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Thackeray's Vanity Fair has evoked many different critical responses, especially, regarding its narrator. Many critics who follow Henry James' art of fiction have been troubled with the intrusive narrator, but some critics such as Wayne Booth have recognized the value of an intrusive narrator and argued that the use of an intrusive narrator is most appropriate in the dramatic context of Vanity Fair.
In this paper, I attempt to push Booth's argument a little further and maintain that this narrator is in fact the best example of the clown-masked narrator which Bakhtin sees as one of the literary sources that have made a profound impact upon European literature. A clown can take on the mask of anybody with no responsibility for his words and actions. He can filter through himself the values of people or disclose their falsity or hypocrisy. In the meantime, as a narrator, he does not have to feel responsible for his narrative. For this reason, Bakhtin argues that a clown as a narrator can maintain an appropriate distance from the narrative and the dialogic relationships of all people including himself.
The narrator of Vanity Fair is a clown, a mask of the author, whose reflections of characters and the author mock them and show their vanity. What's more noticeable is that he himself contradicts himself, which suggests that the clown as a narrator is also vain just like any character in the novel. For this reason, all perspectives of characters, the author, or even the reader are in dialogical relations, with no one perspective being subjected to another. No one single perspective or idea has the absolute value of goodness or badness, for we, or our perspectives, are all equally independent and continuously in dialogue.
In this paper, I attempt to push Booth's argument a little further and maintain that this narrator is in fact the best example of the clown-masked narrator which Bakhtin sees as one of the literary sources that have made a profound impact upon European literature. A clown can take on the mask of anybody with no responsibility for his words and actions. He can filter through himself the values of people or disclose their falsity or hypocrisy. In the meantime, as a narrator, he does not have to feel responsible for his narrative. For this reason, Bakhtin argues that a clown as a narrator can maintain an appropriate distance from the narrative and the dialogic relationships of all people including himself.
The narrator of Vanity Fair is a clown, a mask of the author, whose reflections of characters and the author mock them and show their vanity. What's more noticeable is that he himself contradicts himself, which suggests that the clown as a narrator is also vain just like any character in the novel. For this reason, all perspectives of characters, the author, or even the reader are in dialogical relations, with no one perspective being subjected to another. No one single perspective or idea has the absolute value of goodness or badness, for we, or our perspectives, are all equally independent and continuously in dialogue.
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UCI(KEPA) : I410-ECN-0101-2009-840-016410687