The French Lieutenant's Woman Essay - Critical Evaluation

John Fowles

Critical Evaluation

The French Lieutenant’s Woman became a best-selling novel both in England and America when it was first published. It was also the novel that made John Fowles’s work of interest to academic critics because of its experimentation with narrative structure and style. The book is not only a historical novel, it is also a self-reflexive work about the Victorian novel, on which it is patterned. Although the primary action focuses on a triangle love relationship taking place in 1867, it is clear from the beginning that the narrator of the novel is a twentieth century man familiar with the conventions of the late nineteenth century novel genre as well as the cultural and intellectual changes that have taken place in the one hundred years between 1867 and 1967, when Fowles began writing the novel. Exploiting this historical perspective, the narrator, who places himself within the novel’s action, parodies the conventions of the Victorian novel and creates a tension between the past and the present as well as between the nature of reality and the nature of fiction.

Much of the importance of this novel depends on its parody and play with novelistic conventions, including the many asides in which the narrator interferes with and comments on the action. A plot summary of the novel’s nineteenth century story does not truly reflect its multilayered structure and sophisticated point of view. Not only does the narrator refer to the action from the perspective of having known such twentieth century figures as Sigmund Freud, Adolf Hitler, and Marshall McLuhan, he purposely places himself—a twentieth century man—within the story as an observer-voyeur, beginning with the first chapter, when he appears as a spy, looking through a telescope at Charles and Ernestina walking on the quay, and continuing to the last chapter when he sets his watch back fifteen minutes and creates an alternate ending to the novel, so that the book ends both conventionally and unconventionally. At one point in the novel, he even justifies his breaking of the illusion of reality by reminding readers that reality is not so real as they think; they do not even believe that their own past is quite real, he says, for it is dressed up, censored,...

(The entire section is 909 words.)