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Aesthetic Spaces in the Fiction of Dh THE MAKING OF BEAUTY: AESTHETIC SPACES IN THE FICTION OF D. H. LAWRENCE, MURIEL SPARK, AND VIRGINIA WOOLF A Dissertation by JOORI LEE Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Mary Ann O’Farrell Committee Members, Emily Johansen Kate Kelly Kristi Sweet Head of Department, Nancy Warren August 2013 Major Subject: English Copyright 2013 Joori Lee ABSTRACT This dissertation rethinks textual images of the other’s beauty, depicted in works by D. H. Lawrence, Muriel Spark, and Virginia Woolf, whose fascination with the other, called by this dissertation the beloved, urged them to inscribe the beloved’s original beauty in texts. Their works make perceptible the singularity of the beloved, while revealing the writers’ predicament in translating the beloved’s ineffability in texts. Taking the untranslatability of the beloved into consideration, this dissertation traces the ways in which these writers’ texts capture the beloved’s original beauty at moments of revelation, related to epiphanies entering the terrain of literary modernism. My study thereby scrutinizes the dynamics of images of beauty and their impacts on art and politics in the context of modernism. In doing so, I argue that the texts I consider express the beloved’s singularity in challenge of the beautified images that many other artists invented for self-directed purposes in the early and mid-twentieth century. First, I explore Lawrence’s creation of aesthetic spaces in Lady Chatterley’s Lover (1928) in keeping with his desire for making palpable visual spectacles through the text. Analyzing how this ambition helped to create the novel’s aesthetic scenes, I would like to define Lawrence as an aesthete whose aspiration lay in expressing the beauty of things. Then, I discuss Spark’s affection for her characters and her desire to visualize the figure’s originality in The Prime of Miss Jean Brodie (1961) and The Girls of Slender Means (1963). Considering Spark in relation to both modernists and Fascists, I propose that her making of the image of her character breaks away from Fascism’s ii aestheticization of human figures. Finally, I investigate Woolf’s love for words by focusing on “The Duchess and the Jeweller” (1938), a short story written for expressing various modes of beauty in words. Drawing to the represented link between words and smell, considered the most “wasteful” sense, I examine how the sensory medium makes perceptible intrinsic qualities of words, and argues that her depiction of words, linked to smell, reveals the anti-utilitarian nature of words, unconstrained by a craftsman’s manipulation of words. iii TABLE OF CONTENTS Page ABSTRACT ……………………………………………………………………............. ii TABLE OF CONTENTS …………………………………………………………….... iv CHAPTER I INTRODUCTION………………………………………………....... ……1 Embodied Beauty: A Lover’s Sign …………………………………... 1 Beauty Suppressed …………………………………………………... 17 The Chapters ………………………………………………………… 28 CHAPTER II FASCINATING MOMENTS, EMBARRASSING TOUCH IN LADY CHATTERLEY’S LOVER BY D. H. LAWRENCE ……….... 32 Reading D. H. Lawrence: An Angry Beauty Seeker ……………....... 32 Beauty’s Revelation and Connie’s Judgment of Taste ………………. 41 Touching and Being Touched: A Passage to Beauty ………………... 58 When Flowers Meet the Human Flesh ………………………………. 75 Bomb for Tenderness ………………………………………………...104 CHAPTER III CATCHING BEAUTY IN THE CROWD: EMBODIED PERSONS IN FICTIONS BY MURIEL SPARK……....110 Becoming a Postwar Aesthete ……………………………………….110 Frozen Human Figures in Miss Brodie’s Artwork …………………..121 The Solid Image Does Not Melt into Air …………………………... 155 Fear of the Crowd, Terror of Indifference ………………………….. 174 CHAPTER IV SCATTERED BEAUTY: WORDS, SMELL, AND WOOLF.……...196 Solid Jewels, Scattered Words …………………………………….. 201 The Better Craftsman, a Foe of Words ……………………………. 216 Smell, a Silent Rupture ……………………………………………. 236 Complete Waste, Expensive Love ……………………………….... 251 CHAPTER V CONCLUSION ……………………………………………………… 258 WORKS CITED …………………………………………………………………….. 267 iv CHAPTER I INTRODUCTION The loved being is recognized by the amorous subject as “atopos” (a qualification given to Socrates by his interlocutors), i. e., unclassifiable, of a ceaselessly unforeseen originality. — Roland Barthes, 1978 “To want and not to have, sent all up her body a hardness, a hollowness, a strain. And then to want and not to have—to want and to want—how that wrung the heart, and wrung it again and again!” — Virginia Woolf, 1927 Embodied Beauty: A Lover’s Sign Roland Barthes makes visible a lover’s unique response to the beloved in his 1978 book, A Lover’s Discourse: Fragments. The lover responds to the beloved’s “atopos,” meaning the singular, unique, and the unclassifiable, which only a lover can recognize in the beloved, willingly hoping to praise it. While others attribute “character traits” to the other as much as they like, a lover follows a different path. Insofar as one remains at all moments as a lover, the lover may refuse to classify the beloved, because any definition, language, and description would diminish “the other’s brilliant originality,” reducing the loved being to a stereotype (Barthes 1978; 35). Watching the beloved singled out for praise, a lover finds only a few signs to express the beloved’s beauty but such a “stupid” word as “adorable!” (Barthes 1978; 18), which demands the lover’s lavish consumption of feelings and senses toward the beloved. 1 The difficulty in expressing the beloved’s beauty, as Barthes explains it, has also afflicted those who wish to confer their adoration of works of art without reducing the work to a mere type. The second epigraph, which comes from Virginia Woolf’s To the Lighthouse (1927), represents a painter’s heartbroken awareness that no sign can perfectly express the loved one’s “atopos,” and, for the human artist, it is hard to grasp the deeper truths of the beloved. Drawing the portrait of Mrs. Ramsay in Woolf’s novel, the artist Lily Briscoe endeavors to visualize the ineffability of her beloved on the material surface, but she finds it difficult to produce the ideal form that will express her feeling about Mrs. Ramsay. Indeed, Lily gets in trouble with her vulnerability as a human creator, whose bodily conditions lend her only limited abilities for perception and expression. No matter how much she struggles to capture the sudden revelation of beauty, she cannot eschew the fact that “the urgency of the moment always missed its mark” because “words fluttered sideways and struck the object inches too low” (181). Lily’s inward cry—“to want and not to have”—makes audible the mixture of the artist’s desire and despair in confronting the difficulties in expression, or “the crisis of the sign—the gap between signifier and signified, which Derrida and others have termed the myth of presence in Western metaphysics” (Stewart 1993; 17).1 If the human limitations on the process of creating a work of art are unavoidable, then what is an artist able to do? Facing this challenge posed by desire and the body, Lily wrestles with the temptation to give up the painting, and even imagines that “beauty would roll itself up,” involuntarily shaping forms and filling up the empty space of her 1 Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Durham and London, 1993). 2 canvas (183). As the book’s ending suggests, however, the emptiness of the canvas cannot but stay unresolved until the painter takes an action by marking a line in the center of the painting. The novel ends with Lily’s aesthetic achievement: she had feared that her painting “would be hung in the attics” and “it would be destroyed,” but going toward the ending, she releases herself from these anxieties, and “take[s] up her brush again” to shape a form in the canvas—the line in the center (211). It is less important to this argument to question whether the aesthetic form is appropriate to express the object it represents than to construe the line as the mark made by the lover in search of her beloved. Lily’s aesthetic form gains significance not because it precisely reflects the other’s qualities, but because it serves as the amorous subject’s sign of love made solid on the textual surface. This sign, then, suggests the lover’s efforts to seek after the loved being: in attempting to express the beauty of the beloved, the artist encounters challenges in pain, but admits them, and tries to pursue the beloved again and again. Construed in this way, the embodied sign becomes “the imprint of a caressing or destroying hand,” as Susan Sontag says in Against Interpretation (1964), where she attends to “a physiognomy of the work, or its rhythm,” rather than meanings themselves (28).2 By giving “palpable forms to consciousness,” the text makes “something singular explicit,” and exhibits the individuality of an artist’s 2 Susan Sontag, Against Interpretation and Other Essays (New York: Dell P, 1964). Sontag borrows from Raymond Bayer, who wrote “What each and every aesthetic object imposes upon us, in appropriate rhythms, is a unique and singular formula for the flow of our energy. Every work of art embodies a principle of proceeding, of stopping, of scanning; an image of energy or relaxation, the imprint of a caressing or destroying hand which is [the artist’s] alone” (qtd. in Sontag 1964, 28). 3 means of giving style, identified as “the principle of decision in a work of art” or “the signature of the artist’s will” (Sontag 1964; 29, 32).3 Like Lily’s painting, a verbal text comes to have signs of the writer’s desire and love for the beloved in the textual surface when he or she tries to explore the loved one. The surface of the text commingles the lover’s desire, ambition, despair, and fatigue, all of which are concerned with an artist’ act of creation, motivated by his or her willingness to explore and articulate what the lover calls the beloved.
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