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2018
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 Annotation

The main topic of the paper is the ways of representation of the myth of a wanderer in
the works of Joseph Conrad and John Fowles. The aim of the paper is to emphasize the
importance of the mythical scheme of wander as one of the main traditions of literary thinking.
The paper also concentrates on a modern side of wander in XIX-XX century literature,
especially in “Heart of Darkness” by Conrad and “The Ebony Tower” by Fowles.

The paper consists of introduction, three chapters and conclusion. In the introductory
part main issues are discussed generally, the main topic is determined also and basic sources and
scientific works that refer to the main topic are considered.

In the first chapter the notions of the mythical scheme of wandering and myth in
general are defined. In the second chapter “Heart of Darkness” by Conrad is discussed and
analyzed and also the form of the myth of wander is defined in the works published at the end
of 19th century. In the third chapter wandering is seen from a postmodern point of view in “The
Ebony Tower” by Fowles.

The conclusion part summarizes the results of my research.

 ........................................................................................................................ 5

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I
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II
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“Eternal Return” “The Sacred and the Profane”,

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22
 “And he said, ‘Oh, Almighty God,

If only I could cross this water

I know I’d find my mother

Alive and well!”1

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2012 : 17). ,
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: Leann R. Nash, Modernizing The Mythic Figure: Conrad’s Marlow as Recasting of

1

Chretien’s Perceval, 2010 : 67

23
 “ ,
“ ( 2016 : 95). (“The
smell of mud, of primeval mud, by Jove! was in my nostrils, the high stillness of primeval forest
was before my eyes”) [Conrad 1990 : 23).

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(“It seemed to me I had stepped into the gloomy circle of some Inferno”) [Conrad 1990 : 14].

24
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27
 „ , “ [
2016 : 147]. (“I am trying to account to myself for Mr. Kurtz – for the shade of Mr. Kurtz”)
[Conrad 1990 : 45].

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29
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“[ 2016 : 146]. (“The thing was to know what he belonged
to, how many powers of darkness claimed him for their own”) [Conrad 1990 : 44].

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tell you, he cried, “this man has enlarged my mind”) [Conrad 1990 : 58].

33
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195]. (“He had made that last stride, he had stepped over the edge, while I had been permitted
to draw back my hesitating foot. And perhaps in this is the whole difference; perhaps all the
wisdom, and all truth, and all sincerity, are just compressed into that inappreciable moment of
time in which we step over the threshold of the invisible. Perhaps!”) [Conrad 1990 : 65].

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34
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35
 „ , ,
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[ 2016 : 196]. (“I had no particular desire to enlighten them, but I had some difficulty
in restraining myself from laughing in their faces, so full of stupid importance”) [Conrad 1990 :
66].

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(Morgan 2001 : 45).

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39
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40
the difficulties of attaining personal freedom, especially in terms of discovering what one
is…”).2

,
. : „

,
.“ 3 (“Myths and fairy tales give expression to the unconscious processes, and their
retelling causes these processes to become alive again and be recollected, thereby re-
establishing the connection between the conscious and the unconscious”) [Gardner 1987 : 7].

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2
Adrienne Kuulei Gardner, John Fowles: The Inward Journey, 1987:4-5
3
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41
 ,
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„ “.

“And through forests long and wide

Through landscapes strange and savage

And passing through many treacherous trails

And many a peril and many a trial

Until he came straightway to the path.”4

,
.

, , ,
. ,
, , , „ “ -
.

.
: Manoir de Coetminais: Coet - „ “, Minais - „ “.
, , .

: Robert Huffaker, “John Fowles”, Boston: Twayne Publishers, 1980 : 117.

4

42
 ,
.

„ “ (1979 .)
. ,
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.
:

„ ,
, ,
.“ (“It is not for nothing that the ancestors of the modern
novel that began to appear in the early Middle Ages so frequently had the forest for setting and
the quest for central theme”) [Salami 1992 : 140].

.
. ,

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,
. (“The forest is the place which allows the knight to
demonstrate most clearly his courage, skill in arms, and noble sentiments”). 5

,
„ “,
-
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5
Colleen Mullarkey, The Forest in the Romances of Chretien de Troyes, 1998 : 276.

43
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[Бахт 1975 : 234].

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44
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“[ 2015 : 59].

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45
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, :

“The one work demonstrates love as a connecting force, while the other demonstrates
love as a dividing force” [Barnum 1981 : 145].

, ,
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,
(Conradi 1982 : 82).

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.
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46
 ,
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- ,
, , “. (“With
Fowles’s belief in hazard and mystery, fixing absolute equilibrium is impossible and illusory;
Fowles’s reality is the quest itself – man’s search for balance somewhere amid nature’s extremes,
through her vast forests, which conceal both dangers and delights”) [Salami 1992 : 142].

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47
 “. (“Somewhere close in the trees behind him a bird gave a curious
trysyllabic call, like a badly played tin flute”) [Fowles 1974 : 4].
, ,
. , :„
“,
- ,
(Road of Trials).

.
, , ,
. , . “The Hero with a Thousand
Faces” , ,
, : „
. , , ,
.“ (“Woman is the guide to the sublime acme of sensous
adventure. She lures, she guides, she bids him burst his fetters”) [Campbell 2004 : 106].
,
.
.
.
„ “, ,
.

, , ,
, ,
, , ,
, .(“The hero
who can take her as she is, without undue commotion but with the kindness and assurance she
requires, is potentially the king, the incarnate god, of her created world”) [Campbell 2004 :
106].

48
 „ “
. ,
, (“Triumph of the bloody
eunuch”) , ,
:„ .“ (“God help your bloody wife then”) [Fowles
1974 : 37].

. “John Fowles’s The Ebony Tower: Unity and Celtic

Myth” . , ,
„ “, .
, , .
. , , ,
.
.
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, (
“. “fiend in the form of a fair maiden”) [Weston 2003 : 39].
,
.

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. ,

49
 .

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. ,
, ,
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: „ .
.
(“Art s a form of speech. Speech must be based on human needs, not abstract theories of
grammar”) [Fowles 1974 : 40]. ,

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50
 “. (“Strange, how Coet and its way of life seemed to
compose itself so naturally into such moments, into the faintly mythic and timeless”) [Fowles
1974 : 51]. :

„ .“ (“Bump. You’re in a different world”) [Fowles 1974 : 55].

„ “ „ “
,
,
. ,
, ,
, ,
. , (“metaphorical
nakedness”), (“literal nakedness”).

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.

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51
 . ,
. ,
. “. (“The old man’s problem was an
almost total inadequacy with words... He certainly misrepresented everything he talked about.
One had to keep remembering the way he could express himself in paint, and the gap was
enormous”) [Fowles 1974 : 48].
, .
,
.

,
, .
, .
,
.„ “
, .

:
„
.“ (“full abstraction represents a flight from human and
social responsibility”) [Fowles 1974 : 36]. ,
,

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.

„ “ ,
,
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52
 , ,„
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.

„ “. „ “
„ “,
. ,
.

„ “ ,
, ,
,
. , „
“ .

. , , ,
, ,
(“There are worse destroyers
around”) [Fowles 1974 : 37].

, ,
, ,

.
, (“Old Wise
Man”) .

“Man and His Symbols” . ,

.

53
 ,
, , , -
, , , . [Jung 1964 :
196].

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.
, ,
. .

, , , ,

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. ,
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.
, .
.
, .
(“Atonement with the father”)
- .

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. ,
, ,
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,
.

54
 ,
, .
, ,
: „ ,
,
,
. (“It is in this ordeal that the
hero may derive hope and assurance from the helpful female figure, by whose magic he is
protected through all the frightening experiences of the father’s ego-shattering initiation”)
[Campbell 2004 : 120].

,
,
.

,
,
, ,
,

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, ,
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, ,
.

„ “ ,
,
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55
 (“Every man carries a woman within himself”)[Jung 1964 : 31].
„ “ ,
,
„ “ .

, ,
, , ,
. .
,
, ,
.
„ “ (“The Eternal Feminine”) [Jung
1964 : 123]. ,
, .

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, ,
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, „ “ , ,
.

, ,
. ,
(“The mouse is
an ancient female sex symbol, the muse woman’s creative aspect”) [Huffaker 1980 : 122].

. “Muse”- - “O”- ,

56
 ,
„ “, .

.
: „ ,
. , , ,
, , .
, ; ,
, .
, , ,
“ (
1989 : 70). (“He knew it and concealed it… not only to her, partly also to himself; that is, he
analyzed what he had so rapidly begun to find attractive about her – why that precise blend of
the physical and the psychological, the reserved and open… called so strongly to something in
his own nature. Strange how these things hit you out of the blue, were somehow inside you
almost before you could see them approaching”) [Fowles 1974 : 63].

„ “, ,
„ “ . ,
,
, ,
,
.

, , , :
„ ,
? , . , ,
.“ (“Why deny experience, his artistic soul’s sake, why ignore
the burden of the old man’s entire life? Take what you can. And so little: a warmth, a clinging, a

57
brief entry into another body. One small releasing act. And the terror of it, the enormity of
destroying what one had so carefully built”) [Fowles 1974 : 85].

„ “
.
, . ,
, ,
. ,
, , .

.
, .
, „ “ ,
.

.
.

„ “,

, ,
, (“I have a dead weasel
on my conscience; and deeper still, a dead woman”) [Fowles 1974 : 103].

„ “
. ,
, , :
„ “ (“I survived”).
, , -
,
.

58
 , ,
,
, .
-
.

„ “
,
.

, ,
, , ,
, . (“I simply wanted to bring
out the connection in a kind of modern story which is partly baset on Celtic romance, I wanted
to remind people where it began”).6

„ “
,

,
, „ “,
, ,
,
.

. ,
. ,

6
Gotts Ian, The Quest for Selfhood, 1984 : 282

59
. , .
,
(Р ль 2012).

60
 ,
,
XIX XX
.

„ “, XIX
, „ “,
„ “ .

„ “ . .„ “
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„ “
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61
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62
 , . , .: L, 2012

, . , .: , 2017

, .
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 1

Ivane Javakhishvili Tbilisi State University Faculty of Humanities

MA in English Literature

JmukhadzeKetevan

Evolution of Quest Myth in Premodernism and Postmodernism (Using

the examples of “Heart of Darkness” by Joseph Conrad and “Ebony
Tower” by John Fowles)

The Thesis is submitted in support of the degree of MA in English Literature

Supervisor: Professor Temur Kobakhidze

Tbilisi

2018