1. Introduction: Descriptions of physiognomies in (English) literature and their significance
It is a fascinating phenomenon, that whenever we meet another person for the first
time, we unconsciously and immediately judge him or her by merely looking at the person’s
face. Although we may call ourselves the most tolerant people free of prejudices, we cannot
help thinking a person likeable or not right away by the first visual impression we get, without
ever having talked to him or her. Even though we know that a correspondence of
physiognomic and ‘inner’ traits has never been convincingly or scientifically proved, it is
unquestionable that most of us are impressed and influenced by visual data we receive from
our fellow human beings’ faces.
In the course of history (and thus, of literature), people have repeatedly tried to come
to terms with this phenomenon and to find explanations as well as definitions that may help to
‘face’ and deal with physiognomy in everyday life. Apparently, it has always been, and still
is, people’s wish to ‘read’ in other faces so as to facilitate contact and to know how to judge
characters. That this desire is not new can be seen by the fact that even (Pseudo-)Aristotle set
up (very questionable, highly racist and sexist) rules according to which one could
‘categorise’ faces and thus know what kind of character is hidden behind the surface. Today,
nobody relies on his writings anymore, which categorised people, among other factors, by
establishing an analogy between animals and human beings. According to the author, those
who had certain traits that were seen as resembling certain animals were considered to have
the respective animal’s ‘inner’ traits as well, as in the following examples. “Die [Menschen]
mit dicken Lippen, wobei die obere weiter vorsteht als die untere, sind dumm; siehe die Esel
und Affen. [...] Die eine kleine Stirn haben, sind ungebildet; siehe die Schweine.“1
In (English) literature, the question of whether there is an indexical or arbitrary
connection between inner and outer traits has been approached in many different ways which cannot be analysed in detail here. In a large number of older texts, descriptive passages
containing physiognomic hints were not included, which points to a certain disinterest in this
field of explanations (as well as in visual details in general). [...]
1 [Pseudo-] Aristoteles (~ 300v.Chr./1999). Physiognomica. Übers. u. kommentiert von Sabine Vogt. Berlin:
Akademie Verlag. 26f.
Inhaltsverzeichnis (Table of Contents)
- 1. Introduction: Descriptions of physiognomies in (English) literature and their significance
- 2. Definitions of the terminology: 'physiognomy', 'pathognomy' and 'body language'
- II. Descriptions of physiognomies in mid-19th-century realist fiction as a reflection of the period's norms and worldviews
- 3. The general importance of physiognomy in the realist context: the dominance of 'readable' physiognomy as a confirmation of an objective, transparent world
- 4. Descriptions of physiognomies in Elizabeth Gaskell's North and South (1854-55): strong confirmation of a transparent, ‘readable' world
- 4.1. Introduction
- 4.2. The narrative transmission of physiognomic descriptions
- 4.2.1. Transparent portraits of characters transmitted by an authorial narrator
- 4.2.2. Characters as successful ‘readers' of physiognomies and the functioning of non-verbal communication
- 4.3. The 'message' of transparent faces
- 4.3.1. General remarks
- 4.3.2. Physiognomy as an indicator of a hereditary background: family likeness
- 4.3.3. Physiognomy as a reflection of influential circumstances: events, milieu ('local origin') and social class
- 4.3.3.1. General remarks
- 4.3.3.2. Physiognomy as an indicator of influential events
- 4.3.3.3. Physiognomy as an indicator of the milieu or local origin
- 4.3.3.4. Physiognomy as a class indicator
- 4.3.4. Physiognomy as a moral indicator
- 4.4. Occasional opacity of faces and its (plausible) reasons
- 4.5. Conclusion
- 5. Descriptions of physiognomies in George Eliot's Adam Bede (1859): confirmation of a transparent world partly undermined by critical authorial remarks
- 5.1. Introduction
- 5.2. The narrative transmission of physiognomic descriptions
- 5.2.1. Transparent portraits of characters transmitted by an authorial narrator
- 5.2.2. Characters as successful ‘readers' of physiognomies and the functioning of non-verbal communication
- 5.3. The 'message' of transparent faces
- 5.3.1. General remarks
- 5.3.2. Physiognomy as an indicator of a hereditary background: family likeness
- 5.3.3. Physiognomy as a reflection of influential circumstances: events, milieu ('local' and 'racial' origin) and social class
- 5.3.4. Physiognomy as a moral indicator
- 5.4. Doubts about a 'readable' world: instances of opacity (and their reasons) and critical authorial remarks
- 5.4.1. General remarks
- 5.4.2. Opacity in Adam Bede's faces and critical authorial comments on a 'readable' world
- 5.5. Conclusion
- III. Descriptions of physiognomies in early modernism as a reflection of the period's new norms and changed worldviews
- 6. Early modernism: the gradual rejection of realist norms, new modernist aesthetics and the consequences for descriptions of physiognomies
- 7. Descriptions of physiognomies in D.H. Lawrence's Lady Chatterley's Lover (1928): partial continuation of the realist tradition and the growing importance of subjective perceptions of physiognomies
- 7.1. Introduction: the peculiarity of D.H. Lawrence's style
- 7.2. The narrative transmission of physiognomic descriptions
- 7.2.1. Remnants of transparent portraits of characters transmitted by an authorial narrator
- 7.2.2. Enhanced importance of intradiegetic physiognomists: continuation of 'transparent' physiognomic observations, and the increase in (un-)reliable subjective physiognomic perceptions and in non-verbal communication
- 7.2.2.1. General remarks
- 7.2.2.2. Characters as physiognomists (I): Clifford Chatterley: the continuation of the realist belief in transparent physiognomies
- 7.2.2.3. Characters as physiognomists (II): Connie Chatterley: the heroine's overall belief in transparency in spite of her occasional inability to 'read' faces
- 7.2.2.4. The increase in non-verbal communication
- 7.3. The message of faces and bodies: transparent faces in the realist tradition, 'new' and 'reduced' transparency
- 7.3.1. General remarks
- 7.3.2. Transparent faces in the realist tradition: Physiognomy as an indicator of a hereditary background, as a reflection of influential circumstances: events, milieu (‘local origin') and social class
- 7.3.3. 'New' transparency: descriptions of physiognomies and bodies as indicators of sexual experience
- 7.3.4. 'Reduced' transparency: vital, sexual descriptions of bodies for their own sake
- 7.4. Conclusion
- 8. Descriptions of physiognomies in Virginia Woolf's Mrs Dalloway (1925): the dominance of subjective, ambiguous perceptions of physiognomies as a strong undermining of the realist worldview and as a reflection of a 'new' sceptical approach to the world.
- 8.1. Introduction: Virginia Woolf's approach to the world and the new treatment of physiognomies
- 8.2. The narrative transmission of physiognomic descriptions
- 8.2.1. The overall withdrawal of the authorial narrator and its consequences for the treatment of physiognomies.
- 8.2.2. Characters as the novel's major physiognomists: various subjective perceptions of physiognomies and the lack of a 'common' worldview
- 8.2.2.1. General remarks
- 8.2.2.2. Characters as physiognomists (I): Clarissa Dalloway: the novel's heroine as a representative of the traditional belief in ‘speaking' faces
- 8.2.2.3. Characters as physiognomists (II): Septimus Warren Smith: an insane person's distorted belief in transparent physiognomies
- 8.2.2.4. Characters as physiognomists (III): Peter Walsh: observations dominated by his 'male gaze' and the implicit rejection of realism's epistemological basis.
- 8.2.2.5. Characters as physiognomists (IV): Elizabeth Dalloway: her self-perception as a (possible) projection of her feeling of 'otherness'
- 8.3. Conclusion
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This thesis aims to analyze the portrayal of physiognomy in English fiction, tracing its evolution from mid-19th-century realism to early modernism. The study examines how the depiction of physiognomy reflects the prevailing norms and worldviews of each period.
- The evolution of physiognomic descriptions in English literature.
- The relationship between physiognomy and the authorial voice/narrative perspective.
- The connection between physiognomic descriptions and social class, heredity, and morality.
- The shift from "readable" faces in realism to more ambiguous and subjective interpretations in modernism.
- The role of non-verbal communication in character portrayal.
Zusammenfassung der Kapitel (Chapter Summaries)
1. Introduction: Descriptions of physiognomies in (English) literature and their significance: This introductory chapter sets the stage for the thesis, outlining the scope and objectives of the study. It introduces the concept of physiognomy in literature and its significance as a reflection of societal values and beliefs, foreshadowing the analysis of how these depictions evolve across the chosen literary periods. The chapter establishes the theoretical framework for understanding physiognomy within its historical context and literary significance.
2. Definitions of the terminology: 'physiognomy', 'pathognomy' and 'body language': This chapter provides crucial definitions of key terms used throughout the thesis. It establishes a clear understanding of 'physiognomy,' 'pathognomy,' and 'body language' within the context of literary analysis, differentiating between these concepts and setting the groundwork for consistent terminology. A firm understanding of these terms is essential for the subsequent chapters' analysis of how these elements function within the chosen texts.
3. The general importance of physiognomy in the realist context: the dominance of 'readable' physiognomy as a confirmation of an objective, transparent world: This chapter provides a theoretical overview of the role and significance of physiognomy within 19th-century realist fiction. It lays out the conventions and expectations of realist novels regarding character portrayal and establishes the notion of a 'readable' physiognomy as a key element confirming the objectivity and transparency inherent in the realist worldview. This lays the foundation for analyzing how this convention is upheld or challenged in the subsequent case studies.
4. Descriptions of physiognomies in Elizabeth Gaskell's North and South (1854-55): strong confirmation of a transparent, ‘readable' world: This chapter analyzes the use of physiognomy in Elizabeth Gaskell's *North and South*. It demonstrates how Gaskell utilizes physiognomic descriptions to reinforce the novel's realist framework, showing how characters' outward appearances consistently align with their inner selves and social standing. The chapter examines the narrative techniques employed to convey these descriptions and how they contribute to the overall themes of social mobility and moral character. The analysis explores the relationship between characters' physiognomies and their social class, family background, and moral standing, highlighting the novel's emphasis on a transparent world where appearances directly reflect reality.
5. Descriptions of physiognomies in George Eliot's Adam Bede (1859): confirmation of a transparent world partly undermined by critical authorial remarks: This chapter undertakes a similar analysis to Chapter 4, but focusing on George Eliot's *Adam Bede*. While largely adhering to the conventions of realist physiognomy, Eliot subtly introduces elements that challenge the notion of a completely transparent world. The chapter explores instances where physiognomic readings are unreliable or ambiguous, and analyzes how Eliot uses authorial commentary to draw attention to the limitations of interpreting character solely through physical appearance. This chapter highlights the nuanced approach of Eliot and sets a stage for the transition to modernist perceptions of physiognomy.
6. Early modernism: the gradual rejection of realist norms, new modernist aesthetics and the consequences for descriptions of physiognomies: This chapter provides a theoretical framework for understanding the shift in the portrayal of physiognomy during the early modernist period. It discusses the broader aesthetic and philosophical changes that characterized this era and explores how these changes impacted the way authors depicted characters' physical appearances. The chapter lays out the ground for the subsequent analysis of how modernist writers move away from the realist convention of "readable" faces.
7. Descriptions of physiognomies in D.H. Lawrence's Lady Chatterley's Lover (1928): partial continuation of the realist tradition and the growing importance of subjective perceptions of physiognomies: This chapter examines D.H. Lawrence's use of physiognomy in *Lady Chatterley's Lover*. The chapter explores how Lawrence's work retains elements of the realist tradition while simultaneously introducing subjective perceptions and interpretations of characters' appearances. It analyzes how both characters' and the narrator's observations contribute to the overall portrayal of physiognomy. The growing importance of subjective viewpoints is demonstrated, showing a clear divergence from earlier realist conventions.
8. Descriptions of physiognomies in Virginia Woolf's Mrs Dalloway (1925): the dominance of subjective, ambiguous perceptions of physiognomies as a strong undermining of the realist worldview and as a reflection of a 'new' sceptical approach to the world.: This chapter analyzes Virginia Woolf's *Mrs. Dalloway*, focusing on the radically subjective and ambiguous portrayals of physiognomy within the novel. It explores how Woolf’s narrative techniques, including the stream-of-consciousness style, create a world where interpretations of physical appearance are largely shaped by individual perspectives and internal states. The chapter demonstrates a clear break from the realist tradition's emphasis on objective and easily decipherable physiognomy.
Schlüsselwörter (Keywords)
Physiognomy, Pathognomy, Body Language, Realism, Modernism, English Fiction, Narrative Technique, Character Portrayal, Social Class, Morality, Subjectivity, Objective Reality, Elizabeth Gaskell, George Eliot, D.H. Lawrence, Virginia Woolf, North and South, Adam Bede, Lady Chatterley's Lover, Mrs. Dalloway.
Frequently Asked Questions: Analysis of Physiognomy in English Fiction
What is the main topic of this thesis?
This thesis analyzes the portrayal of physiognomy (the assessment of a person's character or personality from their outer appearance) in English fiction, specifically tracing its evolution from mid-19th-century realism to early modernism. It examines how the depiction of physiognomy reflects the prevailing norms and worldviews of each period.
Which literary works are analyzed?
The thesis focuses on four novels: Elizabeth Gaskell's North and South (1854-55), George Eliot's Adam Bede (1859), D.H. Lawrence's Lady Chatterley's Lover (1928), and Virginia Woolf's Mrs. Dalloway (1925). These novels are chosen to represent the transition from realist to modernist aesthetics and their impact on the portrayal of physiognomy.
What are the key themes explored in the thesis?
Key themes include the evolution of physiognomic descriptions in English literature; the relationship between physiognomy and the authorial voice/narrative perspective; the connection between physiognomic descriptions and social class, heredity, and morality; the shift from "readable" faces in realism to more ambiguous and subjective interpretations in modernism; and the role of non-verbal communication in character portrayal.
How does the thesis define "physiognomy," "pathognomy," and "body language"?
The thesis dedicates a chapter to defining these key terms within the context of literary analysis, differentiating between them and establishing a consistent terminology for the subsequent analysis.
How is physiognomy portrayed in 19th-century realist fiction?
In realist novels, physiognomy is often presented as "readable," meaning outward appearances directly reflect inner character and social standing. The thesis analyzes how this convention is used in North and South and Adam Bede, noting that while largely present in Adam Bede, Eliot subtly introduces ambiguities.
How does the portrayal of physiognomy change in early modernist fiction?
Early modernist novels show a shift away from the "readable" physiognomy of realism. The thesis argues that subjective interpretations and ambiguous perceptions become more prominent, reflecting a skeptical worldview. This shift is analyzed through the contrasting portrayals in Lady Chatterley's Lover and Mrs. Dalloway.
What is the role of the authorial narrator in the portrayal of physiognomy?
The thesis explores how the authorial voice and narrative perspective influence the way physiognomy is presented. It examines the differences between a more overt authorial presence in realist novels versus the more subjective, often absent, narrator in modernist works.
What is the connection between physiognomy and social class, heredity, and morality in the novels studied?
The thesis examines how physiognomic descriptions are used to convey social class, hereditary background, and moral character in the selected novels. It explores how these connections are established and potentially challenged across the different literary periods.
What role does non-verbal communication play in the novels?
The thesis investigates the significance of non-verbal communication, including physiognomy and body language, as a means of character portrayal and communication between characters within the novels.
What are the main conclusions of the thesis?
The thesis concludes by summarizing the evolution of physiognomic portrayals in the selected novels, highlighting the significant shift from objective, "readable" representations in realism to subjective and ambiguous interpretations in modernism. It emphasizes how these changes in literary representation reflect broader shifts in societal values and worldviews.
- Quote paper
- Mirjam Marits (Author), 2003, Descriptions of physiognomies in English fiction from realism to modernism, Munich, GRIN Verlag, https://www.grin.com/document/19447
