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Romance Came out of Dreamland Into Life H Durham E-Theses Real romance came out of dreamland into life H. G. Wells as a romancer Choi, Yoonjoung How to cite: Choi, Yoonjoung (2007) Real romance came out of dreamland into life H. G. Wells as a romancer, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2496/ 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 Real Romance Came Out of Dreamland Into Life H. G. Wells as a Romancer The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. A thesis submitted in March 2007 For the degree of PhD To the University of Durham Supervised by Dr. Simon J. James Y oonjoung Choi ~ 1 OCT 2001 Department of English Studies Contents Declaration of Copyright iii List of Abbreviations iv Note on Texts v Abstract vi Chapter I. Romance and Realism in Fiction: H G. Wells's Literary Criticism 1 Chapter II. Romance Potentials in Wells's Early Non-scientific Novels 27 i) The Wondeiful Visit: Exposing the Process of Discourse Formation 29 ii) The Wheels ofChance: ''You Ride Through Dreamland on Wonderful Dream Bicycles That Change and Grow" 45 iii) Love and Mr Lewishanz: Lewisham' s Bildungsroman of Growing From a Romantic Youth to a Realistic Adult 58 iv) Kipps: "Character Has You. You Can't Get Away From It" 71 Chapter III. The Time Machine: "I Don't Want to Waste This Model, and Then Be Told I'm a Quack" 84 i) She: A Journey to the Past 92 ii) The Time Machine: A Journey into the Future 101 Chapter IV. Carnivalesque Romance: "They are Exercise of the Imagination m a Quite Different Field" 117 i) Some Characteristics ofCarnivalesque Literature in Wells's Short Stories 119 ii) The Island of Doctor Moreau: The 'Comus Rout of Becoming and Changing 123 iii) The War of the Worlds: "Swift Liquefaction of the Social Body" 146 iv) The Food of the Gods: Deconstruction of the Little's World by the Futuristic Giants. 162 Chapter VI. Romance of Utopia 171 i) Unachievable Monologism: Anticipations and Mankind in the Making 176 ii) The Amateur Prophet: "A Man Who Has Concerned Himself With Education and Aspired to Creative Art" 193 iii) A Modern Utopia: Wells's Utopianism in the Making 199 Chapter VI. The Lost Romance 218 i) The Decay of Romance: Tono-Bungay 219 ii) The History of Mr. Polly: "Romance and His Goddess Had Vanished" 232 Conclusion 237 Bibliography 242 II Declaration and Statement of Copyright The research presented in this thesis is the original work of the author, unless stated otherwise. None of this work has been submitted for a degree in this or any other university. The copyright of this thesis rests with the author. No quotation from it should be published without their prior consent and information derived from it should be acknow Iedged. ll1 List of Abbreviatiom Anticipations Anticipations: ofthe Reaction ofMechanical and Scientific Progress Upon Human Life and Thought DF The Discovery of the Future LM Love and Mr Lewisham FG The Food ofthe Gods LC H G. Wells's Literary Criticism HP The History ofMr Polly Kipps Kipps: the Story ofSimple Soul IM The Invisible Man DM The Island ofDoctor Moreau MM Mankind in the Making MU A Modern Utopia TM The Time Machine TB Tono-Bungay ww The War of the Worlds we The Wheels of Chance wv The Wonderful Visit IV Note on Texts If not stated otherwise, regarding Wells's works, I quote from the Atlantic edition, The Works of H. G. Wells, 28 vols. (New York: Scribner's, 1924-7). The first British and American editions are also consulted when there are conspicuous differences between the two editions that deem the attention of the study. In particular, apart from the Atlantic edition, the first editions of The Wheels of Chance (New York: Breakaway, 1997), The Island of Doctor Moreau (London: Everyman, 1993) and Anticipations: of the Reaction of Mechanical and Scientific Progress Upon Human Life and Thought (London: Chapman, 1902) are consulted. v Acknowledgement I would like to express my deep and sincere gratitude to my supervisor, Dr. Simon J. James. His wide knowledge has been of great value for me. Also, his encouraging and personal guidance have provided a good basis for the present thesis. I wish to express my warm thanks to my friends, Matthew, Richard, Peter and Claire who patiently read my thesis and gave me advices over coffee and pints. I also want to thank my good friends, France, Luciane and Xiao for their friendship and support. I owe my loving thanks to my parents and sister for their patience and consistent support during my study. Finally and especially, I would like to give my special thanks to Kostas whose patient love and scholarly insight enabled me to complete this work. Abstract The aim of this study is to demonstrate that Wells's early works are the supreme fruits of his ambiguous and complicated reaction against, and interaction with, romance and realism in fiction. Wells's efforts concentrate on combating against and, at the same time, capitalising on the popular narratives that flooded the expanding fin-de-siec/e mass market and the powerful influence of the continental and American Realists. In so doing, Wells eventually purports to revive and modifY the English novel tradition from Chaucer to Scott and Dickens, and the romantic transformation of everyday life without losing a sense of reality. By reading Wells's fictional and non- fictional works published between the 1890s and the 1900s, this thesis maintains that Wells is a novelist who could exploit roman::e contingencies in his fiction Wells's early literary criticism demonstrates that his theory of the novel is preoccupied with the potential of the romance rather than with the strict realistic representation of everyday life advocated by Naturalists and Realists. His non-scientific romances reveal Wells's instinctive grasp of the romance potential Wells's major scientific romances confirm his effort in writing within the established romance grammar and deconstruct the forms and themes of fin-de-siec/e popular romances. Mikhail Bakhtin's theory of carnivalism and Foucault's theory of power are also applied to Wells's texts. This study contends that Wells's major scientific romances not only differentiate themselves from other popular narratives but also create a new genre: the carnivalesque romance. Wells's early twentieth century utopian projects continue the carnival theme, and develop the carnivalised narrative space in which the sociologist's logical speculation is mixed with the romancer's dream. Reading Wells's Edwardian novels, Tono-Bungay and The History of Mr Polly as marking a turning point in his literary career, the thesis advocates that when Wells ceased to be a romancer, his creative energy began to wane. VI Chapter I. Romance and Realism in Fiction: H. G. Wells's Literary Criticism Mr. Hoopdriver was (in the days of this story) a poet, though he had never written a line of verse. Or perhaps romancer will describe him better. Like I know not how many of those who do the fetching and carrying of life - a great number of them certainly, -his real life was absolutely uninteresting, and if he had faced it as realistically as such people do in Mr. Gissing's novels, he would probably have come by way of drink to suicide in the course of a year. But that was just what he had the natural wisdom not to do. On the contrary, he was always decorating his existence with imaginative tags, hopes and poses, deliberate and yet quite effectual self-deceptions; his experiences were mere material for a romantic superstructure .1 This passage is from H. G. Wells's first social romance, The Wheels of Chance: A Bicycling Idyll (1896); here the omniscient narrator avers that Mr. Hoopdriver is a great romancer, and his romantic imaginings rescue him from his would-be miserable life as a mere drapery apprentice. Wells seems to suggest that deceptive aspects of the contemporary popular romance can play a positive role in the life of the late-Victorian working class. It clearly illustrates that Hoopdriver's transformation of his experiences into 'mere materia I for a romantic superstructure' is based on self-illusion. The statement also insinuates that self­ deception is naturally expected to be exposed at a later stage of the story by the protagonist. The contradictory messages which this passage conveys reveal the author's ambiguous attitude to the rules of the romance genre. The author's uncertain stance on the romance genre is more clearly revealed when the passage above is read in comparison with an extract from Charles Dickens's (1812-1870) Household Words (1849): To show all, that in all familiar things, even in those which are repellent on the surface, there is Romance enough, if we will find it out - to teacli the hardest workers at this whirling wheel of toil that their lot is not necessarily a moody brutal fact excluded from their sympathies and graces of imagination.2 1 H.
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