Realistic and Naturalistic Elements in George Moore’s Novels : A Critical Study
AlRaee, Aziza;
Abstract
Being concerned with realistic and naturalistic trends in George Moore’s novels, this thesis is divided into two main parts, the first establishes the criteria used as means of analysis and distinction, and the second applies this criteria to George Moore’s novels.
Part One provides the critical frame of reference essential for analysis and discrimination given in Part Two of the thesis. It deals with traits of both the realistic and naturalistic novel, specifies the criteria of distinction between both as well as between Eighteenth and Nineteenth century novel. Part One presents as well Moore’s critical views on novel writing, what he regards as innovation at the time, his ideals and French sources and what he sets to achieve in the field of the English novel. To achieve this end, Part One of this thesis is divided into the following subdivisions: Realism Defined, Naturalism Defined, Criteria of distinction between Realism and Naturalism, and George Moore’s Critical views.
The process of analysis and discrimination in Part Two of the thesis falls on Moore’s novels which can be enlisted either as realistic or naturalistic as well as on his novels combining both elements. It excludes, therefore, Moore’s late historical romances which cannot possibly be subjected to any realistic or naturalistic criteria. Being immersed in aestheticism, medievalism and romantic mysticism, Moore’s historical romances are the product of a final stage in a long novelistic career. Moore’s historical romances are The Brook Kerith (1916), Heloise and Abelard (1921), Ulick and Soracha (1926), and his last romance Aphrodite in Aulis (1930).
Part Two of the thesis attempts a classification of Moore’s novels written in the period between 1883 – 1905. The classification attempted is established on the results of the process of analysis and discrimination. This classification acknowledges differences as well as similarities and admits at the same time the presence of a basic unity in the totality of the novels dealt with.
Part Two deals with Moore’s novels from 1883 – 1905 in three main subdivisions, namely Naturalism, Eighteenth Century Realism, and Nineteenth Century Realism and Reversal. George Moore who is listed by almost all his critics as a naturalistic writer, produced only two properly naturalistic novels, A Mummer’s Wife (1885) a major achievement in naturalism, and Vain Fortune (1891 ), a bad novel. Under the title of Naturalism, the first division of Part Two deals with the first novel widely and with the second shortly.
Under the title of Eighteenth Century Realism, subdivision two deals with other novels written between the years 1883-1889 .These novels represent an intermediate style between Moore’s naturalism and nineteenth century realism, and contain as well element overshadowing his late development into mysticism and aestheticism. A Drama in Muslin (1886) which represents Moore’s partial success in his attempts to represent typical characters in typical situations, is treated in context as a prelude to the third subdivision, Nineteenth Century Realism and Reversal.
(2)
A Mere Accident (1887) is also treated within context as a novel paving the way to and overshadowing Moore’s final stage 0f aestheticism, though composing with the three other novels a sequel short of quartet, for each of the four novels retains its independence. Being minor novels, Spring Days (1888) and Mike Fletcher (1889) are grouped together with A Modern Lover (1883), Moore’s first novel. The sequel of the four novels attempts, in its turn, to produce typical characters in typical situations in the fashion of Balzac’s realism and remains bound to the style of Eighteenth century realism, and hence the title of the second subdivision of Part Two of the thesis.
Under the title of Nineteenth Century Realism and Reversal, subdivision three depicts Moore’s most successful attempt to attain a realistic style and the beginnings of the reversal of this attempt. It deals widely with Esther Waters (1894), as Moore’s most realistic novel, with Evelyn Innes (1898) and its sequel, Sister Teresa (1901) as bound in the frame of realism though overshadowing future aesthetic and mystic trends. It provides as well a short note on The Lake (1905) as an intermediate style denoting the end of the stage of realism and the beginning of that of aestheticism.
Part One provides the critical frame of reference essential for analysis and discrimination given in Part Two of the thesis. It deals with traits of both the realistic and naturalistic novel, specifies the criteria of distinction between both as well as between Eighteenth and Nineteenth century novel. Part One presents as well Moore’s critical views on novel writing, what he regards as innovation at the time, his ideals and French sources and what he sets to achieve in the field of the English novel. To achieve this end, Part One of this thesis is divided into the following subdivisions: Realism Defined, Naturalism Defined, Criteria of distinction between Realism and Naturalism, and George Moore’s Critical views.
The process of analysis and discrimination in Part Two of the thesis falls on Moore’s novels which can be enlisted either as realistic or naturalistic as well as on his novels combining both elements. It excludes, therefore, Moore’s late historical romances which cannot possibly be subjected to any realistic or naturalistic criteria. Being immersed in aestheticism, medievalism and romantic mysticism, Moore’s historical romances are the product of a final stage in a long novelistic career. Moore’s historical romances are The Brook Kerith (1916), Heloise and Abelard (1921), Ulick and Soracha (1926), and his last romance Aphrodite in Aulis (1930).
Part Two of the thesis attempts a classification of Moore’s novels written in the period between 1883 – 1905. The classification attempted is established on the results of the process of analysis and discrimination. This classification acknowledges differences as well as similarities and admits at the same time the presence of a basic unity in the totality of the novels dealt with.
Part Two deals with Moore’s novels from 1883 – 1905 in three main subdivisions, namely Naturalism, Eighteenth Century Realism, and Nineteenth Century Realism and Reversal. George Moore who is listed by almost all his critics as a naturalistic writer, produced only two properly naturalistic novels, A Mummer’s Wife (1885) a major achievement in naturalism, and Vain Fortune (1891 ), a bad novel. Under the title of Naturalism, the first division of Part Two deals with the first novel widely and with the second shortly.
Under the title of Eighteenth Century Realism, subdivision two deals with other novels written between the years 1883-1889 .These novels represent an intermediate style between Moore’s naturalism and nineteenth century realism, and contain as well element overshadowing his late development into mysticism and aestheticism. A Drama in Muslin (1886) which represents Moore’s partial success in his attempts to represent typical characters in typical situations, is treated in context as a prelude to the third subdivision, Nineteenth Century Realism and Reversal.
(2)
A Mere Accident (1887) is also treated within context as a novel paving the way to and overshadowing Moore’s final stage 0f aestheticism, though composing with the three other novels a sequel short of quartet, for each of the four novels retains its independence. Being minor novels, Spring Days (1888) and Mike Fletcher (1889) are grouped together with A Modern Lover (1883), Moore’s first novel. The sequel of the four novels attempts, in its turn, to produce typical characters in typical situations in the fashion of Balzac’s realism and remains bound to the style of Eighteenth century realism, and hence the title of the second subdivision of Part Two of the thesis.
Under the title of Nineteenth Century Realism and Reversal, subdivision three depicts Moore’s most successful attempt to attain a realistic style and the beginnings of the reversal of this attempt. It deals widely with Esther Waters (1894), as Moore’s most realistic novel, with Evelyn Innes (1898) and its sequel, Sister Teresa (1901) as bound in the frame of realism though overshadowing future aesthetic and mystic trends. It provides as well a short note on The Lake (1905) as an intermediate style denoting the end of the stage of realism and the beginning of that of aestheticism.
Other data
| Title | Realistic and Naturalistic Elements in George Moore’s Novels : A Critical Study | Authors | AlRaee, Aziza | Issue Date | 1975 |
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