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The Development of Impressionistic Techniques in the Novels of Dickens

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The Development of Impressionistic Techniques in the Novels of Dickens SLATER, Judith Fairbank, 19 38- THE DEVELOPMENT OF IMPRESSIONISTIC TECHNIQUES IN THE NOVELS OF DICKENS. The Ohio State University, Ph.D., 1970 Language and Literature, general University Microfilms, A XEROX Company , Ann Arbor, Michigan © 1971 Judith Fairbank Slater ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE DEVELOPMENT OF IMEHESSIONISTIC TECHNIQUES IN THE NOVELS OF DICKENS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohie State University By Judith Fairbank Slater, B.A.,M.A. ###*#*-*#* The Ohio State University 1970 Approved by C W m * )f, "frr*u»A* Adviser Department of English VITA April 15, 1938 B o m — Dunkirk, New York 1960 B.A., Alfred University, Alfred, New York 1961 M.A., University of North Carolina, Chapel Hill, North Carolina 1961-1962 Instructor In English, Rider College, Lawrenceville, New Jersey 1962-1963 TeacHig Associate. Department of English, The Oeorge Washington University, Washington, D.C. 1963-1965 Teaching Associate, Department of English, The Ohio State University, Columbus, Ohio PUBLICATIONS "The Domestlo Adventurer in Melville's Tales," American Literature XXXVIII, No. 3 (November 1965), 267-279. "The Early career of Captain Robert Julian, Secretary to the Muses," Notes and Queries (July 1966), pp. 260-262. FIELDS OF STUDY Major Fleldt Victorian Literature Minor Fieldt Seventeenth-oentury Preee and Poetry Novel 1 1 TAHLB OF CONTENTS Ptgi VITA ......................................... 11 LIST OF DICKENS EDITIONS...................... iv INTRODUCTION................................. I Chapter X« IMPRESSIONISTIC TECHNIQUES IN DESCRIPTIVE PROSE t COLOR AND VERISIMILITUDE .... 21 Nature Description Man-made Landscape Perception and Consciousness Action Scene II. THE DEVELOPMENT OF IMPRESSIONISTIC TECHNIQUE IN THE PROSE OF SOCIAL PROTEST* PERSUASION 58 Mock Epic Devices Imitation of Voices Symbolism, Imagery, and Diction in. IMPRESSIONISTIC TECHNIQUES AS DRAMATIC ORGANIZATION I USES OF REPETITION........ 77 Essays and Stories Scene Narrative Epidode IV. IMPRESSIONISTIC TECHNIQUES AS STRUCTURE AND THEME IN SIX NOVELS................. 121 David Copperfleld Great Expectations A Tale of Two Cities Hard Times Bur Mutual Friend Bleak House APPENDIX......................................... 257 BIBLIOGRAPHY..................................... 261 ill A CHRONOLOGICAL LIST OF DICKENS' TEETS r e f e r r e d to w i t h t h e i r ABBREVIATIONS The Pickwick Pap era. New Xorkt The New American Library of World Literature, Inc., 1961*. /"PP_7 The Adventures of Oliver Twist. New Yorki Holt, Rinehart and Winston, 1S&5. / 0T~7 Nicholas Nickleby. London* J. H. Dent, 19?7. (Everyman's Library 2 3 H 7 ~n H j The Old Curiosity Shop. New Tork* Doubleday 4 Company, Inc., 1961, Barnaby Rudge. London* J.M. Dent, 1966* (Everyman’s Library 76) ^~BR 7 Martin Chuzzlewit. London* J.M.Dent, 1963, (Everyman's Library 2hl) Z^IT Christmas Books. London* J.M. Dent, 19?0. (Everyman's Library 239) T ^ J Dombey and Son. Londons J.M. Dent, I960. (Everyman's Library 2h0) — y ' l David Copperfield. ed. George H. Ford. Boston* Houghton Mifflin ' Company, 195B. (Riverside Editions) /~DC 7 Christmas Stories. London* Oxford University Press, 196U. (The New Oxford Illustrated Dickens) /~CS / Bleak House. Boston* Houghton Mifflin Company, 19?6. (Riverside Editions) £ BH_7 Hard Times For These Times. New Torkt Holt, Rinehart and Winston, I960. / h t 7 ~ ------------ Little Dorrlt. London. J.M. Dent, 1963. (Everyman's Library 293) J A Tale of Two Cities. London* J.M. Dent, 1962 (Everyman's Library 102) 2"TTC7 Great Expectations. New Torkt Rinehart & Co., Ins., 1957. £ 0E_7 It Our Mutual Friend. Londoni J.M. Dent, 1963* (Everyman's library 29U) I OMF_/ The TTncownerclal Traveller and Reprinted Pieces. Londoni Oxford University Press, 196U. (the New~3*?ord Illustrated Dlokens) rmj The Mystery of Edwin Drood. Now Toxic t The New American Library or WorldHCiterature, 1961. ED_7 T INTRODUCTION /"Dickens 7 has given us specimens of his skill in a kind of prose phantasy which Thackeray has not attempted .., Dickens ... for all his keeness of observation is more light in his method f~ than Thackeray 7 ... (1859) ~ Of Dickens’ style it is impossible to speak in praise. It is jerky ungrammatical, and created by himself in defiance of rules. (1882) The final stress may fall on Dickens' command of word, phrase, rhythm and image: in ease and range there is surely no greater master of English except Shakespeare, This cones back to saying that Dickens is a great poet: his endless resource in felicitously varied expression is an extraordinary responsiveness to life, (I9h8) David Masson, British Novelists and Their Styles (Boston, 1859), pp. 2h6; Anthony Trollcpe, AutoEiography (London, 1882); and F.R. Leavis, "'Hard Times'", in The Great Tradition (New York, 19U8), p. 297 Now when the universe of Dickensian scholarship seems to revolve harmoniously around the acknowledgement of Dickens as a major "poetic dramatist" or "prose poet", it is well to be reminded that some of his contemporaries were less charmed by the unorthodoxies of his style. As George Ford remarks, we have lost a sense of how "shockingly revolution o ary" Dickens' prose seemed in his own time. ^Dickens and His Readers (Princeton, 1955), p. 113* But while many Victorians found the style "mannered" and wild, especially when compared to the elegance and propriety of Thackeray's, 2. there were those, Masson foremost among them, who defended its originality as "imaginative" and "poetic". The Masson view, however, does not begin to predominate until the fairly recent upsurge of critical interest in Dickens. ^ ^Masson's perspective was later bolstered by the commentary of Taine who stressed Dickens' imaginative qualities and referred to him as a poet, f Fippolyte Taine, Histoire de la Litte'tature anglaise I863-6U (trans. 1871-18714), III, 192-193._/ In 1920 Oliver Elton in Survey of English Literature re-enforced the view of Dickens as a "poet in essence" (216). But these views were maintained against the tide of a neo-classical revival in literary criticism, and the full appreciation of Dickens' artistic abilities awaited the recognition of his novels' symbolic and psychological complexity stimulated by Edmund Wilson’s essay in lyljO. While most modem scholars might hesitate to compare Dickens' style with Shakespear^s, they are in substantial, agreement with Leavis in his emphasis on Dickens' mastery of the poetic resources of language. As Ada Nisbet in her comprehensive research survey pointed out, Dickens' present stature depends upon his qualities as a poet and artist, but, she maintains, "Although every critic of Dickens has had something to say about 'Dickensian style' and a few ... have given it rewarding attention, no completely satisfactory or comprehensive study of Dickens' use of language has yet appeared." ^ Since her review ^Victorian fiction. A Guide to Research (Cambridge*Mass,»196U») pp. 88; 98. article, there ha'e appeared several full-length studies which deal centrally with aspects of Dickens' prose style, but much remains to be done. 5 Not enough specific attention has yet been given to the 5 The most important studies are those of Axton, Marcus, Stoehr, 3. Monod, and Honan. Among these, that of William Axton must be singled out for its detailed and suggestive discussion of types of Dickensian prose and possible analogues in the Victorian theatre. Axton contends that Dickens' writings represent an adaption of the "poetic" resources of the nineteenth-century theatre, particularly melodrama, to the novel. T will have further references to Axton in my study. Circle of Fire. Dickens' Vision and Style and The Popular Victorian Theatre. Tlexington, Kentucky, 1966.)/ Steven Marcus / Dickens: frcm Pickwick to Dombey. (New York, 1965.77 has some excellent scattered commentary on prose techniques, especially on the use of set pieces which "are organized in a style which one can call noetic and /""which 7 achieve their effects by a certain kind of repetition, subtle adjustments in rhythm and stressing certain objects or images with an intensity that we ordinarily associate with poetry." /~p. 2967 Taylor 5toehr/~Dickens; The Dreamer1 s Stance (Ithaca. 1965.)7discusses the spatial quality of the novels, drawing on Joseph FrankTs application of the poetic concept of "reflexive relation" to the form of the modern novel. /"~p. 25.7 Sylvere Monod, whose study of Dickens was revised and translated in 1968 f~Dickens the Novelist (Norman, Oklahoma, 1968)7 discusses many of the techniques, such as repetition, contrast, and musical effects, which figure prominently in Dickens’ langauge after Dombey; and Park Honan has a brief highly perceptive discussion of the development of metrical prose in Dickens. f~Victorian Newsletter, No. 28. (Fall, 1965), 1-3.7 All of these will be referred to again in more detail. nature of his "poetic" effects: how precisely does Dickens manipulate the rhythmic resources of language and for what ends? This study will attempt a partial answer to those questions. Focussing on descriptive prose in the novels, I hope to trace an evolution in Dickens1 language - the development of an impressionistic prose of considerable creative distinction.^ In the context of this study, "descriptive prose" is defined broadly to include certain types of authorial commentary as well as scene and narrative with a high proportion of descriptive effects. Description has been
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