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The Critical Reputation of Kate Chopin

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The Critical Reputation of Kate Chopin INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. 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University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St. John's Road, Tyler's Green High Wycombe, Bucks, England HP10 8HR 7624300 | GARITTA, ANTHONY PAUL THE CRITICAL REPUTATION OF KATE CHOPIN, THE UNIVERSITY OF NORTH CAROLINA AT GREENSBORO, PH.D., 1978 University Microfilms International 300 n. zeeb road, ann arbor, mi 48106 THE CRITICAL REPUTATION OF KATE CHOPIN by Anthony Paul Garitta A Dissertation Submitted to the Faculty of the Graduate School of The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 19? 8 Approved by ifeeertation Adviser APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of the Graduate School at the University of North Carolina ?.t Greensboro. Dissertation Advise Committee Members _ /j7 7 Date of Acceptance by Committee GARITTA, ANTHONY PAUL. The Critical Reputation of Kate Chopin. (1978) Directed byi Dr. Robert 0. Stephens. Pp. 228. In the course of literary history, reviewers and critics alike have had through their by-products--the book review and the critical essay--a powerful impact upon the prosperi­ ties of many a literary career. One case in point was the aborted writing career of Kate O'Flaherty Chopin. Beginning with the mild recognition of her first literary effort At Fault in 1890 to the final critical post-mortems follow­ ing her death in 190^, the reviewers and critics of her period not only gave impetus to her career, but were also largely responsible for terminating it. Nor has their in­ fluence subsided. At the moment, the impact of modern-day reviewers and critics is still very much in evidence as a significant Chopin revival is upon us. The highly responsible role played by both reviewers and critics in establishing the critical reputation of Kate Chopin is the focus of this study, along with a reassessment of the author's merit in light of modern scholarship. The first four chapters of the study examine the response of reviewers and critics during the writer's own lifetime. Since the bulk of Chopin criticism came at this time in the form of the book review, special emphasis is placed upon the early reviews of her four major works and their influence upon her literary fortunes with considerable attention being given to the very nature of the book review itself in the 3.890's, the personal attitude of Kate Chopin toward reviews and reviewers, and the principles she herself incorporated into her own reviews. Inherent to this section will be a discussion of reviews either previously neglected or only slightly touched upon. The final chapter concentrates on the Chopin revival and the concurrent reassessment of her critical reputation by offering an historical sketch of criticism from the time of her death up to the present. Once again, the influential role of reviewers and critics is stressed, noting particularly the dramatic response that followed the 1969 publication of Per Seyersted's two important contributions: Kate i)hopin: Ok C ritical Diograph.v and The C omplete Works of Kate C hopin. The study concludes with an overview of the author's critical reputation both past and present. ACKNOWLEDGMENTS I would like to express my gratitude to Dr. Robert 0. Stephens, who directed by study and offered invaluable comments and suggestions. I also wish to thank the members of my advisory committee for their helpful remarks on stylis­ tic improvements for the paper. I am indebted to Curs. Elizabeth Jerome Holder, Mrs. Nancy C . 1'ogarty, and other staff members of the Walter Clinton Jackson Library, all of whom put me in contact with important material. A special thanks to Mrs. Marie Bullard of the Interlibrary Loan Service, whose assistance enabled me to obtain many of the obscure reviews on Kate Chopin. I wish to thank my colleagues at Davidson County Com­ munity College, Mrs. Mary A. Hamil, reference librarian, and Mrs. Antoinette G. n/ike, chairman of the Language and Fine Arts Department, for graciously answering my inquiries about matters related to my study. I record my gratitude to Ms. Emily Toth, editor of Regionalism and the Female Imagination (formerly The Kate Chopjn Newsletter). and Mrs. Prances H. Stadler, archivist of the Missouri Historical Society, both of whom led me to resources I might have otherwise overlooked. Finally, I am indebted to Mr. Richard H. Potter of Roger Williams College, whose early checklist on Kate Chopin aided my study. i i i TA-JLE OF CONTENTS Page APPROVAL PAGE ii AC KM U jJLiCUCJI'.liiN TS iii CHAPTER I. THE KATE CHOPIN REVIVAL 1 II. TKE SOCIAL AND LITERARY MILIEU OF KATE CHOPIN 15 III. REVIEWS AND REVIEWERS M IV. THE REVIEWERS AND KATE CHOPIN 70 Fault 72 Ba.you Folk 82 A N if^ht in Acadie 10^ The Awaken in,: 113 Critical Post-Kortems 152 V. THE REVIEWERS ' LEGACY AND THE CRITICAL AWAKENING 158 •BIBLIOGRAPHY 20^- iv 1 CHAPTER I THE KATE CHOPIN REVIVAL The charge that American critics are more a hindrance than a help to American writers because of their inability to recognise the genius of their contemporaries often seems to gain credence in light of literary history. Too often Ameri­ can reviewers have allowed talented writers whose primary shortcoming was being out of tune with their times to fall into neglect and obscurity, only to have their critical suc­ cessors "rediscover" and give them the belated recognition that should have been theirs in their own lifetimes. Herman Melville, Stephen Crane, Emily Dickinson, Walt Whitman, and Nathaniel West ar© notable writers sharing such a fate. Critical reassessment had to occur before each received his rightful place in our literary heritage. Yet the optimist argues that in the long run justice is done, the unworthy dislodged, and literary order restored. Such an argument, however, places a heavy responsibility upon inheritors of the literary tradition, who must constantly review the literary scene to determine if there are still figures worthy of re­ viving. Yet should one of note be discovered, the phenomenon known as a "literary revival" takes place with all the passion and fervor of its religious counterpart. Such is the case of Kate 0'Flaherty Chopin. o Katherine O'Flaherty was born in St. Louis in 1851- Her Irish father, Thomas O'Flaherty, became a prosperous St. Louis businessman after emigrating to America, first to New York arid then to St. Louis in 18?5- Of good breeding ^nd intelligence, he married into an aristocratic family of French origin in 1839» but his wife died the following year in giving birth to a son, George. In 184'j-, Thomas O'Flaherty married Eliza Faris, who had roots in the French and Creole elite of St. Louis as she grand-daughter of Victoria Verdon Charleville, who probably descended from French families that had settled in America around 1700. The O'Flahertys had three children. Thomas, Jr., born in 18'4-8, was a drowning victim at twenty-five. Kate was the second child. Another daughter, born shortly after Kate, lived only a few years- Kate's half-brother George, whom she always spoke of with affection, died in 1862. In 1855, Thomas O'Flaherty was killed in a train acci­ dent. After' nis death, Kate's great-grandmother. IVlme. Vic­ toria Charleville, became the dominating force in the young girl's life, engaging her with stories of the men and women who had pioneered the Louisiana territory. IVlme. Charleville died in 1.86?.. As the daughter of socially prominent parents, Kate nttended the S1. Louis Academy of the Sacred Heart, the finest sehuol lor young women In the city. There she was exposed to 3 Catholic teachings, domestic skills, and intellectual rigors.
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