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• W207781230 abstract "When H. G. Wells's Sea Lady was first published in 1902, reviewer in Academy and Literature expressed admiration, remarking how this amusing story of a mermaid's terrestrial excursion a double appeal. It is full of fun; yet it is at same time a criticism of life (156). For others, Wells's departure from his more familiar was a matter of regret. Saturday Review complained: He makes no effort here to utilize genuine knowledge, and thus his of Mars were at times interesting, his sea lady is such as might have been conceived by an intelligent shop-boy who had heard of Undine (271). Speaker concluded that while we recommend Sea Lady we do so with proviso that it is not up to Mr. Wells's standard, and that it will not at all please more fervent admirers of his grim fantasies (586). Revealing probable influence of Edward Burne-Jones's painting Depths of Sea (1886) and Rudyard Kipling's 1897 poem The Vampire, Sea Lady continues to be overshadowed by Wells's more famous scientific romances and has received only sporadic critical attention. Yet romance is significant in Wells's oeuvre for its emphasis on inability of humankind to attain better dreams. Wells typically portrays an elsewhere or implies existence of a higher plane as a means to encourage humanity to dream of--and work toward--an improvement in its own material conditions. Sea Lady, however, the reader is at best invited to contemplate (not act to change) limits of dreamlike human (Scheick 403). More pointedly, Sea Lady suggests that reality itself is an inexorable dream or illusion. William J. Scheick attributes romance's insistence that humanity is ensnared in a dreamlike condition to influence of Schopenhauer: In Sea Lady Schopenhauer's World as Will and Idea [...] is alluded to for purpose of stressing bleak fate of humanity imprisoned in a world which apparently cannot be transformed into a higher, more imaginative dream-reality (403). There is, however, an additional intellectual context for story's insistence that human reality is a dream or illusion. dreamlike quality of Sea Lady relates to Eliza Lynn Linton's article Our Illusions (1891), which argues that an indistinct relationship between illusion and reality forms basis of human perception. story's depiction of a human race imprisoned in a world of illusion can also be explained in light of Wells's lifelong fascination with Plato's Republic. Critics have neglected to examine why Harry Chatteris, story's chief human protagonist, should become disillusioned with terrestrial world and fatally choose to embrace better dreams of Sea Lady--a decision that can be explained with reference to Linton's Our Illusions and within a psychoanalytical frame. Chatteris's decision to jilt aspiring New Woman Adeline Glendower has definite implications for sexual politics of 1890s (The Sea Lady is set in 1899, at end of decade in which New Woman emerged). References to Mrs. Humprhy Ward and Sarah Grand in romance suggest that Wells had debates about New Woman in mind when he wrote Sea Lady. Indeed, conduct of Chatteris supports Grand's claims about shortcomings of child man. As a consequence of its depiction of a humanity imprisoned in a world of illusion, Sea Lady is also noteworthy as principal example of an impetus to embrace escapism in Wells's fiction that subverts his prevailing emphasis on literature as a vehicle for social reform. Sea Lady gains access to human society by mimicking passivity associated with idealized Victorian femininity. Wells's mermaid is in many senses a parody of Womanly Woman--a passive, domestic, and altogether proper specimen of womanhood well represented in journalism of 1890s. …" @default.
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• W207781230 date "2013-01-01" @default.
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• W207781230 title "A Fantastic, Unwholesome Little Dream: The Illusion of Reality and Sexual Politics in H. G. Wells's: The Sea Lady" @default.
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