Tristram Shandy and John Locke

Question: Does Tristram Shandy’s overall narration agree with Locke’s description of how ideas are associated?

Quote 1: “Some of our ideas have a natural correspondence and connexion one with another: it is the office and excellency of our reason to trace these, and hold them together in that union and correspondence which is founded in their peculiar beings. Besides this, there is another connexion of ideas wholly owing to chance or custom. Ideas that in themselves are not all of kin, come to be so united in some men's minds, that it is very hard to separate them; they always keep in company, and the one no sooner at any time comes into the understanding, but its associate appears with it; and if they are more than two which are thus united, the whole gang, always inseparable, show themselves together.” (Locke)

Quote 2: “For if you will turn your eyes inwards upon your mind, continued my father, and observe attentively, you will perceive, brother, that whilst you and I are talking together, and thinking, and smoking our pipes, or whilst we receive successively ideas in our minds, we know that we do exist, and so we estimate the existence, or the continuation of the existence of ourselves, or any thing else, commensurate to the succession of any ideas in our minds, the duration of ourselves, or any such other thing co-existing with our thinking…” (Sterne)

 In John Locke’s Of the Association of Ideas Locke describes in detail the different ways that ideas can be tied to one another and engrained or lost in one’s memory. The association of ideas can occur either via “a natural correspondence and connexion one with another” or they can be a “connexion of ideas wholly owing to chance or custom” (Locke). Both of these ways for ideas to be associated make sense since similar ideas will naturally bring about one another and things such as mnemonics can be very dissimilar to their targeted meaning yet bring about of flood of ideas. Tristram Shandy’s narration is essentially a stream of consciousness (/unconsciousness? considering he has not been born throughout part of the novel) that digresses due to similar and dissimilar associations of his ideas. Last week we described Tristram as a narrator as extraordinarily distracted, which could still be argued, but after reading Locke’s piece for this week I can also see how it could be argued that Tristram Shandy has a unique association of ideas that do not necessarily have to relate in the reader’s mind or with the order in which they happened, but can still make complete sense to himself (the one actually experiencing the stream of thought). Tristram frequently breaks the third wall and acknowledges the reader and his digressions showing that he understands how his narration may not make sense to his audience. If Tristram were truly just distracted he would not have the same cognitive awareness of the un-relatedness of his ideas. I found the second quote to be an interesting commentary on how ideas are associated with time, not necessarily in a chronological sense, but as a way to recognize one’s existence: “so we estimate the existence, or the continuation of the existence of ourselves, or any thing else, commensurate to the succession of any ideas in our minds, the duration of ourselves, or any such other thing co-existing with our thinking” (Sterne). Tristram’s digressions and ideas typically occur out of order or in a nonsensical fashion. This further emphasizes that ideas are related more so by how one associates them and the similar meanings one derives from them, versus how we would place their occurrence on a timeline. 

Paper 2 Outline

Thesis: Romance novels are curios that spark Arabella’s curiosity in a way that ultimately turns into obsession. Her life in regards to courtship between men and women becomes completely guided by the experiences of the characters in the romance novels she has obsessively read, leading to a life devoid of autonomy. Glanville views Arabella herself as a curio because of her beauty and often-irrational justifications and actions. His curiosity is sparked, but he maintains agency in his actions with Arabella, arguing that in The Female Quixote it is once curiosity turns into obsession that autonomy is lost.  

Outline

Paragraph 1

            Intro, thesis

Paragraph 2

Relationship between curiosity and obsession. OED.

Paragraph 3-4

Arabella’s thoughts on curiosity and her obsession with romance novels. Use examples showing novels as curios, her obsessive reading of them, and her quoting novels instead of constructing her own thoughts i.e. loss of autonomy,

Ex. “Her Ideas, from the Manner of her Life, and the Objects around her, had taken a romantic Turn; and, supposing Romances were real Pictures of Life, from them she drew all her Notions and Expectations. By them she was taught to believe, that Love was the ruling Principle of the World; that every other Passion was subordinate to this; and that it caused all the Happiness and Miseries of Life.”

“She had a strong Inclination to see what it contained; but, fearful of transgressing the Laws of Romance, by indulging a Curiosity not justifiable by Example, she resolved to return this Letter unopened.”

“Why so, Sir, replied Arabella, since it is not an indiscreet Curiosity

which prompts me to a Desire of hearing the Histories Mr. Tinsel has

promis'd to entertain me with; but rather a Hope of hearing

something which may at once improve and delight me; something

which may excite my Admiration, engage my Esteem, or influence my

Practice. “ or “Think not, Lovely Unknown, said she (for she was really very pretty) that my Endeavours to detain you proceed from an indiscreet Curiosity.”

Paragraph 5-6

Glanville’s curiosity with Arabella. Use examples showing his curiosity, him

going against her wishes/idea of how courtship should work, him choosing

to play along for her contentment (doing so knowingly and with logic/reason

to win her over).

           

Ex: “Every thing furnished Matter for some new Extravagance; her Character

was so ridiculous, that he could propose nothing to himself but eternal

Shame and Disquiet, in the Possession of a Woman, for whom he must always

blush, and be in Pain. But her Beauty had made a deep Impression on his

Heart: He admired the Strength of her Understanding; her lively Wit; the

Sweetness of her Temper; and a Thousand amiable Qualities which

distinguished her from the rest of her Sex: Her Follies, when opposed to all

those Charms of Mind and Person, seemed inconsiderable and weak; and,

though they were capable of giving him great Uneasiness, yet they could not

lessen a Passion which every Sight of her so much the more confirmed.”

“Arabella, continuing to ruminate upon her Adventure during their

little Journey, appeared so low-spirited and reserved, that Mr. Glanville, tho' he ardently wished to know all the Particulars of her Flight, and Meeting with that Gentleman, whose Company he found her in, was obliged to suppress his Curiosity for the present, out of a Fear of displeasing her. “

Paragraph 7

Van Zuylen: idée fixe leading to a sense of false agency. Arabella’s false sense of agency. How this differs from Glanville’s actual agency.

Ex: “The idée fixe is an infinite source of comfort; not only does it provide unshakable boundaries, but it lures the subject into a sense of agency” (Van Zuylen 6). à Romance novels are Arabella’s idée fixe. Arabella thinks she’s controlling exactly how her life should pan out, but she is just following a mold constructed by romance novels for her.

Note: Not sure if I should take out the Glanville comparison portion and just focus on Arabella? In place I could discuss how she is setting up her life to be novel worthy which guides her decisions. This would go after the idée fixe discussion. She is creating a life that would read like the romance novels she’s already read making it unoriginal (lacking unique experiences that would have potentially come from autonomous decisions versus her formulated, pre-planned actions.)

In what ways does Arabella fit the mold outlined in The Rambler of a protagonist that youth would choose to model their behaviors after? Is she a good choice?

 Quote 1: “Many writers, for the sake of following nature, so mingle good and bad qualities in their principal personages, that they are both equally conspicuous; and as we accompany them through their adventures with delight, and are led by degrees to interest ourselves in their favour, we lose the abhorrence of their faults, because they do not hinder our pleasure, or, perhaps, regard them with some kindness for being united with so much merit (Johnson 3).

Quote 2: “Every thing furnished Matter for some new Extravagance; her Character was so ridiculous, that he could propose nothing to himself but eternal Shame and Disquiet, in the Possession of a Woman, for whom he must always blush, and be in Pain. But her Beauty had made a deep Impression on his Heart: He admired the Strength of her Understanding; her lively Wit; the Sweetness of her Temper; and a Thousand amiable Qualities which distinguished her from the rest of her Sex: Her Follies, when opposed to all those Charms of Mind and Person, seemed inconsiderable and weak; and, though they were capable of giving him great Uneasiness, yet they could not lessen a Passion which every Sight of her so much the more confirmed. (Lennox 117).

Throughout The Rambler, the reader takes away why and how young audiences relate to, condone, and reflect in their personal lives the actions of protagonists that typically have major flaws in character and morality. Johnson asserts that young audiences are looking for guidance and use novels to shape how they may ultimately choose to live. He also explains, quote one, how authors commonly devise characters that have a balance of “good and bad qualities” and that are relatable enough whether in personage or situation to resonate on a personal level with the reader. Arabella, the protagonist of The Female Quixote, would fall into this category of characters: as quote two details she may hurt the one’s around her but her beauty, intellect, wit, and charm, all qualities a reader may want to obtain or may see in themselves, make it okay and justify her flaws. Arabella’s coy and enchanting yet manipulative personality creates a character one would want to emulate because of the power she holds due to the aforementioned traits, but simultaneously creates a person one should want to avoid because of the discontent she causes for others. Interesting to note is how Arabella embodies the youth described by Johnson because everything she has learned about conducting herself she has learned from reading novels and studying their characters, which goes to show that releasing agency to follow the life-path of a fictional protagonist should not be used as a model for shaping a person—rather experience, instead, should mold an individual.