The Black Prince
Iris Murdoch's 1973 novel — a London-based metaphysical comedy of erotic obsession, artistic vocation, and the relation between Eros and the philosophical life
Tradition: Twentieth-century British philosophical fiction
Bradley Pearson, an aging writer, encounters Julian Baffin and is overwhelmed by erotic-philosophical love — Murdoch's most ambitious novel on Eros and the artistic vocation
The Black Prince (1973) is one of Iris Murdoch's most ambitious novels — a London-set metaphysical comedy of erotic obsession, artistic vocation, and the relation between Eros and the philosophical life. Bradley Pearson, an aging writer who has not yet produced the great novel he believes he has within him, becomes entangled with the family of his friend Arnold Baffin (a more successful but less serious writer). The novel's plot centres on Bradley's sudden overwhelming love for Arnold's young daughter Julian. The novel's frame is Bradley's prison memoir (he is convicted of Arnold's murder), commented on by other characters at the end. Major exploration of Murdoch's philosophical themes — Platonist Eros, the moral life of attention, the gap between art and life.
Author
Editions cited
- The Black Prince (Chatto & Windus, 1973); Penguin Classics edition
School Embodiments
The novel's framework — Eros as the philosophical force that lifts the soul toward the Good — is paradigmatic Platonist (especially of the Symposium).
"There is a black Eros and a white Eros; the dark one drags the soul down to suffering, the bright one carries it up toward what is good. To know the difference is wisdom." (The Black Prince)
Realist about the specific London literary world, the texture of obsessive love, the moral-economic conditions of the literary life.
"The literary life of London is a small village; what people say about you eventually reaches you, and what you say about them eventually reaches them." (The Black Prince)
Close descriptive attention to felt textures of erotic-philosophical love, of the writing life, of obsession.
"Falling in love is a kind of intellectual seizure; one's whole picture of the world is rearranged around the beloved." (The Black Prince)
Murdoch the analytic philosopher engages questions of perception, attention, and the philosophy of love in the novel's discursive sections.
"Love is the perception of individuals; what is loved is the particular other, not the abstract type." (The Black Prince, echoing Sovereignty of Good)
Identifies the underlying conditions — class, gender, the literary marketplace — that organise the visible romantic-artistic plot.
"What I had taken for the impulse of free love was, in part, the product of specific social conditions I had not examined." (The Black Prince, the late self-recognition)
The novel's religious-philosophical seriousness about Eros and the moral life is broadly within the liberal-religious sensibility.
"The capacity for moral love is the same capacity that produces serious art; both require the suspension of the egoistic self." (The Black Prince)
The novel's preoccupation with authentic choice, with the moral consequences of erotic commitment, has existentialist resonances.
"I chose Julian, and the choice has cost me everything I had; but I have not regretted the choice." (The Black Prince)
The novel's metafictional frame — Bradley's memoir commented on by other characters who offer their own accounts — anticipates postmodern narrative play.
"Each of us has our own version of what happened, and there is no neutral viewpoint from which to adjudicate." (The Black Prince, end-frame)
Internal Tensions
The novel's metafictional frame — different characters' versions of the events — has been variously read as postmodern playfulness or as serious Murdochian commitment to the limits of any one perspective. The Julian-Bradley relationship has been variously assessed by feminist and contemporary readers.
I. Time
The narrative time of Bradley's memoir; the longer biographical time of his unfulfilled artistic ambition.
Attributes
II. Space
London — Notting Hill, Patara — as the urban-cultural space; the seaside as the displaced scene of the affair.
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III. Matter
The embodied Bradley, Julian, Arnold; the material life of the London literary scene.
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IV. Observer
Bradley as the central self-deceived consciousness; the other characters as alternative observers.
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V. Energy
The energies of Eros, jealousy, artistic ambition, friendship.
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VI. Information
The memoir Bradley writes; the alternative accounts that frame it.
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Personas with the nearest attribute fingerprint
Historical figures whose own classification on the same six-dimensional grid lands closest to this work's. Computed by attribute-agreement on coordinates both address.
Computed school proximity
The work's attribute fingerprint scored against all schools using the same quiz scorer. Useful as a sanity check on the hand-curated embodiments above.
How The Black Prince resolves each dilemma
51 resolved positions across 4 dimensions, including 10 distinctive where the majority of schools go the other way · 6 unaligned.
Each dimension is sorted so minority positions come first. Mainstream positions are folded into an expandable list.
Time · 9 dilemmas · 3 distinctive
Persistence, the future, and the direction of becoming.
6 mainstream positions
Matter · 7 dilemmas, all mainstream
Observer · 37 dilemmas · 5 distinctive
Mind, agency, and the knower's relation to the known.