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Irony of Fate in Selected Short Stories by Thomas Hardy” DIPLOMARBEIT Titel der Diplomarbeit “Irony of Fate in Selected Short Stories by Thomas Hardy” Verfasserin Magdalena Riegler angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, im Jänner 2009 Studienkennzahl lt. Studienblatt: A 344 353 Studienrichtung: Lehramtsstudium UF Englisch/ UF Spanisch Betreuer: Ao. Univ.-Prof. Mag. Dr. Franz-Karl Wöhrer HINWEIS Diese Diplomarbeit hat nachgewiesen, dass die betreffende Kandidatin oder der betreffende Kandidat befähigt ist, wissenschaftliche Themen selbstständig sowie inhaltlich und methodisch vertretbar zu bearbeiten. Da die Korrekturen der/des Beurteilenden nicht eingetragen sind und das Gutachten nicht beiliegt, ist daher nicht erkenntlich mit welcher Note diese Arbeit abgeschlossen wurde. Das Spektrum reicht von sehr gut bis genügend. Die Habilitierten des Instituts für Anglistik und Amerikanistik bitten diesen Hinweis bei der Lektüre zu beachten. DECLARATION OF AUTHENTICITY I confirm to have conceived and written this M.A. thesis in English all by myself. Quotations from other authors are all clearly marked and acknowledged in the bibliographical references, either in the footnotes or within the text. Any ideas borrowed and/or passages paraphrased from the works of other authors have been truthfully acknowledged and identified in the footnotes. Signature Table of contents 1. INTRODUCTION ................................................................................................. 1 2. IRONY .................................................................................................................... 4 2.1 THE CONCEPT OF IRONY ...................................................................................... 4 2.2 THOMAS HARDY’S IRONIC VISION OF FATE ......................................................... 6 2.3 CONTROVERSY IN LITERARY CRITICISM REGARDING HARDY’S NOTION OF FATE. 9 3. “FELLOW-TOWNSMEN” ................................................................................ 12 3.1 INTERNAL FORCES............................................................................................. 13 3.1.1 George Barnet: Ambition, sensitivity, loyalty........................................... 13 3.1.2 Lucy Savile: Passivity, feeling of inferiority............................................. 20 3.2. EXTERNAL FORCES........................................................................................... 21 3.2.1 Marriage as an instrument of fate ............................................................ 22 3.2.2 Money and class........................................................................................ 27 3.3 COSMIC FORCES ................................................................................................ 29 3.3.1 Nature and fate ......................................................................................... 29 3.3.2 Coincidence and fate ................................................................................ 31 3.3.3 Abstract agents of fate: ‘God’, ‘destiny’, ‘Circumstance’, ‘the Fates’, 'shipwrecked Trojans’........................................................................................ 33 4. “THE MELANCHOLY HUSSAR OF THE GERMAN LEGION”............... 37 4.1 INTERNAL FORCES............................................................................................. 38 4.1.1 Phyllis Grove: Alienation, assimilation.................................................... 38 4.1.2 Matthäus Tina: Melancholy, sadness, honour.......................................... 42 4.2 EXTERNAL FORCE ............................................................................................. 44 4.2.1 Hypocrisy regarding gender norms.......................................................... 44 4.3 COSMIC FORCES ................................................................................................ 49 4.3.1 Nature and emigration.............................................................................. 49 4.3.2 Coincidence and ‘irony of mistaken action’............................................. 52 4.3.3 Allusions to Shakespeare’s tragedies and the Bible: Characterisation and foreboding.......................................................................................................... 54 4.3.4 Reference to ‘fate’ as a superior cosmic force ......................................... 58 5. “AN IMAGINATIVE WOMAN”....................................................................... 60 5.1 INTERNAL FORCES............................................................................................. 61 5.1.1 Ella Marchmill: Dreaminess, passion, emotionality ................................ 61 5.2 EXTERNAL FORCE ............................................................................................. 65 5.2.1 Marriage as an instrument of fate ............................................................ 66 5.2.1.1 Hardy’s adverse view on marriage .................................................... 66 5.2.1.2 The portrayal of marriage in “An Imaginative Woman”................... 67 5.3 COSMIC FORCES ................................................................................................ 71 5.3.1 Nature and fate ......................................................................................... 71 5.3.2 Frustrated meetings as a structural pattern ............................................. 73 5.3.3 Abstract agents of fate: ‘doom’, ‘God’..................................................... 75 6. “ENTER A DRAGOON”.................................................................................... 78 6.1 INTERNAL FORCES............................................................................................. 79 6.1.1 Selina Paddock: Virtue, duty, morality..................................................... 79 6.1.2 John Clark: Egoism, lying ........................................................................ 83 6.1.3 Bartholomew Miller: Calmness, morality ................................................ 85 6.2 EXTERNAL FORCES............................................................................................ 87 6.2.1 Victorian social conventions: Illegitimacy as a fate-determining element88 6.3 COSMIC FORCES ................................................................................................ 92 6.3.1 Coincidence: From chance to determinism.............................................. 92 6.3.2 Abstract agents of fate: ‘doomed’, ‘fate’, ‘Heaven’ ................................. 95 7. CONCLUSION .................................................................................................... 99 8. GERMAN ABSTRACT .................................................................................... 102 BIBLIOGRAPHY.................................................................................................. 104 INDEX..................................................................................................................... 110 APPENDIX............................................................................................................. 113 List of abbreviations “ET” “Enter a Dragoon” “FT” “Fellow-Townsmen” “IW” “An Imaginative Woman” “MH” “The Melancholy Hussar of the German Legion” • Apology “Apology.” Late Lyrics and Earlier: With Many Other Verses Early Life The Early Life of Thomas Hardy: 1840-1891 Later Years The Later Years of Thomas Hardy: 1892-1928 Letters 1 The Collected Letters of Thomas Hardy 1: 1840-1892 Letters 2 The Collected Letters of Thomas Hardy 2: 1893-1901 Letters 3 The Collected Letters of Thomas Hardy 3: 1902-1908 Letters 4 The Collected Letters of Thomas Hardy 4: 1909-1913 ORC Oxford Reader’s Companion to Hardy Poems The Complete Poems of Thomas Hardy Works The Works of Thomas Hardy in Prose and Verse XXII 1 1. Introduction It is widely agreed today that Hardy was one of the greatest English novelists of the 19th century. The author’s short stories, by contrast, have been largely neglected by readers and reviewers alike and, thus, his short fiction has received relatively little critical attention. This may be due to the fact that the British literary market-place of the 19th century preferred three-volume novels to short fiction. Consequently, in England the publication of short stories was usually restricted to the popular periodical press. However, educated reviewers generally had an interest in hardbacks only. George Saintsbury (264) reports that short fiction ‘was very unpopular’ in Victorian times ‘and library customers would refuse collections of them with something like indignation or disgust.’ This made Hardy (Letters 2, 37) complain that in England there was ‘very little to be made commercially out of short tales’ because publishers were ‘as a rule shy of them, except those that [were] written by people who cannot write long ones successfully – an odd exception! – and have established a speciality in that line.’ Hardy’s position as a writer of short fiction was, thus, unusual. That is, he was already regarded as a ‘specialist in long fiction’ (Page, s.v. “short story”) when he began publishing short stories. Besides, his short narratives were not collected in volume form until the publication of Wessex Tales in 1888. At that time, being a well-known author of a good reputation enabled him to sell his short fiction in a format less short-lived than the magazine to British reviewers. Nevertheless, the author was still cautious when recommending his stories to the publishing company Macmillan,1 saying that
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