There was much argument to whether Dreiser was a “ naturalist ” after the theoretical account of Zola. But if this denomination is reflected by the credence of the seamy side of life and a more faithful enrollment of personal experience, so it can be a feature of his work. He was an nonsubjective realist who remotely brought together his facts but at the same clip he was more. ( Spiller et wholly, 1963: 1039 )
In the instance of Dreiser ‘s Sister Carrie – a novel that has been repeatedly classified in separate histories as a work of literary pragmatism and literary naturalism – the exact opposite seems to keep true. Having elements of two of the most outstanding literary “ motions ” of the clip in which it was written, the really consistence of Sister Carrie seems to be built on the combination of “ incompatible ” parts. Dreiser attains such combinative proficiency by runing with a instead distinguishable method of word picture, correlating the traits of peculiar characters ( chiefly Carrie ) with a assortment of signifiers of imagination employed to depict the external fortunes that affect them. By fall ining realistic descriptions with realistic purposes in covering with his characters, Dreiser is able to link the enormousness between literary genres, non merely get the better ofing literary divisions. ( Decker, 1997, 2 )
Bing the topic of assorted critics, Dreiser stated his purpose with Sister Carrie in one interview in June 1907:
“ Here is a book that is near to life. It is intended non as a piece of literary workmanship, but as a image of conditions done as merely and efficaciously as the English linguistic communication will allow. To put up and knock me for stating ‘vest ‘ alternatively of vest, to speak about my dividing the infinitive and utilizing vulgar platitudes here and at that place, when the calamity of a adult male ‘s life is depicted, is cockamamie ” ( qtd. In Pizer, 1991: 13 )
A A A A A Sister Carrie is frequently referred to as a form of “ realist ” literature because of its really earthy descriptive technique. By showing a “ sub-rosa ” position of day-to-day life in Chicago and New York – frequently from the two really different positions of Carrie and Hurstwood – Dreiser illustrates what really happens in topographic points the reader might cognize merely tangentially. Such “ objectiveness ” permitted Dreiser to concentrate on the cardinal qualities of “ ordinary human experience ” piece at the same clip stand foring larger sociocultural impressions and values. A context as this serves “ aˆ¦to provide the novel in general with two of its most characteristic subjects: the person seeking his luck in the large metropolis and possibly merely accomplishing tragic failure, so frequently described by the Gallic and American Realists ; and, often in association with this, the surroundings surveies of such authors as aˆ¦ Dreiser aˆ¦ ” ( qtd. in Decker, 1997: ) . Integrating “ accurate ” descriptions of mundane experience in a aggregation of seemingly “ huge ” American scenes, the fiction of Theodore Dreiser has therefore been easy recognized in visible radiation of realist descriptive technique ( Phillips 572 ) .
A A A A A A Literary naturalism “ developed out of realismaˆ¦ . and aˆ¦ Darwin ‘s biological theories aˆ¦ Those in favor of a realistic attack to and reading of life concentrated on picturing the societal environment and dwelt peculiarly on its lacks and on the defects of human existences. The ‘naturalist ‘s ‘ vision of the estate of adult male tended to be subjective and was really frequently somberaˆ¦ . ” ( Naturalism 537-8 ) . Naturalist writers refocused the aim of the realist novel by analyzing the unintelligible influences of biological science and civilization on adult male to expose the failing of the human status. By observing the impossibleness of “ human apprehension, ” naturalist writers depicted experience as a gathering of events generated by unconditioned cultural and biological heritages. Rather than seeking to convey to light and depict the nature of specific societal and cultural “ truths, ” naturalists proved readers that the “ facts ” themselves were in world driven by greater and frequently inexplicable sociobiological forces ( qtd. in Decker, 1997, 2 ) ) .
A A A A A A Evocative of a instead deterministic message, Sister Carrie has besides been frequently referred to as a work of literary naturalism ( qtd in Decker, ) . In this position, the metropolis scenes in which the secret plan develops are means for the assorted societal and biological forces that drive the action of this novel. Both Carrie and Hurstwood are stimulated by external and internal forces that are beyond their single powers of control. The descriptions of the characters, so – in peculiar those affecting external visual aspects and scenes to internal traits – exemplify how deeply these persons are influenced by factors incomprehensible to them. The original message of Sister Carrie – the futility and enigma of life-guiding forces sing the challenging vagaries of luck – is hence a readily realistic one ( Walcutt 266-9 ) .
A A A A A A Even though literary pragmatism and naturalism are frequently seen as different and discordant manners of representation in the American literary “ canon, ” the motions – in subject every bit good as in description – are non reciprocally absolute. The visual aspect of American naturalism in the late nineteenth century did non tag any ultimate rupture with literary pragmatism. In fact, some critics see naturalism as a logical extension of pragmatism, constructing upon the cognition of the clip and showing thought in an “ updated ” manner ( qtd. in Decker ) . Bearing such thoughts in head, it would look deductively unsupported to presume that certain writers composing at the bend of the twentieth century did non work peculiar facets of divergent literary “ motions ” to reflect overarching political orientations of the clip.
A A A A Writing in 1900, Dreiser surely would hold been cognizant of the stylistic elements of both literary motions. With the tools of each of these manners of reference at his disposal, Dreiser was able to portray realistic scenes and descriptions while keeping an implicit in realistic message – one uncovering the impotence of the person in a morally baffled society. The main achievement of such a combination – that of literary pragmatism and naturalism in Sister Carrie – occurs through the correlativity of Carrie ‘s physical visual aspect with what one might see “ built-in ” personality traits.
A A A A A A The assorted realistic character descriptions in Sister Carrie render a really realistic message by their correlativity with internal traits and motives. Although the fresh continually and rather dispassionately observes the conditions of “ ordinary life, ” Sister Carrie besides centers the attending on the entire absence of ethical secret plan struggle ( the presence of which would be noteworthy in a purely realist novel ) . Even if its gesture is depicted realistically, Sister Carrie is non reliant on determined Acts of the Apostless by any of its chief characters ( Walcutt 270-2 ) . One of the greatest beginnings of such external / internal struggle occurs in perennial cases of “ sea imagination ” within the novel ‘s context. This is peculiarly relevant to the initial word picture of Carrie.
A A A A A A “ With the ebb of the afternoon went her hopes, her bravery, and her strengthaˆ¦ . On every manus, to her exhausted senses, the great concern part grew larger, harder, more impassive in its indifferenceaˆ¦ . Men and adult females hurried by in long shifting lines. She felt the flow of the tide of attempt and involvement – felt her ain weakness without rather recognizing the wisp of the tide that she was ” ( 21 ) .
The novel begins with Carrie happening herself in an unfamiliar and “ unstable ” environment, she “ feels ” that she is utterly topic to a force greater than that of her ain personal bureau. Carrie ‘s “ job-seeking ” attempts are described is highly realistic 1s. The fortunes of seeking to obtain a on the job place in a low societal topographic point are dependably portrayed, including their possible effects such a “ adversity ” might hold on the single mind ( .Decker ) Yet, when one Judgess the primary “ motive ” in this quotation mark, it becomes obvious that there is a realistic message stressing the abovementioned realistic descriptions. This message – of whose deductions Carrie is non cognizant – is one that paints adult male as a incapacitated being in a “ sea ” of forces above and beyond his control and apprehension. Finding a occupation – seen as an internal motive, one marked by realistic description – is merged with an “ external nature ” that evades any decisive homo control. A argument on internal “ motive ” might be interpreted as one of the ways in which Dreiser combines realistic description with realistic purpose in order to prevail over the rigorous difference between literary pragmatism and naturalism.
A A A A A A A Such correspondence between realistic descriptions and realistic purpose can besides be found in the concrete word picture of Carrie. Dreiser often compares Carrie ‘s physical and mental composing, using the forces of literary pragmatism to convey existent descriptions while using realistic techniques to supply an implicit in message.
A A A A A A “ Caroline, or Sister Carrie, as she had been half dearly termed by the household, was possessed of a head rudimentary in its power of observation and analysisaˆ¦ . Warm with the illusions of young person, reasonably with the bland cuteness of the formative period, possessed of a figure assuring eventual curvaceousness and an oculus alight with certain native intelligence aˆ¦ ” ( Dreiser 2 ) .
This manner, Carrie is made a “ foreword ” , her character is depicted in two ways: foremost, through the description of her mental traits, and 2nd, through the description of her physical visual aspect. By the realistic portraiture of Carrie ‘s “ looks, ” Dreiser intimations at who Carrie “ is. ” By so puting both physical and mental features within the bounds of a individual phrase, Dreiser makes a really realistic statement. This claim – that the forces of biological science have non contoured the manner Carrie looks but besides the manner she thinks and acts – is one that strengthens the construct of the infirmity of human apprehension. This is important sing the overall attitude to Sister Carrie can be regarded as a contemplation of biological determinism convoyed by a strong belief that the class of narrated events has neither order nor direct handiness to adult male ‘s mind ( Walcutt 277 ) . By uncovering the reader that Carrie ‘s mental qualities are established entirely on characteristics beyond her control, Dreiser formulates the realistic ground that human bureau is driven by a greater force than that of the consideration of single characters every bit good as novel ‘s concluding gesture. In this manner, the early presentation of Carrie ‘s personality combines realistic description with realistic intending – that of biological stimulation and adult male ‘s limited understanding – to transcend the bounds of literary genre.
A A A A A A furthermore, A Dreiser employs similar physical descriptions to demo how Carrie ‘s mental and emotional traits are viewed by others in this novel.
A A A A A A A A ” He looked at her pretty face and it vivified his mental resources. She was a sweet small mortal to him – there was non uncertainty of that. She seemed to hold some power back of her actions. She was non like the common tally of store-girls. She was n’t silly ” ( 53 ) .
By this quotation mark, Dreiser familiarizes his reader with Drouet ‘s position, who sees Carrie from the position of her beauty. By realistically comparing her physical visual aspect with the “ common tally of store-girls, ” ( 53 ) Owing to his huge cognition with adult females Drouet concludes that Carrie is non merely more physically attractive than the average-looking adult female of the period, but besides gifted with more “ bureau. ” This quotation mark speaks about the realistic description of Carrie ‘s physical qualities to the domain of the realistic by unwraping the biological footing of mental traits. The description of Carrie ‘s physical traits in this transition suggests the tone of naturalism through realistic word picture, showing that Carrie ‘s personality is nil other than an addition of her biological composing. By showing Carrie through the eyes of a apprehender ( Drouet ) , Dreiser shows that even other persons morally corrupted society in where the narrative is set, are blinded by the look of physical traits. Dreiser therefore mingles realistic descriptions of Carrie with a realistic deduction to demo the restrictions of strictly specifying literary pragmatism and naturalism.
A A A A A A A Dreiser besides conveys the combination of literary pragmatism with naturalism by straight turn toing physical influences on mental and emotional qualities.
A A A A A A “ To the untravelled, district other than their ain familiar fireplace is constantly intriguing. Following to love, it is the one thing which consolations and delectations. Thingss new are excessively of import to be neglected, and head, which is a mere contemplation of centripetal feelings, succumbs to the inundation of objects ” ( 217 ) .
This quotation mark is meant straight for the reader. In Dreiser ‘s fiction, there is frequently an expressed correlativity between the storyteller and the writer himself. By temporarily presuming the function of the storyteller, Dreiser is able to infix his ain personal sentiments straight into the text without presuming an overly important tone ( qtd in Decker, 6 ) . By turn toing the reader straight, Dreiser is able to show his realistic message bluffly by doing the most of realistic descriptions, therefore bridging the disparity between literary pragmatism and literary naturalism.
A A A A A A A A concluding illustration that demonstrates the convergence between literary pragmatism and naturalism in Dreiser ‘s Sister Carrie occurs at the novel ‘s decision. At this point in the secret plan ‘s patterned advance, the relationship between realistic description and realistic purpose has become reasonably apparent. The combination of literary motions is farther enhanced when Dreiser straight attributes Carrie ‘s success as an actress ( based on realistic “ motive ” ) to the recognition of her really realistically described physical beauty.
A A A A A A “ Now because Carrie was reasonably, the gentlemen who made up the progress illustrations of shows about to look for the Sunday documents selected Carrie ‘s exposure along with others to exemplify the proclamation. Because she was really reasonably, they gave it first-class infinite and drew coils around itaˆ¦ . At the same clip there seemed really small in her portion. It consisted of standing around in all kinds of scenes, a soundless small Quakeressaˆ¦ . Carrie was the main characteristic of the drama. The audience, the more it studied her, the more it indicated its delectation. Every other characteristic paled beside the quaint, badgering, delightful atmosphere which Carrie contributed while on phase ” ( Dreiser 351-3 ) .
A A A A A A At the novel ‘s decision, Dreiser shows the reader that Carrie has risen above her former station in life – one ab initio marked by a feeling of about overpowering weakness. Dreiser besides points out, nevertheless, that Carrie has achieved her place as a “ well-known ” actress merely through others ‘ acknowledgment of her physical beauty – a trait that was marked as doing her “ heightened ” mental and emotional art from the novel ‘s very origin. Carrie ‘s portion as an actress consists merely of standing about and glowering – “ playing ” which fails to impart itself to her possible mental fortitude. In consequence, so, Carrie has risen above and beyond her initial rank in life by terminals outside her control and apprehension. By realistically depicting the proclamation of her portion in the documents every bit good as the existent function itself, Dreiser shows the reader how Carrie has advanced naturalistically – on the footing of her physical attraction to members of the opposite sex. In this decision, so, Dreiser utilizes realistic descriptions in order to convey the realistic impression that it is merely Carrie ‘s beauty that contributes to her “ interior ” being and her ultimate success. With this thought in head, Dreiser definitively binds realistic description to the realistic impression of weakness and misinterpretation to chase away the boundaries between literary motions.
A A A A A A A Although “ traditionally ” referenced as a work of either rigorous literary pragmatism or naturalism, Theodore Dreiser ‘s Sister Carrie is a novel that incorporates certain facets of each of these motions to get the better of the boundary apparently built-in between the two. Through the permeant combination of realistic description with the realistic dismissal of single power and apprehension, Dreiser, composing at the bend of the twentieth century, bridges the sweep between these two literary motions. Using realistic descriptions of internal motives and physical descriptions, Dreiser gives the reader an “ accurate ” sense of who Carrie “ is ” and what her “ universe ” is “ like. ” Dreiser besides conveys a realistic message in his fresh – 1 marked by the misinterpretation of a morally unmindful society sing assorted underlying behavior-governing forces. By often comparing Carrie ‘s physical visual aspect to her emotional and mental composing, Dreiser shows the reader that apparently personal qualities are based on purely sociobiological foundations. By using realistic descriptions of Carrie ‘s physical properties to lend to his realistic message, Dreiser bridges the spread between literary pragmatism and naturalism and proves that rigorous holistic coherency need non be based on readily “ compatible ” parts.
