https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Intertextuality and Mimesis in Jude the Obscure b y Thomas Hardy Marta Rabikowska MVLitt. The Uni versity of Glasgow Department of English Literature July 2004 © Marta Rabikowska, 2004 ProQuest Number: 10390545 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 com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10390545 Published by ProQuest LLO (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 rëLASGÔlV UNIVERSiTY LffiRARY: Abstract The aim of this thesis is to explore the rôle of quotation in Jude the Obscure. Quotation will be defined not only as literary quotation, allusion, or motto, but also as any structural citation (such as literary conventions or narrative paradigms) that represents both material and non-material references. I will analyse the poetical rôle of quotation in the novefs representation, observed as the work of intertextual relationships producing mimetic elfects. This heterogeneous approach requires an investigation of the text’s poetics through its external referents co-ordinated by the dominant discourses. Thus quotation will be investigated in two ways: stylistic, directed at the dialogue between the semantic fields in the text (Kristeva’s vertical intertextuality), and textual, focused on the figurative meaning of the relationship of the text with other texts (Kristeva’s horizontal intertextuality). The main objective is to understand the allegorical sense of references as they represent the world in Jude the Obscure, and to deduce Hardy’s attitude towards the mimesis underpinning the Realistic convention. This thesis argues that quotation is not only evidence of the intertextual affiliations of the novel, but also an engine of Hardy’s self-referential poetics. This will be concluded from the interplay between the signs in the text which, on the one hand, form material and non-material quotations and, on the other, elicit a metatextual discourse of symbolic figures that trigger their mutual contextual references. From this interplay emerges the anti-mimetic and self-consciously critical attitude Hardy manifests towards the realistic representation that, ironically, encompasses his own novel. Contents List o f Figures 3 A ckuowledgem enls 5 Author’s Declaration 6 Abbreviations 7 Introduction 8 ONE Metonymy - Quoting Authority 56 TWO Metaphor - Quoting Feelings 109 THREE Symbol - Quoting Reality 155 Conclusion 224 Appendices 231 Bibliography 240 Figures Fig. 1 The Carved Inseription 171 Reproduced in JO, I, 11: 73 Fig. 2 1895 Manuscript of .A/r/cO/wcw/'c: 75 232 AFP. Photocopy of Manuscript, ref. no.: 761/02/03 (Fitzwilliam Museum, Cambridge) Fig. 3 Alleluia 172 Reproduced in JO, II, 2: 88 Fig. 4 1895 Manuscript QÏJiide the Obscure-, back of 87 233 APP. Photocopy of Manuscript, ref. no.: 761/02/03 (Fitzwilliam Museum, Cambridge) Fig. 5 1895 Manuscript oïJude the Obscure'. 46 234 APP. Photocopy of Manuscript, ref. no.: 761/02/03 (Fitzwilliam Museum, Cambridge) Fig. 6 1895 Manuscript ofTW c the Obscure: 41 235 APP. Photocopy of Manuscript, ref. no.: 761/02/03 (Fitzwilliam Museum, Cambridge) Fig. 7 “In a Eweleaze near Weatherbury” 185 Illustration by Thomas Hardy for the Prefaee of his Wessex Edition of poems. Reproduced in T. Paulin 1975 (1973): 24 Fig. 8 Venus de Milo, 130 -120 BC. 236 APP. Excavated in 1820. The Louvre, Paris. Fig. 9 Capitoline Venus (Rome), c.lor 2 AD. 236 APP. “Venus Pudica” Palazzo Nuovo, Rome. Fig. 10 Venus de Medici (Florence), c.1-2 AD 236 APP. “Venus Piidica” Acquired by the Medici Family in the late 16^*^ or early 17^’^ eentury. The Museum of the Uffizi Gallery, Florence. Fig. 11 Aphrodite of Cnidus, c. 350 BC. 237 APP. Vatican Museum, Rome. Fig. 12 Aphrodite of Capua, Naples. National Museum. 237 APP. Reproduced as figure 34 in C.M. Havelock 1995. 4 Fig. 13 Aphrodite Kalipygos, Naples. National Museum 237 APP. Reproduced as figure 35 in C.M. Havelock 1995. Fig. 14 Punch (210), 10 May 1879. 238 APP. Fig. 15 H Albert Moore, c.1869. 238 APP. York City Art Gallery, York. Reproduced in A. Smith 1996. Fig. 16 The Wife oj Pygmalion, George Frederick Watts, c. 1868. 238 APP. Buscot Park, Oxfordshire. Reproduced in A. Smith 1996. Fig. 17 Ke/?î/5, James McNeill Whistler, 1869. 239 APP. Freer Gallery of Art, Washington DC. Reproduced in A. Smith 1996. Fig. 18 F/7C Cwp/r/S'e//er, Joseph-Marie Vien, 1763. 239 APP. Musée national château, Fontainebleau. Ackiio wled gements 1 must thank the Department of English Literature at the University of Glasgow for continued support, including the sponsorship of the Thomas Hardy Association Conference in Dorset in August 2002.1 am also grateful for the financial assistance which enabled me to accomplish my research at The County Museum of Dorset I am grateiiil to all members of The Thomas Hardy Association (UK) and The Thomas Hardy Society (UK), who have offered on-line advice, support and contributions, especially Chuck Anesi and Michael Stoddard. There is a conducive and encouraging atmosphere in this on-line discussion group which must be held partially responsible for my contribution to the current blossoming of Hardy's research. Above all 1 must thank my supervisor, Dr Alison Chapman, whose generous advice and overall insight into the subject were invaluable in enabling my argument to take its present form. Paul Barlow and Thorsten Opper at the Department of Greek and Roman Antiquities at the British Museum were also extremely generous with both their time and their ideas. It is to their help that 1 owe many of the images consulted for this thesis. 1 must also express my gratitude to the Department of Photocopying at the Fitzwilliam Museum in Cambridge for enabling me to reproduce the pages of the Manuscript o f Jude the Obscure. I should also express my gratitude to all my colleagues at the University of Glasgow who have offered all manner of sustenance tlnoughout this degree. Finally, but by no means least, 1 would like to thank my family, especially Zuzanna and Alicja, for their patience and continuous support. Author’s Declaration I hereby declare that all material presented in this thesis is my own unless otherwise stated. This thesis does not contain any material that has been accepted for any other degree or diploma etc. in any university or institution. Abbreviations APP: Appendices CL: The Collected Letters o f Thomas Hardy, ed. by R.L. Purdy & M. Millgate JO: Jude the Obscure, T. Hardy L: The Life o f Thomas Hardy 1840-1928, F. E. Hardy M: Manuscript of Jude the Obscure (1895). T. Hardy PW : Thomas Hardy. Personal Writings, T. Hardy TH&HR: Thomas Hardy and His Readers. A Selection of Contemporary RevieM’s, ed. by L. Lerner & J. Hohnstrom TEN: The Literary Notebooks o f Thomas Hardy, T. Flardy TMCB: The Mayor o f Caster bridge, T. Hardy TRTN : The Return o f the Native, T. Hardy TU: Tess o f the d ’Urbervilles, T. Hardy TW : The Woodlanders, T. Flardy UTGT: Under the Greenwood Tree, T. Hardy W: The Works o f Thomas Hardy, T. Hardy Introduction All was over; Dick surveyed the chair she has last occupied, looking now like a setting from which the gem has been torn. There stood the glass, and the romantic teaspoonful of elder wine at the bottom that she couldn’t drink by trying ever so hard, in obedience to the mighty arguments of the tranter (his hand coming down upon her shoulder the while like a Nasmyth hammer); but the drinker was there was no longer. There were nine or ten pretty little crumbs she had left on her plate; but the eater was no more seen. (UTGT: 28) Realism in Question Of Hardy and other novelists of his type, an anonymous reviewer ofl'ers the tbl lowing observation: In one respect they resemble those fashionable and self-opinionated artists who embody their personal conceptions of art in forms that scandalize traditional opinions. In another respect, as we are glad to think, they differ from them very widely, (TH&HR: 152)' The same reviewer also complains that Hardy failed in his attempts to amuse readers, a trait which many readers and critics of the time considered to be the aim of prose: "He would seem to be steadily subordinating interest to the rules by which he regulates his art" (TH&HR: 153). Again, it is Hardy's predilection for poetical and oblique language that is attacked. Certainly, Hardy's sophisticated language undermined the clarity of the Anonymous reviewer for The Saturday Re\ne^^\ 4 January 1879.