Idealistic Views on Modernism in The "Howard’s End"

Though art is widely recognized as a subjective experience, literary critic and philosopher Georg Lukacs has provided a critical perspective on the nature of art, particularly in relation to modernism. In his essay "The Ideology of Modernism," Lukacs critiques the modernist movement in literature, arguing that traditional art embodies a belief in the inherent meaning of human existence. In contrast, he claims that modern literature often lacks substance and meaning, or worse, promotes ideals that diverge from reality. He asserts, "in realistic literature, each descriptive detail is both individual and typical. Modern allegory, and modernist ideology, however, deny the typical." Lukacs concludes that "modernism means not the enrichment, but the negation of art." E. M. Forster’s acclaimed novel Howards End emerges at a pivotal moment in the transition from traditional Edwardian literature to literary modernism, allowing readers to engage with modernist ideals while still grounded in the safety of tradition.

Character Dichotomy in Howards End

Howards End reflects the transitional nature of its time through its diverse characters. The Schlegel sisters symbolize an upper middle class that navigates both an elitist capitalist society, represented by the Wilcox family, and a more modernist way of thinking exemplified by Leonard Bast. While the Wilcox family embodies elitism and "old money," Leonard Bast aligns with Lukacs's description of the modernist individual. Lukacs characterizes modernist figures as fundamentally solitary and asocial, unable to establish genuine relationships. This is evident in Bast’s struggles with social interactions, his natural distrust of others, and his feelings of entrapment, particularly in his marriage. Despite his efforts to connect, he often finds himself in undesirable situations, highlighting his inability to integrate into society.

According to Lukacs, modernism captures the decline of capitalism by focusing on individual alienation. He observes that "Man is reduced to a sequence of unrelated experiential fragments; he is as inexplicable to others as to himself." In stark contrast, Lukacs argues that realism offers a more accurate portrayal of individuals within their socio-economic contexts. Traditional literature situates characters within their environments, while modernist literature tends to strip away this grounding. Forster, however, emphasizes the importance of place and environment in Howards End. Both the Schlegels and Bast grapple with a sense of dislocation, as their identities become intertwined with their homes. This disillusionment reflects the re-urbanization of London and the resulting alienation experienced by its inhabitants.

The Urban Landscape in Howards End

Forster’s depiction of London is critical to understanding the socio-economic upheavals of the time. The narrator describes a scene of urban construction and demolition, illustrating the relentless transformation of the city: "A block of flats, constructed with extreme cheapness, towered on either hand. Farther down the road two more blocks were being built, and beyond these an old house was being demolished to create another pair." This imagery captures the disintegration of traditional structures to accommodate an expanding middle class, which adversely affects the characters entrenched in upper-middle-class society. Margaret Schlegel's reflections on London's changing landscape reveal her anxieties about the population's quality and the constant flux that characterizes urban life. Her sentiments resonate with the themes of instability and economic shifts, which mirror her personal journey throughout the narrative.

Character History and Modernism

In modernist literature, characters often lack a significant historical context. Lukacs argues that modernist heroes are confined to their limited experiences and are "thrown-into-the-world," devoid of personal history. Conversely, Forster’s characters are deeply influenced by their backgrounds, class, and politics. The narrator provides insights into Margaret’s past, suggesting that her experiences have shaped her character: "surely, if experience is attainable, she had attained it." Even Leonard Bast, who seems most disconnected from a coherent history, evokes sympathy through his struggles, underscoring the importance of personal history in shaping identity. Forster’s characters are not stripped of their histories; rather, they must confront the tension between their pasts and the modern world.

Potentiality and Human Experience

Lukacs critiques modernism for its fixation on potentiality, asserting that it fails to appreciate the richness of real life. However, he overlooks the validity of emotions like melancholy and anxiety that are part of the human condition. Forster counters this notion by depicting the Wilcox family as a facade of materialism that conceals deeper emotional truths. Helen Schlegel’s observation that the Wilcox family is a "fraud" underscores the emptiness behind their wealth. The Schlegels, though economically disadvantaged compared to the Wilcoxes, possess a modern sensibility that recognizes the superficiality of striving for potentiality when it is devoid of genuine human connection.

Struggles of the Modern Individual

Leonard Bast embodies the modern individual's quest for potentiality amidst socio-economic constraints. He grapples with feelings of inadequacy, lamenting his inability to acquire culture and knowledge. His internal struggle highlights the impact of class on one's aspirations. The Schlegel sisters understand this dynamic, with Margaret noting, "the poor cannot always reach those whom they want to love, and they can hardly ever escape from those whom they love no longer." Both Bast and the Schlegels confront the role of wealth in shaping their lives, revealing the privileges and limitations that accompany different socio-economic statuses.

Table of Character Dynamics

As the narrator reflects on Leonard Bast, he notes his inferiority to the wealthy, attributing his underdevelopment to poverty and modernity. This commentary suggests that the relentless pursuit of "something more" can hinder personal growth. Despite his aspirations, Bast remains adrift, often overwhelmed by circumstances beyond his control. Lukacs’s assertion that modernism renders human activity impotent resonates with Bast's experiences, as he struggles to find meaning in a world that prioritizes wealth and status.

While Forster's portrayal of modernism aligns with Lukacs's critique, it also reveals the complexities of human experience. The Wilcox family's detachment from genuine human connection exemplifies how wealth can breed a sense of replaceability, reducing individuals to mere commodities. Forster's insights into the materialist world reflect a shared understanding with Lukacs, emphasizing that both modernism and elitism can lead to a disillusioned existence.

In conclusion, E. M. Forster's Howards End serves as a nuanced exploration of modernism that challenges Lukacs's rigid definitions. By weaving together traditional and modernist elements, Forster offers a rich tapestry of human experience that acknowledges the struggles of individuals within a rapidly changing society. His work ultimately suggests that while modernism grapples with the tensions of potentiality and alienation, it also recognizes the enduring significance of history, connection, and the complexities of the human condition.

References

Forster, E.M. Howards End. 2013: CreateSpace Independent Publishing Platform, London.

Lukacs, Gyorgy. "The Ideology of Modernism." The Novel: An Anthology of Criticism and Theory 1900-2000. Ed. Dorothy J. Hale. Malden, MA: Blackwell, 2006. 394-412.