. William Blake All references to The Book o f Urizen are taken from the 1794 online edition provided by the Department of Languages and Literatures,
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