Realism and Naturalism of Balzac - Essay Example

Studies in Balzac. II. Critical Analysis of Realism Realism and Naturalism have been tossed back and forth like unworthy coins since they are not substantially evident (Dargan 350). The authority to use these terms interchangeably causes further confusion. To understand the purpose these terms serve presently, it necessitates definition and discrimination, and on the entire English literature critics to leave an individual with a justifiable conviction to make between the two terms a time as well as degree distinction. In a chorological aspect, fictions in the 19th century depicted early realism development. The best example is the fiction by Balzac and Flaubert; Zola took the doctrine to extremes and called it naturalism. M. Lanson emphasized this distinction. In his treatment concerning naturalism, he did not include Balzac. Lanson refers Zola’s treatment of Naturalism as an acute form of realism. These confusions therefore necessitate clear definitions and understanding (Dargan 350). It is correct to say that some critics use the terms realism and naturalism as synonymies. As such, it would appear hard for French critics to hold that, in all aspects, Balzac was naturalist and that judgment on his success is to be based on the degree to which the doctrine was followed. It is discernible that critics make use of naturalism as the same as what is referred today as realism (Dargan 351). When we omit more elements that are foreign in nature, with regard to Balzac and Flaubert practice, a definition of realism worth working is now arrived at. As such, it can be defined as the art of actuality representation, which addressable largely from the standpoint of the material, such that, the impression of truth can be produced closely. To contemplate establishment of definition of realism, there is an urge to await usual traits. This entails the renowned ones and other attributes that are subject to debate. Features such as, Truth, Impersonality, the universality claims, solidity and materiality among others are features that make up different types of fictions (Dargan 352) Brunetiere tends to disconcert when he makes a declaration that, strictly speaking, Balzac is not a realistic. It leaves us with endless questions to ask ourselves. As such, he juggles with the fiction attributes even though his opinion concerning Balzac still stands out strengthened by clarity (Dargan 353). This critic makes an explicit declaration that, irrespective of Balzac’s sideshows of romance, his superb characters and barbaric religious practices in the comedy is widely a truth, which can be regarded as humble. In the same aspect, Saintsbury asserts that the literature is ideal as well as imaginary. As such, everything is observed through a lens, which is known to distort visions. This is a bias, as the real vision is definable taking into account, the most unusual precision as well as colors that are most vibrant. According to me, Saintsbury is addressing each scene’s presence. If that is the case, then he is in consensus with the dictum portrayed by Balzac. In the actual sense, it is evident that there was truth in what Balzac mentioned. The case about the distorting lens then would make an individual have a doubt on what Balzac said. His efforts to solidify and change the reality did not incorporate mixture of peculiar elements of fiction. As such, the exaggerations of melodrama as well as romance of a character are largely attributed to his novel. Further, in respect to Goncourts and Zola, there was a willingness by Balzac to dwell on pathology and exceptionality. According to Leslie Stephen, Balzac’s world would never come into existence. Irrespective of this view, an allowance should be made in order to choose the unusual as well as what can be termed as criminally fascinating. It is clear that, Balzac’s work has an effect on materialism. According to Marxist theory, what seem to be his denials are perfunctory. Just like in this theory, Balzac believed in money, food as well as force. In addition, discovering the fictional values to which materialism took him to, pose as the real issue (Dargan 353). As such, one may take into account, the blitz that Brunetiere took against materialism concerning fictions, which are naturalistic. Certain questions to repay insight to or investigation are; is form sacrificed to matter in Balzac’s work? If that is the case, what effect does it have on his style? In addition, is there a pile up on colors language coarseness and treatment? Like Zola, is he continuously comparing people to animals? Realism claims to features, such as treatment universality as well as impersonality, are in close connection with affection of science. We are aware of the fight by Flaubert, concerning the independent accent as well as how he almost made it. This kind of attitude establishes the absence of judgments concerning morals (Dargan 354). It becomes evident that there are regular interruptions in the story when Balzac employs remarks that are in nature inartistic. From this perspective, questions ought to be raised. Such would be; are the remarks on scenes addressing a conflict, show explicitly which side he favors? If they do, it warrants criticization of Balzac’s posturing as a means to exploit the world known to him. This should be done in a self-suppressing way based on scientific attributes (Dargan 354). In addressing the feature of documentary direction, there arise possible dangers. First, what documentary methods entail must not be identified with regard to their goals as well as techniques. Still, there is likelihood that Balzac’s scientific pretensions are traceable in knowledge on superficial as well as use of science in a mistaken manner. Whether Pseudo-science or pure science, it do not bestow one from achieving the results of influences upon the fiction by Balzac (Dargan 355). What is largely believed is that, both naturalism as well as positivism numerous links. As such, the essay by Taine is not the only example on the fiction by Balzac. He later asserted and proved that his fiction was geographic in nature. This is because; it entailed places, persons, facts as well as a pedigree. This necessitates an individual to establish the divisions and knowledge treatment, taking into consideration, how Balzac had modified raw materials (Dargan 355). We should not keep in mind that the fiction always did so. Instead, we should admit to regular monotony and ponder charges, which the fiction causes. According to Traine, Balzac’s fiction tends to be misplaced now and then. Today, naturalists tend to be taken into a pointless account for everything, characterized by trivial and mediocre representation. This is brought about because there is no restraint. According to Zola, a person regarded as naturalistic hero has to be mediocre (Dargan 358). In the real sense, beauty is not consisted by enlarging everything because; all heads are demeaned by a level, which is equal. This can be described as unyielding. As such, we do not expect Balzac to put measures to curb those standards that are viewed uninteresting. Still, there is likelihood that the figures in the fiction are heroic in proportions in an effort to achieve mediocrity and privacy. The exposition by Balzac rises higher than other fictions and regularly tries the readers’ patience. In defense of Balzac’s long descriptions as well as expositions, much will be quoted (Dargan 359) In some scenes, he seems apologetic but regularly downright in asserting the topographical, biological or even social history is important so that one can comprehend what comes next. It is what the reader must decide in each character. As such, questions ought to be raised. For example, one would ask himself if it is important to brief on the personal history of a fiction character in a way that seem old fashioned. Again, if it is vital to employ the in medias res method, as praised by Brunetiere in Flaubert. He suggests that the story should begin out rightly and later immobilize the character in a moment, which is suitable to remember the train of events. Balzac uses identifiable forms of introductions in almost one third of his fiction. This prompts one to ask himself, why is this so? Avoiding the mass as well as distributing different forms in the fiction in a way that they appear as broken fragments is another strategy that fiction technicians of rapid days employ (Dargan 350). First, let us ask ourselves this question. Is Medias res’s plotting a complex affair or a simple one? It is simple if it comes out that the author’s interest is to display the character. It is referred to as complex in studies requiring a funding and then a magistrate in order to follow precisely the convolutions (Dargan 361). It should be agreed that Balzac fiction is unique and superior. Still, he has the freedom to do anything other than giving a narration (Dargan 362). By admitting episodes, it tends to put one into contention that Balzac inspires and joins this with the fiction’s central idea. Therefore, in each case, it necessitates determination of how such a material relates to the stories’ action. Questions such as, is an event dilatory or swift? Have been employed in Balzac’s work and has been a subject of praise. Perhaps, the simplicity employed in the straight fiction sections tend to render them realistic and natural. Irrespective of these aspects, they seem to be subjects of analysis instead of descriptions (Dargan 363) . The character employed by Barzac fictions emerges in the midst of an environment that seems cluttering. In order to go through Kipling’s test, the characters must be extraordinarily strong. As such, they are regularly monomaniacs, as they tend to be guided by the passion of ruling that is dominant in the book. According to Lanson, they are not characters but types. There are mixed feeling concerning the descriptions. As such, when referencing any character, one should put notice in respect to the dress as well as gestures to determine the personality. It is true that Realism and Naturalism have been tossed back and forth like unworthy coins since they are not substantially evident. The authority to use these terms interchangeably tends to cause further confusion. To understand the purpose these terms serve presently, it necessitates definition and discrimination, and on the entire English literature critics to leave, an individual with a justifiable conviction to make between the two terms a time as well as degree distinction. . Works Cited Dargan, E. “Critical Analysis of Realism.” Modern Philology 16. 7, Nov (2001): 350-371. Read More