Modernist Techniques in Jerome K. Jerome’s Silhouettes

Formative Assignment Modernisms TaylorWilliams
1
Show a) the features/techniquesone wouldtypically associate with
modernist literature inJerome K. Jerome’s Silhouettes, andb) how these are
sharedby one or more texts studiedon the module.
Modernists were interested in how we see rather than what we see, with particular
precedence placed on the sub-conscious and inner workings of the mind. The term
modernism refers to the ‘literary, artistic and general culture of the first half of the
twentieth century,’ and is typically distinguished ‘by its general rejection of previous literary
traditions.’1 As a result of this, modernist writers utilised a more compressed and
concentrated short story format, as opposed to the typically Victorian ‘three volume, triple-
decker novel.’2 The short story format allowed modernist writers to focus on fragmented,
psychological moments that offered a detailed exploration of human experience.
Modernists were constantly striving for some sense of self-realisation and ‘offering up
snapshots, short stories captured the essentially indefinable nature of identity.’3 As a result
of this there was a significant move away from the traditionally Victorian omniscient
external narration, as modernist literature strived to reveal the process of thought and
feeling subjectively. This predominantly occurred through the use of free in-direct style,
stream of consciousness, and dream metaphor.
These factors gave modernist literature a sense of obscurity and complexity that
coincided with an increasing elitism in cultural production. Under Victorian education
reforms, more people than ever could read. This led to a widespread publication of easily
1 Julian Wolfreys,Ruth Robbins & Kenneth Womack, Key Concepts in Literary Theory, (Edinburgh: Edinburgh
University Press,2011),p. 67.
2 Francis O’Gorman, A Concise Companion to the Victorian Novel, (Hoboken: John Wiley & Sons, 2008),p. 114.
3 Angelique Richardson,‘The Biological Sciences’in A Companion to Modern Literature and Culture ed. David
Bradshaw& Kevin J.H. Dettmar, (Hoboken: John Wiley & Sons, 2008),p. 61.

2
accessible and digestible populist fiction, such as Arthur Conan Doyle’s Sherlock Holmes.
Modernist writers repelled against this and chose to make reading deliberately challenging
by creating multiple meanings through the use of coded symbolism. As well as this,
modernist fiction was shrouded in ambiguity, fragmentation, and discontinuity. Victorian
realism was an ‘ideologically complex form incorporating many bourgeois assumptions
about the world.’4 Modernist literature opposed this. In doing so, there was no longer a
requirement to focus on morality, present a photograph-like perception of reality, or
provide a deliberate sense of escapism. Moreover, its structure was indefinite and
unrestricted, with the plot of a story undermined by self-reflexivity and how things
manifest.
Throughout Jerome K. Jerome’s Silhouettes there are various examples of external
description being used to describe internal emotions. This is achieved through the
personification of the natural world, with particular reference to the sea, and most
specifically, the ‘Bar.’ As well as capitalising the word as if it were a proper noun, the
speaker refers to ‘watchers in the village afar off’ calling the ‘Bar’ ‘Old Nick.’ The ‘Bar’ is
associated with violence, and has been known to terrorise fishermen and villagers alike for
years. The reader is provided with information regarding the speaker’s psychological state
through an intertwining of emotion depicted by description of the external, as well as direct
evidence of what the speaker is thinking: ‘I began to hate and be afraid of this mysterious
Bar.’ This constant shift from external description to the speaker’s thoughts, and how they
subsequently link together, is what makes this text distinctly modern. Therefore, it can be
argued that the personification of the ‘very fearsome thing called the Bar’ is distinctly
modernist in that the characteristics used to describe it can relate to certain traumatic
4 Maureen Moran, Victorian Literature and Culture, (London: Continuum, 2006),p. 80.

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memories or experiences that the speaker has repressed.
Although Sigmund Freud’s Interpretation of Dreams was not published until 1899 -
some five years after the publication of Silhouettes - an interest in ‘psychological analysis of
the neuroses’ and the ‘significance of symbolism in dreams’ was being discussed throughout
the 1890’s. For example, William James’s Principles of Psychology - published in 1890 - was
interested in ‘stream of experience’ and ‘stream of consciousness.’5 In modernist literature,
using a ‘stream of consciousness’ as a narrative mode represents the ‘multitudinous
thoughts and feelings which pass through the mind.’6 In Silhouettes, the reader learns of the
speaker’s inner-most thoughts and feelings through a series of fragmented memories in a
‘flux of sensations and perceptions, dissolving from one occasion to the next.’ Matz goes on
to say that, often in a ‘stream of consciousness’ narrative, ‘we are ruled by unconscious
desires not always available to conscious awareness.’7 Examples of this can be found in the
ambiguous ways in which new paragraphs are started after an elision from the previous,
such as: ‘once,’ ‘another morning,’ and ‘another incident.’
Therefore, it can be said that the speaker does not give specifics of these memories
because they cannot exactly place the details due to the fragmented, dream-like state of
their recollection. Further evidence of this is provided when the speaker says ‘I forget how it
came about’ and, ‘all is silent now, and I wonder if the whole thing has been a dream.’ The
obscurity and ambiguity that this creates supports the notion that the speaker is suffering
from some sense of repressed trauma. This is further enforced by the fact that the dream
metaphors throughout the text reflect nightmarish, apocalyptic visions. For example, when
the tide retreats from the ‘dreary marshland,’ all that is left is ‘pools of blood,’ and time is
5 Ralph Jason Pred, Onflow: Dynamics of Consciousness and Experience, (Cambridge: MIT Press,2005),p. 1.
6 J.A. Cudden, A Dictionary of Literary Terms, (Harmondsworth: Penguin Books,1984), p. 660.
7 Jesse Matz, ‘Modernist Genres and ModernistMedia’ in A Companion to Modernist Culture and Literature,
ed. by David Bradshaw& Kevin J.H. Dettmar, (Hoboken: John Wiley & Sons, 2008),pp. 213-226.

4
described as ‘endless.’ Moreover, the speaker describes mist rising towards the sky as
representative of the ‘hopeless prayer of a hopeless soul’ and the speaker goes on to
describe the night sky as being illuminated by ‘red flames’ that seem as though they are the
‘demon spawn of that evil land,’ provoking the impression of hell on earth.
The stream of consciousness used in Silhouettes can compare to D.H. Lawrence’s
Odour of Chrysanthemums.8 Like Silhouettes, the text focuses on the inner workings of the
human mind and places particular emphasis on how an individual perceives the world
around them during a traumatic event. Odour of Chrysanthemums differs from Silhouettes
in that it is told from the perspective of an external omniscient narrator, yet it still achieves
a stark sense of isolation and internalisation through description of the protagonist’s
surroundings. For example, in Silhouettes, a nightmarish sense of isolation is provided
through description of the natural world: ‘evil-laden desolateness of waste places by the
river’ and ‘the lonely, sullen lake, hidden away in mountain solitudes.’ And, in Odour of
Chrysanthemums, isolation is created through the oppressive confinement of the cramped
and poorly lit nature of the cottage and coal mine as Elizabeth struggles through her own
personal nightmare. Drawing further similarities between the texts, Lawrence is less
interested in the narrative’s climax, as he instead chooses to place a greater precedence on
the workings of Elizabeth’s mind in the build-up to the realisation of her husband’s death.
Lawrence uses the symbol of chrysanthemums to highlight and foreshadow a
repressed understanding that Elizabeth has regarding her marriage. Throughout the
narrative the chrysanthemums represent the death and decay of Elizabeth and Walter’s
marriage. For example, Elizabeth proclaims ‘don’t do that - it does look nasty’ (p.89) when
8 D.H. Lawrence, ‘Odour of Chrysanthemums’ in Modernism Anthology 2013-14,ed. Nick Freeman
(Loughborough: Loughborough University,2013),pp. 89-105 (All further references will begiven in
parentheses directly after quotation)

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her son drops the petals of a chrysanthemum on the floor, and answers ‘not to me’ (p.93)
when her daughter claims that they smell beautiful. Even though chrysanthemums are
prevalent symbols throughout Walter and Elizabeth’s marriage, Elizabeth still dislikes them
as she perceives them to be representative of their loveless marriage. Furthermore, the
image of a chrysanthemum in Walter’s lapel pocket from ‘the first time they ever brought
him home drunk,’ (p.93) foreshadows the end of the narrative whereby they bring him
home dead and one of the men knocks ‘off a vase of chrysanthemums’ (p.101). In the death
of her husband the text also deals with the modernist theme of female dependency and this
is evident towards the conclusion of the text as Elizabeth starts to grow concerned about
her financial stability.
The use of symbolism in relation to the speaker’s repressed memories and emotions
is also vital in understanding Silhouettes. The ‘Bar,’ named ‘Old Nick’ and frequently referred
to as ‘he,’ can be said to represent conflict in gender roles. A feature of modernist literature
was to challenge traditional Victorian gender roles and the men throughout the text are
portrayed as savage and domineering. The speaker recollects a time when a boy’s father
shouted ‘angrily; let ‘un taste blood’ when a ‘young bull-dog’ attacked the boy, pinning him
‘by the throat.’ And, on another occasion, the speaker states that on receiving a ‘quart of
milk’ the father ‘took it upon himself to answer; ‘but thee see it weer only just enow for the
poops.’ It would therefore seem that in this wild place beasts take precedence over
children, and women are represented as merely creatures that are ‘grizzled.’ Boys and
women alike are abused throughout the text, and retaliation comes towards the conclusion
of the narrative. The speaker’s father seems to embody the evil of a patriarchal society as
his wife unlocks the door of their house, allowing ‘wild and haggard’ women, and boys with
‘impish’ grins to ‘stretch out threateningly’ towards the speaker’s father. And then, in the

6
aftermath of this attack, the speaker’s father actually mentions his wife’s name - the first
time anyone’s name is mentioned in the entire narrative - and says, ‘it’s all over, Maggie.’
The fact that he answers ‘quietly’ is a further indication of a change in their relationship.
These closing moments leave the impression that the husband has somewhat learnt from
his mistakes and proclaims that ‘we’ve got to begin the world afresh.’ In this statement, the
apocalyptic, nightmarish nature of the text reaches its close with the world starting anew
after women and children have overcome patriarchal restrains.
In D.H. Lawrence’s Tickets, Please9 there is a similar example of female
empowerment that compares to the climax of Silhouettes. Like Jerome, Lawrence uses
symbolism throughout the narrative to display chauvinistic prejudice. The male character in
Tickets, Please is rather aptly named ‘John Thomas’ (p.291) - slang for penis - and he enjoys
numerous casual sexual encounters with the women working on the buses. It would seem
as if Lawrence is initially empowering the women by presenting them in a workplace that
would have ordinarily been dominated by men. Industry and engines were typically
associated with men, whereas the natural world was seen as a more fitting representation
of women. In comparison to the phallic symbolism of John Thomas’s name, Odour of
Chrysanthemums begins with a ‘small locomotive engine’ (p.88) that makes Elizabeth
squeeze into a hedge in order to let the train by. It could be argued that the train is a phallic
symbol, representative of patriarchy, which overpowers Elizabeth and forces her to move. In
a similar tone, throughout Tickets, Please women are objectified by the local lothario, John
Thomas. However, in setting the narrative during World War One when all the men of the
town are away fighting, it could be said that Lawrence is providing an early symbol of John
Thomas’s emasculation. This, combined with the concluding gang-rape scene, shows that
9 D.H. Lawrence, ‘Tickets, Please’in Modernism Anthology 2013-14,ed. Nick Freeman (Loughborough:
Loughborough University,2013),pp. 289-300.

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Lawrence, like Jerome, is contesting typically Victorian gender roles. This concluding gang-
rape scene can be said to relate to the attack on the speaker’s father in Silhouettes, thereby
emphasising the modernist notion that the ‘human psyche is ruled by unwilled biological
drives and irrational impulses.’10
In Silhouettes, there is evidence of similar phallic symbolism and the influence it has
in man’s dominance over woman. For example, the speaker directly compares their father’s
actions with that of the evil sea that has been so disdainfully described throughout. The
speaker describes his father’s movements as ‘rushed forward, but was borne back’ in a
familiar motion to that of the tide. Following this, he picks up an ‘ancient club’ that he goes
on to secure ‘to his hand by a chain.’ This can be said to relate to Socrates, when he stated
that the male libido was like being ‘chained to a lunatic.’11 The speaker’s father therefore
represents the ‘lunatic,’ the ‘club’ as his libido, and ‘ancient’ not only portrays the nature of
the club, but also the outdated patriarchal tendencies that it represents. As well as this,
further sexual symbolism can be found when the speaker’s father enters the house with a
‘crouching figure.’ The speaker imparts more coded phallic symbolism: ‘the rhythmic throb
of the long, straight gallop.’ And, when questioned by the father, the figure replied with his
‘voice thick and interspersed with short panting grunts.’ In comparison, there is also
evidence of coded sexual symbolism in the scene where John Thomas takes Annie to the fair
ground in Tickets, Please. There are various examples of the hidden sexual tension between
the two, such as the roundabouts ‘grinding’ out their music, how well Annie knew ‘the way
his mouth moved,’ and that ‘she looked down, and saw that his red, clean hand was out of
sight of the crowd’ (p.292). All of these instances of coded sexual symbolism represent a
10 Richardson,‘The Biological Sciences’in A Companion to Modern Literature and Culture ed. Bradshaw&
Dettmar, p. 60.
11 Darren Anderson, Histoire de Melody Nelson, (London: Bloomsbury, 2013),p. 50.

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greater freedom in discussing sexual attitudes in modernist literature.
In conclusion, both Lawrence and Jerome share various modernist techniques. For
example, they are both interested in an internalisation of their characters. They aim to
provide the reader with access beyond the typically 2-D characters of Victorian literature.
Both also display a greater freedom in discussing sexual issues and gender roles, using a
plethora of coded symbols to display repressed thoughts and feelings of the unconscious.
Also, both reduce the importance of their plot in favour of psychological development. They
are interested in the workings of the human mind, paying particular attention to what
happens beneath the surface of a character.
Word Count: 2, 199

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Bibliography
Primary
Jerome, Jerome K., ‘Silhouettes’ from John Ingerfield and Other Stories, (London: McClure &
Co., 1894)
Lawrence, D.H., ‘Odour of Chrysanthemums’ in Modernism Anthology 2013-14, ed. by Nick
Freeman (Loughborough: Loughborough University, 2013) pp. 88-105.
Lawrence, D.H., ‘Tickets, Please’ in Modernism Anthology 2013-14, ed. Nick Freeman
(Loughborough: Loughborough University, 2013) pp. 289-300.
Secondary
Anderson, Darran, Histoire de Melody Nelson, (London: Bloomsbury, 2013)
Cudden, J.A., A Dictionary of Literary Terms, (Harmondsworth: Penguin Books, 1984)
O’Gorman, Francis, A Concise Companion to the Victorian Novel, (Hoboken: John Wiley &
Sons, 2008)
Oxford English Dictionary,
<http://www.oed.com/view/Entry/103994?redirectedFrom=knickerbocker#eid> [Date
Accessed: 06/11/13]
Matz, Jesse, ‘Modernist Genres and Modernist Media’ in A Companion to Modernist Culture
and Literature, ed. David Bradshaw & Kevin J.H. Dettmar, (Hoboken: John Wiley & Sons,
2008)

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Moran, Maureen, Victorian Literature and Culture, (London: Continuum, 2006)
Pred, Jason Ralph, Onflow: Dynamics of Consciousness and Experience, (Cambridge: MIT
Press, 2005)
Richardson, Angelique, ‘The Biological Sciences’ in ‘A Companion to Modern Literature and
Culture’ ed. by David Bradshaw & Kevin J.H. Dettmar, (Hoboken: John Wiley & Sons, 2008)
Wolfreys, Julian, Robbins, Ruth, & Womack, Kenneth, Key Concepts in Literary Theory,
(Edinburgh: Edinburgh University Press, 2011)

Modernist Techniques in Jerome K. Jerome’s Silhouettes

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Modernist Techniques in Jerome K. Jerome’s Silhouettes