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Rhythmic Modernism Rhythmic Modernism the mimesis of life itself in the short fiction of D. H. Lawrence, Katherine Mansfield and Virginia Woolf Helen Rydstrand A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of the Arts and Media Faculty of Arts and Social Sciences February 2016 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Rydstrand First name: Helen Other name/s: Ingrid Wicks Abbreviation for degree as given in the University calendar: PhD School: the Arts & Media Faculty: Arts & Social Sciences Title: Rhythmic Modernism: the mimesis of life itself in the short fiction of D. H. Lawrence, Katherine Mansfield and Virginia Woolf Abstract 350 words maximum: (PLEASE TYPE) There is now a growing body of scholarship exploring rhythm in literary modernism, as it becomes increasingly clear how central the concept of rhythm is to early twentieth-century visions of the universe. Around this time, recent developments in the sciences increased the public’s awareness of a multitude of intangible natural rhythms that surround us, coinciding with a peak in the popularity of vitalist philosophy. This meant that for some, rhythm came to be equated with the essence of life itself. Modernist writers looked for ways to respond to this new rhythmic paradigm, and attention to the question of rhythm in modernist literary culture shows that many writers considered textual rhythms to function mimetically – quite literally as mimicry of the rhythms of the universe. This thesis examines this ‘rhythmic mimesis’ in the short fiction of three closely networked writers: D.H.Lawrence, Katherine Mansfield and Virginia Woolf. In differing ways, Lawrence, Mansfield and Woolf each display a fascination with rhythm as a formal device and as a conceptual framework for understanding the world. I situate this analysis of modernist short fiction in the context of an intellectual history of rhythm and mimesis, which I position as important strands of modernist cultural debate. Accordingly, my first chapter investigates this rhythmic paradigm as it appears in literary cultural discourse, especially in relation to the romantic aesthetic philosophy of John Middleton Murry and the vigorous contemporary debates that took place over the relation between prose and poetry. The short story, as an exemplary modernist form and one often situated at the forefront of attempts to meld the capabilities of poetry and prose, provided these authors with a ready medium for both formal and thematic experimentation with rhythm. The following three chapters detail the ways in which Lawrence, Mansfield and Woolf respectively respond to this intellectual and aesthetic context in both their nonfiction and short fiction. Whereas some classic accounts of modernism see it as a broadly anti-mimetic movement, close attention to the problematic of rhythm suggests that Lawrence, Mansfield and Woolf were, on the contrary, vitally concerned with the representation of ‘life itself’. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). .. ... Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS i Abstract There is now a growing body of scholarship exploring rhythm in literary modernism, as it becomes increasingly clear how central the concept of rhythm is to early twentieth-century visions of the universe. Around this time, recent developments in the sciences increased the public’s awareness of a multitude of intangible natural rhythms that surround us, coinciding with a peak in the popularity of vitalist philosophy. This meant that for some, rhythm came to be equated with the essence of life itself. Modernist writers looked for ways to respond to this new rhythmic paradigm, and attention to the question of rhythm in modernist literary culture shows that many writers considered textual rhythms to function mimetically – quite literally as mimicry of the rhythms of the universe. This thesis examines this ‘rhythmic mimesis’ in the short fiction of three closely networked writers: D. H. Lawrence, Katherine Mansfield and Virginia Woolf. In differing ways, Lawrence, Mansfield and Woolf each display a fascination with rhythm as a formal device and as a conceptual framework for understanding the world. I situate this analysis of modernist short fiction in the context of an intellectual history of rhythm and mimesis, which I position as important strands of modernist cultural debate. Accordingly, my first chapter investigates this rhythmic paradigm as it appears in literary cultural discourse, especially in relation to the romantic aesthetic philosophy of John Middleton Murry and the vigorous contemporary debates that took place over the relation between prose and poetry. The short story, as an exemplary modernist form and one often situated at the forefront of attempts to meld the capabilities of poetry and prose, provided these authors with a ready medium for both formal and thematic experimentation with rhythm. The following three chapters detail the ways in which Lawrence, Mansfield and Woolf respectively respond to this intellectual and aesthetic context in both their nonfiction and short fiction. Whereas some classic accounts of modernism see it as a broadly anti-mimetic movement, close attention to the problematic of rhythm suggests that Lawrence, Mansfield and Woolf were, on the contrary, vitally concerned with the representation of ‘life itself’. ii Contents Abstract i Acknowledgements iii Publications and presentations arising from the thesis iv Abbreviations v Introducing rhythmic mimesis 1 Rhythmanalysis 3 Rhythm in modernist studies 8 Mimesis 15 The modernist short story 25 Rhythm and mimesis in Lawrence, Mansfield and Woolf 29 Chapter 1 Rhythm and mimesis in modernist literary culture 46 Romantic modernism and the rhythms of life 47 Rhythmic mimesis and modernist formal experimentation 63 Chapter 2 D. H. Lawrence’s cosmic rhythms 84 Rhythm in Lawrence’s metaphysics and aesthetics 85 Thermodynamic relationships 102 Rhythms of modernity 119 Chapter 3 Katherine Mansfield and the rhythms of habit 133 Life, rhythm and prose in Mansfield’s non-fiction 134 Impersonation and the rhythms of character 151 Ordinary rhythms and the short story 169 Chapter 4 Virginia Woolf, rhythm and the world as work of art 189 Rhythm and poetic prose in Woolf’s aesthetics 190 The worldly rhythms of consciousness 204 The rhythms of storytelling 219 Conclusion 236 Bibliography 239 iii Acknowledgements First acknowledgement must go to my supervisor, Dr John Attridge, and to my co- supervisor, Professor Helen Groth. Both have been incredibly supportive and have provided ever-generous and insightful advice throughout the process of researching and writing this thesis. They have also offered and encouraged many opportunities for professional development throughout my candidature, for which I will remain very grateful. I am also sensible of my debts to Dr Sean Pryor for his reliably incisive comments on my work as reader for each of my Annual Progress Reviews, and to my friends in the Women’s Writing Group (Penelope Hone, Dr Baylee Brits, Kate Montague, Tamlyn Avery and Dr Jacinta Kelly) for both their rigorous critique and their camaraderie. I have been fortunate to be associated with UNSW’s Centre for Modernism Studies in Australia, which through regular seminars, reading groups and workshops, has offered a stimulating and collegial environment for writing a doctoral thesis. During my PhD I have also been lucky to work at UNSW’s Learning Centre, and I thank my colleagues there, particularly Dr Dominic Fitzsimmons, Dr Jamie Roberts and my fellow Peer Writing Assistants, for many enjoyable and edifying conversations about the mysteries of writing, academia, and universities. Friends are of course due a great deal of credit for getting me through this, with coffees, yoga-and-breakfast, hilarity, and with shared expertise and generous proofreading help. I give special thanks to Gabrielle Dixon-Ritchie, Christopher Oakey, Rohan Willard, Louise Cooney and Lisa Bernstein. Wholehearted thanks also go to my families (the Rydstrands, Wickses, Taylors and Oppermanns) for their belief in me and for many sustaining meals. Finally, my deepest gratitude goes to Mo, for everything and every day. iv Publications and presentations arising from the thesis Publications ‘The Rhythms of Character in “Miss Brill”.’ In Sounding Modernism: Rhythm and Sonic Mediation in Modern Literature and Film, edited
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