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Dynamics of Genre and the Shape of Historical Fiction DYNAMICS OF GENRE AND THE SHAPE OF HISTORICAL FICTION: A LUKÁCSIAN READING OF WALTER SCOTT’S THE HEART OF MIDLOTHIAN A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of English University of Saskatchewan Saskatoon By OLE ANDREW SCHENK © Copyright Ole Schenk, April 2011. All rights reserved. PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. DISCLAIMER Reference in this thesis to any specific commercial products, process, or service by trade name, trademark, manufacturer, or otherwise, does not constitute or imply its endorsement, recommendation, or favoring by the University of Saskatchewan. The views and opinions of the author expressed herein do not state or reflect those of the University of Saskatchewan, and shall not be used for advertising or product endorsement purposes. Requests for permission to copy or to make other uses of materials in this thesis in whole or part should be addressed to: Head of the Department of English 320 Arts Building University of Saskatchewan 9 Campus Drive Saskatoon SK S7N 5A5 OR Dean College of Graduate Studies and Research University of Saskatchewan 107 Administration Place Saskatoon, Saskatchewan S7N 5A2 Canada i ABSTRACT Georg Lukács’ The Historical Novel continues to have a wide influence in Walter Scott criticism. However, Lukács’ theoretical insights into the role of genre in Scott’s work remains underappreciated. This thesis takes for its departure Lukács’ summary that “the profound grasp of the historical factor in human life demands a dramatic concentration of the epic framework” (41). Lukács’ description of these two forms, dramatic and epic, is then applied in a reading of Scott’s The Heart of Midlothian. Lukács’ terms offer a way of describing how Scott’s fiction works, as the interplay of dramatic and epic motifs provide the aesthetic mediation for Midlothian’s social and political concerns. The chief problem raised through this reading is the role of genre in establishing a sense of historical necessity. In The Heart of Midlothian, the role of genre is made concrete in the novel’s gradual transition. Opening with dramatic social unrest, the novel shifts attention to the epic journey of Jeanie Deans and how her intervention re-establishes domestic and political harmony within the world of the novel. The interplay of dramatic and epic forms establishes a sense of internal necessity, as each major character organically finds his or her role in the overall course of progress. The thesis turns in its final chapter and conclusion to a resistance in Midlothian to the “dramatic concentration of the epic framework.” Thus instead of solely applying Lukács’ categories to a Scott, the conclusion of the thesis turns Scott against Lukács. Midlothian’s conclusion evinces the resistance of Scott the storyteller to Scott the novelist of historical necessity, as the storyteller re-opens a sense of unforeseen possibility at the novel’s conclusion. The thesis concludes with a meditation on the ethical implications of Scott’s competing narrative practices, that is, the dissonance between the historical novelist and the storyteller. ii ACKNOWLEDGMENTS Production of this thesis was made possible through a grant from the Social Sciences and Humanities Research Council of Canada, and through financial support from the College of Arts and Sciences at the University of Saskatchewan. My thanks go to my supervisor Len Findlay, for providing me with the guidance and encouragement necessary for completing this project, and for inciting my interest in this topic. Many thanks go to Michael Poellet for introducing me to philosophical hermeneutics, and for the great effect that course of study has had on this project and all my work. I wish to thank the faculty on my committee, Doug Thorpe and Ron Cooley, and the graduate chair, Lisa Vargo, for their additional support and encouragement. Finally, I must thank the continual patient support of my friends, and especially my parents, through this long task. iii TABLE OF CONTENTS page PERMISSION TO USE ....................................................................................................... i ABSTRACT ....................................................................................................................... ii ACKNOWLEDGMENTS ................................................................................................ iii TABLE OF CONTENTS ................................................................................................... iv INTRODUCTION: LUKÁCS AND THE AESTHETIC STRUCTURE OF SCOTT’S HISTORICAL FICTION ............................................................................. 1 CHAPTER 1. LUKÁCS’ THE HISTORICAL NOVEL: THE DYNAMICS OF GENRE IN WALTER SCOTT ..................................................... 8 CHAPTER 2. DRAMATIC CONCENTRATION: THE HEART OF MIDLOTHIAN AND THE SHAPING OF CONFLICT ...................... 21 CHAPTER 3. EPIC FRAMEWORK: THE HEART OF MIDLOTHIAN AND STRATEGIES OF CONTAINMENT ............... 34 CHAPTER 4. TURNING AGAINST THE EPIC FRAMEWORK: RESISTANCE TO CLOSURE IN THE HEART OF MIDLOTHIAN .............................. 43 CONCLUSION: HISTORICAL NOVELIST AND STORYTELLER COMPETING NARRATIVE PRACTICES .................................................................... 54 LIST OF REFERENCES .................................................................................................. 62 iv INTRODUCTION: LUKÁCS AND THE AESTHETIC STRUCTURE OF SCOTT’S HISTORICAL FICTION This thesis explores relations between history and fiction as articulated by Georg Lukács in The Historical Novel. In his comments on Walter Scott, Lukács claims that “the profound grasp of the historical factor in human life demands a dramatic concentration of the epic framework.” (41). This claim links cognition, the “profound grasp of the historical factor in human life,” with an aesthetic structure, the interplay of dramatic and epic genres. Lukács‘ statement goes to the heart of Walter Scott’s achievement as a novelist and sets a task for further interpretation. My thesis takes its departure from Lukács’ insight and organizes itself around the categories he presents. In my first chapter Lukács’ description of “dramatic concentration” and “epic framework” will receive due attention and explication. In chapters two and three I turn to Scott’s The Heart of Midlothian to interpret its opening sequence via Lukács’ categories. The problem that emerges already in my first chapter, however, is that the conception of history in terms of an interplay of genres tends toward casting historical change as an almost mechanical process. The “dramatic concentration of the epic framework” in Scott establishes a systematic pattern of progress through conflict. Such a pattern, when imposed retrospectively upon events, tends to conceal the role of agency and of accidental circumstance. Thus, in my fourth chapter and in my conclusion, I read the ending of The Heart of Midlothian for its resistance to the dramatic concentration of the epic framework, and as an example of Walter Scott the storyteller resisting his novel’s sense of historical necessity. In selecting for my topic Lukács’ work on genres applied to Scott, I am taking an aspect of The Historical Novel that has received inadequate attention in recent scholarship. Stuart Ferguson, in “The Imaginative Construction of Historical Character: What Georg Lukács and Walter Scott Could Tell Contemporary Novelists,” takes interest in The Historical Novel chiefly for its argument concerning Scott’s characters. As Ferguson aptly summarizes, “what made Scott a greater ‘realist’ writer than Flaubert, in Lukács’ view, is that Scott succeeds in depicting links between the consciousness of his characters and the social-historical ensemble that shaped that consciousness” (33).1 The track I am taking shifts from the question of the consciousness of 1 Likewise in The Forms of Historical Fiction, Harry Shaw cites Lukács chiefly for his argument concerning the historical and social construction of character in Scott and other writers: “In his view, the more significant an index 1 characters in their environment to the more thematic, plot-focused concern of aesthetic structure and historical events. Lukács’ description of Scott’s fiction as “a dramatic concentration of the epic framework” grasps conceptually the workings of Scott’s fiction. Furthermore, the description directs attention from characters toward the significance of public events. To take genre as one’s entry point into a work of fiction is already to focus not simply on compliance with formal requirements but also on
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