Iris Murdoch’s The Black Prince (BP), which was published in 1973, is considered her most successful and brilliant novel by her readers as well as by her critics. Richard Todd describes it as her “closest approach to the ‘post-modernist’ novel”, which is especially in the context of narrative unreliability highly interesting and complex. However, the central theme of this paper concerns the relation between the two writers Bradley Pearson and Arnold Baffin.
It will be discussed which function is ascribed to this comparison of the two characters in The Black Prince and to what extent the frequently quoted “artist-saint contrast” of Murdoch’s works is applicable to this constellation.
Therefore, the first chapter is concerned with Bradley Pearson’s account of himself and Arnold Baffin as writers, and to a certain extent with the question of Bradley’s narrative reliability as well as – and this is essential – with Arnold’s and Bradley’s different definitions of the art of writing. The relation between Arnold and Bradley, which is already a topic of the following chapter, will be particularly examined in the last chapter where the focus will be on the discussion about the (hypothetical) artist-saint contrast within The Black Prince.
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Table of Contents
1. Introduction
2. Bradley Pearson’s account of himself and Arnold Baffin as writers
For the sake of art
Bradley as a writer
Arnold as a writer
Arnold and Bradley in contrast
3. Questioning the artist-saint contrast
4. Conclusion
Objectives and Research Themes
This academic paper examines the complex relationship between the two writer-characters, Bradley Pearson and Arnold Baffin, in Iris Murdoch's novel "The Black Prince". It explores their differing philosophical approaches to the art of writing, evaluates the reliability of Bradley's narrative account, and investigates the applicability of Murdoch's "artist-saint" dichotomy to this specific literary constellation.
- The role of narrative unreliability in Bradley Pearson's autobiographical account.
- Contrasting definitions of "true art" versus "popular" or "journalistic" writing.
- The function of Arnold Baffin as an antagonist and mirror-figure.
- Critical re-evaluation of the artist-saint contrast in the context of the novel.
- The synthesis of idealistic and pragmatic views on literary creation.
Excerpt from the Book
2.1 For the sake of art
“Good art speaks truth, indeed is truth, perhaps the only truth” (11), Bradley Pearson enlightens his readers at the beginning of his novel “The Black Prince. A Celebration of Love” which is the “inner part” of Iris Murdoch’s The Black Prince. As “[a]ll art deals with the absurd and aims at the simple” (11) he is free to use “the elements of crude drama, the ‘fabulous’ events which simple people love to hear of” (12) for his novel. In fact, even with the overall construction of the novel which consists of three parts – or three acts – (as well as of the postscripts and two forewords) and with the mentioning of his “’players’” (14) Bradley convinces the reader of his story as a drama “which brought [his life, T.S.] so significantly to a climax.” (15) By this – so Hilda D. Spear concludes –, i. e. by creating the drama of his life, by remembering the most influential events and by reflecting and interpreting from a narrative distance Bradley is able to see the meaning his life took on through this autobiographical work.
Summary of Chapters
1. Introduction: This chapter introduces Iris Murdoch's "The Black Prince" and establishes the research focus on the relationship between Bradley Pearson and Arnold Baffin, including the thematic relevance of the "artist-saint" contrast.
2. Bradley Pearson’s account of himself and Arnold Baffin as writers: This section analyzes Bradley's perspective on his own artistic identity and his critical view of Arnold Baffin, highlighting their fundamentally different approaches to the creative process.
3. Questioning the artist-saint contrast: This chapter provides a critical examination of the "artist-saint" dichotomy, arguing that it manifests as an internal struggle within Bradley rather than a simple confrontation between two distinct character types.
4. Conclusion: The concluding chapter synthesizes the previous arguments, suggesting that Bradley and Arnold represent a complex interplay of different literary ideals rather than a binary opposition, ultimately pointing toward an artistic synthesis.
Keywords
Iris Murdoch, The Black Prince, Bradley Pearson, Arnold Baffin, narrative unreliability, artist-saint contrast, literary theory, autobiography, creative process, artistic identity, modern novel, literary criticism, fictional authorship.
Frequently Asked Questions
What is the fundamental focus of this term paper?
The paper focuses on the interpersonal and artistic relationship between the characters Bradley Pearson and Arnold Baffin in Iris Murdoch's novel "The Black Prince".
What are the primary thematic areas explored?
Key themes include narrative unreliability, the philosophy of art, the distinction between "serious" and "popular" writing, and the application of the "artist-saint" contrast.
What is the central research question?
The paper asks how the comparison between Bradley and Arnold functions within the novel and to what extent the "artist-saint" contrast is applicable to their specific relationship.
Which methodology is applied in this research?
The author uses a literary analysis approach, drawing upon text-internal evidence from the novel and integrating critical perspectives from secondary literature by scholars like Richard Todd and Dagmar Flinspach.
What is discussed in the main body of the work?
The main body examines Bradley's narrative account of his life and art, compares his "idealistic" views with Arnold's "pragmatic" approach, and critically analyzes the resulting tension between the two characters.
Which keywords characterize this work?
Key terms include Iris Murdoch, narrative unreliability, artistic identity, the "artist-saint" contrast, and the specific dynamics between the two protagonist writers.
How does the paper justify the analysis of Bradley's narrative reliability?
The paper highlights that because the entire story is told through Bradley's perspective, his definitions of art and his assessments of Arnold are inherently subjective and colored by his own artistic biases.
What conclusion does the author reach regarding the "artist-saint" contrast?
The author concludes that in "The Black Prince", the contrast is not a simple opposition between two different men, but rather an internal conflict within Bradley himself, representing the struggle between the artist and the moralist.
- Quote paper
- M.A. Theresa Schmidt (Author), 2006, The state of the writer in Iris Murdoch’s "The Black Prince", Munich, GRIN Verlag, https://www.grin.com/document/122873
