Lakehead University Knowledge Commons,http://knowledgecommons.lakeheadu.ca Electronic Theses and Dissertations Retrospective theses 1994 A.S. Byatt : tradition and the female talent Enstrom, Ethel L. http://knowledgecommons.lakeheadu.ca/handle/2453/981 Downloaded from Lakehead University, KnowledgeCommons A. S. Byatt: Tradition and the Female Talent by Ethel L. Enstrom B.A. Hons., Lakehead University 1992 A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in English Lakehead University, Thunder Bay, Ontario April, 1994 ProQuest Number: 10611403 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProOuest ProQuest 10611403 Published by ProQuest LLC (2017). 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Box 1346 Ann Arbor, Ml 48106 - 1346 National Library Biblioth6que nationale of Canada du Canada Acquisitions and Direction des acquisitions et Bibliographic Services Branch des services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa, Ontario Ottawa (Ontario) K1A0N4 K1A0N4 Your tile Votre reference Our file Notre r^f^rertce THE AUTHOR HAS GRANTED AN L'AUTEUR A ACCORDE UNE LICENCE IRREVOCABLE NON-EXCLUSIVE IRREVOCABLE ET NON EXCLUSIVE LICENCE ALLOWING THE NATIONAL PERMETTANT A LA BIBLIOTHEQUE LIBRARY OF CANADA TO NATIONALE DU CANADA DE REPRODUCE, LOAN, DISTRIBUTE OR REPRODUIRE, PRETER, DISTRIBUER SELL COPIES OF HIS/HER THESIS BY OU VENDRE DES COPIES DE SA ANY MEANS AND IN ANY FORM OR THESE DE QUELQUE MANIERE ET FORMAT, MAKING THIS THESIS SOUS QUELQUE FORME QUE CE SOIT AVAILABLE TO INTERESTED POUR METTRE DES EXEMPLAIRES DE PERSONS. CETTE THESE A LA DISPOSITION DES PERSONNE INTERESSEES. THE AUTHOR RETAINS OWNERSHIP L'AUTEUR CONSERVE LA PROPRIETE OF THE COPYRIGHT IN HIS/HER DU DROIT D AUTEUR QUI PROTEGE THESIS. NEITHER THE THESIS NOR SA THESE. NI LA THESE NI DES SUBSTANTIAL EXTRACTS FROM IT EXTRAITS SUBSTANTIELS DE CELLE- MAY BE PRINTED OR OTHERWISE CINE DOIVENT ETRE IMPRIMES OU REPRODUCED WITHOUT HIS/HER AUTREMENT REPRODUITS SANS SON PERMISSION. AUTORISATION. ISBN 0-315-97039-1 Canada A. S. Byatt: Tradition and the Female Talent by Ethel L. Enstrom directed by Frederick M. Holmes Department of English, Lakehead University This thesis examines the novels of A. S. Byatt: The Shadow of the Sun, The Game, The Virgin in the Garden, Still Life, and Possession, to analyze the ways in which Byatt uses myth and the literary tradition to highlight and criticize representations of women. In her novels, Byatt re-fictionalizes past narrative representations of female power, chastity, desire, and plenitude to "de- doxify" notions of women’s roles in our culture. As a writer steeped in the British literary tradition, Byatt is keenly aware of the role of literature in transmitting culture. She also self-admittedly suffers from an "anxiety of influence" resulting from her academic inheritance of the Eliot / Leavis concept of tradition. Throughout her novels, Byatt overcomes her anxiety by using parody to inscribe the tradition into her own texts. In the process, she highlights the ways in which narrative representations of women devolve upon writers of the present, rewriting the past to posit new possibilities for women’s roles at the same time as she bends and shapes a predominantly male literary tradition to accomplish her own particular female art. © 1994 Ethel L. Enstrom For Richard and for Chris and Erica with love and gratitude IV ... the historical sense involves a perception, not only of the pastness of the past, but of its presence . T. S. Eliot "Tradition and the Individual Talent" . myth is constituted by the loss of the historical quality of things: in it, things lose the memory that they once were made. Roland Barthes "Myth Today" V Table of Contents Introduction 1 The Female Seer 29 Virgin / Mother 53 The Female Pen 79 Conclusion 107 Works Cited 114 VI I would like to thank my thesis advisor. Prof. Frederick M. Holmes, for his assistance with this thesis and for his unfailing encouragement over the past five years. Thank you to the individuals who have generously given their time to read my thesis: Prof. John Futhey here at Lakehead University, and Prof. Jane Campbell at Wilfrid Laurier University, Waterloo, Ontario. I would also like to thank Prof, Kim Fedderson for his guidance and support. Finally, I would like to acknowledge my debt and my gratitude to all the professors in the Department of English at Lakehead who have assisted me and enriched my studies. Thank you for creating such a vigorous community for literary studies at Lakehead. Introduction A. S. Byatt commented in an interview with Juliet Dusinberre in 1983 that literature was her means of escape from "the limits of being female" (186). For other artists who are also women, art is seen as a way of escaping the restrictions imposed by the realities of their social and economic powerlessness (Spacks 206). Today, literary critical feminists would undoubtedly reverse Byatt’s statement to show the role of literature in forming those very limits from which she and many other women feel the need to escape. While Byatt would, I think, agree with Gillian Beer’s qualification in "Representing Women: Re-presenting the Past" that gender formation cannot be isolated from social and cultural forces, that there is no single source of oppression of women (68), her recognition of the role of narratives in at least partly determining the limits of being female is readily apparent in her 1990 Booker Prize-winning novel Possession. Possession, a richly literary tour de force, takes Byatt in a direction substantially different from that followed in her previous novels. Byatt claims in an interview that she wrote Possession specifically "to be liked" and "partly to show off (Stout 14). As opposed to her earlier novels, Possession is "all art" (Stout 14). When she mixes genres, ranging from the epistolary to the 2 literary critical, and uses parody and pastiche in her literary repetitions, Byatt departs drastically from her earlier attempts at what, in the introduction to a selection of her critical writings entitled Passions of the Mind (PM), she calls a "self-conscious realism" rooted deeply in language (xv). One is reminded of her description of the artistic efforts of her fictional playwright Alexander Wedderbum in The Virgin in the Garden (VG) whose play tends "towards pastiche and parody" despite his conscious aiming towards "a vigorous realism" (VG 17). The difference is, with Byatt, the change from realism to the artfulness of the parody and pastiche in the later romance is the culmination of her efforts to forge her own female art. My thesis will focus on Byatt’s novels in which she attempts to fashion her writer’s art. While Byatt’s published fiction includes a collection of short stories entitled Sugar and Other Stories, two novellas under the title Angels and Insects, and a very recent collection entitled The Matisse Stories, I have confined my thesis to the treatment of the novels, which effectively demonstrate the development of her view of the female artist. I will analyze the ways in which Byatt uses myth and the literary tradition to highlight and criticize representations of women, particularly as they relate to the female artist. First I will examine Byatt’s preoccupation with the myth of Cassandra and her notion of the female artist as seer in both The Shadow of the Sun and The Game. The following chapter will analyze Byatt’s attempt to construct a 3 female mythology in The Virgin in the Garden and Still Life, and her presentation of the female artist split between a desire for worldly achievement and a desire for the traditional female world of the home. The subsequent chapter will be devoted to Possession, in which a multiplicity of female and male voices from the present and the past replaces the univocal authority of the earlier novels to provide differing perspectives on the female artist. In her novels, Byatt refictionalizes conventional narratives of the female artist involving female power, chastity, desire, and plenitude from classical and Scandinavian mythology, folk and fairy tales, and their repetitions throughout the British literary tradition. The effect of Byatt’s inscription of these narratives in her novels is to "de-doxify" notions of women’s roles in our culture. "De- doxify" is a term used by Linda Hutcheon in The Politics of Postmodernism to refer to the process of subverting or undoing accepted opinion (3). When she coins the term "de-doxify," Hutcheon is extending Roland Barthes’s use of the Greek doxa as "public opinion or the ‘Voice of Nature’ and consensus" (Politics 3). My thesis will focus on Byatt’s consciously ironic use of myth and literary representations of women in her attempts to fashion her art, as weU as on the way in which those traditional narratives have fashioned or textualized her view of the female artist. Byatt’s attitude toward the writer’s use of myth can be traced to the influence of Iris Murdoch’s 1961 essay "Against Dryness." Murdoch uses the term "dryness" to describe the "smallness, clearness, self-containedness" of the 4 symbol and myth used by writers like Paul Valery and T.S. Eliot (19). In Murdoch’s view, when a writer relies on myth and symbol, s/he reverts to the consolation of form and ’’fantasy” as opposed to recognizing and wrestling with a dangerous contingent reality, an act which necessarily requires the "imagination” (19).