A Drama in Muslin By George Moore - Literature review Example

A Drama in Muslin” By George Moore Table of Contents Introduction 3 Light on the Background of George Moore: Reason for the Difficulty in Defining his Authorial Stance 4 “A Drama in Muslin”: A Close Reading 5 Conclusion 7 References 8 Bibliography 9 Introduction “A Drama in Muslin” by George Moore is a novel that is viewed largely in terms of ‘social realism’. At one hand, this piece displays Moore’s strong stance in favour of gentry and it is quite difficult to determine his stance either in favour or against gentry. However, “A Drama in Muslin” is a novel that captivates both social aspects as well as that of history. “A Drama in Muslin” exclusively examines the contemporary social history in Ireland and it is impeccably, a social novel. But in considering “A Drama in Muslin” a social novel, there are certain problematic discourses. In this regard, the words of Terry Eagleton can throw an amount of light on this issue. Eagleton says that Moore displays the gentry as “drones” and their tenants are considered by Eagleton as “animals” displayed in the novel, “A Drama in Muslin”. According to Eagleton, “A Drama in Muslin” is non-committal toward the relations of landlordism. Eagleton shows that the reason for this is chiefly because of Moore’s position as Landlord himself. Eagleton further comments in the novel that Moore was serious and critical about “glittering trumpery of social rituals, which costs [Moore] rather less to Satirize” (Eagleton, 1995, Pg - 219-21). The insistence on the predominance of the social history in the novel clearly indicates the limitations put forwarded by Eagleton regarding the novel. However, a thorough gaze and an in depth study of the novel will launch its readers to a different realm of understanding altogether. The “dandyesque irony” in the novel is unstable and experimental. This clearly indicates that “A Drama in Muslin” cannot be compared with that of “Middlemarch” and while discovering the relation of the novel with that of the European canon, this particular perspective becomes clearer (Hughes, n.d.). Light on the Background of George Moore: Reason for the Difficulty in Defining his Authorial Stance It is quite difficult to rise above the standard and come out with a stance against one’s own background and surroundings. At the time of collapse in Anglo English gentry, it was hard to accept a gentry speaking against his regime. This was also evident for Moore. Moore was born in Roman Catholic family. Moore was a naturalistic writer and started absorbing his writing in a mode of French realism. Moore’s work considerably contributed controversies in England. Moore started criticising on the social vices prevalent during the time in England. Moore took open stance against gentry and also started writing in his bold predicaments about the issues considered taboo in the conservative English society. His willingness and deliberate dealings of issues such as prostitution, lesbianism and extra-marital sex were treated with a sense of strong disapprobation initially. However, with the passage of time the diversification in the public taste occurred and passion for realistic fiction started developing. Amidst this emotional and critical turmoil in Moore’s career, he created one of his finest novels encapsulating a vivid panorama of social history. “A Drama in Muslin” was written in 1886 with such backdrop when Irish gentry was passing through a very bad phase and Moore, belonging to an elite class dared to pen down his perception and sarcasm about the prevalent marriage trade in Anglo-Irish society that hinted on the same – sex relationships amidst the unmarried daughters belonging to the class of gentry (Bennet, 1982). “A Drama in Muslin”: A Close Reading “A Drama in Muslin” is acclaimed by its critics as a work that displays quite a remarkable range. In Fact, “A Drama in Muslin” is the first Irish novel written by George Moore and at once depicts the tragic condition of the women folk in the Anglo - Irish society. The novel bears a true exposure to the system that underpins it and portrays the condition of an entire society in the Irish gentry. The “Muslin martyrs” indicated in the novel are the spinsters of the Anglo-Irish gentry. Moore remarkably displayed a characteristic blend of insight that is sympathetic and a delight feline in nature portrays these women busy in their spouse hunting activities. This activities are displayed both at their “Big House” casted in rural setting and also during the events that were displayed at the time of the Dublin “season” to which the desperate debutants often gathered. These events are indicated clearly in the spinster ball and the castle ball scene. Along with this, another noteworthy point in the novel is Moore’s use of rich language and the satirical effects that continuously bring a vision and a delight about the periodical detail (Fitch, 1999). Moore deliberately attempted to bring the peasants and the gentry close to each other and he attempted it through the plot of the novel. In the castle ball scene, this becomes more obvious. “Big House” is a symbol of majesty and the union of the gentry and it is the place where a serious stance taken by Moore against his class. Presentation of Alice, her character portrayal and her final predicament are all symbolic of Moore’s scheme of things. Alice is intelligent but plain looking. In other words, she is not attractive or “marketable”. The entire Anglo - Irish community along with Mrs. Barton and Alice is going to earn the perpetual spinsterhood for herself. Mrs. Barton values her daughter on the basis of their capability to bring off “successful” match in the game of marriage. Success is a relative term and for Mrs. Barton, it stands for moneyed or titled prospective grooms for her daughter. The Speech by Mrs. Barton is a symbol of an archetypal thought and the tricks that were essential in the collapsing Anglo-Irish gentry. An initiation of social pomp and hollowness is indicated by the dialogues of Mrs. Barton. Mrs. Barton eloquently asserts, “A woman is absolutely nothing without a husband: if she does not wish to pass for a failure she must get a husband: and upon this all her ideas should be set. Keep on trying, that is my advice to all young ladies: try to make yourselves agreeable, try to learn how to amuse men. Flatter them. Don’t waste your time thinking of your books, your painting, your accomplishments. A husband is better than talent, better even than fortune... with a husband a woman she can rise to any height. Marriage gives a girl liberty, gives her admiration, gives her success; a woman’s whole position depends upon it” (Moore, 1993, Pg 137). But Moore very appropriately launches himself with every success in the pages of the novel and evolves out with his perception about marriage and its market. Alice wins over Dr. Reed who is a very prospective groom but not with any extra – ordinary attraction. She wins over the heart of the doctor with her plainness. At the last segment of the novel, Alice’s potential and intelligence is shown winning over her plain looks and almost with an attempt of poetic justice, Moore displays his protest against the Irish gentry and the hollow society to which he belonged. Triumph of Alice is analogous to the triumph of Moore himself. The words of Alice with an awareness of triumph can sum up Moore’s protest and his intentions: “Yes, I shall be married, and those girls will envy me; they who always sneered at me, who said I was a plain girl who would never be able to do anything for herself. Well, I shall be married before them after all" (Moore, 1993, Pg 312). Conclusion George Moore was one of the luminaries in Anglo-Irish Community. His social protest in the form of novels and other literary work will continue illuminating generations. His works not only bear social document and social history but also serves as major source of chronicle information of the period when Irish gentry was in a tumultuous situation. References Bennet, L., 1982. A Drama in Muslin: A Realistic Novel. JSTOR. [Online] Available at: http://www.jstor.org/pss/30090478 [Accessed April 28, 2010]. Eagleton, T. Heathcliff and the Great Hunger: Studies in Irish Culture. Verso, 1995. Fitch, L. E., 1999. Privileged or Imprisoned in the Anglo – Irish Big House? PULLI. [Online] Available at: http://www.pulli.com/lynnette/bighouse.html [Accessed April 28, 2010]. Hughes, G., No Date. Writer and Artist in George Moores: A Drama in Muslin. RACO. [Online] Available at: http://www.raco.cat/index.php/Bells/article/viewFile/102913/149261 [Accessed April 28, 2010]. Moore, G. A Drama in Muslin. Colin Smythe Ltd, 1993. Bibliography Baguley, D. Naturalist Fiction: The Entropic Vision. Cambridge University Press, 1990. Bowen, E. The Last September. Random House, 1998. Cave, R. A. A Study of the Novels of George Moore. Colin Smythe, 1978. Edgeworth, M. Castle Rackrent. Penguin Books, 1992. FlipKart, No Date. A Drama in Muslin: A Realistic Novel. Book Summary. [Online] Available at: http://www.flipkart.com/book/drama-muslin-george-moore-realistic/0548868115 [Accessed April 28, 2010]. Read More