Realism

1. Realism ~1865-1910 Thomas Eakins. The Gross Clinic, 1875.

2. Definition • Style of writing, usually prose, in which surface appearance is presented in an unembellished way. • Reaction against Romanticism- attempts to represent the world in an objective and nonidealized manner

3. Period of the Average Man • Accuracy dominates

4. Romance vs. Realism: Taste and Class Romance Realism Thought to be more democratic Critics stressed the potential for vulgarity and its emphasis on the commonplace Potential “poison” for the pure of mind • Aspired to the ideal • Thought to be more genteel since it did not show the vulgar details of life

5. Characteristics • Renders reality closely and in comprehensive detail. Selective presentation of reality with an emphasis on verisimilitude, even at the expense of a well-made plot. • Settings that are ordinary places, city or country, and in the present time for the author; interest in ordinary, commonplace things and subjects • Diction is natural vernacular of daily life, not heightened or poetic; tone may be comic, satiric, or matter-of-fact -- dialect (language of characters is true to their locale and station in life)

6. Characteristics (cont’d.) • Concerned with investigating, reporting, documenting • Pessimistic at times, confronting harsh realities with honesty and objectivity. • Structure that is less organized, sometimes in short stories presenting just a “slice of life”

7. Characters • Character is more important than action and plot; complex ethical choices are often the subject. • Characters appear in their real complexity of temperament and motive; they are in explicable relation to nature, to each other, to their social class, to their own past. • Characters from middle and lower classes that are not larger than life, not particularly heroic, that possess no extraordinary or supernatural traits – the average man

8. Realism • is NOT sentimental, tragic, fantastic, mysterious, idealistic, mystical; • it does NOT romanticize nature or the common man.

9. "Where romanticists transcend the immediate to find the ideal, and naturalists plumb the actual or superficial to find the scientific laws that control its actions, realists center their attention to a remarkable degree on the immediate, the here and now, the specific action, and the verifiable consequence" (A Handbook to Literature 428).

10. "The basic axiom of the realistic view of morality was that there could be no moralizing in the novel [ . . . ] The morality of the realists, then, was built upon what appears a paradox--morality with an abhorrence of moralizing. Their ethical beliefs called, first of all, for a rejection of scheme of moral behavior imposed, from without, upon the characters of fiction and their actions. Yet Howells always claimed for his works a deep moral purpose. What was it? It was based upon three propositions: that life, social life as lived in the world Howells knew, was valuable, and was permeated with morality; that its continued health depended upon the use of human reason to overcome the anarchic selfishness of human passions; that an objective portrayal of human life, by art, will illustrate the superior value of social, civilized man, of human reason over animal passion and primitive ignorance" (157). Everett Carter, Howells and the Age of Realism (Philadelphia and New York: Lippincott, 1954).

11. "Realism sets itself at work to consider characters and events which are apparently the most ordinary and uninteresting, in order to extract from these their full value and true meaning. It would apprehend in all particulars the connection between the familiar and the extraordinary, and the seen and unseen of human nature. Beneath the deceptive cloak of outwardly uneventful days, it detects and endeavors to trace the outlines of the spirits that are hidden there; tho measure the changes in their growth, to watch the symptoms of moral decay or regeneration, to fathom their histories of passionate or intellectual problems. In short, realism reveals. Where we thought nothing worth of notice, it shows everything to be rife with significance." -- George Parsons Lathrop, 'The Novel and its Future," Atlantic Monthly 34 (September 1874):313 24.

12. "Realism, n. The art of depicting nature as it is seen by toads. The charm suffusing a landscape painted by a mole, or a story written by a measuring-worm." --Ambrose Bierce The Devil's Dictionary (1911)

13. The Story Of The Bad Little BoyMark Twain, 1875 • Once there was a bad little boy whose name was Jim - though, if you will notice, you will find that bad little boys are nearly always called James in your Sunday-school books. It was strange, but still it was true that this one was called Jim. • He didn't have any sick mother either - a sick mother who was pious and had the consumption, and would be glad to lie down in the grave and be at rest but for the strong love she bore her boy, and the anxiety she felt that the world might be harsh and cold towards him when she was gone. Most bad boys in the Sunday-books are named James, and have sick mothers, who teach them to say, "Now, I lay me down," etc. and sing them to sleep with sweet, plaintive voices, and then kiss them good-night, and kneel down by the bedside and weep. But it was different with this fellow. He was named Jim, and there wasn't anything the matter with his mother - no consumption, nor anything of that kind. She was rather stout than otherwise, and she was not pious; moreover, she was not anxious on Jim's account. She said if he were to break his neck it wouldn't be much loss. She always spanked Jim to sleep, and she never kissed him good-night; on the contrary, she boxed his ears when she was ready to leave him. -full story