REALISM IN THE NOVELS OF WILLIAM DEM HOWELLS A THESIS SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY BEULAH LEE JONES DEPARTMENT OF ENGLISH ATLANTA, GEORGIA AUGUST, 1948 / l/ ii PREFACE William Dean. Howells was one of the pioneers of a literary movement in American literature known as realism. Like all pioneers, he has been highly praised and adversely criticized. It is noteworthy that these ap¬ praisals have often been made without due regard to Howells’ creed, and that many of the studies of his novels have been in the nature of compara¬ tive studies, with varied concepts of realism as criteria, rather than Howells' own doctrine of realism. Such practices in the evaluation of ones works without examining the theory that underlies them often leads to faulty criticism. Realizing this, the writer of this thesis purposes to evaluate Howells’ fictional practices in the light of his literary theory. Of the many studies made of Howells, the writer is aware of only three detailed ones. Delmar Gross Cooke, Oscar W. Firkins, and Alexander Harvey are the scholars who made these. Each of their works is entitled William Dean Howells. In most anthologies and all histories of American literature there is a discussion of Hov/ells' realism. Many contributions of this nature have been made to periodicals. However, with the exception of the study made by Russell Blankenship, ^ they all fall into the category of comparative stud¬ ies. Herein, then, lies the significance of this thesis—it purposes to analyze a cross section of the critical estimates of Howells' realism in or¬ der to point out that Howells' own theory of literature is often neglected in the appraisal of his work; to ascertain, in detail, Howells' literary creed; and finally to illustrate the digressions that he made from his creed ^Russell Blankenshijy in his book, American Literature (New York, 1931), gives a critical estimate of Ilov/ells' fiction with the author's doctrine of realism as a criterion, but he does not adequately describe this doctrine nor include sufficient works to illustrate the application of his theory to his practice. iii in the treatment of the American scene. Inasmuoh as Howells* entire "body of fiction is too voluminous to be included in a study of this kind, representative novels of the various as¬ pects of the American scene have been chosen. In selecting the novels to be studied in the writing of this thesis, the writer was also mind fill of the different periods of the author. Consequently, the following novels were chosen for study* A Chance Acquaintance, Dr. Breen’s Praotioe, A Hazard of Mew Fortunes, An Imperative Duty, Indian Summer, The Kentons, The Lady of the Aroostook, A Modern Instance, The Quality of Mercy, The Rise of Silas Lapham, and A Traveler from Altruria. The writer is indebted to Dr. Thomas D. Jarrett for his competent guidance and invaluable assistance which made this thesis possible. She acknowledges this indebtedness with gratitude. Appreciation is also ex¬ tended to Mrs. G. W. Barksdale, reference librarian of Atlanta University, for her cooperation in securing books that were not available in the Atlanta University library. iv TABLE OF CONTENTS Page PREFACE ii CHAPTER I. CRITICAL ESTIMATES OF HOWELLS' REALISM 1 Nineteenth Century Criticisms Twentieth Century Criticisms Criteria Used in Evaluations II. HOWELLS' LITERARY CREED 2 Function of Literature Principle of Truth Principle of Democracy Principle of Individualism Principle of Decency III. HOWELLS' TREATMENT OF THE AMERICAN SCENE 23 Society and Manners Economic Problems Portrayal of Characters Handling of Plotr IV. CONCLUSION 45 BIBLIOGRAPHY 49 CHAPTER I CRITICAL ESTIMATES OF HOWELLS ' REALISM William Dean Howells contributed his voluminous body of fiction to American literature during the latter part of the nineteenth century, when the American way of life as well as American letters was undergoing a tran¬ sition, No student of American literature can overlook the contribution made by Howells to the new literary movement known as realism, which took shape during the last three decades of the century. Today he occupies a much less prominent position in American letters than he did during his life-time. Nevertheless, present day criticism of him is as copious as that of his own day. Without examining a cross section of the criticisms that have been made of Howells' realism, it is impossible to clearly understand the con¬ troversy which has arisen over his position in American literature. There¬ fore, a preliminary study of these estimates is considered for three rea¬ sons. First, it is imperative for objective reflection. By examining all phases of the appraisals of Howells' realism, the danger of adhering to a particular school or group of critics is eliminated. Second, a study of the numerous appraisals of Howells is necessary in order to determine why the criteria used by critics in arriving at these judgments is not ade¬ quate. Third, an analysis of the criticisms of other novelists and critics throws considerable light on and gives a background for a study of the application of Howells' literary creed to his treatment of the American scene, which the writer considers in a third chapter. If Howells' contribution is so highly significant to scholars, how 1 2 have they evaluated it? Is there a wide margin of difference in their evaluations? What criteria have they used in arriving at their conclus¬ ions? These are some of the questions which this chapter purposes to answer. It should be kept in mind that romanticism was still in vogue at the time Howells was producing his novels. And much of the revolt against him came from the romanticists. James Lane Allen voices the sentiment of many of his fellow romanticists in their opposition to realism as well as to Howells. Allen notes that ...it is not uninstructive for a writer to attempt to de¬ fine the critical function? it is thus at least that we learn what is characteristically and theoretically, if not prac¬ tically, his own. In the effort of Mr. Howells, if we mistook not, is evidence of a desire to apply scientific method to the material and the laws of the imagination.^ In this statement Mr. Allen attempts to reduce this literary movement to absurdity. He contends that realism is nothing more than the misapplica¬ tion of scientific methods. Maurice Thompson, who was regarded as an outstanding critic of Howells’ time, likewise upheld the traditional romantic trend. He exclaimed that "the worshipping of the vulgar, the commonplace and the insignificant is the last stage of vulgarity, hopelessness, and decadence."** Thompson con¬ demns all realists on the basis that they deal too much with the faults of humanity to the exclusion of the imagined noble instances of human self sacrifice. ^Janies Lane Allen, "Caterpillar Critics," The Forum, IV (November, 1887), 341. 2 Herbert Edwards, "The Controversy Over Realism in American Fiction," American Literature, VI (November, 1931), 239. 3Ibid. 3 Although Howells was reckoned as new-fashioned and unworthy to be called a novelist because the reading public and many critics of his day looked upon the novel as being a means of escape from actuality and sor- diness, there were some befrienders of realism. The quotation which fol¬ lows is illustrative: After all what can realism produce but the downfall of con¬ ventionality? Just as the scientific spirit digs the ground from beneath superstition, so does its fellow worker, realism, tend to prick the bubble of abstract types. Realism is the tool of the democratic spirit, the modern spirit by means of which the truth is elicted, and Mr. Howells' realism is untiring. As Howells continued to write, romanticists and moralists persisted in their vicious attacks on him. Meanwhile moderation was exemplified, and in many instances the criticism became increasingly fhvorable. Celia Parker Wooly does not completely defend Howells, but the comment which follows shows that gradually he was being accepted. Mrs. Wooly makes the following observation: This criticism is often honest, and to a degree intelligent, but much of it is undiscerning, flippant, and coarse. Its source lies in the suspicion and dislike of those principles of realism in art, felt by the average critic of the day, and of which Mr. Howells is the leading exponent in this country.2 Prom the criticisms already set forth it can be concluded that there was a controversy over the virtues of realism, particularly Howells' realism. When we turn to twentieth century criticism we find more uniformity of opinion. Most of the critics after the turn of the century found Howells' realism old-fashioned. Ten years after his death the following comment was T. S. Perry, '’William Dean Howells," Century Magazine, I (March, 1882), 683. 2 Quoted by Herbert Edwards in "The Controversy Over Realism in American Fiction." See page 2. 4 made of hims Not only did he /Howells^ avoid sex in his own novels, but he wanted all others to avoid it too. As late as 1916 he proclaimed himself ’’Victorian in irçy preference for deoency.” He had a paralyzing distaste for anything that offended him personally and he denied all such matters a place in his fiction. Thus by temperamental limitations he was debarred from penetrating below the superficial manners of society, and by environmental deflections was carried still farther from reality.^ Continuing in the same vein is a criticism made by Knight: For his /Sowellsj/ realism was by no means the kind we think of as derived even in part from French sources. It was well mannered and invariably under control. A fastidious man, Howells avoided in his fiction as in his life all that smacked of vulgarity, of noise, of violence.