범죄라는 질병과 추리소설의 치유--대커리의 『캐더린 』과 디킨즈의 『올리버 트위스트 』
Crime as Disease and Detective Fiction as Cure: Thackeray's Catherine and Dickens's Oliver Twist
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Abstract
This paper rereads Thackeray's Catherine and Dickens's Oliver Twist as an attempt to cure the disease of crime infected by the Newgate novels. The Newgate fiction in early Victorian England is a nodal point at which the discourses of criminality and political radicalism came together. The Newgate fiction, tied to the reform of criminal laws during the 1830s, offers sympathetic and often heroic portrayal of criminals. The omniscient narrator's perspective is allied with that of his depicted criminal protagonist. The Newgate novels caught the public mind, and the cultural phenomena related to the popularity of the Newgate fiction acted as the site for debates regarding social class and authorial responsibility. In Catherine, Thackeray parodies and ridicules Newgate conventions; but his attempt to write an anti-Newgate novel through Catherine fails. He is mistaken in thinking that he simply needs to make his story more disgusting to create an effective antidote to the Newgate novels. With his narratorial alignment with the vicious heroine, Thackeray gives her a motive for her crime. This paper argues that the detective fiction should be understood as a reaction to the Newgate novels. In narrating crime, the detective fiction provides a new, opposing paradigm. Whereas the Newgate fiction represents both crime and perpetrator, the detective fiction makes the criminal absent and thus invisible in the text. Adopting detective elements, Dickens in Oliver Twist repudiates the narratorial alignment with the criminal's viewpoint. While Monks, the criminal, keeps silent, Mr. Brownlow, the detective, explains at length the mysteries concerning the crime. Oliver Twist cures the criminal contagion by burying the criminal and completely silencing his voice.
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