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'Art for the Sake of Life': the Critical ‘ART FOR THE SAKE OF LIFE’: THE CRITICAL AESTHETICS OF VERNON LEE Ana Alicia Garza A thesis submitted for the degree of Doctor of Philosophy School of English and Drama Queen Mary College University of London October 2009 2 ABSTRACT ‘Art for the sake of life’: the Critical Aesthetics of Vernon Lee This thesis explores the critical aesthetics of Vernon Lee (Violet Paget 1856-1935) and the ways in which her theory of aesthetic harmony informed these studies. Arguing for a more inclusive view of her interest in aesthetics, this thesis takes as its focus the ways in which Lee applied her aesthetic methodologies to the questions of aesthetics with which she was concerned – What is the relationship between the artist and his or her art, and between the artist and the aesthetic critic? How do the various art forms differ and how do these differences impact on the aesthetic experience? How does the mind, the body, and the emotions work together in the aesthetic experience? And ultimately, what is the relationship between art and life, and between beauty and the ideal? This study argues that these questions are evident in essays that are not usually associated with aesthetics. Whilst studies on Lee tend to divide her varied interests into phases in her career, such as her fiction, literary criticism, historical writings, travel writings, and psychological aesthetics, the current study argues that an investigation into the ways in which these studies can be seen to interact leads to a more thorough and fulfilling engagement with her impressive body of work. This thesis fills a critical gap in Lee studies by approaching her writings through the lens of her interest in aesthetics and by suggesting a way of reading her work that takes into consideration the ways in which her aesthetic theories influenced the writing style through which she experimented with, expressed, and in some cases, performed her aesthetic theories. 3 TABLE OF CONTENTS Acknowledgments 4 Abbreviations 6 Frontispiece 7 Introduction 7 Methodology 12 Key Terms 16 Critical Influences 19 Thesis Outline 23 Chapter One: Hauntings and the Emergence of Lee’s Critical Aesthetics 29 ‘Aesthetic Factory’ 38 Phantoms and Fancies 46 Hauntings 63 The Responsibility of Aesthetics 89 Chapter Two: Towards Practical Aesthetics 91 ‘Evil Necessities’ 98 Aesthetic Harmony 105 Practical Applications 109 ‘The great science of perception and emotion’ 118 Defining an Audience 128 The Cult of the Amateur 138 Chapter Three: Broadening the Scope of Critical Aesthetics 141 Connected Studies 147 Definitions 152 Literary Art 159 Readers and Writers 175 ‘Modes of Being’ 193 Chapter Four: The Aesthetics of Literary Art 199 The Problem with Critics 206 ‘The literature of the imaginative sense of fact’ 214 ‘Kingdom of Might-have-been’ 222 ‘Out of Venice at Last’ 228 ‘The Italy of the Elizabethan Dramatists’ 241 ‘Our verse-inspired acquiescence’ 250 Conclusion 258 Bibliography 264 4 ACKNOWLEDGMENTS I have been fortunate to have the help of many wonderful people in the preparation of this thesis. My supervisor, Catherine Maxwell, has been a constant source of inspiration, support, and encouragement. I can hardly thank her enough for her kindness, care and patience, as well as for her incisive and challenging engagement with my task. I have learned so much from her, and she has been remarkably generous to me with her time and commitment. I am also grateful to Emma Mason, of the University of Warwick, who supervised my MA thesis and introduced me to Vernon Lee (although I didn’t admit it at the time). Even further back in time, Theresia de Vroom of Loyola Marymount University, Los Angeles (and part-time resident of North Oxford), inspired me to be academic and turned my thoughts towards studying in the UK. Anna Graves, Acting Special Collections Librarian of Colby College, Waterville, Maine was unfailingly helpful during my research visit in May 2008. Diana Avella of the Copper Heron in Unity, Maine, gave us a home during that fortnight. The University of London Central Research Fund provided funding for this trip. Pauline Adams, Librarian of Somerville College, Oxford, helped me with the collection of letters to Vernon Lee held by the College. I would also like to thank the librarians in the Upper Reading Room, Duke Humfrey’s Library and the Lower Camera of the Bodleian Library, Oxford. Among my close friends, my group of doctoral fellow-travellers provided unstinting and apparently unlimited amounts of expert understanding, support, company and encouragement right the way through. Michelle DiMeo, Alice Eardley and Sarah Easterby-Smith were there from the beginning at Warwick; Katie Klein came on board in 2007 and has been a true friend ever since. I would also like to thank Linda Irving- Bell and Anna Pendry for all their wisdom, friendship and support over the years. My family-in-law, Rosie, Paul and Lucas (and Bobby), took my mind off Lee during numerous holidays and weekends (not all in Whitby). Ben Allen and Kevin Maddison are part of our extended family and I am grateful for their friendship and general injections of perfectly-judged ridiculousness over the years. Jeremy Hahn and Taylor Rockwell also provide perfectly-judged ridiculousness, and have done so for many, many years. Being so far from my oldest friends has been one of the hardest sacrifices involved in leaving the US, but they will always be dearly loved and they have continued to give me so much from afar. But the biggest sacrifice of all is living thousands of miles from my parents, Martha and Americo Garza, and my sister Natalia Garza. Their belief in me, and the love, support and encouragement they have always given me, transcends that distance and has made it possible for me to tackle this challenge. Thinking of them always makes me happy. Seeing them and spending time with them makes me happier still. Words barely serve. Oscar Van Nooijen is my husband. Anyone who has completed a doctorate with a partner in tow (and occasionally towing) will know what this has entailed. A 5 consummate coupler of split infinitives, he also reads a mean proof. Conversely, Captain Cat, who also shares my house, was no practical use at all, frequently absent patrolling the garden, and bad-tempered in company. 6 ABBREVIATIONS I have used several abbreviations throughout this thesis. These are: ‘Anthropomorphic’ for ‘Anthropomorphic Aesthetics’; Fancies for Renaissance Fancies and Studies; ‘F&H’ for ‘Faustus and Helena: Notes on the Supernatural in Art’; Gospels for Gospels of Anarchy; ‘Gozzi’ for ‘Carlo Gozzi and the Venetian Fairy Comedy’; Handling for The Handling of Words; Letters for Vernon Lee’s Letters; MB for Miss Brown; Renaissance for The Renaissance: Studies in Art and Poetry; Poet for The Poet’s Eye; Studies for Studies of the Eighteenth Century in Italy; ‘Venice’ for ‘Out of Venice at Last’; and ‘Zola’ for ‘The Moral Teachings of Zola’. 7 Author and date unknown. Special Collections, Miller Library. Colby College, Maine. 8 INTRODUCTION ‘Art for the sake of life’: the Critical Aesthetics of Vernon Lee1 Vernon Lee’s essay, ‘Orpheus and Eurydice: The Lesson of a Bas-Relief’, recounts the story of what Lee refers to as ‘a curious little incident in our aesthetic life which is worth narrating’.2 This essay is interesting partly for what it reveals about the ways in which Lee conceived of and approached the questions of aesthetics with which she would engage throughout her career. This early essay shows her negotiating questions regarding the nature of the aesthetic experience, the differences between the creation and enjoyment of the various art forms, and the relationship between the subject-of-art and the artwork itself – all questions which Lee would devote her life’s work to exploring. In it, she recalls a visit to the Villa Albani in Rome with Mary Robinson (1857-1944), the dedicatee of Belcaro, in which they encounter a bas-relief which they believe depicts the tragic love story of Orpheus and Eurydice. They find the piece evocative of Virgil’s verse and their concentration shifts quickly from the merits of the bas-relief itself to its success as a representation of the myth’s final parting scene. After indulging in ‘the process of association’, they discover that the piece had been catalogued as a depiction of the revenge story of Antiope and her two sons, Amphion and Zethus (Belcaro, 64). The pair consult Winckelmann’s ‘great work’, Geschite der Kunst des Alterthums (1764) and discover that Winckelmann, who had served as librarian and private secretary to 1 Vernon Lee, ‘Valedictory’, in Renaissance Fancies and Studies (London: Smith, Elder, & Co., 1895), pp. 255-60 (p. 259). 2 First published in Cornhill Magazine (August 1878), 207-17. Re-published in Belcaro: Being Essays on Sundry Æsthetical Questions (London: W. Satchell, 1881), pp. 49-69 (p. 52). 9 Cardinal Alessandro Albani from 1758 until his death ten years later, had described the same bas-relief in detail and had decided that it depicted Antiope asking her sons to punish Dirce for her cruelty.3 This discovery was a disconcerting one and it is at this point that Lee began her investigation into the nature of the various art forms and the corresponding ways in which each can be appreciated. The discovery that the artwork’s subject, of which they had been so sure, could be identified by Winckelmann as an entirely different myth led Lee to conclude that in visual art ‘the comprehension of the subject of a work of art would therefore seem to require certain previous information; the work of art would seem unable to tell its story itself, unless we have the key to that story’ (Belcaro, 59).
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