"Variations of the rainbow" : mysticism, history and aboriginal Australia in Patrick White

This study examines Patrick White's Voss, Riders in the Chariot and A Fringe of Leaves. These works, which span White's creative career, demonstrate certain abiding preoccupations, while also showing a marked shift in treatment and philosophy. In Chapter One Voss is discussed as an essentially modernist work. The study shows how White takes an historical episode, the Leichhardt expedition, and reworks it into a meditation on the psychological and philosophical impulses behind nineteenth century exploration. The aggressive energy required for the project is identified with the myth of the Romantic male. I further argue that White, influenced by modernist conceptions of androgyny, uses the cyclical structure of hermetic philosophy to undermine the linear project identified with the male quest. Alchemical teaching provides much of the novel's metaphoric density, as well as a map for the narrative resolution. Voss is the first of the novels to examine Aboriginal culture. This culture is made available through the visionary artist, a European figure who, as seer, has access to the Aboriginal deities. European and Aboriginal philosophies are blended at the level of symbol, making possible the creative interaction between Europe and Australia. The second chapter considers how, in Riders in the Chariot, White modifies premises central to Voss. A holocaust survivor is one of the protagonists, and much of the novel, I argue, revolves around the question of the material nature of evil. Kabbalism, a mystical strain of Judaism, provides much of the esoteric material, am White uses it to foreground the conflict between metaphysical abstraction and political reality. In Riders, there is again an artist-figure: part Aboriginal, part European, he is literally a blend of Europe and Australia and his art expresses his dual identity. This novel, too, is influenced by modernist models. However, here the depiction of Fascism as both an historical crisis and as a contemporary moral bankruptcy locates the metaphysical questions in a powerfully realised material dimension. Chapter Three looks at A Fringe of Leaves, which is largely a post-modernist novel. One purpose of this chapter is to demonstrate how it responds to its literary precursors and there is thus a fairly extensive discussion of the shipwreck narrative as a genre. The protagonist of the novel, a shipwreck survivor, cannot apprehend the symbolic life of the Aboriginals: she can only observe the material aspects of the culture. Symbolic acts are thus interpreted in their material manifestation. The depiction of Aboriginal life is less romanticised than that given in Voss, as White examines the very real nature of the physical hardships of desert life. The philosophic tone of A Fringe of Leaves is most evident, I argue, in the figure of the failed artist. A frustrated writer, his models are infertile, and he offers no vision of resolution. There is a promise, however, offered by these novels themselves, for in them White has given a voice to women, Aboriginals and convicts, groups normally excluded from the dominating discursive practice of European patriarchy.

Grantor dc:publisher.institution

Department of English Language and Literature

Year dc:date.issued

1987

Author dc:creator

• Taylor, Colleen Jane

Advisor dc:contributor.advisor

• Knox-Shaw, Peter

Language dc:language.iso

eng

Handle dc:identifier.uri

http://hdl.handle.net/11427/22467

OAI identifier oai:identifier

oai:open.uct.ac.za:11427/22467