Ethical Education for Characters and Readers in Jane Austen's Novels
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University of Wollongong Theses Collection University of Wollongong Theses Collection University of Wollongong Year Textual intimacy: ethical education for characters and readers in Jane Austen’s novels Lori Karen Lebow University of Wollongong Lebow, Lori K, Textual intimacy: ethical education for characters and readers in Jane Austen’s novels, Honours MA thesis, Department of English, University of Wollongong, 1995. http://ro.uow.edu.au/theses/3 This paper is posted at Research Online. http://ro.uow.edu.au/theses/3 NOTE This online version of the thesis may have different page formatting and pagination from the paper copy held in the University of Wollongong Library. UNIVERSITY OF WOLLONGONG COPYRIGHT WARNING You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. 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Textual Intimacy: Ethical Education for Characters and Readers in Jane Austen's Novels A thesis submitted in fulfillment of the requirements for the award of the degree Honours Master of Arts By Research from UNIVERSITY OF WOLLONGONG by Lori Lebow, B.A. Department of English 1995 English Department University of Wollongong Descriptive Abstract of Research Project for MA in English Literature by Lori Lebow Supervisor: Dr Kate Newey Thesis Topic: This project examines four of Jane Austen's novels, focusing on narrative technique that positions readers to experience ethical dilemmas similar to those which serve to educate the heroines. Jane Austen's texts explore the epistemological issues of how subjectivity and imagination distort perception. Of particular importance is the communication process. Attention to language in all of its forms suggests Austen's acute awareness of the linguistic nature of human experience. Because Austen valued honesty and integrity, her texts demonstrate the necessity of cultivating these qualities to achieve enriching, intimate relationships. Language becomes the means through which characters are able to evaluate each other and to discover ‘truth’. While the characters in the novels gain understanding, readers are similarly instructed because the narrative positions readers to become intimates of the characters. Since novels selectively create a textual reality, they become examples of the problems they raise. Characters and readers are taught to value compassion, and to maintain a generous, open-minded attitude in relating to each other. Narrative technique and reader response in Northanger Abbey, Pride and Prejudice, Emma and Persuasion, indicate that as Austen's skill developed, her narrative manipulations of reader response gained subtlety. While readers may be aware of the education process occurring within the text, Austen's creation of a mirroring experience for readers may be overlooked. §§§§§§ 17/4/94 Dreamed: Fact and Fiction Ideas and words chase each other And sometimes catch. But never can they join to form A perfect match. To hope absolute meaning Defines a word Is quite absurd. And one suspects That once in text Fact and fiction merge. Story and history Share one diction. And converge. ACKNOWLEDGMENTS The assistance I have received in all areas of this project defies adequate recognition. I would especially like to thank Dr Katherine Newey for her sensitive and efficient supervision through the research, writing and preparation of this thesis. Dr Anne Lear also provided invaluable guidance. Dr Joseph Pugliese, Dr Dorothy Jones and other members of the English Department gave freely of their time and expertise. Lynne Wright (Co-ordinator of the Faculty Librarians), Catriona McGurk and Susan Jones as well as many members of the Library staff shared their professional knowledge, tireless energy and enthusiasm whenever called upon. No task was too trivial; no question too trifling. I would also like to thank Nora Walker and members of the Jane Austen Society of Australia for their support and access to their resource library. Bob Corderoy, John Gray and Gary Stewart helped to de-mystify computers and facilitate my entry into cyberspace, allowing me to contact a world-wide-web of Austen scholars. The Yarrows and Parros contributed their literary criticism, hospitality and continuing friendship. I would also like to express my gratitude to my family for their practical help and encouragement, and especially to my mother and father, to whom this thesis is affectionately dedicated. §§§§§§ ABBREVIATIONS AND NOTES USED IN THIS DOCUMENT The following abbreviations will be used in the footnotes and throughout this document: Letters refers to Jane Austen's Letters to her sister Cassandra and others. Ed. R. W. Chapman. London: Oxford UP, 1st edn., 1932, 2nd. edn., 1952, reprinted 1959 and 1964. NA refers to Northanger Abbey P&P refers to Pride and Prejudice E refers to Emma P refers to Persuasion Numbers appearing in parenthesis following quotations or textual references indicate pages in the R. W. Chapman, Oxford UP editions of The Novels of Jane Austen in 6 volumes. Unless otherwise indicated, pages refer to the novel under discussion in that chapter. §§§§§§ TABLE OF CONTENTS ACKNOWLEDGMENTS i. NOTES AND ABBREVIATIONS ii. CHAPTER ONE Narrative Intimacy 1 i. Jane Austen: language ethics and uncertainty 1 ii. Making belief 4 iii. Austen’s didactic purpose 6 iv. Narrative voice 7 v. A brief view of four novels 10 vi. Conclusions 14 CHAPTER TWO Northanger Abbey: Narrator and Reader Share a Gothic Adventure 16 i. Pinning the tale on the teller 16 ii. Heroines are made, not born 17 iii. ‘…the best chosen language…’ 26 iv. Removing the black veil 28 v. ‘…I leave it to be settled by whomsoever it may concern…’ 31 CHAPTER THREE Pride and Prejudice: Sense and Nonsense 38 i. First impressions: informal introductions 39 ii. Building relationships 50 iii. Breaking relationships 54 iv. Re-building relationships 60 CHAPTER FOUR Emma: Believing is Seeing 64 i. Fanciful and troublesome 65 ii. Telling stories and gaining authority 69 iii. Emma’s plotting authority 74 iv. The ‘Parthenon of fiction’ 79 v. Riddles, charades, games 81 vi. Deliberation, analysis, interpretation 88 vii. Verdicts 94 CHAPTER FIVE Persuasion: Romantic Uncertainty 97 i. The tide is out 98 ii. The turning of the tide 106 iii. The tide comes in 113 BIBLIOGRAPHY General References 120 i. Primary sources 120 ii. Sources consulted on narrative technique 120 iii. General references consulted 121 Sources cited 127 §§§§§§ 1 CHAPTER ONE Narrative Intimacy i. Jane Austen: language, ethics and uncertainty When Jane Austen entered the ethical debates of her period concerning the moral stature of women, the nature of knowledge, and the principles of conduct that promote dignity in the pursuit of happiness, she placed her case within the constructs of novel fiction. This served to locate her arguments squarely within the domain of language and its part in defining both real and imaginary experience. The emergence of the novel as a legitimate literary genre coincided with recognition that reading fiction influenced values by producing individuals who could be contained and controlled. Moreover, people pursuing intimate relationships were felt to pose little threat to the political power structures of the State.1 Austen's subject matter focuses precisely on the formation of intimate relationships between characters who must learn to understand themselves and others. Not only has this task challenged human beings since writers like Austen defined relationships based on compatible ethical standards and personalities, it lays a foundation for achieving self-realisation. Through a mirroring response to ethical issues raised in the text, the novels serve to instruct readers, for Austen was well aware of the powerful influence that literature could exercise in shaping characters not only within the pages, but of readers themselves. Her texts emphasise that individuals are responsible for much of their behaviour, and the values governing their interactions. The best characters learn through experience, and the most important lessons reveal how knowledge can be gained. 1 Nancy Armstrong, Desire and Domestic Fiction, A Political History of the Novel (New York and Oxford: Oxford UP, 1987), pp. 34-36. Fiction as a political tool is discussed convincingly throughout this book, particularly in the introduction and first chapter. See also Mary Poovey, The Proper Lady and the Woman Writer, (University of Chicago Press, 1984) p. 236: ‘…the fundamental assumption of romantic love…is that the personal can be kept separate from the social, that one's “self” can be fulfilled in spite of—and in isolation from—the demands of the marketplace.’ 2 By recording her observations in the novel genre, Austen confirmed her belief that the written word could be invested with power; fiction itself providing a political force. While she was influenced by Enlightenment ideologies, emphasising order in society,