360: Victorian Sexualities – Page 9

Laura has Stolen Walter’s Hart, Right?

“There’s a man who spoke wonders, though I never met him.

He said, ‘He who seeks finds, and who knocks will be let in.’

I think of you in motion and just how close you are getting

and how every little thing anticipates you.

All down my veins, my heartstrings call:

Are you the one that I’ve been waiting for?

Are you the one that I’ve been waiting for?”

– Nick Cave

Walter Hartright’s testimony, or whatever the narrative conceit Collins is employing here, in The Woman in White leaves out crucial details in the formation of his, er, improper relationship with Laura Fairlie. In fact, there are only two times in the course of the first 120 pages where she actually speaks. I doubt it is a coincidence that they occur when Walt introduces himself and when she tells him to sod off in their (allegedly) final interaction. The steamy montage of the master “teaching” his pupil never bothers to get specific; it portrays their courtship as a voyeuristic tango with brief moments of semi-contact (bending over bosoms and grazing ribbons and rubbish like that).

Yet Walt insists, even before he goes into those vague descriptions, that he loved Laura. He loved her! “Feel for me, or despise me [clever invocation of the audience here], I confess it with the same immovable resolution to own the truth” (64). We understand that she possesses the qualities he looks for in a girl. Bro, is she hot? Hell yeah. Seriously, bro, how hot is she? “A fair, delicate girl, in a pretty light dress…with truthful, innocent blue eyes” (52). I guess, for no reason whatsoever, we can check “submissive” off the list, too. Could she maybe be a ghost? Oh, she certainly has potential. So far, so good. Shouldn’t Laura be the one our peerless protagonist has been waiting for?

Well, if you consider her absence from large chunks of the story up until this point and her conspicuous lack of a voice, perhaps not. In my opinion, the conventional “falling in love” process between the artist and his perfect muse is a feint to conceal Walt’s more shameful admiration for a masculine (in both her visage and comportment) matron and/or an insane commoner. He reminds me greatly of David Faux in his capacity to prattle on while saying very little. Though what ultimately endears me to the fellow is that he associates with Marian Halcombe and Anne Catherick without any noticeable shame. They both intrigue him, instead. I suppose that this sensation novel has little to do with Walt’s love life, but I figure I’d refer to it anyway. Just for fun, I wonder what to make of him staring at Marian’s lips and “penetrating eyes” (68).

Dangerous Woman: Anne Catherick and the Guarding of Sexual Purity

Anne’s responses to moments of suspicion regarding her sexuality are representative of a trend within Victorian culture of women being held responsible for guarding and maintaining their sexual purity.

Within moments of her introduction, Anne assures Walter that her presence on the road late at night does not indicate a flawed moral character. The words that she chooses, such as “suspect” and “wrong”, imply that Anne feels guilty and recognizes that strangers will regard her with distrust (Collins, 25). The underlying subtext of this passage implies that Anne believes Walter suspects her of prostitution. Her readiness to disabuse Walter of this notion (a notion he does not suggest in the narration) speaks to the Victorian sensibility that women must always guard their purity. Additionally, it also suggests that women who transgress boundaries (as Anne is doing) must be especially careful to protect their reputations from censure. Despite her child-like demeanor, Anne seems aware that others interpret her sexuality as dangerous.

Later in the narrative, Walter considers Anne’s possible motives for penning the anonymous letter. He thinks that her “misfortune” may refer to sexual impropriety (Collins, 101). The words that Walter chooses such as “common” and “ruin”, both have sexual connotations. In the 18th century, for example, women who engaged in sex before marriage were considered “common” or vulgar (http://www.dictionary.com/browse/common?). Furthermore, Walter believes it is also typical (or common) for women to seek to destroy the relationships of the men who wronged them in love. “Ruin” is explicitly sexual, as it refers to a woman’s premarital loss of virginity and thus the destruction of marriageability and honor. Walter checks Anne’s expression for signs of shame that might indicate the nature of her misfortune (Collins, 101). This checking for guilt further indicates that this conversation is really about Walter suspecting Anne of improper sex. Anne understands the ramifications of Walter’s line of questioning, which compels Anne to re-affirm her purity. In response, she asks Walter “what other misfortune could there be” other than her Asylum confinement (Collins, 101). Her question reads as almost defiant, willing Walter to openly question her romantic history while also indicating to Walter–and the audience–that Anne is innocent. In spite of this, she still remains perplexed about the nature of Walter’s questions, as indicated by the “bewilderment of a child” that Walter attributes to her (Collins, 101). She knows enough about Victorian mores to deny sexual deviancy, however, she still appears to be ambivalent or oblivious about why Walter would suspect her of such wrongdoing. In this manner, she denies all suspicions of promiscuity.

Mrs. Fairlie is likely responsible for Anne’s implicit knowledge of Victorian moral sensibilities as well as responsible for her understanding sexual expectations. For instance, Mrs. Fairlie told Anne to dress in white because “little girls…look neater and better” and thus more innocent and pure (Collins, 61). If Anne is an illegitimate child (perhaps Mr. Fairlie’s), Mrs. Fairlie may have sought to purify Anne (a living reminder of Mr. Fairlie’s infidelity) by forcing her to wear only white. If, however, Anne is Mrs. Fairlie’s illegitimate child (and mention of Anne’s “mother” is merely a red herring), Mrs. Fairlie could have forced Anne to wear white as a means of correcting the impurity and sin she sees in herself and subsequently projects onto Anne. Mrs. Fairlie may never have explicitly instructed Anne to regard her purity with vigilance, but Anne could internalize Mrs. Fairlie’s obsession with whiteness and purity. As a result, Anne understands that she must always be attentive to how others view her sexuality while also being ready to affirm her innocence if brought into question.

Infidelity and Insanity: The Ingredients for a Woman in White (According to Supernatural)

From the moment I saw the title of the novel, The Woman in White, I thought that somehow this novel is going to have ghosts. The very first episode of one of my favorite TV shows, Supernatural, deals with a ghost known as a Woman in White.

At one point during the episode, Sam describes what creates a Woman in White:

“It’s a ghost story. Well, it’s more of a phenomenon, really…they’re spirits. They’ve been sighted for hundreds of years, dozens of places…All of these are different women, you understand, but they share the same story…See, when they were alive, their husbands were unfaithful to them. And these women, basically suffering from temporary insanity, murdered their children. Then, once they realized what they had done, they took their own lives. So now their spirits are cursed, walking back roads, waterways. And if they find an unfaithful man, they kill him.” (source)

In Sam’s description of a Woman in White, a lot of themes similar to those we have seen so far in the novel appear: ghostliness, walking/wandering (Anne always being found by Walter walking around in places she shouldn’t be), unfaithfulness (Walter’s suspicion that Glyde has “ruined” Anne and then locked her away), insanity, mistreated women.

In addition, the Woman in White featured in the episode has a similar mood swing as Anne does on page 104. Anne’s “face, at all ordinary times so touching to look at, in its nervous sensitiveness, weakness and uncertainty, became suddenly darkened by an expression of maniacally intense hatred and fear, which communicated a wild, unnatural force to every feature” (Collins, 104). In the beginning of the Supernatural episode, the Woman in White is a beautiful, relatively meek and submissive – if seductive – woman (see clip below, apologies for the bad quality):

[youtube_sc url=”https://www.youtube.com/watch?v=NeKHkWrFzLA”]

However, by the end of the episode, the Woman in White becomes extremely aggressive and demonic (see clip below, watch until about the 2:00 mark):

[youtube_sc url=”https://www.youtube.com/watch?v=SPY0W5_Fjt0″]

Looking at Sam’s –and Supernatural’s – definition of a Woman in White, Anne being so closely tied to this ghostly idea – called by the same name, sharing many of the same qualities – raises questions about Anne’s secrets, especially why she was sent to the asylum. If, like the episode suggests, Anne’s problems are tied up in infidelity, insanity, children and/or murder/suicide, there are plenty of possibilities: perhaps Glyde committed infidelity – marrying or sleeping with Anne only to cast her away when the time came that he was engaged to Laurie (or at least coming up on the date when he would marry Laurie); if she was married/sleeping with Glyde, perhaps Anne got pregnant and somehow miscarried the child; perhaps she purposefully miscarried/killed any children she had by Glyde and was sent to the asylum for that crime; perhaps – craziest of all – Glyde had a dalliance in his youth with Anne’s mother, Anne is the product of that, and Glyde locked her away to try and hide that dalliance from Laurie, so as not to impede his wedding to a proper heiress? I’ll have to read on and find out!

Welcome!

Welcome to Victorian Sexualities, fall 2016

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On the BACK side and to share with the class—What do you already know about the Victorian period? In other words, what is one thing you know to be Victorian, or as Victorian? (This might be literary, but also a fact about history, fashion, culture, geography, recent TV adaptions, & etc.)

Colonial Imagery in Alice’s Adventures in Wonderland

Alice’s Adventures in Wonderland by Lewis Carroll is a story about a girl who dreams about a fantastic world full of nonsense, singular creatures and adventures. However, a deeper analysis of this timeless children’s book could reveal several implicit references to colonialism. The book was first published in 1865 and that century was marked by a fierce British expansion especially towards exotic places such as Africa and Asia.

Alice is depicted as an invasive intruder since the beginning of the novel when she moves a jar of marmalade that she sees while falling down the rabbit hole. “She took down a jar from one of the shelves as she passed: it was labeled “ORANGE MARMALADE” but to her great disappointment it was empty … so [she] managed to put it into one of the cupboards as she fell past it” (2). From the first moment she enters this new world, she shows no respect towards what or who she encounters there, moving objects as she likes and acting as if she owns the place.

Her unwillingness to accept and adapt to this new foreign world, and her effort to change and dominate it are well illustrated in the passage where Alice kicks the lizard out of the chimney. Although she is the one who has broken into someone else’s home, she feels she has the right to literally kick out the people, or animals in this case, who inhabit it. Therefore, conscious that Bill the lizard is coming down the chimney, she thinks “Oh! So Bill’s got to come down the chimney, has he? … but I think I can kick a little!” (28), “she gave one sharp kick, and waited to see what would happen next” (29). This planned act and imperious attitude of Alice can be seen as a metaphor of the British conquerors who invaded other people’s land and either removed or subjugated its native people.

However, the passage that most exemplifies this colonial attitude is the tea party. The fact that Alice, despite not being invited, arbitrarily decides to join the unusual party is an implicit reference to the domineering attitude of British colonizers who decided to occupy other people’s territories without being given any permission. The whole scene can be therefore symbolically interpreted as the British colonization of vast areas overseas. The reaction of the March Hare, the Hatter and the Dormhouse at the sight of Alice “ No room! No room!” (53) seems to evoke the feeling of native people towards the British colonizers, whereas the perspective of the latter is given by Alice’s answer “There’s plenty of room!” (53). Carroll’s choice to write the word “plenty” in italics, together with the words of the March Hare who asserts that “it wasn’t very civil of you to sit down without being invited” (53) also convey his personal opinion on imperialism. By emphasizing Alice’s arbitrary and disrespectful attitude towards the inhabitants of the land she is venturing in, Carroll is in fact implicitly judging expansionism as uncivil.

While Alice’s domineering attitude, carelessness and disrespectfulness towards the native people of Wonderland are suggested throughout the novel, they becomes explicit only in the final passage. By stating “Who cares for you?… You’re nothing but a pack of cards!” (102), Alice finally acknowledges and asserts her superiority, and this awareness leads to the end of her dream.

The White Man’s Depiction of the Exotic

As I read Alice’s Adventures in Wonderland, I was strongly reminded of many early travel narratives that I have previously studied. Texts such as Joseph Conrad’s Heart of Darkness and Aphra Behn’s Oroonoko strongly parallel with Carroll’s narrative on a multitude of facets. Alice, similar to the two other protagonists, is exploring a land unknown to her but more importantly, she represents the colonizing invasion in this wonderland just as Behn and Conrad’s characters do in Africa. Alice, though, definitely reflects the naïve mindset of a child in addition to the ignorance of the Victorian British upper class in regards to the colonized nations and peoples. This ignorance of foreign customs is actually directly addressed in the very beginning of the narrative when Alice says as she falls down the rabbit hole, “And what an ignorant little girl she’ll think me for asking! No, it’ll never do to ask: perhaps I shall see it written up somewhere.” More interesting in Alice’s speculations about where she is falling to, something that continues throughout the narrative is the manifestation of this ignorance and where it is directed. As she falls, she thinks aloud: “I wonder if I shall fall right through the earth! How funny it’ll seem to come out among the people that walk with their heads downward!” Characterizing these “people” implies their otherness in Alice’s mind.

This idea of foreignness can also be seen in Alice’s interpretation of the landscape. Similar to Conrad and Behn’s narratives, not only are the people exoticized dramatically but so are the settings in which every protagonist is placed. Alice’s ignorance reveals itself in these encounters where she believes the land to be at her disposal, despite her complete lack of knowledge with it. This speaks to the colonizer’s mindset and the instinctive entitlement that a majority of this population demonstrated with the “conquered” lands around the world. Carroll depicts this exotic fictional world for the British people to conceptualize, just as Conrad and Behn do with the African landscape.

The artistic parallel with these representations can be seen in both the piece named “Delhi” as well as “Taj Mahal-Agra” by Robert Wallis. These images both depict India in a very grand, exotic manner. I think it is truly interesting to think about the reception of all of these works amongst the British public. Just as the authors recount a “savage” world that is not yet developed, these pictures display almost a similar idea, except for the inclusion of the grand Taj Mahal. Through these pieces, British society, it seems, thought themselves to be all knowledgeable considering these exotic, foreign places. This speaks directly to Alice’s mindset in her travels through Wonderland. How influential, then, can we perceive literature and art depicting foreign places to be in the British colonial mindset?

Victorian Women and Menstruation

I came across this article in my research for CALM lab and I found it both fascinating and hilarious. It provides excellent examples of Victorian discourse surrounding sexuality and women’s health and I think because of that it ties in nicely to our class. The link below takes you to Dickinson’s JumpStart, but the full article can be accessed through JSTOR.

http://eds.a.ebscohost.com/eds/detail/detail?vid=10&sid=72aea7d8-e722-4ff6-8217-01b7aaa2f7eb%40sessionmgr4003&hid=4102&bdata=JnNpdGU9ZWRzLWxpdmU%3d#db=edsjsr&AN=edsjsr.3826408

Colonial imagery in Alice’s Adventures in Wonderland

Alice’s Adventures in Wonderland by Lewis Carroll is a story about a girl who dreams about a fantastic world full of nonsense and adventures. However, a deeper analysis of this timeless children’s book may reveal several implicit references to colonialism. Alice was in fact first published in 1865 and the 19^th century was characterized by the colonial expansion of the British Empire especially towards unexplored and exotic places such as Africa and Asia.

Since the beginning of the novel, Alice is depicted as an invasive intruder who seems not to accept and adapt to this new and foreign world, but who, on the contrary, tries to change and dominate it. The passage when Alice kicks the lizard out of the chimney exemplifies her imperious attitude, and it can be seen as an obvious metaphor of the British conquerors trying to acquire a foreign land by either remove or subjugate its native people. However, the passage that most exemplifies this colonial attitude is the tea party. The fact that Alice, despite not being invited, decides anyway to join the unusual party is a clear reference to the domineering attitude of British people who decided to conquer foreign lands in Africa and India with no regard to the interests of the people who inhabited them. The unwillingness of local people to have foreigners and colonizers on their territory is therefore expressed through the words of the March Hare’s that states “it wasn’t very civil of you to sit down without being invited” (53), also conveying Carroll’s opinion who seems to find imperialism uncivil.

This cruel attitude of British colonizers towards local people is also explicitly evoked in Alexander L. Dick’s painting A scene in India. The tiger, a wild and exotic animal, that the conquerors are trying to kill symbolizes here the native people that should be civilized, subdued and deprived of their land. As in Alice, there is no attempt here to understand or adapt to the new world, but just a strong thirst of conquest. Alice is therefore similarly seen as a colonizer rather than a visitor in Wonderland, as during her journey she acts like she owns the place and seems not to care about the people who live in it : “Who cares for you?… You’re nothing but a pack of cards!” (102).

Who Belongs Where?

Upon viewing Jean-Paul Jamin’s engraving, “Tragedy of the Stone Age” many different themes come to mind. However, what I think is most interesting about the image is that it suggests a deeper meaning and relationship between man vs. nature, one that reflects the natural world as stronger than man. The lion in the image has clearly claimed the woman as his own and will not give her up for anyone or anything. The placement of the lions paws upon her hip and neck is a clear depiction of its dominance over the woman and is also highly sexualized. Upon discovering this scene the male within the engraving is exclaiming in horror and shock, as his face suggests in addition to his hands that are extended as he is dropping the instrument he was holding. The shock of the man when he sees his partner in jeopardy compared to the calmness and power of the lions face illuminates a moment when man cannot outsource the natural world. While the man had a successful hunt as the dead deer he is holding suggests, he ultimately cannot dominant all animals as he has been successfully doing. Additionally this animal-human paradox is translated within “Alice and Wonderland” many times as Alice discovers that she is often less knowing than the animals around here. Wonderland is a place that includes much more intelligent and powerful animals in compared to the world that Alice comes from. Despite Alice being new to Wonderland she at many times forces herself in spaces where she doesn’t exactly belong, for example the scene where she immediately sits at the table with the other animals, and is even questioned as to why she has sat down. However, through the context of the engraving one may ask themselves whether the lion has trespassed into man’s cave, or whether man trespassed within the lions den? With this in mind I am forced to question the relationships between Alice and the animals… Who is overstepping personal boundaries? Is anyone naturally given there own space? Can humans be considered animals? Why? Why not?

Expectations and the Other Reality

In Alice in Wonderland, Lewis Carroll brilliantly defies all expectations. The form alone is very different from the standard Victorian novel and its content is even more foreign. In fact, to Alice and her readers, everything is foreign in Wonderland. Language is contorted, reason and logic appear senseless, and no previously learned schemas or scripts can be applied to aid our understanding of Wonderland and its inner-workings. This is demonstrated repeatedly throughout the book.

For one, animals do not talk or wear clothing in reality. But in Wonderland’s reality, they do. When Alice first unfurls this nuance in meeting the Rabbit, “it all seem[s] quite natural” that the Rabbit runs around talking to itself, but when she thinks about it afterwards “it occur[s] to her that she ought to have wondered at this” (2). Here the lines of expectations and reality are blurred. Alice is a smart girl who has a strong sense of how the world works, but at this particular moment she allows a foreign reality (this Other reality in which animals audibly talk to themselves) to supersede any expectations or preconceived notions of the facts of her existence.

Once Alice is deeper into Wonderland, she defines her expectations and reality much more clearly. For example, when Alice enters the Duchess’s house she is appalled that the cook would throw pots and pans at the Duchess and her baby, but “the Duchess took no notice of them even when they hit her” (48). In Alice’s preconceived schema for what a home should look like, throwing pots and pans certainly does not jive. But the scene does not phase the Duchess— she does not flinch or consider herself a victim of domestic violence as Alice assumes. There is an obvious tension between Alice’s expectations of reality and the Other reality within the Duchess’s home.

I call Wonderland the Other reality because it exists in the book as a reality that exists alongside Alice’s perception of reality while also opposing it. The Other reality is an unexpected reality whose credibility Alice chooses to accept or deny.

We can explore another example of the Other reality in examining Jean-Paul Jamin’s engraving, “Tragedy of the Stone Age.”

Upon first glance, this painting seems not unordinary, much like how the Rabbit did not appear unordinary to Alice. After some time though, the Other reality reveals itself more clearly. The first thing I see when I look at this painting is that the lion has killed a woman– not a terribly common situation, but it is not surprising either– which would explain the man’s anguish and grief. But then I notice that the man is a hunter, too– a predator of does. Knowing this, the man’s expression shifts from one of grief to one of aggression. And now a parallel reality is unveiled; the Other reality here is the reality in which man and lion are peers of lust, power, and strength and the woman and the doe are their victims. But it is up to the viewers to consider their own expectations and realities, like Alice, in order to actively accept or deny this Other reality.