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Selfhood, Sex and Spirituality in the Writings of Olive Schreiner

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Selfhood, Sex and Spirituality in the Writings of Olive Schreiner Durham E-Theses Outspoken dreams: Selfhood, sex and spirituality in the writings of Olive Schreiner Martin, Claire How to cite: Martin, Claire (1986) Outspoken dreams: Selfhood, sex and spirituality in the writings of Olive Schreiner, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/6860/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Claire Martin, Outspoken Dreams : Selfhood, Sex and Spirituality in the Writings of Olive Schreiner. ABSTRACT This study of the life and work of Olive Schreiner explores the tensions inherent in her political and artistic vision. It assesses the importance both of her continual movement towards a unifying spirituality and of her relentless, often fragmentary, self-exploration. Using her three novels, the allegories, her non-fictional work and her extensive personal corres• pondence, I examine Schreiner's sense of identity and gender and their relationship to her feminism, and her emphasis on a re-evaluation of sexual relationships within the major themes of her writing. Throughout, I follow closely the varied and innovative directions her work takes, and critically appraise her use of dream, allegory and propaganda. With a thematic exploration of her central concerns, both personal and political, I aim to establish links between the conflict Schreiner experienced as a woman artist and current developments in feminist writing and theory, at the same time evaluating Schreiner's radical' contribution to Victorian literature and the nineteenth-century women's movement. My first chapter charts the expression of her own femaleness through the development of the personalities and lives of her fictional heroines. The second and third chapters investigate her ambivalence about gender as revealed in her relationships and her work, and the effect on her creativity of the clash between prevalent Victorian sexual stereotyping and Schreiner's own constantly changing self-image. Chapter Four deals with the growth of her spiritual awareness and its centrality to her art and politics. I finish with an examination of her attitudes towards woman's place in society, and her attempt to reconcile creative self-expression with the public voice of the committed feminist and socialist. OUTSPOKEN DREAMS: SELFHOOD, SEX AND SPIRITUALITY IN THE WRITINGS OF OLIVE SCHREINER by Claire Martin The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. A thesis presented for the degree of M. Litt. at the University of Durham 1986 Department of English Studies University of Durham M !.'AV1997 11 - For ray mother, Elsa Martin Ill CONTENTS Page Acknowledgements IV Note to the Reader Introduction Chapter I The heroines: broken and 11 untried possibilitiesi Chapter .II... -. 'But I'm not a woman..': 39 stereotypes and self-image, 1. Relationships Chapter III New woman, new man?: 8^ stereotypes and self-image, 2. The writings Chapter IV 'Into a larger atmosphere': V23 the lights and shadows of Schreiner's spiritual world. Chapter V 'One woman known to many of us' writing for self, for others. Notes to the Text, 2^4 Bibliography 2 5a - IV - ACKNOWLEDGEMENTS Firstly, my thanks to my friend Helen Fensome, who sent me the First and Scott biography of Schreiner without which I would never have started writing this thesis, and to my supervisor, Dr. Michael O'Neill, without whose encouragement and interest I might never have finished it. For permission to consult and quote from copyright sources I would like to thank the Syfrets Trust, Port Elizabeth, as executors of the estate of Olive Schreiner, and Professor Francois Lafitte, for the estate of Havelock Ellis; Staff at. the following libraries have been particularly helpful: the Archives Division, Sheffield City Libraries, for the Carpenter MSS; Manuscripts and Rare Books Room, D. M. S. Watson Library, University College, London, for Karl Pearson's archive; Harry Ransom Humanities Research Center, University of Texas, Austin, for the Schreiner-Ellis correspondence. I am grateful to Cherry Clayton, of the English Department, Rand Afrikaans University, Johannesburg, who provided me with information about her recent work on Schreiner, and to Diana Collecott for her advice from the start. My thanks also to everyone in the Esh Winning women's group for their constant support; to my sisters, Annie and Penny, for just being there; to my father, Leslie Martin (Ph.D!..), from whose succinct letter- writing style I have learnt much; to my typist, Wendy Bridges, for her tireless work and patience; and, finally, to Gerard Kennedy who good- naturedly read and commented on the MS at all stages, and restored my energy and determination when I needed it most. Esh Winning, Co. Durham. March, I986 Note to the Reader In quoting from Olive Schreiner's correspondence I have reproduced her often idiosyncratic phrasing and punctuation, and include, when necessary, my own explanation or clarification. In her published work and in writing about her there are various different spellings of Afrikaans words used. Throughout my text I have kept to the spelling-of :':'iKarroo' and- ' kopje ' Tor.ithese--twb~fecurrent nouns. ...j iut . INTRODUCTION 1. This is to be a personal account of my experience of Olive Schreiner, the woman and the writer. As I write these words I am aware of outside pressure from somewhere prompting me to qualify this description; I feel I need to 'excuse' the personal with the reductive 'purely' or 'simply'. This sense of having to justify the use of my own thoughts, my own words, comes from years of careful conditioning in how to write in an acceptable 'literary' manner. By the time I -rea;ched University T was certain that a 'good' essay was one with an impressive chunk of references attached to the end. Having rid myself of that illusion (part laziness, some stubbornness), I eventually decided to attempt a post-graduate thesis, arid was promptly given the statutory 'Notes on the presentation of theses' which are 'in addition to the Rules for the Form of Theses'. Only intended as 'general guidance', you understand, but I immediately felt I was being guided, however well-meaningly, in a direction in which I did not want to go. I began to question my decision to write about Olive Schreiner within this structure which seemed confined and confining. I wanted to write about her because I enjoyed her writing - I found it intrigu• ing, stimulating, surprisingly modern and relevant to much of the conflict I myself was experiencing at the time, both within personal relationships and through my involvement with the Women's Movement. My interest grew as I read more, and discovered her letters - strident, confused, pitiful, magnificent cries from the heart of a fascinating woman, at odds with herself and society. But because this, as a student's subject, became my 'work', I found myself apologising for it. - 2 - - "So what are you studying exactly?" - "The work of Olive Schreiner ..." - "Oh ... who's she then?" As I launched into explanations, I would stress that 'not much has been written about her' as if that, that need to categorise, pin down, label, was my reason for writing, not because I 'simply' wanted to express my pleasure at discovery of-the woman and convey this pleasure to-others. After reading any other good book 'for pleasure' I would recommend it to friends, we would discuss it eagerly, swap further editions of the same author. But with Olive Schreiner I felt furtive, guilty almost. To devote several years' work to this writer, slotting her ideas and mine into an acceptable framework of academic criticism, felt destructive rather than creative. The whole process seemed antithetical to the direction my thoughts on Schreiner were, uriguided, taking. Re-reading Doris Lessing's introduction to The Golden Notebook my doubts were reinforced. She talks of the deadening effect of having been taught "to patronise and itemise everyone for years, from Shakespeare downwards". For her a book is: alive and potent and fructifying and able to promote thought and discussion only when its plan and shape and intention are not understood, because that moment of seeing the shape and plan and intention is also the moment when there isn't anything more to be got out of it. (1) What I wanted was to put forward my own experience of Schreiner's work as a means of appreciating that living potency, so palpable in her writirig at its best, and ii) doing so perhaps add something to it. A handful of critics have tackled her 'plan and shape and inten• tion' and come up with various interpretations of the woman and the - 3 - work: Olive Schreiner, eccentric genius (her husband Samuel Cronwright- Schreiner); Emily Bronte-like visiooary (D. L. Hobman, Vera Buchanan-Gould); temperamental, mother-haunted neurotic (Marion Friedmann). These writers establish individual viewpoints, back them up with relevant biographical informatioij arid 'proof from the texts themselves, and draw conclusions. I want to interpret, analyse, discuss, certainly, I do not iijtend to use Lessirig's statement as an excuse for woolliness or vague raimbling.
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